The Journal of Australian Ceramics Vol 52 No 3 November 2013

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<strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />



<strong>Vol</strong> <strong>52</strong> <strong>No</strong> 3 <strong>No</strong>vember <strong>2013</strong> $16

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Contents<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong><br />

<strong>Vol</strong> <strong>52</strong> <strong>No</strong> 3<br />

<strong>No</strong>vember <strong>2013</strong><br />

$16<br />

Cover<br />

Charlie Sc.hneider<br />

<strong>The</strong> Last Recitation <strong>of</strong> Brick #4<br />

18 August <strong>2013</strong><br />

lake Berryessa, floating abolle the<br />

former town <strong>of</strong> Monticello<br />

Photo: Liz Tenuto<br />

Publicallon dates<br />

1 Apnl. 17 July, 20 NO\Iember<br />

Publisher<br />

<strong>The</strong> Aus1ralian CeramICS AssoCIation<br />

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Edi10r<br />

Vicki Grima<br />

WNW.vlCklgrima,Com.au<br />

Marketing and Promotions<br />

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Pro<strong>of</strong>reader. content<br />

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Australia Wide Reports<br />

ACT: J(>nnifer (ollier<br />

NSW: Candice Anderson<br />

QLD: Lyn Rogers<br />

SA: Sophia Phillips<br />

lAS: Jude Maisch<br />

VIC: Robyn Phelan<br />

WA: Elaine Bradley<br />

Printed by<br />

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Impress Satin (FSC) stock using<br />

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process Inks.<br />


3 NOW AND THEN<br />


4 Gwyn Hanssen Pigott by Damon Moon<br />



17 Guest Editorial: Julie Bartholomew<br />

18 Contributors Focus: Ecology and <strong>Ceramics</strong><br />

19 Clare Twomey An interview with Dr Virginia Jones<br />

23 Virginia Jones' Recent Outdoor Installations Discussions with<br />

Carol Schwarzman<br />

28 Waking a Town Altair Roelants discusses Charlie Schneider's latest ceramic<br />

work <strong>The</strong> Wake Project<br />

35 Rivers <strong>of</strong> Slip Ruth Johnstone considers recent projects by Sally Cleary<br />

38 <strong>Ceramics</strong> and the <strong>Australian</strong> Botanical Narrative by Cathy Franzi<br />

45 land and Environment Liz Stops investigates neo-colonialism and practice<br />

50 Interrelated Worlds <strong>The</strong> recen t ceramic projects <strong>of</strong> Julie Bartholomew by<br />

Altair Roelants<br />

58 Overland: From the Cradle to the lake Margaret Farmer pr<strong>of</strong>iles the<br />

work <strong>of</strong> Barbara Campbell-Allen<br />

61 On the Edge: An exhibition by Vicki Hamilton Reviewed by<br />

Dr Pam Sinnott<br />

64 Pine - cathy Keys An introduction by Louise Martin-Chew<br />

67 Slower, Smaller, Quieter Towards a local terroir-based life and aesthetic<br />

by Steve Harrison<br />


72 VIEW I: <strong>The</strong> Fuping Experience Megan Patey reports on an extraordinary<br />

twenty-day residency at Sturt<br />

76 VIEW II: Narratives in Blue and White Caterina Leone reviews the recent<br />

work <strong>of</strong> Vipoo Srivilasa<br />

80 VIEW III: Stephen Benwell: Beauty, Anarachy, Desire - A Retrospective<br />

Jason Smith, curator, gives a briel overview<br />

83 AWARD: <strong>The</strong> Janet Mansfield <strong>Ceramics</strong> Award <strong>2013</strong><br />

84 OVERSEAS: Editors, Emerging Artists and Fireworks Vicki Grima reports<br />

on ICMEA <strong>2013</strong><br />

86 EVENT: Clean Burn Belinda Piggott shares her observations about Yuri<br />

Wiedenh<strong>of</strong>er's recent fire performance<br />


88 Clayworks<br />

92 POCKET PhD: Base Processes by Fiona Murphy<br />

94 COMMUNITY: Open Studio <strong>Ceramics</strong> Australia Showcase <strong>2013</strong><br />

96 CERAMICS+: Enucleo Contemporary Clay Serena Rosevear reports<br />

100 UP THE PUBLIC ART PATH: Breathing Tree by Ken and Julia Yonetani<br />

102 POTTERS MARK5<br />

103 CERAMIC SHOTS: Ecological <strong>Ceramics</strong><br />

106 STUDIO: Studio Safety Part 2 by Jeff Zamek<br />

109 TRADE: Selling Your Work - Wholesale or Consignment?<br />

Elisa Bartels and Vicki Grima take a look at the basics<br />

112 JOIN THE POTS: from <strong>The</strong> JAC archives - Gwyn Hanssen Pigott<br />

114 COLLECTION: Miles Franklin's Waratah by Patsy Hely<br />

116 ARTIST IN RESIDENCE: Cultivate Helen Earl recounts her residency<br />

experience at the Royal Botanic Garden Sydney<br />

118 WEDGE: Brown, Lumpy, and Scratches the Laminex! by John Dermer<br />

120 VIEWED & READ: Kay Alliband Lustre by Greg Daly<br />

121 AUSTRALIA WIDE: State Representative Reports<br />


Ed itor: Vicki Grima<br />

J have been reminded a lot lately about the<br />

importance <strong>of</strong> community and the connections<br />

we make within them - locally, regionally,<br />

nationally and internationally.<br />

<strong>The</strong> success <strong>of</strong> the inaugural Open Studio<br />

<strong>Ceramics</strong> Australia Showcase in August showed<br />

what was possible with a simple idea: locally,<br />

potters joined together in one studio to share a<br />

common space; regionally, porters formed studio<br />

trails to connect their visitors and one another;<br />

and around the country the feeling <strong>of</strong> being part<br />

<strong>of</strong> a national event encouraged many to open<br />

their studios for the first time.<br />

<strong>No</strong>w with bush fires burning around NSW<br />

the feeling <strong>of</strong> support for the potters who live<br />

in threatened areas has come to the fore, with<br />

so many <strong>of</strong>fers <strong>of</strong> assistance being made. Our<br />

ceramics community is once again ready to<br />

help those in need. <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Association will keep you up to date with<br />

developments.<br />

And having recently returned from<br />

representing this journal at the JCMEA<br />

conference in Fuping, China (see pages 84 &<br />

85), I thought I'd share some words I wrote to<br />

conclude my presentation to the delegates:<br />

Clay is our common language<br />

connecting us through<br />

the objects we make<br />

the stories we write<br />

the words we read<br />

the images we take<br />

and the experiences we have.<br />

TOp: C<strong>of</strong>fee time in Fuping Pottery Art Village with (I. to r.)<br />

Rowena Hannan (AUS), Oave Cushway (UK), Gali t Golany<br />

(Israel), Creina Moore (AUS), me, Matilda and Gaylleake<br />

(AUS); September <strong>2013</strong><br />

Middle: Tina Byrne. editor <strong>of</strong> <strong>Ceramics</strong> Ireland and me at<br />

the opening <strong>of</strong> the Indian exhibition in Fuping<br />

Rather than saying, as I did in Fuping, 'Thank<br />

you for being part <strong>of</strong> my experience at ICMEA<br />

<strong>2013</strong>', I now say thank you for being part <strong>of</strong> the<br />

community we share here on these pages <strong>of</strong> <strong>The</strong><br />

<strong>Journal</strong> <strong>of</strong> Australia <strong>Ceramics</strong>.<br />

Bottom: Friends gathered with Jane Crick (centre) at the<br />

Open studio <strong>Ceramics</strong> Australia Showcase, 18 August <strong>2013</strong><br />

at Moonshill, Hot to Pot workshop in Tarago NSW<br />


----------------_. .<br />

<strong>No</strong>w and <strong>The</strong>n<br />

I<br />

I<br />

I<br />

I<br />

article addresses aspects <strong>of</strong> these influences,<br />

highlighting some <strong>of</strong> the artists who draw<br />

inspiration from the <strong>Australian</strong> landscape and<br />

those who directly engage with environmental<br />

and ecological issues through their works.<br />

<strong>The</strong> Ceramic Study Group Inc. marked their<br />

50th Anniversary with the Celebration<br />

exhibition at Hornsby in October <strong>2013</strong>. <strong>The</strong><br />

CSG was formed in 1963 by a group <strong>of</strong> Peter<br />

Rushforth's students who, having graduated<br />

from their ceramics course, wished to continue<br />

their contact with potters. Peter was invited<br />

to become - and remains - the patron <strong>of</strong> the<br />

group. <strong>The</strong> CSG have published a DVD <strong>of</strong> images<br />

<strong>of</strong> their permanent collection, including works<br />

by Peter Rushforth, Janet Mansfield, Lucie Rie,<br />

Les Blakebrough, Shigeo Shiga, Milton Moon,<br />

Peter Travis and Gwyn Hanssen Pigott. For more<br />

information visit www.ceramicstudygroup.org.au.<br />

I<br />

I<br />

I<br />

I<br />

Below left: Pippin Drysdale, Autumn Haze 2010<br />

<strong>Australian</strong> Embassy Show, February 2010<br />

Photo: Robert Frith<br />

Go to www.australianceramics.com<br />

to read this web article.<br />

How can I be featured in <strong>The</strong> <strong>Journal</strong>?<br />

We know our readers are a talented bunch, and<br />

there are many ways to participate. We post<br />

numerous calls for participation throughout the<br />

year. Please visit our website,<br />

(www.australianceramics.com) or our blog,<br />

(http://australianceramics.wordpress.com), to see<br />

how you can contribute articles and images <strong>of</strong><br />

your work or enter our photography competition.<br />

See page 131 for 2014 focus areas.<br />

Above: Nicky Coady, Peter and Bobby Rushforth I Here's a challenge!<br />

I<br />

Enter our Ceramic Shots photographic<br />

competition for the April 2014 issue <strong>of</strong> <strong>The</strong><br />

<strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>. <strong>The</strong> best<br />

entries will be published, with the winner<br />

receiving a prize to the value <strong>of</strong> $200.<br />

#clayselfie: snap a selfie with one <strong>of</strong> your<br />

ceramic works, post it to Instagram tagged<br />

#clayselfie.<br />

Web article: <strong>Ceramics</strong>, the environment<br />

and ecology: 'Craft arts' in an age <strong>of</strong><br />

environmentalism by Jade Wildy<br />

While ceramics in Australia is influenced by<br />

many traditions cultivated in other countries<br />

('Skangaroovian Funk' drawing from the<br />

Californian Funk styles, or the Eastern inspired<br />

traditions <strong>of</strong> Bernard Leach and Shoji Hamada),<br />

the <strong>Australian</strong> ceramics cultural landscape<br />

brings forth styles imbued with a distinctly<br />

<strong>Australian</strong> essence - inspired by the <strong>Australian</strong><br />

landscape and by environmental concerns. This<br />


Tribute: Gwyn Hanssen Pigott<br />

Gwyn Hanssen Pigott<br />

by Damon Moon<br />

"Instead, the things ... seep deliberately into one's attention. <strong>The</strong>y start vaguely, as little more than<br />

silhouettes, a vibration <strong>of</strong> one low colour against another. Gradually they 'develop' on the eye, and<br />

one begins to grasp their internal relationships: how articulate the subtle sequence <strong>of</strong> tones may be,<br />

in a form that once looked flat and brown; how many colours may be contained, as dusty hints and<br />

pearly afterimages <strong>of</strong> themselves, in what seemed to be a sequence <strong>of</strong> grey patches. If the straight side<br />

<strong>of</strong> a bottle seems to waver, it does so only to remind us how mutable and hard to fix the act <strong>of</strong> seeing<br />

really is. And if the shapes look simple, their simplicity is extremely deceptive; one recognises in it the<br />

distillation <strong>of</strong> an intensely pure sensibility, under whose gaze the size . . the silence <strong>of</strong> the motif and the<br />

inwardness <strong>of</strong> the vision are as one. "1<br />

If not for the omission <strong>of</strong> six words in the passage above it might be assumed this article was one <strong>of</strong><br />

the many recent tributes to the work <strong>of</strong> the late <strong>Australian</strong> potter Gwyn Hanssen Pigott, who passed<br />

away in London in July this year at the age <strong>of</strong> 78.<br />

<strong>The</strong> missing words are 'in his pa intings' and '<strong>of</strong> the painting' and the 198 1 essay by Robert<br />

Hughes is about the Italian painter Giorgio Morandi, an artist who pr<strong>of</strong>oundly influenced Hanssen<br />

Pigott's work and to whom history may apply a similar judgement <strong>of</strong> being a petit-maitre, an artist<br />

who " . . although (they) said it very well, had only one thing to say" .2<br />

<strong>The</strong>se assessments w ill be made and contested over time, but it is true to say that the reputation <strong>of</strong><br />

Gwyn Hanssen Pigott as Australia's most significant, internationally recognised ceramicist, is predicated<br />

on a body <strong>of</strong> work that took one idea and, balancing a sound knowledge <strong>of</strong> her craft with an acute<br />

sensibility, parlayed that work into a career that I doubt she could ever have foreseen .<br />

In contrast to the rather hagiographic tributes being written about her life in ceramics, Gwyn's<br />

progress did not always chart a smooth and steady rise . <strong>No</strong>netheless, her beginnings in ceramics are not<br />

so far removed from where they ended, especially when one takes into account the myriad digressions<br />

that have characterised the field over the last sixty years.<br />

Several factors influenced her early career. As a student <strong>of</strong> Fine Arts at the University <strong>of</strong> Melbourne<br />

she had ready access to the Kent Collection <strong>of</strong> Chinese ceramics at the National Gallery <strong>of</strong> Victoria,<br />

which at the time was the only readily accessible holding <strong>of</strong> historically significant Asian ceramics in the<br />

country. In an unusual but prescient move, Joseph Burke, then Head <strong>of</strong> Art History at the university,<br />

allowed her to research contemporary <strong>Australian</strong> pottery for her thesis. <strong>The</strong> Melbourne potter Harold<br />

Hughan introduced her to Bernard Leach's A Potter's Book, and so Leach's persuasive arguments for<br />

the virtues <strong>of</strong> hand-made pottery, with its apotheosis in the 'Sung standard', could be immediately<br />

reinforced - 'proved' almost - by simply viewing the objects laid out before her in the gallery.<br />

With Hanssen Pigott's vision <strong>of</strong> ceramics having been realised (almost before it was formed) by the<br />

timeless beauty <strong>of</strong> classical Chinese wares, she quickly navigated the sea <strong>of</strong> rambunctious and gaudy<br />

earthenware that dominated <strong>Australian</strong> ceramics until " a very young nineteen-year-old in a dirndl skirt")<br />

arrived at the Sturt craft workshops in New South Wales where she met the potter Ivan McMeekin.<br />

<strong>The</strong>re would be no turning back.<br />


Gwyn Hanssen Pigott. Pale Shadow, 2011, glazed, woodfired porcellaneous stoneware; Gift <strong>of</strong> the Newcastle Region Art<br />

Gallery Foundation 201 1, Newcastle Region Art Gallery collection; Less is more - G;orgio Morandi and Gwyn Hanssen<br />

Pigott; Newcastle Art Gallery exhibition, 2011; photo: courtesy Newcastle Art Gallery<br />


Tribute: Gwyn Hanssen Pigott<br />

Gwyn Hanssen (Pigott), stoneware punch set<br />

London, circa 1962: photo credit: Pottery Quarterly<br />

<strong>Vol</strong> 7 <strong>No</strong> 28; edited Murray Fieldhouse<br />

For Ivan McMeekin, who spent time in<br />

China before studying in England with Leach<br />

and Michael Cardew, the 'Sung standard' was<br />

accepted without question. When MCMeekin<br />

returned to Australia from England to set up<br />

the ceramics workshop at Sturt, he sought<br />

to reproduce as closely as possible the classic<br />

wares <strong>of</strong> China, despite being separated from<br />

that originating culture by vast stretches <strong>of</strong> time<br />

and distance, and perhaps even <strong>of</strong> need. But<br />

McMeekin was tenacious and utterly convinced<br />

<strong>of</strong> his path and where he single-mindedly led, his<br />

young student followed. She took pressure <strong>of</strong>f<br />

McMeekin by assuming responsibility for some <strong>of</strong><br />

the teaching at Sturt, helpfully translating from<br />

the French the letters <strong>of</strong> the seventeenth-century<br />

Jesuit missionary Pere D'Entrocolles concerning Chinese porcelain manufacture, while digging for clay<br />

amongst the gum trees <strong>of</strong> the Southern Highlands in New South Wales.<br />

When, with McMeekin's blessing, she went to England in the late 1950s, Gwyn Hanssen Pigott set<br />

about furthering her education in ceramics at a time when Bernard Leach was the dominant figure and<br />

when his early apprentices were now leaders in their own right. Despite her commitment to this rather<br />

conservative approach to studio pottery, she also brushed up against a gentle version <strong>of</strong> modernism in<br />

London, where potters like Lucie Rie and Hans Coper had brought a 'Continental' sensibility to the field.<br />

Gwyn Hanssen, as she was then, began to make a name for herself in London. Contemporary<br />

commentators remarked on her work as being" ... completely acceptable .. a potter's potter .. ." 4<br />

whose work" ... more or less summarises the Leach-Cardew-Davis-Finch field .. akin to the work <strong>of</strong><br />

the Mackenzie's in the USA and McMeekin in Australia" S Pottery that belonged to the tradition <strong>of</strong><br />

"Workshop potters versus art school potters. Useful-ware potters versus sculptor-painter-potters"6, this<br />

last observation having particular resonance when viewed in the light <strong>of</strong> her later work.<br />

A typical example <strong>of</strong> her output at the time, from a 1962 exhibition at Primavera gallery in London,<br />

was almost a craft cliche: a 'punch set' consisting <strong>of</strong> cups with handles, a large, footed bowl and a<br />

ceramic ladle, all in muted, ash-glazed stoneware. And although Alison Britten, writing <strong>of</strong> this period<br />

in her essay 'Gwyn Hanssen Pigott: a view from her second home", recalls that she represented a " ..<br />

benchmark <strong>of</strong> sound and sensitive practice .."8, other commentators had a different view, with Robert<br />

Melville, writing a few years earlier in Architectural Review, remarking that much <strong>of</strong> the ceramics<br />

coming out <strong>of</strong> the crafts movement seemed to belong to a " ... village and market town community <strong>of</strong><br />

highly aesthetic peasants .. ."9<br />

Gwyn Hanssen Pigott would soon reinforce this commitment to tradition (and here the word<br />

'tradition' needs to be understood as being as much notional as factual) and by the mid-sixties, inspired<br />

by the simple beauty <strong>of</strong> French domestic pottery, she had settled in the district <strong>of</strong> Haut-Berry a few<br />

hours south <strong>of</strong> Paris . She built a large woodfired kiln and used local materials in a direct extension <strong>of</strong><br />

McMeekin's purist methodologies, which he in turn had inherited from Leach. (In truth, Leach was<br />

quite willing to modify his purist approach for the sake <strong>of</strong> expediency - it was more the early students<br />

like Michael Cardew and Harry Davis who took some <strong>of</strong> his ph ilosophical urgings to what can only be<br />

described as fanatical extremes.)<br />


--------------------- -------------- ---- ----------<br />

Tribute: Gwyn Hanssen Pigott<br />

She made pots in France and travelled <strong>of</strong>ten to England, where she supplemented her income by<br />

teaching at various art schools. Gwyn Hanssen Pigott had become a highly regarded maker <strong>of</strong> functional<br />

pottery, as good as any in the business. She was also very aware <strong>of</strong> the contradictions and paradoxes<br />

t hat ran through this modern, la rgely middle-class obsession with traditions that had faded away, when<br />

as early as 1969 she wrote that" ... we younger potters .. . can never be 'potters <strong>of</strong> Haut-Berry' .. we<br />

can never recapture the spirit that has passed. We remain, as ever, our immigrant selves, alone always,<br />

our work our own personal struggle and delight" .10<br />

Later she recalled that she had" ... tried ... to make something which would be real. I hoped that if<br />

I lived like a traditional potter somehow I would make pots like those unpretentious craftsmen in times<br />

gone by. But in fact I wasn't unpretentious at all - nor simple ... I was acting a part that I hadn't the<br />

strength for, and I was caught in a very subtle ambition to which I saw no end" .11<br />

What is apparent from this statement is that Hanssen Pigott already had the ability to see beyond the<br />

objects she was making in order to interrogate their place in the world and, by extension, to question<br />

her own role as a contemporary craftsperson. This ability (which is rarer than one might think) does not<br />

necessarily lead to comf ortable conclusions, and it probably contributed to her decision to leave her" ..<br />

French idyll taking only what I could carry in my bag".1 2<br />

In 1973 Gwyn Hanssen Pigott returned to Australia. She worked for a while in New South Wales, and<br />

in 1974 moved to Tasmania where, with her student and future husband John Pigott, she established<br />

a pottery near Hobart. During this time she returned to the methodologies that had characterised her<br />

work in France, making functional ceramics from locally sourced materials. <strong>The</strong> curator <strong>of</strong> Hanssen<br />

Pigott's 2006 retrospective exhibition at the National Gallery <strong>of</strong> Victoria, Jason Smith, states that this<br />

time shows her "starting again" 13, but she was also repeating herself, just in another place.<br />

Her move in 1980 to the Jam Factory workshops in South Australia resulted in a more substantial shift<br />

in her working practice, in that she found a way by which the effects she sought could be achieved<br />

more efficiently, albeit without any significant alteration to the final product. As ever, change in Hanssen<br />

Pigott's work came incrementally. Change in location happened more frequently.<br />

In 1981 she moved to Brisbane, becoming a residen t potter at the Kelvin Grove campus <strong>of</strong> what is<br />

now the Queensland University <strong>of</strong> Technology. Over the next eight years, Hanssen Pigott continued to<br />

make functional pottery, even pursuing the decorated surface before" .. reinvesting in simplicity " 14<br />

If functional, production-based pottery had maintained a certain cachet during the sixties and<br />

seventies, by the 1980s its allure was wearing a bit thin. <strong>The</strong> challenges first mounted on the Leachderived<br />

studio pottery tradition by modernism and the Funk movement had evolved into a myriad <strong>of</strong><br />

divergent styles; all clamouring for attention, all given equal time within the ceramics community, all<br />

suffering from the same lack <strong>of</strong> critical analysis that typified the discourses surrounding the Crafts and -<br />

with one or two possible exceptions - all being ignored by those working in the fine arts.<br />

Working in the environment <strong>of</strong> an art school, the widening rift between ceramics made as art and<br />

studio-pottery was apparent. As Jeff Shaw, then Head <strong>of</strong> Kelvin Grove CAE, wrote <strong>of</strong> a 1983 exhibition<br />

<strong>of</strong> Hanssen Pigott's work at Blackfriars Gallery in Sydney: "Gwyn's ware is simply practical and simply<br />

beautiful, unpretentious but carefully considered. It is a pleasure to use and view." lS Which is all very<br />

nice, but it doesn't make it art and it meant that, as Jason Smith notes, Hanssen Pigott was increasingly<br />

being written out <strong>of</strong> the critical discourse'6<br />


Tribute: Gwyn Hanssen Pigott<br />

-----<br />

And then something happened.<br />

<strong>The</strong> precise moment that Gwyn<br />

Hanssen Pigott began to group her<br />

pots together as a statement may<br />

never be known. <strong>The</strong> transition<br />

from casually observing thousands<br />

<strong>of</strong> pots sitting side by side on wareboards<br />

or in the kiln, a familiar<br />

sight to anyone who, like Hanssen<br />

Pigott, was a production potter, to<br />

the conscious grouping together <strong>of</strong><br />

objects so that the whole was more<br />

than the sum <strong>of</strong> the parts probably<br />

happened slowly. Those who knew<br />

her from earlier times comment that<br />

she <strong>of</strong>ten would take great care in<br />

selecting and placing objects in her<br />

own home, with the same degree<br />

<strong>of</strong> care and control that typified her<br />

approach to all aspects <strong>of</strong> her craft.<br />

Three Inseparable Bowls, Pottery in Australia, February 1988<br />

<strong>Vol</strong> 27 <strong>No</strong> 1, page 16<br />

A grouping titled Three Inseparable Bowls was exhibited at the Gary Anderson Gallery in Sydney in<br />

<strong>No</strong>vember 1987 and her adoption by this dealer gallery, more known for representing fine artists than<br />

craftspeople, certainly played its part in situating her work within a wider context. (interestingly, the<br />

Gary Anderson Gallery staged a group exhibition in 1990 titled Homage to Morandi which featured<br />

many well-known artists, including Alan Mittleman, John Peart, Leonard Brown and Kevin Lincoln.)<br />

A picture <strong>of</strong> Hanssen Pigott's 1987 work, together with a short artist's statement, can be found in the<br />

February 1988 edition <strong>of</strong> Pottery in Australia and it marks a bellwether moment in <strong>Australian</strong> ceramic<br />

history. Hanssen Pigott states that the" .. . bowls, bottles, beakers or teapots (are) .. . meant as much for<br />

contemplation as for use; but whether studying them will yield any sense <strong>of</strong> meaning is questionable.<br />

<strong>The</strong>y are only about themselves and about the years <strong>of</strong> needing to make them ... I can't <strong>of</strong>fer them<br />

as new, surprising, noble or comfortable. I have to make them because they are beautiful, worth the<br />

trouble" . 17<br />

<strong>The</strong>re may be some argument as to whether these three bowls, taken individually, were new<br />

(metaphorically if not literally). <strong>The</strong> term 'surprising' doesn't spring to mind; they were comfortable in<br />

the sense that were in no way challenging, and as to the question <strong>of</strong> nobility - well, "What poor an<br />

instrument, may do a noble deed"'8 probably sums it up, if one takes poor to mean humble, or even<br />

self-effacing .<br />

But that is if the pieces are seen individually, which <strong>of</strong> course they can't be because they were<br />

'inseparable', and therefore were one.<br />


Tribute: Gwyn Hanssen Pigott<br />

Viewed through the finely tuned lens <strong>of</strong> Hanssen Pigott's later work, these three bowls are very much<br />

a beginning. <strong>The</strong>y only hint at what might come, but their significance to the artist is demonstrated by<br />

her reference to a poem which reads:<br />

Some men go ten years without crying<br />

and when they do cry<br />

it's only because they feel utterly helpless.<br />

(Gerry Gilbert)<br />

Here, she is wrapping the work in text, and the reader is to understand that the pots are inseparable<br />

not only from each other but from meaning with a capital 'M'. She had found a way for her pots to be<br />

something other than just objects <strong>of</strong> use, an ambition which she had held for some time. It wasn't a<br />

major work, but all the elements were there - it Just took a few more years to refine things.<br />

For a good part <strong>of</strong> her life, in Australia, England and France, Gwyn Hanssen Pigott made beautifully<br />

crafted domestic pottery when most attention was being paid and most accolades were being given to<br />

work that existed at the extremes <strong>of</strong> aesthetics. She made quiet pots during a period when the volume<br />

was turned up to eleven. Lou Reed once said to a heckler in an audience, "I can drown you out", and<br />

there was a time in Gwyn Hanssen Pigott's mid-career when that seemed to be her fate.<br />

As Steve Dow noted in his article on Hanssen Pigott, although she" ... never called herself an artist<br />

and hated the word ceramist ... " !9. it was only when her work became contextualised as art that the<br />

mainstream arts commentators - those whose purview extends beyond the confines <strong>of</strong> the ceramics<br />

world, or simply exists outside it - began to vociferously proclaim the value <strong>of</strong> its craft origins, neatly<br />

packaged as it was within a familiar and highly recognisable pictorial language.<br />

When the critic Christopher Allen, recently writing in <strong>The</strong> <strong>Australian</strong> in an article tellingly titled<br />

'Ceramist's picture-perfect suites'lO, states that" ... in the 1980s, a particularly ill-conceived hybrid art<br />

form arose, known as ceramic sculpture, embraced largely by women and supported by an ill-digested<br />

mixture <strong>of</strong> theories about craft, folk-art and feminism" Z!, the products <strong>of</strong> which" .. varied from<br />

faux-naif whimsy to ideological kitsch '" almost (all) uniformly dreadful"22, one gets a pretty accurate<br />

appraisal <strong>of</strong> how many in the art world viewed much <strong>of</strong> what was celebrated within the ceramics world.<br />

