The Journal of Australian Ceramics Vol 52 No 2 July 2013

View I
Crawling Through Mud:
Australian Ceramics and the
Japanese Tradition
A review by Prue Vena bles
This remarkable exhibition at the Shepparton Art Museum (SAM) documents the influence of Japanese
ceramics on the development of Australian studio pottery throughout the 20th century. Guest curator
Tina lee draws on SAM's extensive collection to construct an insightful display and thus chron icle the
interweaving of ideas and inspiration that has historically underpinned the work of many of Australia's
finest potters.
From the 1940s, some of the earliest work in the SAM collection, that of Klytie Pate and Peter
Rushforth, demonstrates low-fired earthenware forms with tightly controlled carved patterns,
accentuated by running coloured glazes breaking over edges. At the time of their making, and as the
influence of Bernard Leach through his publication The Potters Book began to spread widely, these
pots with their clear references to English art pottery were almost considered to be heretical. Now,
in hindsight, they play an important role in the initiation of this story - of cross-cultural exploration,
change and development. Already there were signs of oriental influence appearing, with a lovely refined
example by Alan Lowe particularly catching my eye - a green Chinese ginger jar form on an elegant
raised stand.
This was an era of great enthusiasm for making pottery, but there were no suppliers selling
conveniently mixed and bagged clays and materials. It was a time of great self reliance and
resourcefulness with digging and preparing clay, the use of local minerals for glazes, and the building
of kilns being essential and commonplace. Inspired by Leach and his book, many potters moved away
from the soft, low-fired earthenware and began excitedly experimenting with oriental glazes, stoneware,
porcellaneous clay bodies and high firing techniques. The Kent Collection of oriental art at the National
Gallery of Victoria (NGV), with its Chinese ceramics from the rang and Sung dynasties, provided
beautiful classical forms as inspirational reference material.
Post war, opportunities opened for Australian potters to travel to Japan to explore Eastern culture
and ceramics more closely. The work of Les Blakebrough, Peter Rushforth and Milton Moon shown here
demonstrates, through simplicity of form and decoration, their absorption of the aesthetics of Japanese
ceramics and cultural life. Col Levy's five sweet teacups highlight this in both form and number,
beckoning me to reach through the wall of glass to hold and drink from them.
Sim ilarly, Ivan McMeekin worked under Michael Cardew at the Leach Pottery in the UK and returned
to inspire a generation of woodfirers including Gwyn Hanssen Pigott, Chester Nealie, Owen Rye and
Col Levy. Owen Rye is represented here by a large and stately vessel - dry, muscular, robust, and with
gorgeous blushes of orange colour.
Such cross cultural exchange continued throughout the following decades with many Japanese
potters visiting and even settling here in Australia. Such makers as Mitsuo Shoji and Heja Chong have
impressive representation here. Heja Chong's graceful vessel reflects so clearly the life and intensity of
68 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013