Those who worked in the fine arts wanted potters to be potters, while many <strong>of</strong> those in the ceramics<br />

world desperately wanted to be considered artists. Paradoxically, the fine arts contingent felt quite<br />

content to relegate all ceramics to a position somewhat below art, until a potter presented them with<br />

work which, quite literally, looked like art, while still being pottery.<br />

By the early 1990s Hanssen Pigott's work had arrived at its final configuration.<br />

<strong>The</strong> groupings <strong>of</strong> pots now included taller shapes as well as bowls and beakers, teapots and cups. <strong>The</strong><br />

early work, made at Netherdale in Queensland where Hanssen Pigott had moved in 1989, was a little<br />

clunky - the odd, elongated cone shapes <strong>of</strong> the vases were more smoke-stack than fragile Morandi,<br />

especially when glazed in the darker tenmoku blacks and browns; but by the mid-1990s it was pretty<br />

well all there, with the fine porcelain clays clothed in exquisitely nuanced whites and ivory creams<br />

through the palest blues, greens and yellows. <strong>The</strong> bottle shapes were more resolved, the cylindrical<br />

beakers and bowls had lost the broad French peasant foot and, seen individually, each piece became<br />

almost the idea <strong>of</strong> a pot, or perhaps the ideal. All <strong>of</strong> Gwyn Hanssen Pigott's considerable technical skills<br />

were brought to bear on the simplest and most pared-down <strong>of</strong> objects, which, when gathered together<br />


Tribute: Gwyn Hanssen Pigott<br />

in groups <strong>of</strong> three or four or even twenty or more, achieved a kind <strong>of</strong> critical mass fuelled by their<br />

shared simplicity. It was a case <strong>of</strong> less is more and more <strong>of</strong> less, more or less.<br />

As the groupings became increasingly larger, so did her reputation. She showed extensively in<br />

both Australia and overseas and obtained representation at galleries that had hitherto been merely<br />

unobtainable goals for <strong>Australian</strong> ceramics artists, or indeed any <strong>Australian</strong> artist.<br />

In 2000 she moved back to South East Queensland, and over the next decade exhibited her pots at<br />

the highest level in Canada, the USA, England, Europe and Asia . In Australia her work broke boundaries<br />

as well as records for the kind <strong>of</strong> prices a living potter could achieve. She was the one who made it, and<br />

in doing so she paved the way for others to follow.<br />

<strong>The</strong>re is much to analyse in Gwyn Hanssen Pigott's later work, far more than can be done in an<br />

essay like this. Her arrangements <strong>of</strong> historical collections at museums like the Smithsonian are just one<br />

example <strong>of</strong> an artist whose oeuvre straddles art, craft, curatorial intervention and in terior design in a<br />

bravura display <strong>of</strong> ... well, that is still to be decided. Beauty, certainly. Meaning, perhaps. In terms <strong>of</strong> this<br />

little corner <strong>of</strong> art history, she changed the world.<br />

Damon Moon<br />

Willunga <strong>2013</strong><br />

1 G!orglo Morandi by Robert Hughes.. first pubhshed in Time magazine 1981 and repnnted in <strong>No</strong>thing If <strong>No</strong>t Crl tlC.:!1. Selected Essays on Art<br />

and Artists HaMil 1991<br />

Portrait <strong>of</strong> the Artist as a Young Woman: Gwyn Hans~n Pigott 1935 - 1973' by Tanya Harrod in Gwyn Hanssen PIgott: a survey 1955 - 2005.<br />

by Jason Smith et al NatlOfl31 GalJery <strong>of</strong> VICtoria 2006<br />

4 Pottery Quarterly- a review <strong>of</strong> ceramic art edited Murray Fieldhouse pp.1451146<br />

Ibid<br />

6 ibid<br />

7 'G\N)'11 Hanssen PIgott' it view from her second home' by Alison Britten In Gwyn Hanssen Pigott: a survey 1955 - 2005. NatIOnal Gallery <strong>of</strong><br />

Victoria by Jason SmIth et al 2006<br />

8 ibid<br />

9 CIted in Bernard leach by Edmund de Waal. Tate Gallery Publishing<br />

10 '<strong>The</strong> Potters <strong>of</strong> Haul-BeHY' by Gwyn Hanssen Pigott Potlery in Australia <strong>Vol</strong>. 8, <strong>No</strong>. "2 Spring 1969<br />

11 'Gwyn Hanssen PIgott' by Margaret Tuck-son Pallet)' In Australia <strong>Vol</strong>. 22 <strong>No</strong> 2 <strong>No</strong>vlDec 1983<br />

12 'PortraIt <strong>of</strong> an artist as a young woman: Gwyn Hanssen PIgott 1935 - 1973' by Tanya Harrod Ibld<br />

13 'Knowledge, Form, Usefulness and the Unknown: the Art <strong>of</strong> Gwyn Hanssen Ptgott' by Jason SmIth in Gwyn Ham~ Pigott: a survey<br />

1955 - 2005 Ibid<br />

14 IbId<br />

15 'Gwyn Hanssen Pigott' by Margaret Tuck-son IbId<br />

16 'Knowledge, Form Usefulness and the unknown' <strong>The</strong> Art <strong>of</strong> Gwyn Hanssen PIgott' by Jason Smith ibid<br />

17 'Statement' by GWJn Hanssen PIgOtt Pottery In Australia <strong>Vol</strong>. 27 <strong>No</strong>. 1<br />

18 Antony and Cleopatra Act 5 Scene 2 by William Shal::.espeare<br />

19 'Gwyn Hanssen Pigott, potter and barner breaker, dies In London' by Steve Dow 8nsbanetllnes.com.au 17 July 20 13 Fairfax Media<br />

20 'Ceramist's plClure-perfect suites' Christopher Allen <strong>The</strong> <strong>Australian</strong> 9 July <strong>2013</strong> News IJmited<br />

21 Ibid<br />

22 ibid<br />


---<br />

Tribute: Gwyn Hanssen Pigott<br />

At this time <strong>of</strong> my parting,<br />

w ish me good luck. my friends.<br />

When I go from here, let this be my parting word;<br />

That what I have seen is unsurpassable.<br />

I have tasted the hidden honey from the flowers that bloom<br />

in the forest <strong>of</strong> light, and thus,<br />

I am blessed.<br />

Let this be my parting word.<br />

In this playhouse <strong>of</strong> infinite forms,<br />

I have hod my play, and here, I have caught sight<br />

<strong>of</strong> that which is formless, that which is endless.<br />

<strong>No</strong>w, when p laytime is over. what is this sudden sight<br />

that has come upon me?<br />

<strong>The</strong> World, with eyes bent, stands in awe with all its silent stars.<br />

And on the day when death came to my door,<br />

what did I <strong>of</strong>fer to him?<br />

Oh. I set before my guest the full vessel <strong>of</strong> my life;<br />

I did not let him go with empty hands.<br />

All the sweet vintage <strong>of</strong> my autumn days and summer nights, all the<br />

earnings and gleanings <strong>of</strong> my busy life did I place before him at the close<br />

<strong>of</strong> my days,<br />

when Death come to my door.<br />

So, at this time <strong>of</strong> my parting. wish me good luck my friends.<br />

<strong>The</strong> sky is flushed w ith the dawn,<br />

And my path lies beautiful.<br />

Kabir<br />

This poem was pinned up on a notKeboard whe re Gwyn kept photos and mementoes. Her family and<br />

fflends felt that it was a beautiful way to remember GV\I)'n so it was read by Gwyn's sister, Kate John, at<br />

a celebration <strong>of</strong> Gwyn's life held at Olsen Irwin In Sydney in July <strong>2013</strong>.<br />


Guest Editor: Julie Bartholomew<br />

OPPOsite page: Sally Cleary, Silent River, 2011<br />

detail, tarpaulin with paInted sticks<br />

Photo: Andrew Bareham, Project Space, 201 1<br />

While recently viewing the documentary Chasing<br />

Ice , I experienced the extreme emotional states <strong>of</strong><br />

being uplifted and then utterly disheartened. James<br />

Balog and a devoted team <strong>of</strong> young adventurers used<br />

innovative time-lapse cameras installed within the<br />

relentlessly brutal Arctic climate to record the demise <strong>of</strong><br />

the world's monolithic and supremely beautiful glaciers<br />

due to rapid climate change. Balog's mission was to<br />

" deliver evidence and hope to our carbon-powered<br />

planet" - hard pro<strong>of</strong> <strong>of</strong> detrimental, climate Change<br />

but expressed using the seductive aesthetic language <strong>of</strong><br />

photography.<br />

<strong>The</strong> artists in this special focus are not unlike<br />

James Balog. <strong>The</strong>y are committed to representing the<br />

natural environment whilst encouraging audiences<br />

to bear witness to their concerns about the natural world with which humankind is unequivocally<br />

interconnected. <strong>The</strong> web <strong>of</strong> connections, and our place within its labyrinthine network, is what I<br />

consider to be a broad definition <strong>of</strong> ecology. Consequently, this edition's collection <strong>of</strong> articles spans<br />

a wide spectrum <strong>of</strong> interests relating to the environment - the conceptually powerful and ephemeral<br />

installations <strong>of</strong> Clare Twomey', Virginia Jones' transitory outdoor installations achieved 'through a<br />

sustainable working methodology', and Charlie Schneider's2 recent collaborative, site-specific project<br />

based in Monticello, USA. <strong>Australian</strong> 'eco warrior' Steve Harrison expresses the importance <strong>of</strong> place<br />

whilst Liz Stops discusses the relationship between environmental activism and skills acquired through<br />

her ceramics practice. Many <strong>of</strong> the artists point to the high level <strong>of</strong> species depletion in a short space <strong>of</strong><br />

time during Australia's environmental history. Cathy Franzi, Sally Cleary, Helen Earl, Vicki Hamilton and I<br />

express a strong consciousness for Australia's critically endangered flora and fauna .<br />

Clay's direct connection to the earth and its capacity for transformation through fire continues to be<br />

a catalyst for Barbara Campbell-Allen and Yuri Wiedenh<strong>of</strong>er, activating environmental concerns about<br />

place and identity. Cathy Keys' hand-formed Bunya pines also engage with a sense <strong>of</strong> place - in this<br />

instance a 'touchstone, not only for Keys but for the places and people <strong>of</strong> Queensland'.<br />

Returning to Chasing Ice, th is documentary activates the distress and deep sense <strong>of</strong> loss taking place<br />

now, yet out <strong>of</strong> sight due to the inaccessible Arctic climate. <strong>The</strong> artists assembled in this issue are also<br />

experiencing a sense <strong>of</strong> loss due to irreparable climate change, but in a home place or local natural<br />

environment. <strong>The</strong>ir common purpose is to remind their audiences that we are all living this experience.<br />

Dr Julie Bartholomew, www.chasingice.com<br />

1 Clare Twomey, from l ondon, visned Adelaide during October 2012 for the Subver~e Clay (onference.<br />

2 Charlie SchneIder from the USA studIed at COFA. UNSW and has participated tn Sculpture by the Sea and numerous exhibitIOns In Sydney<br />

He's known for his 'wallpaper' proJects about invaSIVe species WIthin the <strong>Australian</strong> and USA contexts.<br />


Co ntribut o rs<br />

-_._------_._--_.<br />

Margaret Farmer is a curator, editor and<br />

writer whose past projects include the public art<br />

program We Make This City in Sydney's Taylor<br />

Square, co-founding the Biennale <strong>of</strong> Sydney<br />

fringe SafARI, and being a writer and managing<br />

editor for Current: Contemporary Art from<br />

Australia and New Zealand (Art & Australia,<br />

2008).<br />

I<br />

I<br />

I<br />

I<br />

In Ruth Johnstone's art practice, clay finds<br />

its form as an experimental intervention with<br />

landscape. She uses it as a saturated conduit<br />

for waterways and for self-firing hearths. <strong>The</strong><br />

palette <strong>of</strong> clay is fixed in the underlay <strong>of</strong> her<br />

paintings and prints, a membrane for supporting<br />

observations <strong>of</strong> the forest floor.<br />

Virginia Jones has had a long career in the<br />

arts industry, working for many years both as<br />

artist and arts educator; she now focuses all<br />

her attention on her studio practice. For several<br />

months a year, art residencies and commissions<br />

for ephemeral installation works take her out <strong>of</strong><br />

her Brisbane studio to many parts <strong>of</strong> the world.<br />

This time <strong>of</strong> working and travelling provides the<br />

inspiration and research for her gallery exhibitions<br />

and design works.<br />

I<br />

I<br />

I<br />

I<br />

I<br />

Carol Schwarzman is an independent arts<br />

writer whose coverage focuses on contemporary<br />

visual arts, culture and nature. She contributes to<br />

publications in both Australia and the US such as<br />

Sculpture, Artlink, Art Monthly Australia, Art<br />

& Australia and <strong>The</strong> Brooklyn Rail, and also<br />

writes exhibition essays and catalogues. Her blog<br />

can be found at http://polycentrica.com. You can<br />

contact Carol at drawaboutl @optusnet.com.au.<br />


Clare Twomey, Thing, Tang, Trash. 2011, Made in China, Permanenten: <strong>The</strong> West <strong>No</strong>rway Museum <strong>of</strong> Decorative Art<br />

Clare Twomey<br />

An interview with Dr Virginia Jones<br />

Question 1<br />

Dr Virginia Jones<br />

<strong>The</strong> current use <strong>of</strong> the term ecology is applied to an ever-wider range <strong>of</strong> situations; once only<br />

referring to the branch <strong>of</strong> biology that studied relations <strong>of</strong> organisms to each other and their physical<br />

surroundings, it can now describe, for example, the interaction <strong>of</strong> people with their natural, social or<br />

built environments or as a political movement that works to protect the natural environment. <strong>The</strong>re are<br />

many interpretations <strong>of</strong> the term ecology and I am interested to know how you would define ecology<br />

when referring to your art practice. Is ecology central to your artworks and the starting point for the<br />

creation <strong>of</strong> your installations?<br />


Clare Twomey, Plymouth Porcelain: a new collection<br />

2012, Plymouth Museum and Art Gallery, UK<br />

Detail<br />

Clare Twomey<br />

<strong>The</strong> use <strong>of</strong> terms is a malleable state; the definition <strong>of</strong> terms has been a harbor for stagnation within the<br />

crafts and its fluidity into wider practice and context, so the definition <strong>of</strong> a term that is within flux is a<br />

welcome situation. As far as the term ecology, this can be viewed as the study <strong>of</strong> interactions; my work<br />

bares this out rather than using it as a starting point. <strong>The</strong> starting point may be a very changeable place<br />

from work to work.<br />

Question 2<br />

VJ: <strong>Ceramics</strong> and clay as art materials bring with them much historical and cultural meaning. Are the<br />

traditions and associations imbedded in the material important concepts in your works? Is this meaning<br />

central or is it at times peripheral to the work?<br />

CT: <strong>The</strong> embedded languages <strong>of</strong> material are central to the work that I make. <strong>The</strong> inferred languages <strong>of</strong><br />

history, cultural use, and recontextualisation through the work I make are significant in the final delivery<br />

<strong>of</strong> a work that must become commanding and independent. <strong>The</strong> material languages <strong>of</strong> Clay are rich and<br />

commonly understood; this notion <strong>of</strong> connection to the understood, the sensitivities <strong>of</strong> clay, allows a<br />

broad entry point to the work; clay is not hierarchical or exclusive.<br />

Question 3<br />

VJ: Your ephemeral installations change physically as a result <strong>of</strong> interaction with people or the<br />

natural elements. Often artists who work in this way photograph their artworks and exhibit the<br />

images as artworks in their own right. Do you consider photographic images <strong>of</strong> your installations as<br />

documentation <strong>of</strong> the life <strong>of</strong> the artwork and do your images hold the possibility to extend the life <strong>of</strong><br />

your artwork in a different form?<br />


Focus: Ecology and <strong>Ceramics</strong><br />

CT: <strong>The</strong> area <strong>of</strong> documentation is very difficult. <strong>The</strong> experiential is vital in the work that I make. I think<br />

fundamentally I want to make experiences that are tangible through interaction or observation. <strong>The</strong> term<br />

installation, in all its varying forms, indicates an experience that one is engulfed by. This can happen<br />

through photography, but in my case, so far photography has only been used as documentation. <strong>The</strong><br />

rigor <strong>of</strong> these boundaries is useful to help the works I make stay focused on their purpose.<br />

Question 4<br />

VJ: Human observation and interaction during the exhibition <strong>of</strong> the works are important elements <strong>of</strong><br />

your work. What does this reveal to you about the perception <strong>of</strong> your work and the site? Do you find<br />

that the concepts and form <strong>of</strong> your artworks has changed as a result <strong>of</strong> your observations?<br />

CT: <strong>The</strong> interactions <strong>of</strong> the participants are vital to forming the artwork. <strong>The</strong>y feed into what others<br />

do within the work. <strong>The</strong>y are present and owned by the participants in most cases. So the question <strong>of</strong><br />

reframing my position around this interaction does not impact on the work being undertaken; the work<br />

is independent at this stage. In following works, the knowledge that was evidenced in previous works<br />

cannot be unknown. <strong>The</strong> work continues but very <strong>of</strong>ten I cannot presume the same set <strong>of</strong> interactions<br />

as the site has changed, the work has changed and the question is probably different. I learn more<br />

about the work I have made through it becoming live. <strong>The</strong> work starts as a well-calculated hope and I<br />

learn about that as the work is explored.<br />

Question 5<br />

VJ: Many <strong>of</strong> your installations include multiple components produced by industrial production methods,<br />

for example your works Consciousness/Conscience and Forever. Would you consider this a process<br />

<strong>of</strong> commissioning a company to produce a product or is it more a collaborative process? If so, to what<br />

extent does the form and meaning <strong>of</strong> the artwork change as a result <strong>of</strong> the collaborative process?<br />

CT: I don't make products with industry; industry is a context for making installations and multiples.<br />

<strong>The</strong> relationsh ip between my role as an outside artist with a disconnected relationship with product<br />

production is helpful to understand the purpose beyond the original object. My independence allows<br />

dialogues around skills, craft, material and people to be viewed afresh, not under the traditional roles<br />

set out in the production <strong>of</strong> objects for mass sale . <strong>The</strong> form and meaning <strong>of</strong> the artwork are not formed<br />

by convenience around industry; they are formed around a dialogue, a debate and reframing <strong>of</strong> history.<br />

This is why I have undertaken the collaborative process.<br />

Question 6<br />

VJ: Could you tell us a little about your work as a research fellow at the University <strong>of</strong> Westminster?<br />

CT: I am a researcher in the area <strong>of</strong> ceramics at the <strong>Ceramics</strong> Research Centre UK, based in the<br />

University <strong>of</strong> Westminster. This role encompasses my practices as an artist, researcher, and curator. I am<br />

an advisor for the PhD student study within the department. My research cu rrently addresses the role<br />


Focus: Ecology and <strong>Ceramics</strong><br />

<strong>of</strong> craft and skills as a tool for deconstructing<br />

narratives in and around museum collections. <strong>The</strong><br />

role <strong>of</strong> the audience in creation and destruction<br />

<strong>of</strong> the final works in the museum context is<br />

also a vital part <strong>of</strong> this ongoing research . <strong>The</strong><br />

role <strong>of</strong> contemporary crafts and skills can be<br />

a lens through which to view current practice<br />

and investigative roles <strong>of</strong> the impact <strong>of</strong> making.<br />

<strong>Ceramics</strong> is a central part <strong>of</strong> my research as a<br />

material as well as a lens. <strong>The</strong> current research<br />

is framed by the ceramics in the expanded field<br />

research project undertaken in the <strong>Ceramics</strong><br />

Research Centre UK.<br />

www.claretwomey.com<br />

lef1: Clare Twomey. A Dark Day in Paradise, 2010<br />

Brighton Pavilion. UK<br />

Below: Clare Twomey, Forever, 2010, Nelson AtkinS<br />

Museum <strong>of</strong> Art, Kansas City, USA<br />

Photos: courtesy Clare Twomey

Focus: Ecology and <strong>Ceramics</strong><br />

Virginia Jones<br />

Eight Forests, 2011<br />

detail, unfired clay<br />

ochres, bamboo skewers<br />

various dimensions<br />

Photo: artist<br />

Virginia Jones'<br />

Recent Outdoor Installations<br />

Discussions with Carol Schwarzman<br />

Virginia Jones' work is gentle, engaging and strong . Her process transacts closely with nature's rhythms<br />

and calls upon Zen's embrace <strong>of</strong> the transient and ephemeral. She borrows from the tradition <strong>of</strong> the<br />

Zen garden and its visuality; however her work is about life in the physical present, in real t ime. Jones<br />

reminds us that the ground we walk on is a sacred space.<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Opposite: Virginia Jones, Lines in the Sand, <strong>2013</strong><br />

unfired day, coloured sands, h.41cm, w.61cm, d.1Ocm<br />

Photo: artist<br />

Like a number <strong>of</strong> the first-generation New York Minimalists who, in the 1970s, fashioned works on<br />

the floor from humble materials, Jones uses clay, minerals, sticks, found natural objects and text, most<br />

<strong>of</strong>ten placed directly and elegantly on grass, sand or ground cover.<br />

A comparison <strong>of</strong> Jones' project to that <strong>of</strong> the New York artist Mel Bochner is appropriate: Bochner,<br />

in his seminal work <strong>of</strong> the 1970s, made sculptures like Ten , in which ten small white stones were<br />

configured on the gallery floor to spell out that two-digit numeral. Jones' modest materials are also<br />

presented free <strong>of</strong> attitude or pose. Both artists court vulnerability and the destruction <strong>of</strong> their work<br />

by viewers' passing feet. Where Bochner's assemblages seek to coolly embody the rupture between<br />

language and object, Jones declines the abstract, placing her work outdoors, allowing her materials to<br />

speak for the larger ecology <strong>of</strong> humans, animals, plants, minerals and Nature's interconnectedness. She<br />

says, "When I'm working, I'm focused on the materials and developing a process for laying out those<br />

materials ... I freely let it go after the making ... and let the installation be destroyed over time and<br />

by chance. That's part <strong>of</strong> the process." And so her work is reabsorbed into the environment, existing<br />

afterward only in documenting photographs and viewers' memories.<br />

In 2011, Jones was awarded a year's residency at the Brisbane Botanic Gardens Mount Coot-tha in<br />

Brisbane. Eight Forests focused on Australia's main forest groups: Acacia, Callitris, Casuarina, Eucalypt,<br />

Melaleuca, Mangrove, Plantation and Rainforest, and sought to engage the public in considering why<br />

forests are important. <strong>The</strong> installations, which incorporated unfired clay and text, invited the elements<br />

and viewer intervention to change the look and longevity <strong>of</strong> all the works. For one installation, the artist<br />

threw thirty clay pod shapes on the potter's wheel, each about 15cm in length and Bcm in diameter at<br />

their middle. She hand-painted each pod in washes <strong>of</strong> ochre and red, and then in blue, spelled out the<br />

forests' names, building up stripes <strong>of</strong> words. Luminous and clean-edged, they hovered slightly above<br />

scattered bamboo leaves, each pod perched on four skewers stuck down into the s<strong>of</strong>t ground.<br />

Pods, eggs and seeds are "important for the future" Jones says, and "carry information about the<br />

transference <strong>of</strong> life to future generations" . In building up the objects and systems that coalesce into a<br />

finished piece, she employs shapes such as the pods, half-pods, bowls and leaves - all repeating the way<br />

natural systems, when healthy, replicate and reproduce themselves, change slowly over long periods <strong>of</strong><br />

time, and find a semblance <strong>of</strong> stasis. She says, "Within a healthy ecosystem change can be withstood<br />

and coped with. In an unhealthy ecosystem, the system won't adapt to different situations because it's<br />

already stressed. If something new happens in an unhealthy ecosystem, and parts can't respond, the<br />

system breaks down."<br />

In June <strong>2013</strong>, Jones was one <strong>of</strong> a group <strong>of</strong> ten artists invited to create work at Lines in the Sand, the<br />

eco-ephemeral arts, culture and environment festival held yearly on <strong>No</strong>rth Stradbroke Island, just <strong>of</strong>f the<br />

shore <strong>of</strong> Brisbane. During the six-day reSidency, she worked with other artists through bad weather and<br />

a king tide to install work along the Gorge Walk at Point Lookout. Another artist in residence, Craig<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Tapp, a traditional owner <strong>of</strong> <strong>No</strong>onuccal and <strong>of</strong> Ngugi descent, who sand-paints with local coloured<br />

sands, generously shared these sands w ith Jones, and she was thus able to try out new processes,<br />

textures and colours.<br />

Jones worked on the borders <strong>of</strong> the Gorge Walk, in car parks and paddocks to test the yellow sand,<br />

ilmenite, and red sand given her by Tapp. She created 'pages', similar to the slabs she used at Mount<br />

Coot-tha, by dusting the ground in discrete rectangles on which she 'drew' with found natural objects<br />

(shells, dried flower buds, cuttlebone, coral) or arranged random compositions with her clay pinch<br />

bowls. Jones speaks <strong>of</strong> the pages as 'sketches: and it's in keeping with her commitment to the flow <strong>of</strong><br />

creation and destruction that she allowed footsteps, rain and wind to change the work over time.<br />

Jones also installed a larger, more formalised circular piece at Lines in the Sand, working in a format<br />

she had employed previously and <strong>of</strong>ten constructed from repetitive shapes such as red beans, unfired<br />

clay vessels, or porcelain bowls stamped with <strong>Australian</strong> rainforest leaves and Japanese postal and<br />

customs stamps. <strong>The</strong> circle was made from red and yellow sands and half-pod shapes formed from<br />

unfired clay and dipped in ilmenite while still wet. <strong>The</strong> size and contours <strong>of</strong> the half-pods were the 'cast'<br />

<strong>of</strong> Jones' cupped hands, interjecting an element <strong>of</strong> the autobiographical, or perhaps <strong>of</strong> the universal<br />

'every person '.<br />

Virginia Jones. Lines in the Sand, <strong>2013</strong>, detail, unfired day, coloured sands, bamboo skewers, h.20cm, diam.167cm<br />

Photo: artist

Focus: Ecology and <strong>Ceramics</strong><br />

At Lines in the Sand, working with local sands was sign ificant: <strong>No</strong>rth Stradbroke Island's ongoing<br />

challenge <strong>of</strong> redefining its economic dependency on sand mining for the last sixty years is politically,<br />

culturally and environmentally charged. Two years ago, native title was determined in favor <strong>of</strong><br />

Quandamooka traditional owners, thus placing them on a more level playing field with the resident<br />

mining company, and heightening contrasts <strong>of</strong> interests within the island's community.<br />

Jones' project is deceptively simple, yet her commitment to creating through a sustainable working<br />

methodology acts to mirror nature, eventuating in seamlessly embedding her work within the natural<br />

world and echoing the cycles in which we all live.<br />

All quotes sourced from conversations with the artist from June to August <strong>2013</strong>.<br />

Carol Schwarzman is a visual artist and freelance arts writer based in Brisbane and New York.<br />

She was writer-in-residence at Lines in the Sand held in June <strong>2013</strong>.<br />

Virginia Jones, Lines in the Sand, <strong>2013</strong>, detaIl, coloured sand. h.41 cm, w.61 cm; photo: artist<br />


Focus : Ecology and <strong>Ceramics</strong><br />

Waking a Town<br />

Altair Roelants discusses Charlie Schneider's latest ceramic work<br />

<strong>The</strong> Wake Project (<strong>2013</strong>)<br />

I last wrote about American artist Charlie Schneider and his clay slip 'wallpaper' projects in 2010 for<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> L this was both my introduction to ceramics writing in Australia<br />

and indeed the pages <strong>of</strong> this publication. Although Schneider is by no means a ceramicist in the<br />

traditional sense, rather he's an artist that employs the conceptual possibilities <strong>of</strong> the clay itself,<br />

activating the historic and environmental properties, with particular attention to the relevance <strong>of</strong> site<br />

and 'poetic resonance' .2 <strong>The</strong>se earlier works saw Schneider extending his wallpapers to the <strong>Australian</strong><br />

landscape 3 by painting carefully chosen locations with elaborate patterns <strong>of</strong> invasive species 4 a metaphor<br />

for humanity's "widespread impact on the world and our need to exert geographic and spatial control<br />

over nature rather than finding a synthesis" S This article acts as a follow up, three years down the track;<br />

and while Schneider has accomplished an impressive array <strong>of</strong> art works, exhibitions6 and smaller ceramic<br />

pieces 7 along the way, I want to focus on his recent venture, <strong>The</strong> WAKE Project (<strong>2013</strong>), which once<br />

again pushes the definition <strong>of</strong> both ceramics and art-making.<br />

Looking back, Schneider's practice <strong>of</strong>ten involves a continuum <strong>of</strong> collective, personal and political<br />

history with a very specific geographic engagement with place, and Th e Wake Project is a fine<br />

example <strong>of</strong> this. For the piece, Schneider collaborated with artist David Robertson 8 and returned to the<br />

Monticello Dam that acted as such a spectacular canvas for his Dam Wallpaper #1 Yellow Starthistle<br />

(Centaurea solstit ialis) in 2009. 9 When I asked why he chose to revisit this site he replied that as<br />

well as being his local area, it's "in many ways " linked with "some <strong>of</strong> the major themes about change<br />

Charlie Schneider, Brick #22: Cultivate the Fields and watch over the cattle I Akkadian Letter 'Before the Invasion<br />

<strong>of</strong> the Guti' c.22OO BeE <strong>2013</strong>; photo: artist<br />


Focus: Ecology and <strong>Ceramics</strong><br />

and transition related to that earlier body <strong>of</strong> work" . 10 <strong>The</strong> result is part historical research project and<br />

part performance, memorial ceremony, art event and (broadly speaking) ceramics, which all focus on<br />

the former town <strong>of</strong> Monticello, a small settlement located in 8erryessa Valley in California. In 1957,<br />

Monticello, along with the surrounding farms and orchards, was submerged by the dam's construction<br />

in order to form the man-made Lake 8erryessa . As Schneider writes, " When Putah Creek found its<br />

traditional route to the Sacramento Valley obstructed in the w inter <strong>of</strong> 1957, it flooded its banks, but<br />

did not recede as usual: the loud flush <strong>of</strong> a roaring, swollen creek was swallowed instead by the quiet<br />

waters <strong>of</strong> a filling reservoir. 1957 was the last year that this place was a valley ... there w as a small<br />

village <strong>of</strong> approximately 300 inhabitants in this valley that is now a lake. It was the town <strong>of</strong> Monticello "<br />

a " ... nucleus for radiating farm fields that produced abundant harvests <strong>of</strong> pears, peaches and<br />

almonds"." <strong>The</strong> Wake Project uses "the loss <strong>of</strong> a town as a metaphor for 'the price <strong>of</strong> progress'" 12<br />

- hence the title, wake being a ceremony associated with death, alongside having an affiliation with<br />

boats and waking up. So where does ceramics come into play? If the town is ever reconstructed,<br />

Schneider'S idea was "to provide future historical and physical building mat erial" 13 in the form <strong>of</strong> bricks<br />

that were to be inscribed with contemporary commentary but using a font inspired by the ancient<br />

Cuneiform script (the earliest form <strong>of</strong> written recorded history, developed by the Sumerian people in the<br />

middle-east)14 and set in clay tablets. As well as being a clever material link, for Schneider this element<br />

reiterates "common human activities that span thousands <strong>of</strong> years" IS - writing, ceramics and practical<br />

uses <strong>of</strong> clay. Similarly, ceremonies devoted to death are another far-reaching cultural tradition, and the<br />

finished bricks were to be thrown into the lake during a wake-style 'conference' on a boat. As Schneider<br />

explains, "much <strong>of</strong> my work is about representing . . and trying to comprehend time scales beyond that<br />

<strong>of</strong> human lives and histories " .1 6<br />

Ch arlie Schneider, Brick #4: <strong>The</strong> Government Men moved into the Valley. Demolition contractors were made<br />

responsible for the VaJley 's orderly destruction I Everyone said they'd never flood it. Even when they talked about<br />

it we never believed they'd flood it, <strong>2013</strong>; photo: artist<br />


~------ -<br />

---<br />

Focus: Ecology and <strong>Ceramics</strong><br />

Captain Charlie Schneider<br />

and Brick #4, 18 August <strong>2013</strong><br />

Lake Berryessa, floating<br />

above the former town <strong>of</strong><br />

Monticello<br />

Photo: David Robertson<br />

In June <strong>2013</strong> Schneider and Robertson began developing the project which included local history<br />

research'7, curation and event planning~ <strong>The</strong> artists out-sourced fired commercial bricks's and<br />

collaborated on the wording, with Schneider doing much <strong>of</strong> the inscribing using wooden tools to press<br />

the forms into the bricks, and assorted loop tools and fettling knives to carve shapes '9, much like the<br />

Sumerian scribes who used reeds. 2o <strong>The</strong> text, which is charaderistically political and lyrical. covers both<br />

surfaces 21 and excerpts include "Somewhere over the rainbow I God said to <strong>No</strong>ah, Make yourself<br />

an ark"22, "<strong>The</strong> Bureau <strong>of</strong> Reclamation said to the town <strong>of</strong> Monticello, Pick up your dead and move<br />

them to dry land I <strong>The</strong> exact dam spot is 38.S133N, 122. 1 042W"23, and accounts taken from former<br />

residents 24 such as "James M Hanley: <strong>The</strong> flesh <strong>of</strong> my valley has disappeared. Only the bones remain<br />

I Barbara M Hanson: What the bulldozers didn't destroy, the fires did" .IS <strong>The</strong> completed twenty-four<br />

bricks were then fired in a medium-sized eledric kiln to Cone 06. Also inline with Schneider's other<br />

artistic interventions in natural and urban environments, there is a slight guerrilla edge as no permission<br />

was sought from local authorities - another peaceful and unobtrusive act <strong>of</strong> claiming back history and<br />

place.<br />

<strong>The</strong> ensuing WAKE Conference was held on 18 August <strong>2013</strong>26 - Schneider and Robertson being<br />

accompanied by a small group <strong>of</strong> local artists, friends and family17 on a 44-foot, two-decker pontoon<br />

boat that was christened Monticello for the occasion. As boat captain, Schneider initiated the hour-<br />


Focus: Ecology and Ceram ics<br />

Captain Charlie Schneider and David Robertson. 18 August <strong>2013</strong>. Lake Berryessa, floating above the former town <strong>of</strong><br />

Monticello; photo: liz Tenuta<br />

long conference, reading a sermon that was a reflective and insightful piece that made interesting<br />

connections between the history <strong>of</strong> the region28, government policies and land art. He also touched<br />

upon a photographic essay in Aperture magazine titled 'Death <strong>of</strong> a Valley' (1960)29 that covered the<br />

town's fate. As Schneider recalled there is one " image I w ill never forget. that <strong>of</strong> a cemetery emptied<br />

<strong>of</strong> its dead. In this picture, rectangular holes from the grave excavations are cut into the ground, and it<br />

seems as if ready to bury the newly dead: the valley itself, soon to be filled "]O <strong>The</strong> sermon was followed<br />

by a variety <strong>of</strong> speakers including Robertson who talked about "fire and flood in religious symbology"<br />

as reoccurring "universal motifs for destruction and regeneration "3! , and performance artist Allison Fall<br />

floated ceramic cones full <strong>of</strong> chocolate onto the water to "activate the sense <strong>of</strong> smell in the space in<br />

which she performs" ]2 To conclude, Schneider read each <strong>of</strong> the bricks before dropping them into the<br />

water where they would descend to the lake floor and wait like sleeping time capsules ]3 Whether or<br />

not the waters <strong>of</strong> Lake Berryessa are ever drained or the bricks unearthed, these artistic gestures remain<br />

significant in their contemporary context.<br />

<strong>The</strong> Wake Project uses site, material, performance and community participation to build collective<br />

knowledge streams through extending social commentary and localised history. Also, as with much<br />

<strong>of</strong> Schneider'S work (including the wallpaper series) they clearly outline the politics <strong>of</strong> place. In this<br />

instance, the act <strong>of</strong> both inscribing the bricks and then throwing them into the water, importantly<br />


Above and below: Charlie Schneider, Lart Visions <strong>of</strong> Sounding Bricks, 18 August <strong>2013</strong>, lake Berryessa<br />

Photos: artist<br />

within a site-specific public event that invites people to respond, are actions that phYSically suggest a<br />

reconnection with Monticello, while instigating a shared moment <strong>of</strong> awareness that revives this part <strong>of</strong><br />

history within the present. Like a wake, the event's activities - public speaking, prose and ceremonyritualise<br />

and perform this concept by mourning the loss <strong>of</strong> this town, but also remembering, and thus<br />

validating it. <strong>The</strong> water that once brought destruction to the area now merges these forgotten stories<br />

with future narratives. <strong>The</strong> bricks employ clay's longevity as a natural material that shapes the man-made<br />

environment to physically connect the new with the old building blocks <strong>of</strong> Monticello and the once<br />

fertile soil <strong>of</strong> the valley floor. And metaphorically, using ceramic's role as a means to communicate and<br />

carry history, they speak to the past and the future. As art objects, they're being given over to nature,<br />

chance and time, which, for me, conjures up endless imaginative possibilities (where w ill the bricks end<br />

up and who will find them?) - like a lost balloon released into the wind or a message in a bottle adrift<br />

at sea. Or will they simply sink deep into the mud and be consumed by the earth's own ageing process.<br />

<strong>No</strong> one knows, much like the labyrinths <strong>of</strong> history that w ill carve their passages beyond us.<br />

<strong>The</strong> Wake Project connects different points, and means to think through and document history'S<br />

traces. And in doing so, like Schneider'S wallpapers, exposes the ramifications <strong>of</strong> political, economic and<br />

ideological decisions on history and land - as all space, whether intellectual or geographic is marked<br />

out by invisible lines drawn by these hands. But I think it is precisely th is that remains meaningful about<br />

Schneider'S work; the artist makes one realise there are many ways, and reasons to re-map them or<br />

wake them up.<br />


Altair Roelants. http://writingthevisual.wordpress.com<br />

Aftair Roelants, 'InvasIVe Species', <strong>The</strong> Joufndf <strong>of</strong> Austtafldn CeramICS, ISsue 4913, <strong>No</strong>vember 2010. p.p 22-28<br />

Quote taken from ema,l ,ntervle\Y between Schneider and author In August <strong>2013</strong><br />

3 When I first met Schneider on a Sydney Art Month Tour 10 2010. the artist was beginning h,s Graduate Certificate In Sculpture. PeriOfmance<br />

and InstallattOn al COFA.<br />

4 Slles 10 Australia Included COFA. Fowlers Gap, and various sites In Sydney. Schneider was also chosen to e)(h,bil one - Crown-oF-Thorns<br />

Wallpaper, Acanrhastel planci (20 I 0) - In Sculpture by the Sea 201 D, winning the Damlen Courtney Young Sculptor Prize.<br />

Ouote taken from Altair Roelants, Invasive SpeCIes, <strong>The</strong> <strong>Journal</strong> <strong>of</strong> AustralIan <strong>Ceramics</strong>. Issue 4913, <strong>No</strong>vember 2010, p.p 22-28<br />

6 5rnce 2010. Schneider completed his Master <strong>of</strong> Flrle Arts. In StudIO Art/CeramICS at <strong>The</strong> School <strong>of</strong> the Art InstItute <strong>of</strong> Chicago and notable<br />

projeCts include Sculpture by the Sea 2011. Art Basel Miami Beach DavIS Satellite Show. a CKada Press Residency in Sydney. and a video prOject<br />

with Tess Atlas and Vernon Ah Kee that will be shown at Tandanya Art Center for the Adelaide Festival In 2014.<br />

Such M the two collaborative works wIth artist NKoie $elSler (wwwnysprolects.com) Clay to Clay (2012) a prOject about ~ how ceramKS<br />

that saturate our worlds, sha,ed through distance and digital media- And To get 10 the other (2011 ) In wtllch long, trough hke basins<br />

constructed <strong>of</strong> timber, palOt, varnish and day were filled with water using the reffectlvt' surface <strong>of</strong> the water and natural light to link the<br />

spaces In wtllch Schneider and Seisle(s 'NOn: was exhibited. the outside street With the Interior <strong>of</strong> the gallery and the audience WIth the artist<br />

and art object.<br />

8 DaVid Robertson is a photographer, Pr<strong>of</strong>essor Emeritu,,> <strong>of</strong> EnglISh, University <strong>of</strong> Callforma. Davis, CA and academIC and a hfe-Iong fflend and<br />

mentor <strong>of</strong> Schneider's. wwwdavidrobertson.org<br />

9 Dam Wallpaper 111 Yellow Starthlstle (Centaurea soiSt/tIJIIS) 2009 that Schneider and nrne accomplices completed over the course <strong>of</strong> a few<br />

weeks, In yolo County, California. in October 2009<br />

10 Quote taken from email interview between Schneider and authol In August <strong>2013</strong>.

Focus : Ecology and <strong>Ceramics</strong><br />

11 Quote taken from Charlie Schneider, 'WAKE Sermon', 20, 3. <strong>The</strong> paper that Schnetder wrote tOf, and presented, at the Wake conference event<br />

as way <strong>of</strong> a sermon.<br />

12 <strong>The</strong> term was used by Minor White. former editor <strong>of</strong> Aperturp In his editorial tor the photographIC essay 'Death <strong>of</strong> a Valley' by Pinde<br />

Jones and Dorothea Lange in Issue 8:3, 1960. Schneider also explains. '" think. also It'S a nice relationship, the photographIC collaboratIOn<br />

between Pirkle Jones and Dorothea Lange, and my coilaboratK>n with David Robertson."<br />

13 Quote taken from email Interview between Schneider and author In August <strong>2013</strong>.<br />

14 In roughly the place <strong>of</strong> present day Iraq<br />

15 Quote taken from email intel'Vlew between Schneider and author in August <strong>2013</strong>.<br />

16 Quole taken from email interview between Schneider and author in August <strong>2013</strong>.<br />

17 Including the TIle Solano Project, which was the title for the proposed and in-progress Monticello Dam and assorted additional minor water<br />

containment sub~proJ«f.'i .<br />

18 <strong>The</strong> bricks were sourced from the McNear Brickyard In San Rafael, CalifOfnla.<br />

19 This diSCUssed by Schneider via email in August <strong>2013</strong>.<br />

20 ThIS discussed by Schneider via email in August <strong>2013</strong><br />

21 What would be the extenor and interior If used In building<br />

22 Text from BrICk 1<br />

23 Text from Bnd: S<br />

24 fonner residents quote sourced from the Monticello HIStory Exhibit In Spanish flat.<br />

25 Text from Brick 24<br />

26 Schneider describes the event as a cross between an art happening and a conference.<br />

27 <strong>The</strong> WAKE Conference attendees were Jeanette Robertson. Bob Schneider, Uz Merry, liz Tenuto, Joyce Havstad. Brett DaVIS, Dana Marsh and<br />

Allison Fall.<br />

28 Including the flfst native Inhabitants before European settlement the Pomo and the RIVer Patwm people.<br />

29 Ed. Minor White, 'Death <strong>of</strong> a Valley - Photograpners Pirkle Jones and Dorothea lange' In Aperture Issue 8:3. 1960<br />

30 Quote taken from Charlie Schneider's, 'WAKE Sermon', <strong>2013</strong>.<br />

31 Quote taken from email interview between Schneider and author In August <strong>2013</strong>.<br />

32 Quote taken from email inteMeW between Schneider and author 10 August <strong>2013</strong> For more Info on Allison Fall's work www.alJisonfall.com<br />

33 <strong>The</strong> event was foilaNed by lunch, beer, whiskey and SWImming In the lake<br />

Photo: Liz Merry

Focus: Ecology and <strong>Ceramics</strong><br />

Sally Cleary, Silent River, 2011, installation with dry cracked floor; photo; Andrew Bareham; Project Space, 2011<br />

Rivers <strong>of</strong> Slip<br />

Ruth Johnstone considers recent projects by Sally Cleary<br />

Sally Cleary draws on diverse references for her work, from ancient mosaics to the litter <strong>of</strong> untidy forest<br />

floors, to enact the changing ecology <strong>of</strong> our landscape. In recent work she responds to the tesserae<br />

that carefully illustrate the remnants <strong>of</strong> dinners past in the 'unswept' mosaic floors <strong>of</strong> privileged Ancient<br />

Greek and Roman households. <strong>The</strong> articulate tiling <strong>of</strong> Greek and Roman unswept floors resonates<br />

with her floors <strong>of</strong> slip, particularly as the creamy viscous pools dry and split into flat, crisp platelets,<br />

as if arranging themselves in a wall-to-wall interior drought. <strong>No</strong> living remnant <strong>of</strong> nature exists in this<br />

parched floor.<br />

<strong>The</strong> historical mosaics mimic shadows made permanent, the grey tiles tracking the leftover debris<br />

<strong>of</strong> a meal and they continue to follow the lively form <strong>of</strong> attendant rodent scavengers'. Modern<br />

interpretations <strong>of</strong> this historical curiosity persist and in this reworking some different shadows are cast.<br />

Ideas <strong>of</strong> vanitas and memento mori commonly emerge out <strong>of</strong> these newer still life floor renderings.<br />

Sally Cleary <strong>of</strong>ten refers to the local unswept forest floors <strong>of</strong> the otway Ranges and remnants <strong>of</strong> human<br />

habitation as she populates her photographs and collections for exhibition. She extends her most recent<br />

interpretations into a form <strong>of</strong> nature morte <strong>of</strong> vast proportions, bringing to her work a consciousness<br />

<strong>of</strong> climate change in our Anthropocene age. <strong>The</strong> time-based and ephemeral nature <strong>of</strong> her recent<br />

installations is in counterpoint to the paradoxically permanently unswept mosaic floor. <strong>The</strong> suspension<br />



Fo cus: Ecology and <strong>Ceramics</strong><br />

Opposite page:<br />

Sally Cleary, Silent Night, <strong>2013</strong><br />

installation, dry cracked floor<br />

Photo: artist; Craft, <strong>2013</strong><br />

Left: Owls by Giambologna. '567<br />

Bargello National Museum, Florence<br />

Photo: Sally Cleary<br />

<strong>of</strong> clay in water extended across the floor in both her Silent River 2011 and Silent Night <strong>2013</strong><br />

installations, presented respectively at Spare Room and Craft galleries in Melbourne. This unexpected<br />

application <strong>of</strong> casting slip spilling across the floors <strong>of</strong> the galleries recalls the density <strong>of</strong> Richard Wilson's<br />

glassy-surfaced tanks <strong>of</strong> sump oil <strong>of</strong> the 1980s. Both artists disturb our sense <strong>of</strong> orientation and remind<br />

us to observe how we traverse a gallery space and engage in the materiality <strong>of</strong> exhibited works at<br />

our own peril. <strong>The</strong> Silent River floor was augment ed by a blue tarpaulin carrying white painted tree<br />

branches, the bundle being suspended across the gallery floor as if transiting above the River Styx. <strong>The</strong><br />

presence <strong>of</strong> a soundscape, composed by sound artist John Nguyen, added to a sense <strong>of</strong> loss in this<br />

rather still but intractably changing, scene. Silent Night featured a white painted chair used as a perch<br />

for a stiffly rendered, hand-modeled, moulded and slip cast Barking Owl. <strong>The</strong> bird on its supporting perch<br />

was the only one to witness the entire transformation <strong>of</strong> its watery environment to its crusty end. This<br />

ghostly rendition <strong>of</strong> a species on the extinct list <strong>of</strong> an imals in forests <strong>of</strong> Victoria (due to habitat removal)<br />

faced a viewing platform and seating for extended audience contemplation in a darkened room with<br />

an optional audio soundtrack provided through headphones. Found objects, crafted form and electronic<br />

media all intersect with drying slip to make a coherent work.<br />

Through this writing we transition across millennia, bringing still life mosaics to time-based installation<br />

art practice. Narrative travels as pools <strong>of</strong> glassy fluid progressively evaporate, making gaping spaces in<br />

between islands <strong>of</strong> drying clay to become brittle floor tiles attended by spectral witnesses. Landscape<br />

is embraced and returned to those domestically scaled Greek and Roman mosaics through the gallery<br />

context for Sally Cleary's exhibitions. Through this process, ephemerality and loss elide through the<br />

transformative medium <strong>of</strong> clay to make, in the most eloquent way, a lament over our management <strong>of</strong><br />

th is world.<br />

1 <strong>The</strong> rather perverse idea <strong>of</strong> creating an image <strong>of</strong> an unswept floor was copied by the Romans and was popular tnlo the 5th century AD from<br />

the precedent known to e~m as early as the 3rd century Be. Examples survive in the Getty Museum and the Vatican . Interpretations<br />

for the intentions behind these renderings <strong>of</strong> unswept floors range qUite widely. GIVen that the scattered remnants on the floors are <strong>of</strong><br />

generous proportions and exotjc foodstuffs, an overt display <strong>of</strong> luxury as a sign <strong>of</strong> status is posslbl(', or perhaps most likely, ritual <strong>of</strong>ferings to<br />

dead warriors or ancestors, even reminders to slaves <strong>of</strong> the household <strong>of</strong> their neverending cleaning tasks and <strong>of</strong> their social fa te.<br />

Ruth Johnstone is an artist currently investigating forest floors. She is Senior Lecturer at the<br />

School <strong>of</strong> Art, RM IT University.<br />

http://sallycleary.com<br />


Focus: Ecology and <strong>Ceramics</strong><br />

<strong>Ceramics</strong> and the <strong>Australian</strong><br />

Botanical Narrative<br />

Recent works by Cathy Franzi<br />

Tindery Range, NSW, <strong>2013</strong>; photo: Cathy Franz;<br />

"Ecology is the study <strong>of</strong> the connections that bind all life together. Understanding our own place in this<br />

web, and our impact upon it, is vital to our future on Earth. '"<br />

I am walking through the manicured lawns and specimen beds <strong>of</strong> Wakehurst Place, the country<br />

relation to the Royal Botanic Gardens, Kew. It is a magnificent English summer day: gentle sunshine,<br />

a wafting breeze and nature bursting forth in lush, civilised greenery. Flowers with s<strong>of</strong>t delicate petals,<br />

leaves splendid and abundant - it is an experience <strong>of</strong> nature in perfect tamed harmony. Lost in this<br />

Eden, I chance upon the <strong>Australian</strong> section and I'm shocked! Tea-tree, hakea and callistemon are almost<br />

unrecognisable. <strong>The</strong>y have become gentle and subdued pretty garden plants, nourished in this alternate<br />

climate with deep fertile soil and abundant water.<br />

Three years earlier I am in Warrumbungle National Park, western NSW, six years into the last drought.<br />

<strong>The</strong> plants along the rocky slopes <strong>of</strong> the dry riverbed appear scorched by fire, but their condition is due<br />

to dehydration and extreme temperatures. <strong>The</strong> next season when I return it is after the floods. Walking<br />

up high into the hidden gullies below the volcanic ridgeline, I see tall gum trees and rare orchids in this<br />


cathy Franzi<br />

<strong>The</strong> Ephemeral Dampiera Fusca, <strong>2013</strong><br />

wheelthrown porcelain<br />

1200'(, h.9

Focus: Ecology and Cerami cs<br />

OpPosIte page: Cathy f ranzi, Red Hill, detail, <strong>2013</strong>. wheelthrown porcelain, 1240QC, h. 14cm, w.7cm<br />

biodiversity hotspot. A haven within a reserve, surrounded by cleared agricultural land as far as the eye<br />

can see. In January <strong>2013</strong> a catastrophic fire swept through destroying 80-90 % <strong>of</strong> the area . I haven't<br />

been back yet.<br />

<strong>The</strong> English countryside and the <strong>Australian</strong> bush are vastly different and Australia's environmental<br />

history since British colonisation has been shaped by this contrast. Settlers came with a fundamentally<br />

different experience and expectation <strong>of</strong> the physical environment. Landscape changes were rapid and<br />

extensive, while advances in understanding the rich and unique biodiversity <strong>of</strong> the continent have<br />

happened only gradually.<br />

Environmental history is just one aspect to the subject <strong>of</strong> my ceramic work, which can be broadly<br />

described as the <strong>Australian</strong> botanical narrative, the stories <strong>of</strong> <strong>Australian</strong> plants and people. It<br />

encompasses interactions both scientific and cultural, ranging from exploration, conservation and<br />

climate change to botanical illustration and perceptions <strong>of</strong> the environment. Foremost is the plant<br />

itself, primary to my surface imagery, but it is how the plant is located within its physical and cultural<br />

environment that is integral to the final work. This process starts with heading out into the field to study<br />

the plant, its environment and the challenges it faces.<br />

Cathy Franzi, Golden Hm, <strong>2013</strong>, wheelthrown porcelain, 12400(, h.20cm, w.21cm; photos: David Paterson<br />


Focus: Ecology and <strong>Ceramics</strong><br />

I am in Wakehurst Place to visit the Millennium Seed Bank. Underground vaults have been built<br />

to store the planet's seeds and "to protect the worlds plant biodiversity before it is too late".2 This<br />

international conservation project is an example <strong>of</strong> the best in technological know-how and visionary<br />

hope for one <strong>of</strong> this century's looming crises . <strong>The</strong> Millennium Seed Bank Project has been called "the last<br />

great plant hunt"3, bringing to mind the great European botanical expeditions in the seventeenth and<br />

eighteenth centuries. However, now, in the 21 st century, the aim is to discover and preserve rather than<br />

to exploit.<br />

Botanical exploration was important to James Cook and Joseph Banks when they landed the<br />

Endeavour in Botany Bay in 1770. Indeed the earliest ceramic object I have found to have <strong>Australian</strong><br />

flora as part <strong>of</strong> its decoration, "the Kanguroo Mug"4, comes directly from a sketch by artist Sydney<br />

Parkinson also on the Endeavour. Brought back to London, it was eventually made into a transfer print<br />

in the Staffordshire potteries about 1793. Just as the <strong>Australian</strong> botanical narrative is important to my<br />

work, it is a useful approach when investigating historic ceramic objects decorated with <strong>Australian</strong> flora.<br />

For example, the source <strong>of</strong> the plant material used or the choice <strong>of</strong> a particular species can reveal<br />

information about the environment and perhaps the prevailing attitudes towards it.<br />

Cathy Franzi, Mount Majura Seed Box, 2010, wheelthrown porcelain, recycled timber, 12000(. h.Scm, w.42cm, d.20cm<br />

Photo: Stuart Hay<br />


Focus : Ecology and <strong>Ceramics</strong><br />

Throughout history botanical representation in ceramic decoration has rel ied on plant specimens,<br />

botanical illustrations or paintings for accuracy and detail. For example, in 1882 the talented botanical<br />

illustrator Rosa Fiveash was commissioned by John Brown to do <strong>The</strong> Forest Flora <strong>of</strong> South Australia<br />

and then later taught china painting at the Adelaide School <strong>of</strong> Art with an emphasis on <strong>Australian</strong> flora.<br />

Paintings by the intrepid flower hunter Ellis Rowan were sent to Royal Worcester in England in 1912 as a<br />

reference for porcelain artists such as Albert Shuck.s Doulton and Co. Ltd considered botanical accuracy<br />

so important at this time that they ordered a huge bouquet <strong>of</strong> wild <strong>Australian</strong> flowers frozen in a block<br />

<strong>of</strong> ice to be shipped to England, so "the exact formation and colouring could be studied in minute<br />

detail".s<br />

I also work directly from nature to obtain naturalistic botanical decoration rather than stylised pattern<br />

or motif. Going into the field to obtain specimens, photos and drawings takes me into the heart <strong>of</strong><br />

the plant's ecosystem. By teaming up with scientists I can gain deeper insights into the plants, their<br />

environment and the issues they face . One project I was part <strong>of</strong> took me into the field with botanists<br />

Cathy Franzi. Redbox Gum. <strong>2013</strong>, wheel thrown porcelain. 12000(. h.13.5cm, w.19cm; photo: David Paterson<br />


Fo cus: Ecology and Ceram ics<br />

from the <strong>Australian</strong> National Botanic Garden Seed Bank. We walked high up onto the Tinderry Range<br />

in the Monaro region <strong>of</strong> Southern NSW to search for the ephemeral Dampiera fusca . Th is endangered<br />

plant had suddenly appeared in large numbers between the granite boulders following a hot bushfire.<br />

In the work developed from this project I recalled the steep granite hills, the contours, the silhouettes <strong>of</strong><br />

grey and blackened eucalypt branches and the gradual revelation <strong>of</strong> the pockets <strong>of</strong> D. fusca with their<br />

delicate blue petals.<br />

I use sgraffito, carving into the white clay through a coloured engobe, to depict the plants onto the<br />

surface <strong>of</strong> my forms. My approach is based on linoleum block printing, using various handmade tools<br />

to produce different marks in the leather-hard clay. Deep large gestures can be made alongside thin<br />

delicate lines giving me enough control to refer to botanical representation. I have developed a black<br />

and green engobe that has a sheen somewhat like printing ink.<br />

This approach has come out <strong>of</strong> my experience in lino printing and an interest in the period early in the<br />

twentieth century when both the use <strong>of</strong> lino and <strong>Australian</strong> flora in the arts was popular.<br />

Currently I am investigating the flora and environmental history <strong>of</strong> five hills in Canberra as a centenary<br />

project. <strong>The</strong> work, Painting the Hills <strong>of</strong> Canberra, is based on Walter Burley Griffin and Marion<br />

Mahony Griffin's idea to revegetat e or 'paint' the denuded hills <strong>of</strong> Canberra in colour-specific <strong>Australian</strong><br />

flora. Red Hill in Crimson bottlebrush and Rosemary grevillea, and the others each in plantings <strong>of</strong> white,<br />

purple, pink and yellow flowers. After winning the design <strong>of</strong> Canberra in 1913, the Griffins came to<br />

Australia and quickly became enamored with the flora. Marion's botanical notebooks are held in the<br />

National Library <strong>of</strong> Australia, divided and listed by colour, providing me with a list <strong>of</strong> the flora for the<br />

anticipated but largely unaccomplished vision. Marion's drawings <strong>of</strong> the plan for Canberra, on display<br />

in the National Archives, are large and mystical. She has a beautiful horizon line drawn from each axis,<br />

outlining the hills, and imagined courts, water featu res and opera house. I have borrowed this line to<br />

imagine a similar horizon around each ceramic vessel 'hill'. Connected by the Griffin 's axis, my hills are<br />

painted and carved in the intended colour scheme.<br />

<strong>The</strong> <strong>Australian</strong> botanical narrative goes on, people and plants entwined together, making new stories<br />

and facing increasi ng Challenges . Ceramic objects no doubt will continue to reflect this relationship.<br />

Cathy Franzi is a PhD candidate at the <strong>Australian</strong> National University. Paint ing the Hills <strong>of</strong><br />

Canberra is showing at CraftACT: Craft and Design Centre from 31 October to 14 December<br />

<strong>2013</strong>.<br />

1 Natural History Museum, Ecology Gallery wall panel. London, July <strong>2013</strong>.<br />

2 <strong>The</strong> Millenntum Seed Bank, Educational paneL Wakehurst Place, UK, July <strong>2013</strong>.<br />

3 Carolyn Fry, Sue Seddon and Gail Vines. <strong>The</strong> last Great Plant Hunt. the story <strong>of</strong> Kew:S Millennium Seed Bank. Kew Publishing, April 2011 .<br />

4 John McPhee. 'CeramICs in the Collection <strong>of</strong> <strong>Australian</strong> Decorative Arts in the AUSlralian Nahonal Gallery', Pottery In Australia, <strong>Vol</strong>, 21, <strong>No</strong>. 2.<br />

<strong>No</strong>vll)ec 1982. p.4 . National Gallery <strong>of</strong> Austraha, AccesSIon <strong>No</strong>: NGA 80.1537_<br />

5 Powerhouse Museum Collection. Reglstrahon Number A 1637.<br />

6 louise Irvme. Royal Doulron Series Ware, <strong>Vol</strong> . 4. Richard Dennis. london, 1988. p 37.<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Land and Environment<br />

Liz Stops investigates neo-colonialism and practice<br />

liz Stops, Explorations into Colonisation, 2010, porcelain, wood. charcoal, various dimensions; photo: artist<br />

In this article I will contextualise my art practice within what I view as neD-colonial approaches to land<br />

and environment that are currently propounded by <strong>Australian</strong> government bodies at all levels, and by<br />

global corporate interests. I will outline questions raised as a result <strong>of</strong> examining my practice from an<br />

ecological standpoint, through the lens <strong>of</strong> historical and contemporary colonial perceptions. Rather than<br />

focus on made work I will observe how the skills acquired in building and maintaining an art practice<br />

can be useful when combating a mining invasion.<br />


Focus: Ecology and Ceram ics<br />

---<br />

During my PhD project, titled Carbon Credits, as a strategy for questioning and re-forming my own<br />

perceptions <strong>of</strong> duty-<strong>of</strong>-care for country, I investigated the social and political attitudes <strong>of</strong> British colonists<br />

to land and environment in Australia. In eighteenth century Britain, the common land rights <strong>of</strong> the poor<br />

had been whittled away.' <strong>The</strong> rights to control and make use <strong>of</strong> land were reserved for the wealthy and<br />

ownership <strong>of</strong> "[p!roperty became the essential qualification for holding political rights and freedoms".2<br />

Thus those with political power could ensure their rights to ownership were not eroded and the freedom<br />

to control property was not enjoyed by anyone but themselves. Christian doctrines <strong>of</strong> improvement,<br />

combined with a belief in the moral value <strong>of</strong> work, justified the taking <strong>of</strong> land. This was compounded<br />

by Darvvin's theories <strong>of</strong> survival <strong>of</strong> the fittest, which could be interpreted socially as 'the most able to<br />

conquer' .3 It was also assumed that land held in common ownership was synonymous with neglect. that<br />

cultivation depended on individual possession and such use reinforced the rights to own land.<br />

<strong>The</strong> <strong>Australian</strong> Indigenous population did not engage in land management practices that were<br />

understood by the British. Land was held in common and boundaries between different parts <strong>of</strong> the<br />

country were not visible to the European eye . It was not parcelled up into individually owned portions;<br />

therefore, rather than seek to discover alternative methods that might be employed by those who had<br />

thrived in Australia, it was advantageous to conclude that there was no active management' prior to<br />

Western occupation, merely an opportunistic exploitation <strong>of</strong> seasonal plenty. So, following beliefs held<br />

by the colonists, the Indigenous inhabitants had no land rights and the country was there for the taking.<br />

Philosopher Mark Smith highlighted a similar situation that had occurred during the colonisation <strong>of</strong><br />

America, where "it had been widely believed that, in the absence <strong>of</strong> farming, the Indians had no legal<br />

right 10 the land they occupied" 4<br />

However, Indigenous land management practices were responsible for the long-term productivity<br />

and biodiverSity <strong>of</strong> Australia. Practices included skilled use <strong>of</strong> fire, selective harvesting, organisation <strong>of</strong><br />

sanctuaries, and the promotion and regeneration <strong>of</strong> both plants and animals. <strong>The</strong>re was an instilled<br />

awareness that the "interdependence <strong>of</strong> all life within country constitutes a hard but essential lesson<br />

- those who destroy their country ultimately destroy themselves" .5 1n the contemporary world, Rose<br />

maintains that " in this time <strong>of</strong> ecological crisis, globalising hegemony and threats <strong>of</strong> terrorism and<br />

escalating warfare, our work towards alternatives to crisis and chaos depends on decolonisation".6<br />

As a result <strong>of</strong> my investigations I devised work that interpreted my local landscape, developing a<br />

new appreciation <strong>of</strong> responsibility for its care as well as recognition <strong>of</strong> my inculcated assumptions <strong>of</strong><br />

entitlement. In addition to my usual practice in slipcast porcelain, I explored other media, finding an<br />

affinity with those that bore a procedural similarity to ceramics but also contributed conceptually to the<br />

project. <strong>The</strong> most significant medium was charcoal, collected from burning fence posts. I viewed their<br />

burning, which also served to heat my house and water over winter, as a performative aCknowledgement<br />

<strong>of</strong> the necessity for a decolonising approach to this country. This action fostered a sense <strong>of</strong> being owned<br />

by the land and directed by its requirements for health and sustainability, rather than viewing it as a<br />

possession to be exploited.<br />

Since the completion <strong>of</strong> Carbon Credits in 2010, what I consider to be a new wave <strong>of</strong> colonialism<br />

has overvvhelmed the area in which I live. It takes the form <strong>of</strong> ecologically disastrous Unconventional Gas<br />

Mining (UGM), including Coal Seam Gas (CSG) and Tight Sands Gas (TSG) . During one <strong>of</strong> the meetings<br />

I attended, at which information about UGM was distributed, one <strong>of</strong> the other attendees expressed<br />

shock at the seemingly limitless power <strong>of</strong> mining companies to access any land to pursue exploration<br />

and production <strong>of</strong> unconventional gas. An Indigenous elder who was also present then responded<br />

with: "Well, now you know how we felt" . This statement really brought home to me the enormity <strong>of</strong><br />

British colonisation <strong>of</strong> Australia. It also fostered a realisation that history is repeating itself as this country<br />


Focus: Ecology and <strong>Ceramics</strong><br />

becomes colonised and the landscape industrialised by global corporations whose primary motive is<br />

financial gain.<br />

In Australia, the government, no matter who owns the land, controls access to whatever is under the<br />

ground: however, it is powerful global corporations who benefit from this arrangement, with 84% <strong>of</strong><br />

pr<strong>of</strong>its from mining going to overseas shareholders.? Landholders are disempowered and communities<br />

are frayed and divided by the inroads <strong>of</strong> mining into social cohesion and community infrastructure.<br />

Queensland Deputy Premier Jeff Seeney stated that "the gas belongs to everybody" .8 He also<br />

acknowledged that landholders have a right to compensation. However, when baseline testing <strong>of</strong> air,<br />

land and water for pollutants is never undertaken, companies can proclaim that they are not responsible<br />

for environmental damage. Land affeded by CSG mining has proved unsalable, with no compensation<br />

<strong>of</strong>fered.<br />

Currently, legislation is proceeding through NSW State Parliament that will change the State<br />

Environmental Planning Policy to give mining companies greater powers to enter land and conduct gas<br />

exploration and produdion adivities without consulting the landholder. Contemporary occupiers <strong>of</strong> the<br />

land are being rendered invisible by this legislation, just as the Indigenous population in the eighteenth<br />

century was by terra nullius. 9 <strong>The</strong> economic "significance <strong>of</strong> the resource is to be the consent<br />

authority's principle consideration" .10.11 Environmental attrition is omitted from the equation when<br />

balancing the national books. Economic benefits can be easily measured - " <strong>The</strong> dollar sums for what has<br />

Protestors block.ading drill rigs at Glenugie, <strong>2013</strong>; photo: Liz Stops<br />


Focus: Ecology and <strong>Ceramics</strong><br />

----- - - ---------<br />

liz Stops, Wombee 11/: Dawn. 2010, charcoal, ash, bone, saP. binder, h.7Scm, w.5Ocm; photo; Michael Moynihan<br />

been lost locally, however, go uncollected and unnoticed. "'2 Thus the once thriving agricultural town <strong>of</strong><br />

Acland in Queensland has become a ghost town, the population <strong>of</strong> 90 families being moved out as a<br />

result <strong>of</strong> mining. 13 Acland is one <strong>of</strong> many towns that have been decimated due to mining activities.<br />

One <strong>of</strong> my responses to this neocolonial invasion has been to question whether I am complicit in<br />

facilitating the industries I deplore. Ingredients I use to formulate casting slip are mined elsewhere in<br />

Australia and in India. Am I just concerned for my own backyard? Is some mining okay? How do I<br />

negotiate an ethical practice in which I am able to devise works that highlight my concerns without<br />

contradicting them? <strong>The</strong>se are dilemmas I am addressing, with no absolute answer forthcoming, but an<br />

ongoing and constantly changing reassessment <strong>of</strong> responsibilities inherent within my practice. This is a<br />

process that provides ever-unfolding questions and answers. It has no finite conclusion but promotes<br />

continued mindfulness.<br />

However, skills acquired over twenty-two years <strong>of</strong> conducting an art practice are proving invaluable<br />

in the fight against the gas invasion. I have noticed that artists are resilient in the fa ce <strong>of</strong> adversity, as<br />

we have learned to cope with setbacks in practices that hinge on constant experimentation. Critical<br />

processes and research skills that are integral to any practice have helped us develop the capacity to<br />

discern flaws in mining spin . We are used to relying on self-belief and the strength <strong>of</strong> our integrity.<br />

We are also used to wearing a number <strong>of</strong> hats and can turn a hand to events organisation, financial<br />

management, time management or any kind <strong>of</strong> problem solving that will serve a group. We have<br />

depended on resourcefulness and persistence in our practices and these qualities are easily transferable<br />

to the anti-gas movement. Also, our work has <strong>of</strong>ten led to the development <strong>of</strong> a strong sense <strong>of</strong> place,<br />

a quality that intensifies our commitment to resisting the gas invasion.<br />


Focus: Ecology and <strong>Ceramics</strong><br />

I have li kened eighteenth century colonialism in Australia to contemporary conditions. Just as in<br />

those times people with political clout could fashion laws to their advantage, today, all-pervading global<br />

corporations can manipulate the various levels <strong>of</strong> government process and decision-making. However,<br />

corporate attempts to divide community and destroy social cohesion are not always successful. In the<br />

<strong>No</strong>rthern Rivers region <strong>of</strong> New South Wales, thousands <strong>of</strong> ordinary people, many <strong>of</strong> them artists and<br />

musicians, have become activists out <strong>of</strong> necessity as government representatives fail to act on behalf<br />

<strong>of</strong> their constituents. Empathy for previous casualties <strong>of</strong> colonisation has brought about a kind <strong>of</strong><br />

reconci liation that could be perceived as decolonisation between local Indigenous groups and other<br />

activists. Many local communities have become more cohesive with the glue <strong>of</strong> a common goal, to rid<br />

the area <strong>of</strong> Unconventional Gas Mining.<br />

liz Stops aligns her resource-conservative lifestyle with an object-making art practice.<br />

She was awarded a PhD in 2011 and teaches at Southern Cross University.<br />

Un <strong>of</strong> references<br />

AlJdzeera. 'Risky Business', viewed March 23, <strong>2013</strong> at http://vYww,alja2eera.com'programmesll01eastl<strong>2013</strong>101n013177122267414S.html<br />

Arblaster, A. (1984) <strong>The</strong> Rise .md Decline <strong>of</strong> Weslern Uberallsm, Odord, Basil Blackwell.<br />

Finegan, A. (2012) 'Commg Soon (Near You): Big MIning and the Question <strong>of</strong> Scale', MUnk. vol. 32 no. 4, pp 42-45.<br />

Gleeson·White, J. (2011) Double Entry: How the merchants <strong>of</strong> Venice slJaped the modem world- and how their inventlOfl could make or break. the<br />

planet. Sydney, Allen & Unwin.<br />

Hoorn. 1. (2007) <strong>Australian</strong> Pastoral: <strong>The</strong> Making <strong>of</strong> a White Landscape, Fremantle, Fremantle Press.<br />

Rose, D. 8. «2004) Reports from a Wild Country: Ethics for DecolonlSdflOn, Sydney, UniverSity <strong>of</strong> NSW Press.<br />

Shoebridge, B. (<strong>2013</strong>) Fractured Country: An UnconvenrionallnviJ51on, IJsmore, Lock the Gate<br />

Smith, M J (1998) EcoJoglsm: Towards Ecological CJtlzenshlp, london, Open UnlVef"Sl"ty Press.<br />

State EnVIronmental Pfannlng PolK)'. viewed 15 August, <strong>2013</strong> at: httpslllllaJorprojectsaffimtylNe.com<br />

A Atbla

Focus: Ecology and <strong>Ceramics</strong><br />

Interrelated Worlds<br />

<strong>The</strong> recent ceramic projects <strong>of</strong> Julie Bartholomew by Altair Roelants<br />

Like our world, Julie Bartholomew's art practice is open to surprising shifts and departures. Driving both<br />

the conceptual and aesthetic elements are issues that inspire her - cu ltural pattern s, social debates<br />

and new ideas that are th rown into our popular conscious - and always with a visual criticality that<br />

flourishes amidst the artist's love <strong>of</strong> process. Over an extensive career' this flow <strong>of</strong> inspiration has seen<br />

Bartholomew delve into communication technology and virtual spaces2, the international beauty and<br />

fashion industry's influence on Japanese 3 and Chinese 4 female identity constructs, and eroding cultural<br />

traditions in China demonstrated through the fading past-times enjoyed in public parks.S And necessary<br />

for a contemporary practice that responds to these dynamics, the artist's medium has also seen variations<br />

- working in paper, digital installations, photo media and <strong>of</strong> course, clay. Bartholomew'S most recent<br />

series <strong>of</strong> ceramic projects, Endangered (2010) and Rarely Seen (2012-<strong>2013</strong>), explore two <strong>of</strong> Australia's<br />

most identifiable and fascinating natural phenomenon - the birds and flowers, and, importantly, those<br />

that are under threat <strong>of</strong> extinction. Interestingly, it was Bartholomew's spate <strong>of</strong> residencies 6 in China that<br />

helped inform these projects, which 'solidified' after returning to Australia through the artist's desire to<br />

'resituate' her practice within a local context while drawing on China's rich ceramics tradition and her<br />

personal response to Asia's global environmental impact.1 Consequently, Endangered and Rarely Seen<br />

foster the subtleties <strong>of</strong> porcelain and handbuilding, and the hues inherent in color, form and language,<br />

to visualise the natural world's <strong>of</strong>ten invisible but unequivocal ties to science, man and colonisation, and<br />

question where they may be leading.<br />

During childhood trips to her mother'S cottage in Talbingo, rural N5W, where Bartholomew used to<br />

take pleasure from being surrounded by birds, it seems only natural that the artist's Endangered 8<br />

series should so eloquently illustrate <strong>Australian</strong> birds that are under threat <strong>of</strong> extinction. <strong>The</strong> deliciously<br />

named flock <strong>of</strong> five - Paradise Lost (2010)9, Swift Parrot (2010),0, Rainbird (2010), Coxen's Fig<br />

Parrot (2010), and Fairy Wren (2010) - are colourful porcelain tributes to this country's waning bird<br />

life. Chosen for their visual impact, each has distinct characteristics and wears striking glazed plumes<br />

combining bold reds, greens, blues, yellows and oranges. Bartholomew experimented with mixing<br />

commercial glazes and firing at high temperatures to achieve bright hues and an "effect <strong>of</strong> movement<br />

and somberness", as if the glazes are "weeping" <strong>of</strong>f the feathers. <strong>The</strong> bi rds perch stoically atop stark<br />

white branches" as if clinging to the last gasps <strong>of</strong> life, as the bark's earthy tones and textures appear<br />

to have already drained from their boughs. <strong>The</strong> composition evokes art historic painting references,<br />

or indeed the taxidermied creatures in colonial glass display cabinets. To contrast with the birds, the<br />

branches are unglazed and inscribed with white text (using a tissue transfer technique) with details <strong>of</strong><br />

the animal's demise, current situation and condemning words such as "vanish, decrease, disappearing,<br />

extinct, decline", and "final", and the jarring conclusion to this story - "there is no solution to<br />

extinction" .' 2 For her content, Bartholomew draws upon a wealth <strong>of</strong> scientific resources and the<br />

placement <strong>of</strong> words creates a direct 'imprinting onto nature'13 as the gesture <strong>of</strong> wrapping the object<br />

expresses the pervasiveness <strong>of</strong> this environmental damage. 50 while Bartholomew'S message is explicit<br />

through her use <strong>of</strong> form and colour - there is another, more discreet, conceptual layer to the work in<br />

these narratives for viewers to uncover.<br />

Bartholomew'S following two-part project, Rarely Seen (2012-<strong>2013</strong>)14, explores one <strong>of</strong> the other<br />

great wonders <strong>of</strong> Australia's landscape - its flowers and, more specifically, those that are disappearing.<br />


Focus: Eco logy and <strong>Ceramics</strong><br />

w . w .<br />

Julie Bartholomew, Rarely Seen Spiked Rice-flo wer and Rarely Seen Drummond's Cronostylis. 2012, porcelain, decals<br />

h.34cm, w.l6cm, d.Scm; photo: artist<br />

As the artist discovered during her research, the rate <strong>of</strong> loss <strong>of</strong> flora in Australia is faster than in other<br />

countries due to the continent's isolation, and then sudden exposure to pests and human infrastructure.<br />

In 20 12, many readers will have viewed Bartholomew's Rarely Seen - an Installation (2012) at <strong>The</strong><br />

Vitrify Alcorso Ceramic Award Exhibition (7 September - 19 October 2012) at Adelaide's JamFactory'5,<br />

a wondrous circular sea <strong>of</strong> one hundred and twenty single white porcelain flowers bursting from<br />

petri dishes 16 , each filled with a thick, almost sticky looking, blood red glaze17. As a collection, one is<br />

struck by the diversity <strong>of</strong> Australia's endangered flowers which many <strong>of</strong> us know little about, or that<br />

are" rarely seen", that now explode from the scientific apparatus that symbolise the roots <strong>of</strong> their<br />

decline. As individual pieces, audience's marveled at their beauty, vulnerability and obvious dedication<br />

to craftsmanship. For this series Bartholomew used detailed photographic references and botanic<br />

illustrations, constructing each specimen with the guidance <strong>of</strong> traditional flower-makers'8 in Jingdezhen,<br />

China'9, using an ancient hand-building technique <strong>of</strong> immense dexterity that Bartholomew has been<br />

learning since 2007 °. 2 <strong>The</strong> results are wonderfully life-like and the attention to detail is exquisite - some<br />

have a myriad <strong>of</strong> fronds, curved arching petals, or flies resting on their lips,21<br />

This year audiences enjoyed the second part <strong>of</strong> this project, Rarely Seen - an Exhibition (29 May -<br />

22 June <strong>2013</strong>), at Sydney's Sabbia Gallery, For this installment, a new body <strong>of</strong> white and red petri dishes<br />

was displayed in pairs - one containing single flowers and the other inscribed with text. Bartholomew'S<br />

use <strong>of</strong> script is more pronounced than in Endangered, the words now surfacing from red copper<br />

glaze 22 To cite just one example, the Darwinia Carnea (2012), that, as its coupled text outlines, "is<br />

critically endangered. This species is facing a very high risk <strong>of</strong> extinction in the wild in the near future<br />

... Darwinia Carnea is a threatened species" .23 Alongside these works, clusters <strong>of</strong> white porcelain<br />

<strong>52</strong> THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER <strong>2013</strong>

Julie Bartholomew<br />

Rarely Seen Shy<br />

Eyebright, 20 12<br />

porcelain, decals<br />

h.36cm, w.1 6cm<br />

d. l0cm<br />

Photo: artist<br />

flowers - such as Tinsel Lilly, Shy Eyebright and Spiked Rice Flower (2012) - are contained in an<br />

assortment <strong>of</strong> ceram ic scientific vessels and chemical spray containers 24 , each glazed in an artificial pink,<br />

yellow or acidic white. <strong>The</strong> flowers, constructed on the base and the shell being lowered over them,<br />

peer out <strong>of</strong> purposeful incisions in the contours <strong>of</strong> the bottles. <strong>The</strong> delicate petals trapped and growing<br />

in the dark, cold interior, reference science's impact on nature and the artificial environments that some<br />

now come to exist within. Like many locally produced commercial products, their 'packaging' bears<br />

a map <strong>of</strong> Australia, alongside an image <strong>of</strong> the flower and an account <strong>of</strong> the species' situation, all in<br />

silver decals. This series sees Bartholomew returning to the form <strong>of</strong> the vessel and the smooth surfaces<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Julie Bartholomew with Rarely Seen - an installa tion, 2012, porcelain, 120 handformed flowers in petri dishes. perspex<br />

tubes. diam .200cm; photos: courtesy artist<br />

"acted like a canvas for words" which she "enjoyed revisiting". And these words perform like uttered<br />

verses creating textual patterns that articulate and mimic man's continual marking <strong>of</strong> the land. As one<br />

exclaims: "Stuarts Heath is Critically Endangered. This species is known from only a single locality on<br />

the Southport Bluff, Tasmania . Threats include sea level rise associated with climate change. Vegetation<br />

and habitat loss caused by dieback. Habitat devastation due to mining and quarrying. " 25 <strong>The</strong> ceramic<br />

vessel itself <strong>of</strong>fers an interesting juxt aposition <strong>of</strong> fund ions and meanings, as traditionally such objects<br />

have very different connotations - the home, bearer <strong>of</strong> food and water, nurturing and warmth. Casting<br />

shadows on the surrounding gallery are an assortment <strong>of</strong> porcelain wall pieces that look like artillery<br />

with such titles as Shy Susan 1 and Davies Waxflower 1 (2012). <strong>The</strong> works comprise long thin casts<br />

taken from glass scientific objects that see flowers and gnarly branches unfOlding to connect the various<br />

modules which are bound in white text 26 , again imagining a dependence on one another - although in<br />

this instance it's hard to tell who is in control.<br />

Endangered and Rarely Seen visualise the interrelated natural and man-made worlds in a<br />

delicate and beautiful but unnerving and suggestive manner, <strong>of</strong>fering us a two-fold warning about<br />

the dangerous effed man's meddling has on the environment and, simultaneously, our attempts<br />

to fix these intrusions into natural cycles with scientific methods. Also, as both cause and effect<br />

are drastically speeding up, Bartholomew'S work should be viewed with even more urgency. <strong>The</strong><br />

multifaceted dimension to the artist's ceramics pradice - the use <strong>of</strong> obvious visual signifiers and then<br />

the closer reading <strong>of</strong> the text - gives them both aesthetic and analytical depth, and that audiences learn<br />

something is certainly one <strong>of</strong> Bartholomew'S main concerns. Her inclusion <strong>of</strong> short, sharp and pointed<br />


Focus: Eco logy and <strong>Ceramics</strong><br />

Julie Bartholomew, Rarely Seen - an insta ffation, 2012, detail<br />

phrases that speak out to the viewer and clearly implicate us in the work's dialogue, again, highlight<br />

the artist's understanding <strong>of</strong> the quiet. yet powerful nuances <strong>of</strong> detail. In this sense, individual stories<br />

become voices for broader international environmental concerns - the bird's white perches, the trapped<br />

flowers and the morphed, creative assemblages - <strong>of</strong>fering a sense <strong>of</strong> futuristic, doomsday sublime in<br />

a world where the line between these two great forces is no longer clear. <strong>The</strong>y also hint at our own<br />

fate at the hands <strong>of</strong> climate change, genetic engineering, body modification and robotics, and are a<br />

reminder <strong>of</strong> Bartholomew'S earlier works. In a historic context, there are interesting correlations with<br />

the use <strong>of</strong> scientific language, classification and collections - which are western knowledge systems and<br />

the intellectual foundations <strong>of</strong> colonialism that paved the way for contemporary Australia's indigenous<br />

and environmental devastation. Similarly, man's global paths can be traced through ceramic objects<br />

which are one <strong>of</strong> the most durable, and reliable, historic documents. In this light, the choice <strong>of</strong> white<br />



Fo cus: Ecology and Cera mics<br />

---<br />

porcelain to produce detailed, handcrafted objects is a clever use <strong>of</strong> a material that is conversely fragile<br />

and amazingly strong; much like individual species that, while endangered, have continued, <strong>of</strong>ten at all<br />

odds, to blossom and survive. It is maybe for this reason that Bartholomew attempts to save the stories<br />

<strong>of</strong> these species by "setting them in stone" .<br />

All quotes were taken from the artist during interviews with the author in <strong>2013</strong>.<br />

Altair Roelants is a freelance arts writer from london who relocated to Sydney in early 2010<br />

and is currently w riting for a range <strong>of</strong> national and international arts publications about<br />

<strong>Australian</strong> contemporary visual art and ceramics.<br />

Bartholomew has received numerous awards including the 25th Gold Coast International Ceramic Art Award 2006, Taiwan Taipei Asiatink, and<br />

numerous SCholarships from the <strong>Australian</strong> Council <strong>of</strong> the Arts; tak.en part in residencies in Taiwan, Jingdezhen. Beijing, Shanghai and Tokyo<br />

and has wOrk held in both national and international collections.<br />

In the se-ries Spin (1999)<br />

3 Transitional Bodies (2006) was a case study on Japanese women.<br />

4 I am Louis Vuitron, f am Manolo, f am CoCo (2006) and the Olng, Chanel and Armimi Series (2008) focused on Chinese women.<br />

Bartholomew conducted research for these works while on residendes in Beijing and Shanghai, <strong>The</strong> piece I am Louis Vuitton. J am Manalo,<br />

f am CoCo, won the 25th Gold Coast Int~rnational CeramIC An Award 2006.<br />

In the exhibitlOl1 titled Vanishing Ground (2009)<br />

6 <strong>The</strong>se residencies wer~ in Jingdezhen, Beijing, and Shanghai from 2007- 2010.<br />

An earlier wolk Bartholomew did on the environment was By Land and Sea (1989) - ceramics made in New Zealand that were then exhibited<br />

at an exhibition at the- Bondi Pavilion Gallery in Sydney.<br />

8 Enciangeredwas exhibited in Sydney at Sabbia Galle-ry, 8 September - 2 October 2010.<br />

9 Paradise tost 2 (2010) was bought by the Yingee Museum, Taiwan.<br />

10 Julie Bartholomew's <strong>The</strong> Swift Parrot (2010) IS in the National Gallery <strong>of</strong> Australia's Collection.<br />

11 Each <strong>of</strong> the branches IS constructed from 3-5 separate sections.<br />

12 Excerpt taken from text on a detail <strong>of</strong> the work, Swift Paffot (2010).<br />

13 And in some cases there is a montage effect. as sentences have been physically CUI to wrap around the branch.<br />

14 In 2012 Bartholomew receiYed an Australia CounCIl for the Arts - New Work Grant for th~ two-pan projeCt Rarely Seen.<br />

15 Rarely Seen - an Installation was on display during the Austrahan <strong>Ceramics</strong> Triennale 2012: Subversive Clay (28 Septe-mber - 1 October 2012).<br />

16 With one empty petri dl!>h filled with Copper Red glaze allheir centre<br />

17 Bartholomew used Copper Red glaze.<br />

18 Bartholomew was assisted by flower maker and teacher, Tung Ling.<br />

19 Bartholomew completed the decal transfers in Australia.<br />

20 First exhibiting a selection <strong>of</strong> smaller flolNers at <strong>The</strong> Narrativ£! Knot: Stories in <strong>Ceramics</strong> (2 December 2011 - 22 January 2012) hetd at <strong>The</strong><br />

Manly Art Gallery and Museum, Sydney.<br />

21 Like Endangered. Bartholomew chooses species that are visually interesting but the form is also dependent on the restrictions <strong>of</strong> flower<br />

building itself. <strong>The</strong> ceramic insects are also another traditional genre In China, like flower making. <strong>The</strong> handf<strong>of</strong>med insects are sold, by<br />

artisans, on the side <strong>of</strong> the streets <strong>of</strong> Jingdezhen, China.<br />

22 Bartholomew first experimented with the red text In the f!ower WOf'ks made for <strong>The</strong> Narrative Knot Stories in <strong>Ceramics</strong> exhibition.<br />

23 Excerpt taken from text on petri dish in work litled OatWiniiJ Carnea (2012).<br />

24 <strong>The</strong> vessels are ceramic casts taken from various pieces <strong>of</strong> glass sc:ientJfi

Julie Bartholomew, Brachyscome Muelleri, 2012. detail, porcelain, celadon, silver decals, h.S3cm, w.1Scm<br />

d.5cm; photo: artist<br />


Focus: Ecology and Ceram ics<br />

Barbara Campbell-Allen, Overland, detail, <strong>2013</strong><br />

stoneware paperclay, natural ash glaze. h.21 em<br />

w.31cm, d.l6cm; photo: Alex Kershaw<br />

Overland:<br />

From the Cradle to the Lake<br />

Margaret Farmer pr<strong>of</strong>iles the work <strong>of</strong> Barbara Campbell-Allen<br />

Born from endurance and subsequent respite, Barbara Campbell-Allen's latest installation, Overland:<br />

From the Cradle to the Lake comprises two contrasting groups <strong>of</strong> forms - one <strong>of</strong> rugged vestigial<br />

seismic shifts, the other <strong>of</strong> dapple-surfaced amphora. 1 <strong>The</strong> work evokes two lan dscapes <strong>of</strong> the<br />

internationally renowned Overland Track in the Tasmanian Wilderness World Heritage Area - a landscape<br />

<strong>of</strong> endurance and a landscape <strong>of</strong> support - and Campbell-Allen's experience <strong>of</strong> moving through and<br />

between them. After traversing a threatening, fractured environment <strong>of</strong> dolerite cliffs, rolling moors<br />

and stunted heath for some days, utterly exposed in unrelentingly wet and windy conditions, Campbell­<br />

Allen and her companions followed the trail's descent into a forest, which <strong>of</strong>fered relief and a sense <strong>of</strong><br />

tranquillity, safety and shelter.<br />

Expressi ng the first part <strong>of</strong> this journey is a group <strong>of</strong> dramatic, compressed, geographic forms<br />

or 'constructs', whose eroded geometries glow with dark scoured striations and the effects <strong>of</strong><br />

the punishing weather. Each construct's attributes deliberately and directly reference the physical<br />

characteristics <strong>of</strong> the landscape. Rolled edges give expression to the rolling moors, striations to the<br />

dolerite cliffs, stiffness to jutting mesas. Enclosed spaces recall darker, broken rocks and fractured<br />

dolerite. Encrustations recall the stoic canny flora. <strong>The</strong> effect is menacing, lyrical, forbearing, like the<br />

landscape itself.<br />

Campbell-Allen shifts register to create less literal and more symbolic forms for the second grouping<br />

that represents the forest and the sense <strong>of</strong> respite and shelter it provides. <strong>The</strong> amphora shape symbolises<br />

old growth. Its narrow bottomed, full-bodied form is the most domestic and original for ceramic<br />

storage. In Overland: From the Cradle to the Lake, it promises a homecoming that is yet to be<br />

realised . Each amphora's domesticity is denied by its scale, its rim broken to recollect the broken and<br />


Focus: Ecology and <strong>Ceramics</strong><br />

-----<br />

Barbara Campbell-Allen, Over/and, deta,l, <strong>2013</strong><br />

various stonewares, natural ash glaze, tallest 67cm<br />

Photo: Alex Kershaw

Focus: Ecology and <strong>Ceramics</strong><br />

burnt trees that pierce the canopy <strong>of</strong> the forest, still recovering from a devastating fire forty years ago.<br />

<strong>The</strong> forest <strong>of</strong>fers shelter, but it is still w ilderness.<br />

Campbell-Allen has developed these forms over the past few years. Denser, smaller constructs<br />

featured in the 2011 exhibition Narrative Knot: Stories in <strong>Ceramics</strong>.2 Before these, in 2007, w ere<br />

the more formal wall pieces, some broken, reconstructed and rectilinear, in pairs, built up to evoke<br />

landscape and landform that Campbell-Allen exhibited in Slowtime.3 Utilising the amphora for its<br />

cross-cultural symbolism, Campbell-Allen has been working in collaboration with artist Alex Kershaw"<br />

on a sculptural work to accompany his new media installation Fantastico/ogy Tokyo: Fault, Flesh and<br />

Flowers at the Art Gallery <strong>of</strong> New South Wales. 5<br />

<strong>The</strong> abiding characteristics <strong>of</strong> Campbell-Allen 's practice are an exploration <strong>of</strong> the expressive capacities<br />

<strong>of</strong> clay and anagama-style woodfiring. Many works are developed in response to specific locations,<br />

exploring an embodied relationship to the land. In Overland: From Cradle to the Lake, Campbell­<br />

Allen 's concern is for the groupings to convey the different emotional sense <strong>of</strong> each landscape<br />

and <strong>of</strong> her journey. Her achievement is the way the forms embody her specific experience and the<br />

particular ecologies <strong>of</strong> the Overland, intending to resonate with others' experiences <strong>of</strong> constraint and<br />

expansiveness.<br />

Margaret Farmer is a curator, writer and editor based in Melbourne.<br />

www.barbara-campbell-allen.com.au<br />

1 Ovefldnd. From the Cradle to the Lake. Incinerator Arl Space, Willoughby, 27 September - 13 October <strong>2013</strong><br />

Manly Art Gallery and Museum, 2 Decembef 2011 - 22 January 2012.<br />

Freeland Gallery, Paddmgton, 2007.<br />

4 Alex Kershaw is it Video artist and photographer.<br />

S Fantasticology Tokyo: Fault Flesh and Flowers, Art Gallery <strong>of</strong> New South Wales, 12 September - 10 <strong>No</strong>vember <strong>2013</strong><br />

Barbara Campbell-Allen, Overland, detail. 20 13. stoneware paperclay, natural ash glaze, tallest 4 1 em; photo: Alex Kershaw

Focus : Ecology an d <strong>Ceramics</strong><br />

Vicki Hamilton, Vengeance<br />

hand-built porcelain, 1300"(<br />

Photo: courtesy artist<br />

On the Edge: An exhibition<br />

by Vicki Hamilton<br />

Reviewed by Dr Pam Si nnott<br />

Vicki Hamilton's recent exhibition' was deeply disturbing. Its impad was in highlighting the plight <strong>of</strong><br />

animals that have been affected by human 's dired and indirect intervention in their natural environment.<br />

<strong>The</strong> exhibition, which was held at the Newcastle Studio Potters' Back to Back Galleries, had nine<br />

individual sculptures and two 'performative' installations. <strong>The</strong> gallery walls had been painted steel<br />

grey, which created a high contrast to the 'fragile' white sculptures. Nine <strong>of</strong> the individual works were<br />

meticulously modelled in Southern Ice with some <strong>of</strong> these having other material additions. Other<br />

sculptures had been slipcast and were either low-fired or unfired.<br />

In scale, most <strong>of</strong> the sculptures were modelled miniatures <strong>of</strong> animals that had been seleded from the<br />

Red List <strong>of</strong> threatened animals compiled by <strong>The</strong> International Union <strong>of</strong> Conservation <strong>of</strong> Nature (lUCN)2<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Unfired slipcast animal forms contained in trays<br />

<strong>The</strong> sculptures Vengeance and Trophy focus on mountain gorillas affected by the mining <strong>of</strong><br />

Coltan. This mineral is used in small communication devices such as mobile phones, laptops, and other<br />

electronic equipment. Mining <strong>of</strong> Coltan in the Congo directly impacts on the mountain gorilla. Apart<br />

from the immediate effect <strong>of</strong> habitat destruction, the poorly paid miners hunt the mountain gorilla for<br />

bush meat and trophies to sell to tourists. Trophy is a particularly moving piece with the hand <strong>of</strong> the<br />

gorilla having been hacked <strong>of</strong>f for sale as a souvenir.<br />

Hanging by a thread and Defenceless express two conservation efforts to save the black rhinoceros<br />

from mutilation and death by poachers. Some have been rescued by transporting them to protected<br />

areas . Another more invasive method is to remove the much-prized horns to protect them from<br />

poachers.<br />

Flux symbolises the effects <strong>of</strong> climate change on wildlife. <strong>The</strong> polar bear needs to hunt on ice flows<br />

where seals haul out to pup and to rest. However, each year the ice is thinner and breaks up earlier,<br />

leaving polar bears stranded and dying <strong>of</strong> starvation.<br />

<strong>The</strong> desperate plight <strong>of</strong> the sumatran orang-utan is expressed in Banished. Here an orang-utan is<br />

depicted stuck in a barrel, its habitat being destroyed due to the rapid expansion <strong>of</strong> palm oil cultivation.<br />

In our own back yard, Bad Bunny symbolises the introduction <strong>of</strong> exotic species, such as rabbits, faxes<br />

and domestic cats, and the devastating effects these have on <strong>Australian</strong> wildlife. Vulnerable, depicting<br />

the northern hairy-nosed wombat, shows the impact that agriculture has on wildlife habitats.<br />


In the exhibition there were also two<br />

'performative' installations, both <strong>of</strong> which<br />

metaphorically emulates the ongoing destruction<br />

<strong>of</strong> animals through human activity. One had<br />

slipcast low-fired animals moving along a<br />

conveyor belt that had been mounted on the<br />

wall. During the exhibition opening, when<br />

the conveyor belt was turned on, there was a<br />

collective gasp from the audience as one by one<br />

the animals fell to the shard pile <strong>of</strong> previously<br />

fated animals below. This work, Pathway to<br />

Extinction, cleverly mimics the ongoing violent<br />

destruction <strong>of</strong> animals by humans through<br />

deforestation, the introduction <strong>of</strong> exotic species,<br />

or poaching.<br />

<strong>The</strong> other installation work showed medicalstyle<br />

drips slowly feeding water directly onto<br />

three unfired slipcast animal forms contained<br />

in trays. During the exhibition the forms could<br />

be observed in states <strong>of</strong> molten change until,<br />

finally, all that was left was clay slurry. This work<br />

can be likened to the slow and <strong>of</strong>ten unnoticed<br />

extinction <strong>of</strong> animals through habitat and climate<br />

change.<br />

Hamilton's artworks have pr<strong>of</strong>ound, emotional<br />

impact and this is her intention. Through the<br />

form <strong>of</strong> her sculptures she gives voice to the<br />

animals who cannot speak for themselves. By<br />

highlighting their stress due to human activity,<br />

she also emphasises the vulnerability <strong>of</strong> the<br />

planet and the interconnectedness <strong>of</strong> all its<br />

inhabitants - both animal and human.<br />

Pam Sinnott has exhibited and been<br />

published in both national and international<br />

exhibitions and journals. Her artworks<br />

focus on highlighting issues <strong>of</strong> gender and<br />

sexuality. She is an Associate Pr<strong>of</strong>essor in<br />

the School <strong>of</strong> Creative Arts, University <strong>of</strong><br />

Newcastle,<br />

1 <strong>The</strong> assessment exhlrntlon for the award <strong>of</strong> a Master <strong>of</strong><br />

Philosophy (Fme Art), the Umverslty <strong>of</strong> Newcastle<br />

2 www;ucnredlisl.otg<br />

Vicki Hamilton's work is handbuilt using<br />

porc.elain then fired to 13000C.<br />

Top to bottom:<br />

Banisheda. <strong>2013</strong>, h.2Sem, w.20em, d.2Ocm<br />

Bad Bunny, 2011, h.12em, w.llem, d.22em<br />

Hanging by a Thread, <strong>2013</strong>, h.20em<br />

w.13em, d.26cm (excluding rope)<br />

Photos: courtesy artist<br />


Focus: Ecology and <strong>Ceramics</strong><br />

----- ------------<br />

Pine - Cathy Keys<br />

An introduction by Lou ise Martin-Chew<br />

Pine is a collection <strong>of</strong> ceramics, works on paper, mixed media and photography concerned with the<br />

cultural significance <strong>of</strong> Bunya pine trees (Araucaria bidwillii).<br />

Cathy Keys is an artist with wide resea rch and artistic interests and significant variety in her<br />

background. Her study areas lie in design and architecture and she has worked pr<strong>of</strong>essionally in<br />

Indigenous communities, yet her artistic interests during 2012 (to be shown in <strong>2013</strong>) have extended<br />

Keys beyond the ceramic forms for which she is best known. She has traced her roots and family<br />

history in the Bunya Mountains, noting the significance <strong>of</strong> the Bunya pines to her life in the city, and<br />

emphasising their importance within Indigenous cultural heritage.<br />

Viewed with her previous work - the hand-coiled pots and sculptural forms that expose the coiling<br />

process that is a fundamental beginning <strong>of</strong> much ceramic work but is generally smoothed over - it may<br />

be seen as a continuation <strong>of</strong> her interest in making the invisible visible.<br />

This group <strong>of</strong> exhibitions has three components: <strong>The</strong> Bunyas (ceramics and photographic works<br />

shown at Artisan Gallery), Pine(ing), (drawings and mixed media works that explore some <strong>of</strong> her<br />

own medical history), and Bunya (ceramics and drawings at the Bunya Mountains Gallery). Consistent<br />

with her earlier exhibitions, each is accompanied by historical precedents that speak to her imaginary<br />

response to these subjects.<br />

Keys has an ongoing relationship with the Bunya Mountains having holidayed there since childhood.<br />

Stimulated by this, the bodies <strong>of</strong> work that deal with the Bunya pines also examine the ecological and<br />

cultural Significance <strong>of</strong> these trees. Indigenous custodianship <strong>of</strong> this place acknowledges the Bunya<br />

Mountains as a meeting place and the trees as a food source, and she notes that Bunya pines and their<br />

cones appear in colonial literature, art and landscape design.<br />

Cathy Keys, Divide, 2012, earthenware, h.28cm, w.250cm, d.50cm; photo: Gary Mitchell<br />


Focu s: Ecology and <strong>Ceramics</strong><br />

Cathy Keys, Nut Series, 2012, stoneware, oxides, hAOcm, w.200cm, d.60cm; photo: Gary Mitchell<br />

Within Bunya, there is an evolution <strong>of</strong> her technique and with the adoption <strong>of</strong> torn clay to echo<br />

the spiky nature <strong>of</strong> the cones, a move away from the overt use <strong>of</strong> the coil as seen in her other work.<br />

Highly evocative, process-driven drawings include a series <strong>of</strong> yellow paper daisy drawings that privilege<br />

the gesture over technique. Her personal journey through the Bunya Mountains is made overt with the<br />

series <strong>of</strong> photographic pendants and brooches that show us the Bunya horizon, sky and landscape, and<br />

internal forest views. Some <strong>of</strong> these become portraits <strong>of</strong> individual trees and their hybrids, and include<br />

the healthy coexistence <strong>of</strong> the strangler fig parasite and its Bunya pine host.<br />

Cathy Keys, <strong>No</strong>stalgia, 201 3, pendants, photography, glass, copper foil, oxides, h.8cm, d.3cm; photo: artist<br />


Focus: Ecology and <strong>Ceramics</strong><br />

cathy Keys, Water Tank , 2012, ink, paper, pastels<br />

h.83cm, w.59cm<br />

Cathy Keys, Trepanning Series - Panel4, <strong>2013</strong><br />

mixed media, print release, ink apple slinky, fibre cement sheet<br />

h.95cm, w.41 cm; photos: Gary Mitchell<br />

<strong>The</strong> Bunyas represents some <strong>of</strong> these photographs in sepia tones, their nostalgia echoing 19th<br />

century colonial renditions <strong>of</strong> some <strong>of</strong> the same views and referring to the history <strong>of</strong> this significant<br />

place to Indigenous populations and colonials alike.<br />

<strong>The</strong> trepanning series (part <strong>of</strong> Pine(ing)) takes Keys on a more experiential journey, tracing a personal<br />

battle with pain. Stimulated by recurring migraines, Keys fantasises about surgery to her head, informed<br />

by actual historic medical treatments that sought to relieve pressure by drilling into the skull. <strong>The</strong><br />

pervasive image <strong>of</strong> the Bunya pine, which marks territory in Brisbane as well as in the mountains, is<br />

evoked as a presence within these landscapes as well. A skull sits within a landscape that includes Bunya<br />

pine trees along the horizon line, marking the forest as a touchstone not only for Keys but for the places<br />

and people <strong>of</strong> Queensland.<br />

This project has received financial assistance from the Queensland Government through<br />

Arts Queensland,<br />

www.cathykeys.com<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Slower, Smaller, Quieter<br />

Towards a local terroir-based life and aesthetic by Steve Harrison<br />

I have spent my life developing a philosophy <strong>of</strong> minimal consumption and self reliance. I believe in not<br />

buying anything that I don't need and not throwing anything away that isn't fully worn out. This has<br />

been part <strong>of</strong> an exploration <strong>of</strong> how it might be possible to live frugally and gently in a faster, noisier<br />

and bigger world <strong>of</strong> seemingly senseless and excessive consumerism . I have been wondering if there is<br />

a way <strong>of</strong> living that can side-step this rat race, or at least move to the much slower lane in the race to<br />

nowhere, trying to negotiate a niche at the bottom <strong>of</strong> the ceramic food chain.<br />

My partner Janine King and I work in isolation, making the ceramics that interest us. We try not to<br />

get involved in anticipating or even following market trends. We make only what pleases us and then<br />

try after the event to find a market for our work. This is not good business, but it is most rewarding in<br />

terms <strong>of</strong> satisfaction. I work with the raw materials that I can find around me in my immediate locality<br />

and then try to find what I can make from them. I find this approach fascinating and rewarding.<br />

<strong>The</strong> old school classroom, built 1893, extended and converted into a house

Focus: Ecology and <strong>Ceramics</strong><br />

I have never had a full time job or salary. I have learned to be frugal and this has allowed me the<br />

freedom to live a creative life. I have a life partner who is also in the same position, so together we have<br />

worked to achieve independence on a very low budget. I am under no illusions; I know that I could<br />

not have lived this quality <strong>of</strong> life without either Janine as my partner or by trying to earn a living solely<br />

through sales <strong>of</strong> my ceramics. It became very clear early on that I would need another source <strong>of</strong> income<br />

to balance my financial and creative books. I have tried many things to earn this creative independence.<br />

In the early days I worked as a builder's laborer, plumber's assistant, bricklayer, welder, and sheet metal<br />

worker. <strong>No</strong>ne <strong>of</strong> these jobs were ideal, far from it, but they were all part <strong>of</strong> my journey; they have<br />

helped make me what I have become. When I was young I decided that I would live in the country,<br />

grow my own food, make a creative life, and build my own house. I have now fulfilled all <strong>of</strong> those<br />

modest ambitions.<br />

Since I was a child, I have had an interest in the natural world along with drawing, art and creativity.<br />

I grew up in a fringe suburb surrounded by native bush and heathland. I wasn't academically minded<br />

so I spent a lot <strong>of</strong> my time wandering in amongst the bush, rocks and bogs, going down to the<br />

creek, looking for yabbies, collecting clay, spending time watching the wildlife, picking up stones and<br />

wondering what made them the shape, colour and texture they were.<br />

Steve Harrison, Bowl, washed basaltic gravel<br />

blackware body with pink optical glaze showing intense<br />

iron concentration at the rim<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Our indigenous peoples have a long tradition <strong>of</strong> respectful collecting, gathering and hunting. I feel<br />

that my small experiments, interacting with the natural world, are a contemporary continuation and<br />

interpretation <strong>of</strong> this ancient practice.<br />

It's almost 40 years since I moved to this small village in the Southern Highlands south <strong>of</strong> Sydney. I<br />

have found lots <strong>of</strong> interesting and useful things that a potter needs - materials like red feldspar, white<br />

bai-tunze, yellow kaolin, blue cobalt and green energy. I've had a colourful life.<br />

I have become interested in aspects <strong>of</strong> the real, the tangible, the handmade, a sense <strong>of</strong> place, the<br />

'terroir' <strong>of</strong> a locality. I have no interest in the fast track and the cheap throwaway. I want real things<br />

around me, things that will stay around me and develop a patina <strong>of</strong> age and a meaning born <strong>of</strong> context<br />

and familiarity.<br />

Some years ago I discovered the 'Joadja' bai-tunze native porcelain stone deposit This has enabled<br />

me to develop my woodfired porcelain and proto porcelains made from native bai-tunze porcelain stone.<br />

<strong>The</strong> nature <strong>of</strong> the pieces that I have created is such that they represent the geology <strong>of</strong> the Southern<br />

A blackware bowl by Steve Harrison<br />

where the pink optical glaze has turned<br />

to a pink oil-spot effect where it was<br />

partially overfired.<br />


Focus: Ecology and <strong>Ceramics</strong><br />

Highlands. <strong>The</strong>y are not the most translucent or the whitest <strong>of</strong> porcelains, however they are the product<br />

<strong>of</strong> my interaction with my locality. During the development <strong>of</strong> this work it has been my intention to<br />

make a 100% local product. In this regard I have to admit that I have failed; but an attempt was<br />

made, with all its limitations and faults and all its local character. <strong>The</strong> French have a word, 'terroir', that<br />

expresses some <strong>of</strong> this quality. <strong>The</strong> search for a personal aesthetic based on the essence <strong>of</strong> my locality<br />

is also the search for the essence <strong>of</strong> the potter. <strong>The</strong> two are inseparable. I like to think that use <strong>of</strong> my<br />

found earths, stones and ashes to create individual ceramic pieces is akin to Christopher Hogwood's use<br />

<strong>of</strong> period instruments to express something that is essential and fundamental to his art form.<br />

I am a ceramics locavore, I like the recent idea <strong>of</strong> the 100 km diet, so I chose to limit myself to the<br />

50 km palette. All <strong>of</strong> the wood fuel for my kiln is grown on my land, my neighbors', or is gleaned from<br />

local garden prunings and windfalls. <strong>The</strong> fire bricks for my kiln are made by hand from a local refractory<br />

white bauxite clay. My glazes are produced from the same bai-tunze porcelain stone as the clay body or<br />

from other local igneous rocks, shales, gravels and ashes. All these materials are discovered by me and<br />

then crushed, processed and milled, inefficiently and on a very small scale, in the workshop that Janine<br />

and I built with mud bricks made from local clay.<br />

I make my porcelain from the local Joadja bai-tunze porcelain stone deposit that I discovered. It<br />

woodfires beautifully with a nice pale flash and an ability to take carbon inclusion in a dramatic way.<br />

It can also make a wonderous blue celadon-inspired glaze <strong>of</strong> intense colour and lovely texture when<br />

blended with the local limestone. I have developed a charming blackware body by washing the clay<br />

particles <strong>of</strong>f a deposit <strong>of</strong> local weathered basalt. This material has a 20% iron content and has proved<br />

exceptionally difficult to fire in reduction to stoneware temperatures. When it survives, it is quite<br />

Steve Harrison, Bowl, native Joadja bai<br />

tunze porcelain stone body with red flashing and<br />

carbon indusion; glazed with Joadja porcelain<br />

stone blue celadon·style glaze showing ash<br />

build· up from the firing

Focus: Ecology and <strong>Ceramics</strong><br />

Steve Harrison, Bowl,<br />

blackware, washed basaltic<br />

gravel body with bluelwhite<br />

opalescent Joadja bal tunze<br />

and ash glaze<br />

Photos: courtesy Steve<br />

Harrison<br />

extraodinary and brings out the best from my woodash and bai-tunze 'jun' -inspired opalescent glaze.<br />

Each <strong>of</strong> the different wood ashes derived from distinct trees and plants in this locality (such as eucalypt,<br />

pine, fruit trees prunings and wattle) give different 'jun' effects. I accidentally discovered an optical pink<br />

glaze that works well on my blackware. I discussed it with the late Ian Currie and he explained that<br />

optical pink is the opposite <strong>of</strong> the jun effect: jun requires high silica base glaze to develop opalescence,<br />

whereas optical pink needs very low silica levels. <strong>The</strong>re is no colourant involved; it is a clear glaze<br />

that reflects red light - amazing, but apparently true. It certainly works well over my blackware and<br />

sometimes when high fired, it produces a pink oil spot effect.<br />

We have an extensive organic garden and orchard which provides most <strong>of</strong> our fresh food throughout<br />

the year, so our energies are split between our efforts at ceramics and food self-reliance. In recent years<br />

we have installed solar photo-voltaics sufficient to power our house, workshop, electric kiln and kilnbuilding<br />

factory. Because we have learnt to become very frugal in our energy use, we find that we are<br />

able to support all our electrical needs with enough power in excess to sell more than half <strong>of</strong> our output<br />

back to the grid each day.<br />

This is the life that we have been working towards during our time here and although it's not perfect,<br />

we feel that we have achieved a low-impact, s<strong>of</strong>t-footed, carbon-neutral way <strong>of</strong> coping as potters in<br />

a modern world. Someone once asked me what was left on my bucket list. I answered that I haven't<br />

learnt to make buckets yet, but once I do, making buckets will be the first thing on the list.<br />

www.hotnsticky.com.au<br />


View I<br />

<strong>The</strong> Fuping Experience<br />

Megan Patey reports on an extraordinary twenty-day residency at Sturt<br />

This is a story about collaborations: <strong>of</strong> how a group <strong>of</strong> <strong>Australian</strong> and New Zealand potters went to<br />

China, were touched by the vast Chinese ceramic tradition, experienced the warmth <strong>of</strong> the Chinese<br />

people, created strong friendships, and developed pr<strong>of</strong>essional collaborations in ways they had never<br />

imagined.<br />

Over two years, in 2006 and 2007, 19 potters from Australia and New Zealand were invited to be<br />

artists in residence in a tile-making fadory in the small town <strong>of</strong> Fuping, right in the middle <strong>of</strong> China.<br />

Working in the fadory with unfamiliar clay and glazes, a huge range <strong>of</strong> moulds and extruded produds,<br />

and industrial sized kilns, alongside non-English speaking Chinese workers, brought many challenges.<br />

And making work that was to be woodfired when some <strong>of</strong> the group had never wood-fired before<br />

was an additional challenge, but also creatively rewarding. <strong>The</strong>ir responses to China were intense and<br />

sparked a flame <strong>of</strong> collaboration that would not go away. 1<br />

Organising exhibitions takes time and planning - organising cross-Tasman ventures even more. But<br />

undaunted, this is what the group did. In the years following the China visit, the group organised three<br />

exhibitions: Down Under China at <strong>The</strong> Arthouse in Christchurch in 2008, In Good Company at Skepsi<br />

Gallery in Melbourne in 2009, and Fuping + 3 at Masterworks Gallery in Auckland in 2011. It wasn't<br />

until a new residency was created at Sturt Craft Centre in <strong>2013</strong> that the group had a chance to meet up<br />

again in person, share a studio, make pots, and fire together.<br />

Sturt at Mittagong is well known for its focus on ceramics, but it is also part <strong>of</strong> a collaborative story.<br />

Sturt's very essence has depended on varying levels <strong>of</strong> cooperation over 70 years - between studios,<br />

Below: <strong>The</strong> fuping group at Stur! Pottery. Back Row: Grace Cochrane (behind Deb Williams), Chester Nealie,<br />

Cheryi Lucas, Isaac PatmorE', Richard Parker, Susie McMeekin; Middle Row: Steve Williams. Deb Williams, Owen Rye,<br />

Toni Warburton. Chris Weaver; Front Row: Jan Irvine-Nealle, John Parker; absent: Grant Hodges<br />

Below right: Toni Warburton constructing work at Sturt Pottery<br />


View I<br />

artists sharing spaces, teachers and apprentices, and artists and Sturt's audience, embodied in the artist<br />

in residence program. New Zealand potter Chris Weaver took up a position as resident at Sturt Pottery<br />

in 2010. Chris had been part <strong>of</strong> the Fuping Chinese residency in 2007, and when he came to Sturt the<br />

experience was still fresh in his mind. So he began discussions with Mark Viner, Head <strong>of</strong> Sturt, about<br />

the possibility <strong>of</strong> continuing the Fuping experience at Sturt. And so 'Twenty Days at Sturt - the Fuping<br />

Experience' began.<br />

This was envisaged as a big project. Developed over the next three years, under the anchorage<br />

<strong>of</strong> curator Grace Cochrane (who had also been w ith the group to Fuping), and with the support<br />

<strong>of</strong> Creative New Zealand and Sturt's resources, the Fuping Group was invited to spend three weeks<br />

together in July <strong>2013</strong>, making and firing work, and then concluding the residency with an exhibition .2<br />

Eleven <strong>of</strong> the Fuping group - Owen Rye, Toni Warburton, Isaac Patmore, Steve Williams, Cheryl<br />

Lucas, Richard Parker, John Parker, Chris Weaver, Grant Hodges, Michael Keighery and Fiona Fell -<br />

accepted the invitation to take part in the Sturt residency.3 To start the momentum, eight potters made<br />

four hundred pieces in just seven days to fill the 100 cubic foot anagama kiln. In the second week,<br />

three more potters arrived; they split wood, packed the ki ln and fired it over four days - a daunting task<br />

for most, and an intensely collaborative process! <strong>The</strong> pots fired in this kiln were exh ibited in Fuping -<br />

Sharing the Experience during the fina l week <strong>of</strong> the residency at Sturt Gallery.<br />

Watching this group working over the three weeks was fascinating . It quickly became obvious that<br />

this was no ordinary group <strong>of</strong> artists working together. <strong>The</strong>y had an ease and generosity which allowed<br />

Below: Isaac Patmore, Cheryl lucas and John Parker sharing a joke while working at Sturt Pottery<br />

Below fight: <strong>The</strong> pots in the kiln before firing<br />


View I<br />

Cheryl Lucas<br />

Three woodfired pourers<br />

them to move comfortably around each other -<br />

making pots, sharing a small work space, cooperating<br />

over the fussy business <strong>of</strong> wadding and packing hundreds <strong>of</strong> pots, splitting and stacking several tons <strong>of</strong><br />

wood, working in firing teams, stoking day and night to keep the anagama kiln firing over four days.<br />

Although many <strong>of</strong> these potters had no prior experience <strong>of</strong> woodfiring, working w ith the unknown<br />

was what they had come for. This is what they had experienced in China, and it had pr<strong>of</strong>ound effeds<br />

on all <strong>of</strong> them. Richard Parker said, "Opportunities <strong>of</strong> travel and work are invaluable in refreshing and<br />

invigorating work." Collaborations give colleagues the chance to work together, absorbing others'<br />

energy and learning from each other in unspoken, subtle ways, particularly important in a field <strong>of</strong>ten<br />

marked by solitary and self-direded work. Chris Weaver commented: "What a privilege to be part <strong>of</strong><br />

this group <strong>of</strong> makers, some <strong>of</strong> whose work I have admired for years." Cheryl Lucas said "the group are<br />

there should I wish to talk through an idea and brain storm a process" and John Parker summed up the<br />

experience by saying that " the concentrated work cycle with the other potters formed an unbreakable<br />

bond that perpetuates. <strong>The</strong>re is residual mutual care and concern founded on our special shared<br />

experience " .4<br />

<strong>The</strong> Fuping group brought to the Sturt residency a wide diversity <strong>of</strong> ceramic styles and techniques,<br />

from colourfully glazed earthenware pieces to groups <strong>of</strong> regularly formed black and white pots, strongly<br />

expressive woodfired sculptural work to exquisitely nuanced tableware, and heavily woodfired bottles<br />

to deliberately pared back abstrad vessels . This contrast <strong>of</strong> style and technique between the artists was<br />

just one <strong>of</strong> the fadors that contributed to the success <strong>of</strong> the residency. This diversity dominated the slide<br />

evening when eleven lives w ere condensed into five-minute talks w ith accompanying images, giving<br />

the audience a privileged insight into some <strong>of</strong> the inspirations and challenges <strong>of</strong> contemporary ceramic<br />

careers.<br />

This was an inspirational residency shaped by the quality <strong>of</strong> collaboration between the partici pants<br />

and a fascinating chapter in the continuing story <strong>of</strong> China, people, and making pots.<br />

Megan Patey was Director <strong>of</strong> Sturt from 1999 to 2009. She is an occasional photographer and<br />

writer <strong>of</strong> ceramics articles and makes pots in her studio.<br />

Full detaIls about the Fuplng residency can be found in <strong>Ceramics</strong> Technical, Issue <strong>No</strong> 26, 2008<br />

Susie MCMeekin, Janet OeBoos and Chester Nealie contributed work for <strong>The</strong> Fupmg Group - Sharing the Experience<br />

3 Janet Mansfield was part <strong>of</strong> the origlOal Fuping group and sadly could not be part <strong>of</strong> this proje

Vi ew I<br />

1 Richard Parker, pots ready to be placed in the kiln<br />

2 Fiona Fell helping with Ihe packing<br />

3 Owen Rye shares a joke with Michael Keighery while packing<br />

4 Steve Williams stoking the kiln<br />

Photos: Megan Patey; taken al Sturt in July <strong>2013</strong><br />


View II<br />

Vipoo Srivilasa, 2012<br />

Affluence Deity<br />

porcelain, cobalt pigment<br />

h.33cm. w.20cm. d.20cm<br />

Narratives in<br />

Blue and White<br />

Caterina Leone reviews the recent work<br />

<strong>of</strong> Vipoo Srivilasa<br />

Since the 17th and 18th centuries, blue and white ceramics have been synonymous with the East,<br />

yet more recently contemporary artists such as Vipoo Srivilasa are challenging the monopoly <strong>of</strong> that<br />

association. His Red Room installation was recently shown at Maunsell W ickes Gallery in Paddington,<br />

featuring the blue and white ceramics embellished with gold that have been a mainstay <strong>of</strong> his recent<br />

work. Set in a single room with startling, bright red walls inspired by 18th century European galleries<br />

<strong>of</strong> exotic porcelain, Vipoo's almost naive illustrations are suffused with a playful and joyous energy that<br />

we have come to expect <strong>of</strong> the artist; yet this seeming light-hearted ness conceals a surprising depth <strong>of</strong><br />

meaning, <strong>of</strong> symbolic and satirical narrative. Vipoo's use <strong>of</strong> the blue and white style is a reference to its<br />

export from China to Europe, and thus a personal reference to his own migration from east (Thailand) to<br />

west (Australia) in 1997. <strong>The</strong> popularity <strong>of</strong> blue and white ware in Europe peaked in the 18th century, a<br />

time which also holds further intriguing, and possibly unintentional, connotations that unite this body <strong>of</strong><br />

work.<br />

<strong>The</strong> 18th century was a period when the ownership <strong>of</strong> goods became linked to social prestige,<br />

with consumer goods signifying social and cultural belonging. This was an essential element <strong>of</strong> the<br />

formative process <strong>of</strong> commercial capitalism, fuelled later in the century by the Industrial Revolution. This<br />

materialism and commercial capitalism, still perpetuated to this day, is satirised by Vipoo in iGod and<br />

Affluence Deity. <strong>The</strong> iPhone is one <strong>of</strong> the new status symbols, made to carry a meaning and allusion to<br />

group belonging beyond its ostensible function. In iGod, the Apple logo has replaced the heart <strong>of</strong> the<br />

four-armed deity. This work, reminiscent <strong>of</strong> Vishnu, the Hindu god (yet with a golden crown or aureole<br />

more evocative <strong>of</strong> Christianity), suggests the omnipotence and omnipresence <strong>of</strong> the iGod furthered<br />

by its four arms. Affluence Deity, adorned with numerous currency symbols, stands upon a pedestal<br />

decorated with blue and gold peacock feathers. <strong>The</strong> feathers, as they do in Christianity, could symbolise<br />

immortality. thus intimating capitalism's undying hold upon society. Yet peacocks are said to have the<br />

ability to eat poisonous plants and snakes without being affected by them. Because <strong>of</strong> that, they are<br />

synonymous in Buddhism with the transmuting <strong>of</strong> desire into the path <strong>of</strong> liberation and enlightenment.<br />

This is a far more optimistic implication: that humanity may be able to evolve out <strong>of</strong> its current<br />

materialist and capitalist devotion.<br />


Vipoo Srivilasa, 2012<br />

IGod, porcelain, cobalt<br />

pigment h.48cm, w.1Scm<br />

d.13cm<br />

Photos: courtesy artist<br />


View II<br />

All work by Vipoo Srivilasa, 2012<br />

Photos: courtesy artist<br />

left: Enlightenment<br />

set <strong>of</strong> 3, porcelain<br />

Below left: Joy Stick Twisted<br />

set <strong>of</strong> 2, h.19cm<br />

Works such as Enlightenment similarly utilise<br />

Buddhist imagery. At first glance, the lotus is<br />

almost too perfect in appearance, as though<br />

formed in a mould or manufactured. Upon<br />

closer inspection, the joins <strong>of</strong> the petals become<br />

evident as do the fingermarks <strong>of</strong> their maker,<br />

rendering them all the more beautiful. <strong>The</strong><br />

lotus, one <strong>of</strong> the most poignant representations<br />

<strong>of</strong> Buddhist teaching, signifies rebirth or the<br />

progress <strong>of</strong> the soul to enlightenment. White<br />

lotus, in particular, represent the state <strong>of</strong> spiritual<br />

perfection and mental purity that the artist<br />

strives for in his daily meditation. Despite the<br />

playfulness that infuses much <strong>of</strong> Vipoo's work,<br />

such as the cheeky Joy Stick sculptures, there<br />

is a unity and calmness to the body <strong>of</strong> work as<br />

a whole, a cohesion enhanced by the unifying<br />

red <strong>of</strong> the walls, and arguably resulting from<br />

his Buddhist spirituality and devoted meditation<br />

practice.<br />

<strong>The</strong> connection with the 18th century is again<br />

utilised in Willow Poem, in which Vipoo has<br />

included ink and watercolour drawings on paper.<br />

Still maintaining the blue and white aesthetic,<br />

the drawings are grouped physically around a<br />

central ceramic plate bearing a version <strong>of</strong> the<br />

W illow pattern poem. <strong>The</strong> artist has changed<br />

the wording from Chinese temple to Thai<br />

temple in order to signify his own Thai heritage.<br />


Vipoo Srivilasa. Red Room installation, 2012; photo: Vicki Grima<br />

Below: Vipoo Srivilasa, 2011 - <strong>2013</strong>. Willow Poem , detail, 1 <strong>of</strong> a set <strong>of</strong> 8, cobalt pigment. porcelain; photo: courtesy art iS1<br />

<strong>The</strong> change also hints at the origins <strong>of</strong> the Willow pattern; it is an<br />

image produced by British engravers in the late 18th century and<br />

derived from Chinese models. It is at best an imitation or distillation,<br />

at worst a distortion <strong>of</strong> Chinese culture. Thus Vipoo's own<br />

misrepresentation <strong>of</strong> the poem alludes to this original, unsurprising<br />

misappropriation <strong>of</strong> Asian culture.<br />

Vipoo's experiences and portrayal <strong>of</strong> immigration are indisputably<br />

positive, expressed so succinctly in the melding <strong>of</strong> the oriental blue<br />

and white with the overtly <strong>Australian</strong> iconography, such as the emu<br />

and kangaroo that consist ently appear throughout the work. This<br />

positive attitude is made even more important by the recent uproar<br />

over asylum seekers in Australia. Vipoo's exhibition is a reminder <strong>of</strong> the positives <strong>of</strong> immigration and the<br />

richness <strong>of</strong> culture that Australia has gained as a resul t <strong>of</strong> its immigrants.<br />

Red Room is an exceptional example <strong>of</strong> work based around a uniting theme which manages to<br />

combine numerous interwoven threads that are at once personal, political and spiritual, giving the<br />

exhibition an unusual complexity. Nevertheless it is refreshing that Vipoo's work does not necessitate<br />

detailed research into meaning and intent in order to enchant. It engages the viewer immediately in<br />

an emotional and purely aesthetic response. Despite having two solo shows almost simultaneously, a<br />

printmaking residency at COFA's Cicada Press from 29 July to 6 August, a workshop and open studio<br />

later in the month, and numerous international residencies and workshops later this year, Srivilasa has<br />

produced a body <strong>of</strong> work that is multi-layered and unique, and which cements him in his rightful<br />

position as one <strong>of</strong> the leading ceramic artists in Australia.<br />

Vipoo Srivilasa, Red Room, Maunsell Wickes at Barry Stern Galleries<br />

Paddington, NSW, August <strong>2013</strong><br />

www.maunsellwickes.com; http://vipoo,com<br />


View III<br />

Stephen Benwell:<br />

Beauty, Anarchy, Desire -<br />

A Retrospective<br />

Curator Jason Sm ith gives a brief overview<br />

Stephen Benwell is one <strong>of</strong> Australia's most prominent, critically acclaimed contemporary artists. Since<br />

the early 1970s, his work has combined the studio-based craft traditions and practical resolutions <strong>of</strong><br />

the potter with the conceptual painterly and sculptural concerns <strong>of</strong> the contemporary artist. Over four<br />

decades Benwell has developed a distinct vision that combines a deep respect for art historical periods<br />

and styles, from antiquity to the present, with meditations on beauty and desire, an anarchic reordering<br />

<strong>of</strong> aesthetic rules, and the pot as a 'canvas' for painted observations and personal, autobiographical<br />

imagery.<br />

Benwell was born in Melbourne in 1953 and has exhibited nationally and internationally since 1975.<br />

Heide's forty-year retrospective assembles works that exemplify his development from early, seemingly<br />

archaic, eccentric forms melding references to the antique, through the evolution <strong>of</strong> handbuilt pots and<br />

their complex, sometimes lyrically painted surfaces with narrative vignettes, to the sculptural male nudes<br />

that have emerged strongly in his work over the past decade.<br />

<strong>The</strong> earliest works in the exhibition are those made in stoneware, the predominant medium used<br />

by potters in the 1970s when Benwell commenced studies and embarked on his career. <strong>The</strong> material<br />

qualities <strong>of</strong> stoneware and its particular firing requirements demanded a certain approach from Benwell<br />

in relation to painting and decoration: a decisive, linear pattern and treatment in a restricted palette <strong>of</strong><br />

colours. Benwell's early works reveal the ways in which, at the outset <strong>of</strong> his career, he sought to counter<br />

the then-dominant Anglo-Japanese aesthetic <strong>of</strong> functional ceramic objects by making forms that blurred<br />

the line between the functional and the sculptural.<br />

In a practice with reference points from Madame de Pompadour to Matisse (to name just two), the<br />

model for Benwell's career remains, as Peter Timms has noted, "the jigsaw puzzle or the mosaic, in<br />

which little fragments <strong>of</strong> art history are used and reused, each time in different guises and different<br />

combinations" . Beauty, anarchy and desire coalesce in the balancing <strong>of</strong> the physical and textural<br />

characteristics <strong>of</strong> his handbuilt objects with their painted surfaces. Simultaneous with his idiosyncratic<br />

drawn line and fluid painterly mark is a well established anarchic break with, or reorientation <strong>of</strong>, certain<br />

traditions and aesthetic rules.<br />

In the painting <strong>of</strong> recent pots there is a greater compOSitional complexity in the arrangement <strong>of</strong><br />

figurative devices, and their sensitive draughtsmanship is the result <strong>of</strong> Benwell devoting more time to<br />

drawing over the past decade. <strong>The</strong> vitality and vulnerability <strong>of</strong> the body and psyche, and a celebration <strong>of</strong><br />

the nude body in nature, are recurring narrative and figurative motifs that (as he said) "unspool around<br />

the pot like a short film".<br />

Over the past decade Benwell has researched some <strong>of</strong> the literary and visual origins <strong>of</strong> the pastoral<br />

mode and Arcadia, seeking to contextualise the recurring motif <strong>of</strong> a solitary naked male figure<br />


View III<br />

All work by Stephen Benwell<br />

Photos: courtesy Heide Museum <strong>of</strong><br />

Modern Art<br />

Owl Form, lidded container, 1982<br />

stoneware, h.13cm, w.13cm. d.8cm<br />

Ken Don colledjon, Melbourne<br />

Below left: Large Tree Form , t 994<br />

earthenware<br />

h,48.tem, w .32 .2em, d.31 .7em<br />

National Gallery <strong>of</strong> Victoria<br />

Below right: Vase, 1980, stoneware<br />

h,43em, w.2gem<br />

Queensland Art Gallery, purchased with<br />

the assistance <strong>of</strong> the Crafts Board <strong>of</strong> the<br />

Australia Council<br />

Pastoral indicators such as charm and innocence may remain in Benwell's most recent works, but he<br />

has gone beyond such t hemes to mine from all modes <strong>of</strong> classical art, and the resulting 'athlete' statues<br />

<strong>of</strong> his late male nudes reveal a deeper psychological space . <strong>The</strong>ir facial phYSiognomies, no longer the<br />

powdered masks <strong>of</strong> Rococo figurines, delineate philosophers immersed in silent self-enquiry. Benwell<br />

imbues the most intimately scaled nudes and portrait busts with charader and emotion.<br />

Stephen Benwell: Beauty.. Anarchy, Desire - A Retrospective<br />

8 August - 10 <strong>No</strong>vember <strong>2013</strong><br />

www.heide.com.au<br />


IIC 'Vl a ":' ''<br />

gazlne<br />

<strong>The</strong> Janet Mansfield<br />

<strong>Ceramics</strong> Award <strong>2013</strong><br />

<strong>The</strong> International Ceramic Magazine Editors Association (lCMEA) recently awarded Tim Rowan with the<br />

inaugural Janet Mansfield <strong>Ceramics</strong> Award (JMCA). <strong>The</strong> theme was woodfired and salt-glazed ceramics.<br />

<strong>The</strong> award is financially supported by the Fuping Pottery Art Village (FPAV) and includes a monetary gift<br />

(RMB 70,000; approx. AU$ll,OOO), a residency at the Fuping Pottery Art Village in Shaanxi Province,<br />

China, and a solo exhibition at the Dao Artspace in Xi'an, China.<br />

At the <strong>2013</strong> ICMEA conference in September, Tim Rowan presented his work completed during the<br />

residency to those in attendance. This work was then exhibited in Xi'an during October <strong>2013</strong>.<br />

Tim Rowan's artist statement:<br />

To work in a place where people have been producing ceramics for over 5000 years is at once inspiring<br />

yet also overwhelming. <strong>The</strong> span <strong>of</strong> time is beyond my comprehension. How do I fit into this place?<br />

This time?<br />

I have been generously given this opportunity and have taken on the challenge to work in an unfamiliar<br />

environment with unknown tools and materials. Following my intuition and a faith in the process, these<br />

works are a result <strong>of</strong> that effort.<br />

Purposely ambiguous, the work is inspired and informed by many things ... industrial relics such as gears,<br />

cogs and turbines, old tools, the ordinary <strong>of</strong>ten overlooked remnants and fragments <strong>of</strong> our past. It is<br />

about the struggle between humanity (culture) and nature and what defines the difference.<br />

http://timrowan.com<br />

<strong>The</strong> next award will be given in 2016. Details on the theme will be announced closer to the<br />

time.<br />



Overseas<br />

Editors, Emerging Artists and<br />

Fireworks<br />

Vicki Grima reports on I(MEA <strong>2013</strong><br />

<strong>The</strong> recent ICMEA Conference in Fuping, China, rolled out the red carpet for the fourth time to<br />

welcome ceramic magazine editors, artists and speakers from around the world. It was my third time<br />

attending so it was interesting to see changes around Fuping Pottery Art Village - the growth <strong>of</strong><br />

Chairman Mr Xu Dufeng's awesome pottery collection, an increased number <strong>of</strong> tourist visitors (including<br />

a wedding on the day we arrived), a stunning display <strong>of</strong> contemporary Indian ceramics (newly made),<br />

and even a new c<strong>of</strong>fee shop <strong>of</strong>fering respite from the 35°C temperatures which were common during<br />

our two weeks in China.<br />

<strong>The</strong> Emerging Artists Exhibition was judged by the ed itors in attendance with first prize going<br />

to Satoshi Kino (Japan) and second to Chiungwen Hsu (Taiwan), along w ith five Fuping residencies<br />

awarded to Monica Laskowska (Poland), Hyesug Park (Korea), Liv Brita Maines (<strong>No</strong>rway), and two artists<br />

from China. Sadly, no works from Australia were submitted for the judging.<br />


OVerseas<br />

After the conference concluded, a group <strong>of</strong> around 20 editors and ceramic artists continued on a<br />

6-day tour <strong>of</strong> Henan and Hebei Province, visiting many ceramics museums, workshops and heritage kiln<br />

sites. We saw and touched many beautiful, skillful examples <strong>of</strong> Ru ware, Jun ware and Cizhou ware<br />

- old and precious vessels and new and challenging forms were displayed in both pristine sparkling<br />

showrooms and authentic old wooden showcases. Full <strong>of</strong> awe we travelled central China, confronted<br />

by the size <strong>of</strong> the industrial cities, the all-pervading smog, the number <strong>of</strong> people and the incredible<br />

challenges they face.<br />

Many connections were made which will continue as we share our experiences on pages like this.<br />

For more <strong>of</strong> Vicki's ICMEA <strong>2013</strong> images, complete with captions: http://tinyurl.comlicmea<strong>2013</strong>

Event<br />

1 <strong>The</strong> beginning<br />

2 Yuri creating the fire sculpture<br />

3 and 4 Hot and smoking; photos: Vicki Grima<br />

Clean Burn<br />

Belinda Piggott shares her observations about Yu ri Wiedenh<strong>of</strong>er's<br />

recent fire performance<br />

Outdoor fires are strictly policed especially in urban areas. As a result many people haven't had<br />

the personal experience <strong>of</strong> standing by an open blaze. Due to its association with destruction, the<br />

power <strong>of</strong> fire to engulf and destroy can strike fear into the hearts <strong>of</strong> those who encounter it. It is<br />

this emotion that Yuri Wiedenh<strong>of</strong>er leverages to explore the duality <strong>of</strong> destruction and creation in his<br />

performance events. His latest work, She in Sands <strong>of</strong> Silicate, is inspired by the essential role fire plays<br />

in regeneration <strong>of</strong> the <strong>Australian</strong> bush, acknowledging its potential to devastate and celebrating its<br />

creative force. In the grounds outside W illoughby's Incinerator Art Space, Wiedenh<strong>of</strong>er teased, coaxed<br />

and collaborated with the flames with consummate skill. <strong>The</strong> fire sculpture transfixed his audience who<br />

witnessed the raw materials <strong>of</strong> mUd, glass, charcoal and hessian develop into an object that embodied<br />

the power and memory <strong>of</strong> the spectacle.<br />

This event marked the last weekend <strong>of</strong> Overland - from the Cradle to the Lake, Barbara Campbell­<br />

Allen's 5010 exhibition. <strong>The</strong> invitation extended to Wiedenh<strong>of</strong>er was astute. <strong>The</strong> dynamic progression <strong>of</strong><br />

fire echoed the process Campbell-Allen employs in her woodfired works, an ideal fit also with the site<br />

<strong>of</strong> the de-commissioned Walter Burley Griffin incinerator. Both artists are interested in transformation<br />

and clearly reference the cycles <strong>of</strong> nature in their work. She in Sands <strong>of</strong> Silicate literally performed this<br />

notion; it was an acceleration <strong>of</strong> the geological processes referenced in the gallery.<br />

Over the last ten years, W iedenh<strong>of</strong>er has been exploring performance in his ceram ics practice. His<br />

2004 work Irenic won the Sculpture by the Lake award in Jindabyne, and he has since performed<br />

regularly at Bermagui's Sculpture on the Edge.<br />

Willoughby embraced the opportunity to take fire back to the Incinerator by hosting Yuri 's first<br />

city-based event. Techniques refined by Wiedenh<strong>of</strong>er ensured the event was safe and accessible for<br />

an audience in an urban environment. Radiant heat was minimised and the use <strong>of</strong> specially prepared<br />

charcoal ensured the sculpture burned cleanly.<br />


Event<br />

5-7 Firing underway with Yuri<br />

8 Final remains<br />

Photos 1, 2, 5-8: Richard Newton<br />

Members <strong>of</strong> the community were encouraged to spend time with the work. <strong>The</strong>y were rewarded<br />

with moments <strong>of</strong> spedacle as the flames were doused with fuel to bring the sculpture to life and make<br />

it dance. However there were also moments <strong>of</strong> concern, such as when the sculpture's base was bound<br />

in plastic food wrap. On a pradical level this material provided some initial strudural support. More<br />

importantly it was a reference to an historical role <strong>of</strong> the site, the community's waste disposal facility. To<br />

everyone's relief, rather than being toxic, the wrap is made <strong>of</strong> polyethylene that forms water vapour and<br />

carbon when burned,<br />

Collaboration is a key element <strong>of</strong> Yuri's work. Interaction between the artist, his team and the<br />

audience was actively encouraged. By necessity the performance was well planned; however there<br />

was a sense <strong>of</strong> spontaneity that seemingly enhanced the element <strong>of</strong> risk. Empowering the audience to<br />

contribute helped them to establish a personal connection with fire, a foundation for a more intrinsic<br />

understanding about the ambiguities <strong>of</strong> the medium.<br />

Taking art outside the confines <strong>of</strong> the gallery made the process <strong>of</strong> art making accessible for the<br />

audience to engage with. Presenting the formation <strong>of</strong> a ceramic objed outside the screening <strong>of</strong> the kiln<br />

walls revealed to everyone the magic that has long captivated ceramics practitioners - the transforming<br />

<strong>of</strong> mud and glass into a tangible, enduring object. She in Sands <strong>of</strong> Silicate celebrated the element that<br />

produces this alchemy. <strong>The</strong> fire that moulds the silicate, that propagates renewal and transformation,<br />

may not be apparent in a finished piece, but its memory is embedded.<br />

Belinda Piggott is based in Hong Kong where she researches and writes about art pradice in<br />

the Asia Pacific region; E: brighthouseone@icioud,com<br />


Promot io n<br />


Fine Quality Filterpressed Clay s<br />

For more than 30 years Clayworks has been supplying and supporting the ceramics industry with a<br />

range <strong>of</strong> clays, materials and equipment. Originally set up by Will Mulder, a Melbourne-based potter and<br />

technician, Clayworks has evolved into a business committed to producing innovative products that are<br />

user friendly and <strong>of</strong> consistent quality.<br />

At Clayworks clay bodies are produced by filter pressing which allows the intimate blending <strong>of</strong><br />

raw materials, many <strong>of</strong> which are unavailable as dry milled product. Wet blunging and subsequent<br />

processing allows the development <strong>of</strong> the full plastic potential <strong>of</strong> clays, giving filter-pressed bodies a<br />

distinct advantage. <strong>The</strong> process removes most <strong>of</strong> the soluble salts present in the clay resulting in the<br />

production <strong>of</strong> bodies that can be converted into excellent casting slips. <strong>The</strong> reduction in soluble salts<br />

considerably lowers the deflocculant demand, resulting in more stable casting slips that require much<br />

less adjustment as they age.<br />

Filter pressed clay bodies have allowed the development <strong>of</strong> the new Clayworks range <strong>of</strong> coloured slips<br />

for both stoneware and the increasingly popular Orton Cone 5-6 range. Coloured Porcelain Slips <strong>of</strong>fer<br />

ceramicists an exciting avenue <strong>of</strong> exploration as they work through the endless possibilities <strong>of</strong>fered by<br />

this exciting product.<br />

Vibrant colours bring slip into the 21 st century. An extremely broad palette <strong>of</strong> colour can be achieved<br />

as the slips are fully intermixable. <strong>The</strong> application <strong>of</strong> slip by trailing or brushing is a traditional technique<br />

for decorating and enhancing form. <strong>The</strong> use <strong>of</strong> coloured slips trailed onto plaster slabs or into press or<br />

casting moulds <strong>of</strong>fers further scope for exploration.<br />


Promotion<br />


1. Construct walls using coils to define the areas you wish to cast on a plaster slab<br />

2. <strong>The</strong>n pour coloured slips to the desired depth and allow to fi rm up before the<br />

walls are removed and the slabs cut to size<br />

3. Apply slip to join faces<br />

4. Trim to size and fire as required<br />


Pro motion<br />


1. Slip trailers are filled with Coloured Porcelain Slips then fitted w ith various sized<br />

nozzles to achieve lines <strong>of</strong> differing weights<br />

2. <strong>The</strong> coloured slip is then applied to a damp plaster slab<br />

3. Walls are constructed using extruded coils and a backing colour is cast over<br />

trailed slip<br />

4. Cast slabs are then removed as required<br />


1. Use slip to decorate damp slab ware on a slump mould<br />

2. Trail lines <strong>of</strong> coloured slip as required<br />


AYWO<br />


..... .L~"-'~l.L'-"ng 317<br />

s tralia.com

Pocket PhD<br />

Base Processes<br />

by Fiona Murphy<br />

My passion for the natural wonders <strong>of</strong> the world is matched by my compelling engagement with<br />

ceramics over the last 33 years. Making art is my way <strong>of</strong> honoring the natural world. Ecological<br />

awareness is the driving force for my recent installations. I am interested in how materials and processes<br />

can express the physicality <strong>of</strong> the natural world. I work with foundational elements <strong>of</strong> life; earth, water,<br />

fire and air combine in transformative processes through my studio practice.<br />

In June <strong>2013</strong>, I exhibited two installations Reef Lab (<strong>2013</strong>) and Melt (<strong>2013</strong>) at MADA Gallery,<br />

Monash University, to complete my PhD project. <strong>The</strong>se ceramics-based multidisciplinary works include<br />

mixed media, lighting and video, brought together as sculptural assemblages.<br />

'Base Processes' is the central concept in these artworks describing the complex movements, cycles<br />

and forces underlying nature. I also explore the precarious relationship between human activities and the<br />

natural world. My installations express ocean processes impacted by climate change.<br />

Reef Lab is a large installation that expresses the processes <strong>of</strong> growth, fragmentation and decay<br />

in an 'other world' ocean reef. This work was informed by my underwater observations, which are<br />

visualised mostly in terms <strong>of</strong> their motion rather than their stationary appearance. Field research entailed<br />

snorkeling, diving, visiting research stations and camping on remote islands in the <strong>Australian</strong> Great<br />

Barrier Reef.<br />

Colorful curvilinear structures and planVcoral forms suggest a vital living reef; however white<br />

Fiona Murphy, Reef Lab, <strong>2013</strong>, ceramic, metal tins. glass laboratory apparatus, resin, photographic transparencies, video<br />

projection. h.17Scm, w.6SOcm. d.300cm; photos: courtesy artist

Pocket PhD<br />

sculptural forms and rubble mounds suggest the breaking down <strong>of</strong> processes through climate change.<br />

<strong>The</strong>se forms signify coral damage as impacts from ocean acidification and coral bleaching. This<br />

installation simulates underwater processes through a video projection over the sculptural forms. <strong>The</strong><br />

video implies sensually moving water ripples; however patterns are chaotic rather than ordered, a<br />

metaphor for the underlying accumulative processes <strong>of</strong> climate change.<br />

A quasi lab, that includes glassware, is also part <strong>of</strong> this installation and represents the complexity<br />

<strong>of</strong> 'base processes' in the ocean as a metaphor for scientific testing and knowledge that informs our<br />

understanding <strong>of</strong> climate change. This part <strong>of</strong> the installation includes ceramic elements, metal tins and<br />

photographic transparencies to represent scientific testing and measuring <strong>of</strong> ocean acidification and<br />

coral bleaching.<br />

<strong>The</strong> viewer is invited to become a participator and activator through physical engagement with this<br />

immersive installation: the video projection over sculptural forms layers space in a series <strong>of</strong> close-up and<br />

middle-distance experiences; the large mounds <strong>of</strong> coral rubble <strong>of</strong>fer a tactile experience; and physical<br />

immersion <strong>of</strong>fers the viewer a sensory experience. A changing awareness <strong>of</strong> light, space and threedimensional<br />

form aims to bring the artwork and its ecological themes to the forefront <strong>of</strong> the viewer's<br />

perception.<br />

Melt is a mini-installation that evokes global warming processes through fragmented iceberg-like<br />

sculptures. This installation creates a visual tension as a poetic interplay between the actual 'stillness'<br />

in my sculptures and the implied 'breaking down'. Forms imply dripping ice and melting pools in<br />

suspended animation, as though time has halted. <strong>The</strong> forms are marooned and isolated in an 'other<br />

world' time and space. Through these visual cues, as well as specialised golden lighting, the viewer may<br />

contemplate global warming 'tipping points'.<br />

Fiona Murphy has had 25 solo exhibitions since 1981.<br />

Fiona Murphy, Reef Lab, detail<br />

A 7 minute video <strong>of</strong> Fiona Murphy's exhibition can be viewed on vlmeo: http://vimeo.comI77392277

Commu nity<br />

<strong>The</strong> hype <strong>of</strong> a national event ... and a catalyst to local action!<br />

Open Studio <strong>Ceramics</strong><br />

Australia Showcase <strong>2013</strong><br />

'Unearth your local potter' proved a good slogan for TACA's inaugural open studio event, with around<br />

110 studios opening around Australia on 17 and 18 August <strong>2013</strong>.<br />

Almost 40% <strong>of</strong> the studios had 21-50 visitors with 13% having more than 100. Sales over $1000<br />

were achieved by 24% <strong>of</strong> studios, with 32% selling between $100 and $500. Bowls, items under $100,<br />

cups and mugs were the most popular items sold with 20% <strong>of</strong> studios also selling items over $200.<br />

As with any national event, the weather played a part - from freezing cold and howling winds<br />

in Melbourne to perfect sunny days in various other locales. Despite the weather. people still came.<br />

Personal contacts, social media and word <strong>of</strong> mouth were the most successful methods <strong>of</strong> encouraging<br />

visitors, with TACA website, the page listing in <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, and local<br />

newspapers and radio also proving to be worthwhile promotional tools. Locally, good street signage<br />

also helped and the poster was the most useful tool TACA supplied that assisted with promotion. In<br />

several regions, studios grouped together to produce a handout <strong>of</strong> their local open studios that created<br />

connections between potters and increased visitors all round.<br />

When asked the best thing about the weekend in the post-event survey, the answers were<br />

enthusiastic and varied. Here are a few responses:<br />

Sharing our ,",,'urk and our<br />

lifestyle ... a good excuse 10<br />

dean lip the gallery and make<br />

chocolare cake.<br />

Apart from the cash, numerous<br />

conlact.~ lvilh gal/eries and<br />

prospective slue/en/s.<br />

[11 made} ... me have (J clean up<br />

and think ahow what I'm doing.<br />

[<strong>The</strong> open stud io event] ... made<br />

me assess my process. I wrote<br />

down 13 t/tings I need 10 do<br />

belief:<br />

Just had a great feeling fhat my<br />

local community alla.fOl Ivere<br />

connecting with my studiu.<br />

My sales Jar exceeded any<br />

expectations.' So wonder/III to<br />

see people buying up pots, vel)'<br />

ifIJerested and very inspired at<br />

how to sel up a studiu. A greal<br />

social day and a great way /0<br />

gauge what people are liking.<br />

II galvGnised me into action to<br />

get lhe studio organised. 11 is<br />

now ve,), much more usable.<br />

evel)lthing! IthinkJor me, it<br />

fell like an industry event - clay<br />

people and olher creatives<br />

in the busines.

Community<br />

Opposite page: 1 Ashley Fiona with Kay Alli band at her studio 2 Peter Steggall's display in Natalie Velthuyzen's ga rden<br />

Th is page: 3 Katherine Mahoney in her studio 4 Vicki Grima, Ursula Burgoyne and Rose Vickers in Ursula's garden<br />

5 Toni Warburton greeting visitors 6 Jennifer (oilier's Purple Ridge Pottery at Tara90<br />

As for the downsides, the weather, hard preparation work and lack <strong>of</strong> visitors w ere the biggest<br />

problems, although many commented there were no negatives.<br />

Considering the event was the first one <strong>of</strong> its type for TACA, we have had some good suggestions on<br />

how to improve it next time. Here are a few:<br />

I think il :~ the kind <strong>of</strong> tiring Ih(1/<br />

will build momentum <strong>of</strong> liS own<br />

accord in (/ireel relation 10 the<br />

energy oIlhe parlidpants.<br />

Wider adverlising and<br />

promotional articles pitched<br />

to general conremporGlJ' a"/~<br />

audiences and belle,. link'! with<br />

gal/erie.v.<br />

Primable maps showing where<br />

pOl'licipanls are in relation 10<br />

each olher so that punters can<br />

design lours with friends.<br />

[/ will be belfer. hecause il S a<br />

repeat :)<br />

A clear OSCAS logo 11101<br />

e~'eryol1t: could use on road signs<br />

alld promo/ ion.<br />

I would do morc advance PR<br />

ahoUl the weekend and wider<br />

afield for my slUdio.<br />

Online linkage wi/hin each sfaU?<br />

could he better, even collated<br />

by POSI code BlauM help. I had<br />

difficulty finding pOlters in the<br />

same area [and it would be} easy<br />

10 miss Olle.<br />

From 83 survey participants,<br />

77% said they would participate<br />

if it ran again next year; 23 %<br />

said maybe. <strong>No</strong>-one said " <strong>No</strong> ".<br />

If you would like to read the<br />

survey results in full, please<br />

send an email to<br />

mail@australianceramics.com<br />

and a PDF will be sent to you.<br />

Report by Vicki Grima

Ceram ics+<br />

Enucleo Contemporary Clay<br />

Serena Rosevear reports from Tasmania on an ambitious curatorial project<br />

I was fortunate to have the opportunity to immerse myself into the <strong>Australian</strong> ceramics community at<br />

the Subversive Clay conference in Adelaide, thanks to my Trudie Alfred Bequest scholarship. My mission<br />

was to figure out how I, a soon-to-be graduate, might fit into the national ceramics scene. When you<br />

live as I do in Tasmania, it can be difficult to place yourself, as access to experiences and events can be<br />

limited.<br />

<strong>The</strong> conference was a whirlwind and it wasn't until I had been home for a few weeks that I<br />

recognised feelings <strong>of</strong> unease. I hadn't found my place; in fact I felt less certain <strong>of</strong> my place than before<br />

I left. I saw and heard things that were foreign to me and my natural assumption was that I had it<br />

wrong. After all, I'm new to this and I'm from Tasmania, I told myself.<br />

Twelve months prior I had been in Queensland visiting an exhibition <strong>of</strong> Gwyn Hanssen Pigott's work<br />

at the Ipswich Art Gallery. I was keen to see her work up close, but I was surprised when I entered<br />

the gallery that it was not her divine vessels or their arrangements that caught my attention. Instead,<br />

I was struck by the white plinths and glass cases used to display them, feeling unable to connect to<br />

the work because <strong>of</strong> them. Later that year, I went on to explore modes <strong>of</strong> presentation, developing my<br />

understanding <strong>of</strong> exhibition display conventions and their influence on the reading <strong>of</strong> objects. In my<br />

learning environment if I wanted to place a work on a plinth, I had to be able to explain how the plinth<br />

was appropriate. <strong>The</strong>re was a plethora <strong>of</strong> plinths in Adelaide and I realised I was feeling a bit confronted<br />

by them.<br />

Serena Rosevear, Things<br />

that migh t otherwise sit<br />

in you kitchen cupboard<br />

2011, ceramic, perspex<br />

MDF h. 140cm, w.60cm<br />

d.l00cm<br />

Photo; artist<br />

Opposite page:<br />

Marta Armada, Untitled<br />

detail, <strong>2013</strong><br />

porcelain. silver, steel<br />

various dimensions<br />

Photo: Serena Rosevear<br />


Ceram ics+<br />

Around this time, call-outs were announced for a couple <strong>of</strong> Tasmanian galleries so I submitted<br />

applications proposing a curated exhibition that explored the presentation <strong>of</strong> ceramic work in the<br />

absence <strong>of</strong> plinths. I wanted to question this default mode <strong>of</strong> presentation, subverting it in my quest for<br />

deeper understanding. I invited a fellow Honours classmate, Patrick 5utczak, to co-curate, bringing his<br />

set <strong>of</strong> skills to the project. When both exhibition proposals were successful, the Enucleo contemporary<br />

clay project became two exhibitions before it had even begun.<br />

Being a bit wet behind the ea rs Patrick and I have been on huge learning curves ever since. We set <strong>of</strong>f<br />

with blind ambition and a fair degree <strong>of</strong> naivety, letting the project build as it went. Over the months we<br />

added potential artists to our list, approaching each individually as soon as we felt sure they fitted, then<br />

growing in confidence as each replied positively to our invitation. Our to-do list highlighted how this<br />

aspect <strong>of</strong> arts practice is more akin to business practice, while our motivation essentially boiled down to<br />

two goals: pr<strong>of</strong>essional and pr<strong>of</strong>ile development.<br />

So the project grew in response to hurdles and opportunities as they were encountered. We applied<br />

for grants for the experience and because success would give us extra lines on our resumes; produced<br />

a catalogue to learn about the process and provide an enduring record <strong>of</strong> the exhibition; and prepared<br />

a pr<strong>of</strong>essional artisVcurator/galiery agreement to help us understand the full commitment being made.<br />

With the installation dates looming we tackled the minefield <strong>of</strong> transport and insurance. We plunged<br />

into the relatively new world <strong>of</strong> crowdfunding and ran a successful campaign on Pozible that enabled<br />

us to reduce our personal out-<strong>of</strong>-pocket expenses to a less daunting level, and learn more about<br />

marketing, budgeting and the use <strong>of</strong> social media in the process.

<strong>Ceramics</strong>+<br />

Our next task was to make the show work in two distinctly different spaces. With the second show<br />

currently nearing its close I can say that many people have visited both locations and reported different<br />

highlights and responses to each space.<br />

As for my own work, I took the opportunity to include a previous work which explores the use <strong>of</strong><br />

the plinth and requires the existence <strong>of</strong> a panel <strong>of</strong> glass dividing a 'gallery' space from an 'other' space .<br />

<strong>The</strong> Hobart location contained such a space, with the 'other' space being a public thoroughfare in the<br />

entrance to an <strong>of</strong>fice building, allowing the exhibition to extend beyond the walls <strong>of</strong> the gallery. For the<br />

Launceston show I moved my wheel into the artist-run Sawtooth space where I pushed my throwing

Cera mics+<br />

Opposite page:<br />

Above: 146 Artspace, Hobart<br />

showing the work. <strong>of</strong> Arun<br />

Sharma and Sanne Mestrom<br />

Photo: Serena Rosevear<br />

Below: Serena Rosevear at work<br />

in the Sawtooth ARI space<br />

Photo: Melanie De Ruyter<br />

Thos page:<br />

Above: exhibition installation<br />

at Sawtooth ARI<br />

Photo: Melanie De Ruyter<br />

Left: Walter Auer, Space Boy<br />

<strong>2013</strong>, clay, terra sigiIJata, nails<br />

steel wire, h.30cm, w.33cm<br />

d.13.5cm Photo: Serena Rosevear<br />

skills while I pondered the riddle, "When a potter puts a pot upon a plinth, what is the potter putting<br />

on the plinth?" I celebrated each failure as much as the successes while a mass <strong>of</strong> clay accumulated,<br />

evidence <strong>of</strong> the effort that leads to the desired outcome: choosing the pot worthy <strong>of</strong> the plinth.<br />

<strong>The</strong> outcomes from this project have far exceeded what we anticipated - our resumes reflect broader<br />

credentials, our pr<strong>of</strong>iles have been raised, and we have skills that few new graduates have had the<br />

opportunity to gain. Personally, through the exploration <strong>of</strong> the presentation <strong>of</strong> ceramics, I have learned<br />

much that will inform my studio practice into the future. As for finding where I fit in, I think I can put<br />

that to rest now. <strong>The</strong> answer was always there for me in the conference title - being subversive has<br />

helped me realise that I fit best on my own path.<br />

https:llwww.facebook.com/EuncleoContemporaryClay<br />


Up the Public Art Path<br />

Ken and Julia Yonetani<br />

2012 , Breathing Tree<br />

detail<br />

Opposite page:<br />

Ken and JUlia Yonetani<br />

Breathing Tree, 2012,<br />

14,000 pieces<br />

manganese glaze<br />

h.1 .8m, w. 12m, d.2cm<br />

Photo: artists<br />

Artereal Gallery, Sydney<br />

and GV Art, London<br />

Below: Detail<br />

Breathing Tree<br />

An inspiring project by Ken and Julia Yonetani<br />

"But the trees have all that hill and tower have; and they have life as well. H<br />

1. Ernest Phythian<br />

<strong>The</strong> Breathing Tree artwork was inspired by micro images <strong>of</strong> stomata, the pore openings on leaves used<br />

in photosynthesis and respiration. <strong>The</strong> images were acquired using electron microscopic technology from<br />

the <strong>Australian</strong> Microscopy and Microanalysis Research Facility, the University <strong>of</strong> Sydney, in collaboration<br />

w ith Dr Ian Kaplin. Leaves from nearby eucalyptus trees in the Blue Mountains National Park were used<br />

as the starting point. <strong>The</strong> work is comprised <strong>of</strong> approximately 14,000 handmade ceramic pieces in<br />

the shape <strong>of</strong> stomata, placed in the shape <strong>of</strong> a gum leaf onto the external wall <strong>of</strong> the Blue Mountains<br />

Cultural Centre. This work was commissioned by the Blue Mountains Council and can be seen in Parke<br />

Street, Katoomba, NSW.<br />

www.kenandjuliayonetani.com<br />


Up the Pub lic Art Path<br />


Potters Marks<br />

Potters Marks<br />

Cathy Franzi<br />

Gwyn Hanssen Pigott<br />

Janna Ferris<br />

Petrus Spronk<br />

Dean Smith<br />

Simone Fraser

Ecological <strong>Ceramics</strong><br />

WINNER<br />

Photographer: Narayani Palmer, Narayani Palmer's ceramics, Fremantle WA, July <strong>2013</strong><br />

<strong>The</strong> challenge to photographers was to take a photo <strong>of</strong> ceramic work which deals with<br />

ecological themes or take a photo <strong>of</strong> work "interacting" with its environment.<br />

It was open to their interpretation,<br />

<strong>The</strong> competition was judged by our Australia Wide correspondents,

Ceramic Shots<br />

Photographer: Sue Scobie, Sue Scobie's ceramics<br />

Wellington NZ, August Z013<br />

Photographer: Esa Jaske, Tiling the Surf<br />

Newport Beach NSW, August <strong>2013</strong><br />

Photographer: Andrew Gregory, Barrel Firing at Low Tide<br />

Taylors Beach NSW, August <strong>2013</strong><br />

Photographer: loren Mitchell<br />

Linda Detoma's ceramics<br />

Eltham VIC, February <strong>2013</strong><br />


Ceramic Shots<br />

1 Photographer: Shannon Garson, Shannon Garson's studio, Maleny QLD, August <strong>2013</strong><br />

2 Photographer: Carol Forster, Carol Forster's ceramics, Mons OLD, July <strong>2013</strong><br />

3 Photographer: Renton BishopriC, (odl for Breakfast?, Byfield OLD, July <strong>2013</strong><br />

4 Photographer: Paul Bouton, Unknown Seta Ceramicist, Seta. Japan, August <strong>2013</strong><br />

5 Photographer: Terry Bouton, Various unknown potters, Tokoname. Japan. July <strong>2013</strong><br />

6 Photographer: Mirta Ouro and Ruben, Mirta Duro, Rutley lake Park VIC, July <strong>2013</strong><br />

7 Photographer: Richa rd Fry, Weather You Like it or <strong>No</strong>t, Bathers Beach WA, <strong>2013</strong><br />

8 Photographer: Ashley Fiona, Pourer Stack, Central Coast, August <strong>2013</strong><br />

9 Photographer: Clare Urquhart, Home is Where You Park It (<strong>No</strong> Fixed Abode), <strong>2013</strong><br />


Studio<br />

Studio Safety Part 2<br />

by Jeff Zamek<br />

Dry Raw Materials - What Sizes Are We Talking About?<br />

At some point when sweeping out the studio every potter asks themselves, "What should I do to<br />

proted myself from the clay dust?" Clay is a very small (hexagonal plate) particle size material that can<br />

range from 100 microns to 0.1 microns, depending on the type <strong>of</strong> clay (a micron is one-millionth <strong>of</strong> a<br />

metre). By comparison, human hair has a diameter <strong>of</strong> 5--60 microns which, interestingly, is determined<br />

partly by the genetic charaderistics <strong>of</strong> the individual. Potentially, the most hazardous particle sizes are<br />

those below 10 microns. However, particles in the 0.3 X micron range can zigzag through the filter, with<br />

some getting trapped and a percentage passing through the respirator. Larger size particles travel in a<br />

straight line and get trapped in the filter. <strong>The</strong> particles that are most respira ble are less than 10 microns<br />

in diameter and can pOSSibly be trapped in the lungs. Respirators are very effedive at blocking particles<br />

but no respirator is 100% efficient.<br />

To say that clay is composed <strong>of</strong> small particles doesn't fully illustrate the scale <strong>of</strong> this unique<br />

substance. When dired sunlight enters the studio it's possible to see raw material or clay dust floating in<br />

the air. <strong>The</strong> stuff you can't see is <strong>of</strong> the micron or less particle size and can cause respiratory problems.<br />

Do not use glass jars in<br />

the studio. Many glaze<br />

mixing operations require<br />

water and the chance <strong>of</strong><br />

wet hands dropping a<br />

glass jar is high.<br />

Plastic containers with a<br />

lid, and clearly labelled<br />

with their contents. work<br />

best for raw material<br />

storage.<br />


- - - --- -- ------- - -------------------------------,<br />

Stud io<br />

Respirators<br />

<strong>The</strong> two types <strong>of</strong> respirators in use are 'paper' dust masks, which are a 'paper-like' (advanced<br />

electrostatically charged micro-media fibres) filter that fits over the face, and respirators that have<br />

individual filter disks inserted based on the type <strong>of</strong> material to be filtered. For example, a potter applying<br />

an oil-based lustre glaze might require a f ilter that can protect them from vapors as opposed to other<br />

filters which can be used for airborne clay particles or other ceramics raw materials.<br />

Respirator Filters<br />

Every respirator has some type <strong>of</strong> filter to trap particles. In the past, one <strong>of</strong> the most effective filters was<br />

a HEPA (High Efficiency Particulate Air) filter. <strong>The</strong> HEPA Corporation developed them more than thirty<br />

years ago and the name has now become generic, with various companies producing this classification<br />

<strong>of</strong> filter. It has a 99.97% efficiency rating which means it filters 99 .97% <strong>of</strong> solid particles down to a 0.3<br />

micron size . Some particles at 0.3 microns do not have enough weight to go through the filter, while<br />

particles bigger than 0.3 microns have a larger mass causing them to travel with greater velocity to the<br />

filter. HEPA-type filters have been recommended whenever heavy metals such as chrome, cadmium,<br />

vanadium and cobalt are in the work environment. <strong>The</strong>se metallic oxides are typically found in glazes<br />

and engobes as they contribute colour. <strong>The</strong>y can also be found in clay bodies as a natural part <strong>of</strong> the<br />

clay, or as an added colouring oxide such as iron oxide which results in a dark brown fired colour.<br />

Paper dust masks should be used whenever dry clay or raw materials are used in the studio. Dual cartridge respirators are<br />

suitable for protection against dust and vapor spray operations. Replaceable cartridges can filter out non~lead materials. leaded<br />

frits and salt vapou(s.<br />


Studio<br />

,<br />

Always wipe up raw materials spills with a wet sponge or mop as soon as they occur.<br />

Safety Guidelines for the <strong>Ceramics</strong> Studio<br />

Always wear an approved dust mask when mixing dry glaze or clay body materials.<br />

Use a spray booth when spraying glazes and always wear a respirator with the correct filter.<br />

Always wear a dust mask during any studio cleaning operation.<br />

Do not use glass containers in the studio as they can easily break.<br />

Never eat, drink or smoke in the studio.<br />

Do not store food in the studio.<br />

Always wet mop or vacuum (using a high efficiency HEPA filter) the studio floor every day to remove<br />

raw material dust.<br />

Always store all dry glaze and clay materials in sealed containers or two plastic bags.<br />

C lean up raw material spills on the floor or tables when they occur.<br />

Wear a separate set <strong>of</strong> clothes in the studio and wash them frequently.<br />

Wipe down worktables with a wet sponge before leaving the studio.<br />

Do not ingest or inhale any raw materials.<br />

It is safer to wear cotton clothing while firing kilns rather than synthetics, which can easily ignite when<br />

exposed to direct flame. However, cotton clothes require frequent washing because they trap clay dust.<br />

Wear eye goggles when chipping glaze <strong>of</strong>f kiln shelves.<br />

Wash your hands before leaving the studio.<br />

www.jeffzamek.com<br />

See <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, Issue <strong>52</strong>/2, July <strong>2013</strong>, for 'Studio Safety Part 1'.<br />


Tra de<br />

Selling Your Work -<br />

Wholesale or Consignment?<br />

Elisa Bartels and Vicki Grima take a look at the basics<br />

As a maker, one <strong>of</strong> your end goals may be to sell your work in a variety <strong>of</strong> appropriate and respected<br />

outlets. Th is will not only bring in funds, which w ill support your making, but it will also promote your<br />

practice, bringing it to the attention <strong>of</strong> the wider community.<br />

Before you approach possible retailers, you need to ask yourself, "Am I w illing to sell on consignment<br />

or will I only accept selling wholesale?" <strong>The</strong> two are qui te different and it's important to understand<br />

how each one works before you decide which is best for your practice.<br />


Selling 'on consignment' means that you are basically giving your work to the outlet knowing you will<br />

not be paid until your work has sold. This is a popular method for emerging makers as stores do not<br />

assume the risk <strong>of</strong> paying for items which may not sell .<br />

You (as the maker) decide on your work's retail price, after taking into account the stores commission<br />

percentage (usually 30-40% <strong>of</strong> the retail price). Take the time to go into the store and understand their<br />

price point so that you price your work accordingly.<br />

As a general rule, the consignment period is three months, although this can vary from outlet to<br />

outlet.<br />

It is also important to find out about the store's insurance and whether breakages or 'wear and tear'<br />

<strong>of</strong> your work are covered by the store. You can also check if your insurance policy covers work given on<br />

consignment. Th is s unlikely.<br />

It is important that the store has an effective way <strong>of</strong> tracking inventory and paying consignees.<br />

Unlike wholesaling, it is recommended that you only deal with local consignment shops, so you can<br />

deliver your items, keep track <strong>of</strong> sales and retrieve unsold items.<br />

Important things to do when consigning your work:<br />

Create a simple but clearly written consignment note that states the retail price, the agreed commission,<br />

your GST registration status, your ABN, and bank details for electronic transfers. (Most outlets will<br />

have a list <strong>of</strong> terms and conditions for stocking your work, but you can also have your own terms and<br />

conditions which state how and when you would like to be pa id, insurance responsibilities, and the<br />

length <strong>of</strong> time your work will be in store.)<br />

Be in regular contact with your store/so Follow up every 30 days to discuss how the work is being<br />

received and ask for feedback .<br />


Trade<br />

your business name<br />

your logo<br />

., ,..ABNOO ')0 000<br />


(This Is not an invoice for payment, more a list <strong>of</strong> the items on consignment)<br />

Coo <strong>No</strong>te <strong>No</strong>.<br />

Choose 8 system to use ego 6 digit date Of consecutive numbers rOf the tax year<br />

Date: 18 September <strong>2013</strong><br />

To:<br />

Business name <strong>of</strong> gallery/store<br />

Add .....<br />

Pf1ooeIf ..<br />

Websi1e<br />

Email address<br />

From: VotK name<br />

Your ASN 00 000 000 000<br />

YOUf GST registr8bon status<br />

CONSIGNM ENT COMMISSION: artist 00% + galery 00% ::::: total Pfice ( 100%)<br />

<strong>No</strong>te: This must be dearty stated by the gallery/outlet when you agree to consign.<br />

Ust <strong>of</strong> items - give the tot.l number <strong>of</strong> each item and a brief description<br />





Include GST if registered.<br />

Alternatively state, '<strong>The</strong>se prices al e GST exempt',<br />

Retail Price '"<br />

Retail Price =<br />

Retail Price '"<br />

Retail Price =<br />

$00 each<br />

$00 each<br />

$00 each<br />

$00 each<br />

Slate your Terms and CondiUons (exchange policy, damage policy, payment policy)<br />

Bank aooount details for EFT payment<br />

Aocount name: XXXXXXXXXXXXXXX<br />


Bank name and address:<br />

Account <strong>No</strong>: XXXXXXXXX<br />

Address/contact detaIlS<br />

M your phone number<br />

~: your email address<br />

www your website<br />


Selling wholesale gives the maker instant reward as you are paid upon delivery <strong>of</strong> your work. Unlike<br />

consignment, the store decides on the retail price and then negotiates a wholesale price w ith the maker<br />

(the store will usually expect a 50% discount <strong>of</strong>f <strong>of</strong> the retail price). Although wholesale orders generally<br />

pay less per item than consignment, they make up for this by paying upfront and (generally) asking for<br />

multiples <strong>of</strong> each item. Also the store assumes the risk <strong>of</strong> work not selling.<br />

<strong>The</strong> store will normally assume full responsibility for your work upon delivery so there is less need to<br />

have your own insurance.<br />

Some important things to do when wholesaling your work:<br />

To minimise risk and to develop a good working relationship with retailers, it is important to develop a<br />

clear, concise invoice and think about terms and conditions which will benefit both you and the seller.<br />


Trade<br />

Make sure it is a simple but clearly written document that states the agreed wholesale price. payment<br />

due date. any terms and conditions. your GST registration status. your ABN. and bank details for<br />

electronic transfers.<br />

Decide on your minimum order. either by quantity (e.g. five bowls) or price (e.g. $500).<br />

Consider your returns policy. e.g. exchange <strong>of</strong> old stock for new. Perhaps <strong>of</strong>fer to exchange if work<br />

remains unsold after 6 months as long as the work is in perfect condition. Extending credit is not<br />

recommended as this can place the burden <strong>of</strong> chasing up payment on the maker.<br />

Both methods <strong>of</strong> selling have benefits and pitfalls; choose the one that suits your comfort level and<br />

practice. For makers who wish to have regular outlets for their work. each new consignment order<br />

should be seen as the first step towards introducing your work to a venue and having it progress to a<br />

wholesale relationship.<br />

your business name<br />

your logo<br />

your A8~1 00 000 000 000<br />


Invoice <strong>No</strong>.<br />

Choose a 8ys1em to use ego 6 digit dale or oonseartive f'U'rlbef$ to.- the lax yre

Join the Pots<br />

1968: Gwyn Pigott, cutting wood with Peter<br />

Archbold and his children at les Grandes<br />

Fougeres Acheres; PIA, <strong>Vol</strong> 22 <strong>No</strong> 2 1983<br />

1970:<br />

Exhibition at<br />

Potters' Gallery.<br />

Pint-and-a-half<br />

leapots, salted in<br />

third chamber <strong>of</strong><br />

kiln; left: no glaze<br />

Right: sprayed<br />

porcelain body<br />

Made at La Bourne<br />

PIA, <strong>Vol</strong> 9 <strong>No</strong> 2<br />

1970: Exhibition at Potters'<br />

Gallery. Salt-glazed casserole,<br />

diameter 8", salted over sprayed<br />

Kaolinitic slip. Made at La<br />

Bourne, France; PIA, <strong>Vol</strong> 9 <strong>No</strong> 2<br />

1974: Gwyn Hanssen demonstrates at the<br />

Potters' Gallery, 2412174; photo: Dennis Pile<br />

PIA, <strong>Vol</strong> 13 <strong>No</strong> 1, 1974<br />

( .1915: Gwyn Pigott: Demonstrating<br />

in Sydney; photo: News Ltd<br />

PIA, <strong>Vol</strong> 22 <strong>No</strong> 2, 1983<br />

A collection <strong>of</strong> images <strong>of</strong><br />

work by Gwyn Hanssen<br />

Pigott from the archives<br />

<strong>of</strong> Pottery in Australia<br />

(PIA) / <strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> (JAC)<br />

1977: Gwyn Pigott at Kingston<br />

Clay Pit; PIA, <strong>Vol</strong> 16 <strong>No</strong> 1, 1977<br />

1977: Two woodfired teapots<br />

PIA, <strong>Vol</strong> 16<strong>No</strong> 1, 1977<br />

,j<br />

1978: Gwyn Pigott<br />

Wood fired teapot<br />

Tasmania<br />

PIA. <strong>Vol</strong> 22 <strong>No</strong> 2, 1983<br />

1980: Gwyn Pigott: Dinnerware<br />

JamFaaory SA; photo: Grant Hancock<br />

PIA, <strong>Vol</strong> 22 <strong>No</strong> 2, 1983<br />

1982: Gwyn Pigott<br />

photo: Kathy John<br />

PIA, <strong>Vol</strong> 22 <strong>No</strong> 2, 1983<br />


Join the Pots<br />

1983: Gwyn Pigott: Preparing for a firing at Kelvin<br />

Grove Queensland, 1983; PIA, <strong>Vol</strong> 22 <strong>No</strong> 2, 1983<br />

1986: Gwyn Hanssen Pigott, QPA Potters'<br />

Gallery; PIA, <strong>Vol</strong> 25 <strong>No</strong> I, 1986<br />

1988: Gwyn Hanssen<br />

Pigott, Three Inseparable<br />

Bowls; PIA, <strong>Vol</strong> 27 <strong>No</strong> 1<br />

1988: Gwyn Hanssen Pigott<br />

woodfired porcelain crackle bowl<br />

PIA, <strong>Vol</strong> 27 <strong>No</strong> 2, 1988<br />

1988: Gwyn Hanssen Pigott<br />

set <strong>of</strong> porcelain bowls<br />

PIA, <strong>Vol</strong> 27 <strong>No</strong> 2, 1988<br />

1992:<br />

Gwyn<br />

Hanssen<br />

Pigott<br />

Stillli!e 1990<br />

porcelain<br />

PIA, <strong>Vol</strong> 31<br />

<strong>No</strong> 2, 1992<br />

1994:<br />

Brown Still Life<br />

PIA, <strong>Vol</strong> 33 <strong>No</strong> 4<br />

1994:<br />

StifJ Life with<br />

Four Bottles<br />

PIA, <strong>Vol</strong> 33 <strong>No</strong> 4<br />

1996: Gwyn Hanssen<br />

Pigott Winner Port Hacking<br />

Potters Group Competition<br />

PIA, <strong>Vol</strong> 35 <strong>No</strong> 2,1996<br />

2004: Gwyn Hanssen<br />

Pigott Slillli!e with large<br />

cup. Cover <strong>The</strong> <strong>Journal</strong><br />

<strong>of</strong> Austra/;an <strong>Ceramics</strong><br />

<strong>Vol</strong> 44 <strong>No</strong> 3, 2005<br />


Collection<br />

--------- ----------<br />

Miles Franklin's Waratah<br />

Patsy Hely considers: Can flowers talk (about sustainability)?<br />

If any flower makes a call for the valuing and conservation <strong>of</strong> <strong>Australian</strong> flora it is the waratah. Even<br />

before decorative arts and indigenous flora champion Richard Baker's impassioned plea in his 1915<br />

text <strong>The</strong> <strong>Australian</strong> Flora in Applied Arts l for it to be chosen as Australia's national emblem, it was<br />

giving an <strong>Australian</strong> character to objects, its brilliance calling out for it to be treated as special. This<br />

specialness has continued to resonate with artists, as can be seen in collections and in countless craft<br />

and decorative arts publications since. Baker's waratah lost out to wattle in the national emblem stakes<br />

and I think that's a shame for they signify quite differently. Wattle is familiar, ubiquitous even, whereas<br />

the waratah has until recently been relatively rare; it's a shy plant. needing particular conditions and the<br />

right temperature, soil and aspect to thrive. <strong>The</strong> waratah exemplifies then the type <strong>of</strong> care and attention<br />

that truly looking after something requires.<br />

Baker, an early director <strong>of</strong> Sydney 's Technological Museum (now the Powerhouse Museum) was a man<br />

<strong>of</strong> fine aesthetic judgment and broad interests. He was a scientist, who undertook pioneering research<br />

into the uses <strong>of</strong> eucalyptus oils, and an art lover under whose stewardship one <strong>of</strong> the largest collections<br />

<strong>of</strong> early <strong>Australian</strong>a was acquired for the Museum. His name has become synonymous with the artistic<br />

and decorative possibilities presented by indigenous flora. <strong>The</strong> Miles Franklin waratah cup and saucer<br />

pictured here was given by Baker to his friend, author Miles Franklin, in 1940; he was 87 and would die<br />

the next year, and Franklin at 61 was a celebrated figure in the literary world.<br />

<strong>The</strong> waratah image had been designed by Lulu Shorter (daughter <strong>of</strong> Royal Doulton's Sydney agent<br />

John Shorter) while still a student at Granville College and it was produced by Doulton on a number <strong>of</strong><br />

items from around 1908-1915. Items from the series have been exhibited in exhibitions over the years2<br />

and Baker used an image <strong>of</strong> a similar cup and saucer in his <strong>Australian</strong> Flora in a section he called '<strong>The</strong><br />

Waratah in Applied Art and Literature', the title indicating perhaps the interest he and Franklin shared.<br />

<strong>The</strong> example here is from the State Library <strong>of</strong> NSW where, along with its accompanying Book <strong>of</strong> t he<br />

Waratah Cup (an autograph album Franklin got those who used the cup to sign and make comments<br />

in), it forms part <strong>of</strong> the Library's Miles Franklin Collection. 3<br />

Her letters and a recent biography by Jill Roe. suggest Franklin was particular in her wants and<br />

opinions - a sharp tongue perhaps - and the entries in the book <strong>of</strong> the waratah cup are slightly selfconscious,<br />

awkward even, the authors possibly aware <strong>of</strong> Franklin scrutinising their words. But Franklin<br />

was a single woman trying to make her way in what was essentially, at that time, a man's world. She<br />


Collectio n<br />

Miles Franklin's waratah cup and saucer, Royal Daulton, England, Mitchell Library, State Library <strong>of</strong> NSW<br />

(R 230., album ID: 824191)<br />

rarely had much money and although she had a wide group <strong>of</strong> friends, she had little family support<br />

or financial backing and so, despite her fame, she struggled. Despite this, she bequeathed money to<br />

establish a literary prize which continues to support and care for <strong>Australian</strong> writers to this day.<br />

In the <strong>2013</strong> Miles Franklin Literary Award (funded by Franklin's bequest) the four shortlisted authors<br />

were, in a first, all women. This was surely a result <strong>of</strong> the broader support and cultivation given to<br />

women writers over the years since Franklin so generously established her prize. It might be drawing a<br />

long bow but I think a correspondence can be seen here between Miles Franklin, and women's writing<br />

in general, and the waratah plant. For waratahs - like women authors, once quite rare - are now<br />

cultivated and readily ava ilable; I see thrivi ng examples <strong>of</strong> the plant in my own and other's gardens.<br />

So can the flowers on this conventional and rather polite cup talk? Can they say something about<br />

sustainability? I think they can. I think they say that it is care that makes a difference when sustainability<br />

is at issue. On their white, precision-made surface, through their carefully plotted and rendered design,<br />

the waratahs on Miles Franklin's cup and saucer speak quite clearly.<br />

Richard Baker. <strong>The</strong> <strong>Australian</strong> Flora In Applied Am, available from http://www".blodwerSltytfbrary.orgftitlefl620llpagell/mode/lup,<br />

(accessed 10 June, <strong>2013</strong>)<br />

<strong>The</strong> P(M'erhouse Museum, the National Gallery <strong>of</strong> Australia and the <strong>Australian</strong>a Fund all have 'SImilar examples.<br />

Miles Franklin, <strong>The</strong> Book <strong>of</strong> the Wararah Cup, 1902-1908, 1944-1954, 5lNSW, available from: http://acms.sI,nsw,gov.aulsearchl<br />

SimpJeSearch.asp,,?query=book+Of+the+waratah+cup&sort=Rank.&select= l&recordtype=2&retrieve=I00+P£RCENT, (accessed 20 August. <strong>2013</strong>)<br />

4 Jill Roe, Her brilliant career: the life <strong>of</strong> 5telfil MIles Franklin, Cambridge, Mass: Belknap Press <strong>of</strong> Harvard University Press, 2009.<br />


Artist in Residence<br />

Cultivate<br />

-- ------_.<br />

Helen Earl recounts her residency experience at the<br />

Royal Botanic Garden Sydney<br />

In 201 1 I was selected as Artist in Residence for the Royal Botanic<br />

Garden Sydney. <strong>The</strong> residency invites the artist to work in, and<br />

be inspired by, the Royal Botanic Garden Sydney and its scientific<br />

collections, which are housed in the National Herbarium <strong>of</strong> NSW<br />

<strong>The</strong> residency culminated in a solo exhibition titled Cultivate, in<br />

2012 . <strong>The</strong> stated mission <strong>of</strong> the Royal Botanic Gardens and Domain Trust, 'to inspire the appreciation<br />

and conservation <strong>of</strong> plants', provided the catalyst for my research to explore the con nections that existed<br />

between people and plants w ith in the oldest botanical garden and scientific institution in Australia.<br />

My artwork reflected on the meaning <strong>of</strong> cultivation, specifically the physical tending <strong>of</strong> the garden,<br />

the promotion <strong>of</strong> plant growth and the fostering <strong>of</strong> scientific, cultural, environmental and historical<br />

knowledge.<br />

<strong>The</strong> installation, From Jungle to Teacup, explored various meanings <strong>of</strong> cultivation by creating a<br />

narra tive around different species <strong>of</strong> Camellia. Cu ltivars such as the C japonica and C sasanqua as<br />

well as the tea plant. C sinensis, grow in the Royal Botanic Garden Sydney but the resea rch undertaken<br />

by scientists <strong>of</strong> the Camellia Project' focused on rare tropical and sub-tropical camellias <strong>of</strong> Indo China.<br />

From Jungle to Teacup is a poetic narrative about the excitement communicated to me in an<br />

interview with Dr Adam Marchant, Dr George Orel and Tony Curry. <strong>The</strong>y recounted a plant hunting<br />

Helen Earl, From Jungle to Teacup, installation. wooden desk, porcelain flowers, tile, cup, sugarcane, paper, tea leaves, glass<br />

jar, wooden chair frame, ceramic seat, porcelain and terracotta leaves, paperclay dustpan, ceramic broom. various dimensions<br />

Photo: Helen Stevenson, the Royal Botanic Gardens and Domain Trust

expedition conducted in 2002 to the Dong Nai River region <strong>of</strong><br />

South Vietnam that resulted in the rediscovery <strong>of</strong> the rare tropical<br />

camellia, <strong>The</strong>a piquetiana.<br />

A ceramic teacup, saucer, C. sinensis flowers, and a mounted<br />

herbarium specimen <strong>of</strong> sugar cane, lie on the desk alongside a<br />

reference book on camellias. <strong>The</strong> book represents the cultivation<br />

<strong>of</strong> new knowledge. <strong>The</strong> book cover is carved with a Camellia<br />

japonica illustration from a 19th century Curtis's Botanical<br />

magazine and from which sculpted <strong>The</strong>a piquetiana flowers<br />

unfold. <strong>The</strong> seat <strong>of</strong> the botanist's chair is made <strong>of</strong> ceramic grass<br />

and scattered with camellias cultivated in the Royal Botanic Garden<br />

Sydney. <strong>The</strong> scatterings <strong>of</strong> small leaves under the table create<br />

a gestural space representing the hidden jungle. <strong>The</strong> dustpan<br />

is a metaphor for sweeping a specific area <strong>of</strong> jungle and the<br />

subsequent collecting <strong>of</strong> the plant cuttings.<br />

Sewn Knowledge consists <strong>of</strong> <strong>52</strong> hand-sized, slipcast dishes<br />

with threaded ceramic needles and tags. Each dish reveals a unique<br />

hand drawn image <strong>of</strong> a mounted plant specimen. Many <strong>of</strong> the<br />

1.2 million preserved plants housed in the NSW Herbarium are<br />

dried specimens. Carefully pressed and dried between sheets <strong>of</strong><br />

absorbent paper, the specimens arrive from field collections. Each<br />

specimen has accompanying field notes about the plant: where it<br />

was found, the collector's name, and surrounding habitat.<br />

Helen Earl, Water Conta;ned and<br />

Uncontained: pond spoon with<br />

lotus seedpod and buds, Southern<br />

Ice, found driftwood, spoon, h.3Scm;<br />

Photo: courtesy artist<br />

<strong>The</strong>se specimens, important for advancing the study <strong>of</strong> systemic botany, are hand sewn onto<br />

archival paper by a team <strong>of</strong> volunteers using dental floss. <strong>The</strong> scientific information contained within a<br />

rectangular sheet <strong>of</strong> archival paper references a vast ecosystem, yet the preservation method is singularly<br />

domestic. <strong>The</strong> aim was to suggest to the viewer how important, ecologically, it is for us as individuals to<br />

recognise the value <strong>of</strong> preserved specimens and the ecosystems they represent.<br />

A collection <strong>of</strong> three works titled Frozen Assets refers to PlantBank, the new scientific plant<br />

conservation facility at the <strong>Australian</strong> Botanic Garden, Mount Annan. Frozen Assets examines the<br />

importance <strong>of</strong> protecting biodiversity by storing seed or live tissue in climate-controlled refrigerated<br />

vaults.<br />

Loosely grouped under the title Water, Contained and Uncontained are ceramic objects that<br />

appreciate the beauty <strong>of</strong> aquatic plants inhabiting the ponds <strong>of</strong> the Royal Botanic Garden Sydney and<br />

Sydney Harbour, such as seaweeds growing below the sandstone wall <strong>of</strong> Farm Cove. Both fresh and salt<br />

water define the Royal Botanic Garden, Sydney, and the biodiversity <strong>of</strong> this planet.<br />

My work continues to poetically investigate the interconnections <strong>of</strong> the domestic spaces that we<br />

inhabit in daily life, with the macrocosm <strong>of</strong> the unbounded. My intention is to suggest that individual<br />

understanding <strong>of</strong> biodiversity will collectively ensure the ecological future <strong>of</strong> this planet.<br />

Helen Earl<br />

<strong>The</strong> work for this exhibition was created in Helen's home studio in Sydney. She completed a<br />

Masters <strong>of</strong> Visual Arts at Sydney College <strong>of</strong> t he Arts, Sydney University in 2009 and is a casual<br />

lecturer in the Faculty <strong>of</strong> Arts and Social Sciences at the University <strong>of</strong> Technology, Sydney.<br />

1 For further infOfmatlon see Protect (amellla; 'NWW.rbgsyd.nsw.gov aulsclencelPlanCDl'lerslty_ResearchlPr0Jet:CCamelha<br />


Wedge<br />

----------<br />

Brown, Lumpy, and Scratches<br />

the Laminex!<br />

John Dermer deals with the dags<br />

In the 1960s and 1970s this was a common<br />

feeling towards handmade pots, most <strong>of</strong>ten in<br />

reference to tableware but also to stoneware<br />

'blossom jars'. Unfortunately, it seems that not<br />

a lot has changed. <strong>The</strong> majority <strong>of</strong> work out<br />

there in the market place still scratches the<br />

furniture, even though the clay is now usually<br />

white porcelain. It seems odd that after spending<br />

so much time and effort on making and firing,<br />

a few minutes are not spent smoothing the<br />

base <strong>of</strong> the work. I am not just talking about<br />

tableware here, but also the most esoteric and<br />

sculptural <strong>of</strong> work. Often handmade work is<br />

purchased by folk who have good furniture on<br />

which to use it or display it. Try sliding a ceramic<br />

item that has not been smoothed across a table<br />

or bench top - it scratches! This will inevitably<br />

happen, if only during routine housecleaning. It<br />

need not be so!<br />

Many and varied methods can be used to<br />

smooth the base <strong>of</strong> the work - stones and<br />

grinding wheels based on silicon carbide or<br />

diamond sanding discs, Dremel type tools (small<br />

high speed, multi-tools), bench grinders and<br />

variable speed sander/polishers.<br />

<strong>The</strong> simplest and most efficient method I<br />

have found involves the use <strong>of</strong> a 200 mm bench<br />

grinder, <strong>of</strong>ten in conjunction with a Dremel that<br />

has a silicon carbide grinding tip. On one end <strong>of</strong><br />

my bench grinder is a 120 mesh silicon carbide<br />

grinding wheel for taking <strong>of</strong>f the larger dags<br />

(I use the Dremel for small runs), and then the<br />

pots are polished smooth with a silicon carbide<br />

impregnated 3M Scotch-Brite wheel on the<br />

other end. <strong>The</strong>se de-burring wheels measure<br />

either 1 50 mm or 200 mm and come in different<br />

grades <strong>of</strong> hardness. <strong>The</strong> best I have found is the<br />

9 5 FIN . Although the 8 S FIN is easier to find,<br />


they don't last as well. Only a light pressure is needed to smooth the base <strong>of</strong> the<br />

work. <strong>The</strong> wheel I am currently using has cleaned up 3 X 75 cubic foot tableware<br />

firings and 6 salt glaze firings. It has worn down by about 20%. That's a lot <strong>of</strong> pots I<br />

<strong>The</strong> wheel is used for smoothing, not grinding; taking <strong>of</strong>f sharp dags wears it quickly.<br />

Smoothing the foot <strong>of</strong> a rice bowl takes 10-20 seconds.<br />

<strong>The</strong> detail photo shows a salt glaze run . First a light grind on the bench grinder,<br />

then the Dremel, then the 3M wheel ... the cleanup is done in two minutes!<br />

<strong>The</strong> initial cost <strong>of</strong> a good quality bench grinder, the 3M wheels and a fine<br />

(120mesh) silicon carbide grinding wheel would be about $400. However, I feel<br />

that is a small price to pay to ach ieve a pr<strong>of</strong>essional finish or for saving a pot that<br />

may have been discarded. Most importantly, you are caring for your customer and<br />

presenting a high quality finish so they can experience the pleasure <strong>of</strong> using your<br />

work without the pain <strong>of</strong> damaged furniture.<br />

Unfortunately, the 3M wheels are generally sold in packs <strong>of</strong> three and cost<br />

$130- $150 each. In the USA they are about US$85 each, but 3M won't sell them<br />

direct overseas. <strong>The</strong> 150mm wheels are a little cheaper but not as easy to use when<br />

they are worn down. (<strong>The</strong>re are Chinese cheapies out there but beware!) I use an<br />

extended shaft on my grinder but this is not recommended. I always wear safety<br />

goggles and a good dust masK. If the base does not feel silky smooth then it will<br />

certainly scratch the Laminex!<br />


Viewed & Read<br />

ccraolics<br />

IU!(O~<br />

Lustre<br />

Lustre by Greg Daly<br />

<strong>Ceramics</strong> Handbook<br />

Published by A & C Black<br />

Publishers Ltd, January 2012<br />

144 pages, paperback<br />

ISBN 13: 9781408103760<br />

$39.95<br />

<strong>No</strong>w available online at<br />

www.australianceramics.com<br />

What inspired fairy tales <strong>of</strong> turning straw into gold! Was this the result <strong>of</strong> a secretive potter in the<br />

Middle East using straw to create a reduced atmosphere in his kiln to develop gold lustre on his pots<br />

more than 1000 years ago? Today we understand the science <strong>of</strong> lustres and in his book Greg Daly has<br />

outlined the details <strong>of</strong> reduced lustres, lustre glazes, resinate lustres and fuming so all interested potters<br />

can 'have a go'. <strong>The</strong> process is no longer a secret and the materials needed are readily available at<br />

suppliers and online. In Greg's book each type <strong>of</strong> lustre has its own chapter outlining how each works,<br />

along with firing temperatures, firing conditions and, most importantly, safety issues, which people<br />

should read closely before embarking on lustre projects. This book covers the variables you will be<br />

dealing with, minimising them so you get the feeling <strong>of</strong> how they work together.<br />

For reduced lustre the variables are the base glaze, the pigment, the firing and length <strong>of</strong> reduction and<br />

the temperature. This book gives a helpful guide to developing and testing the glaze and recording<br />

information (such as the length <strong>of</strong> firing, temperature and number <strong>of</strong> reductions) on the back <strong>of</strong> test<br />

tiles. Explanations are well illustrated with photographs <strong>of</strong> test tiles and pots by potters who specialise in<br />

lustres.<br />

<strong>The</strong> book also covers lustre glazes (in·glaze lustre and flash lustre) and resin lustres which can be<br />

commercially purchased and fired in an OXidising atmosphere in an electric kiln. <strong>The</strong> reduction comes<br />

from the resin (usually pine resin) in which the metals are mixed. Lustres need to be handled with care<br />

in a well·ventilated area, preferably while wearing a vapour mask. Greg makes his own resinate lustres<br />

using natural eucalyptus oil (rather than the very nasty chemicals the commercial ones contain) with<br />

firing instructions and recipes given.<br />

Fuming is a lustre technique ('borrowed' from glass artists) that uses materials which are corrosive and<br />

poisonous. Chapter 5 covers the dangers and may make you wonder whether it's worth it.<br />

This book shows the results <strong>of</strong> the author'S extensive testing so you can make your own decisions<br />

about the way to go. After the expertise <strong>of</strong> lustre nearly being lost over the centuries, this book should<br />

ensure its place in the future history <strong>of</strong> ceramics.<br />

Review by Kay Alliband<br />


Jennifer Collier pays tribute to Jane Crick<br />

<strong>The</strong> Canberra Potters' Society is mourning the loss <strong>of</strong> Jane Crick, who<br />

died on 29 September <strong>2013</strong>, aged 69. Jane will be known to long-term<br />

readers <strong>of</strong> this journal as the ACT representative for close to 20 years.<br />

Her first report appeared in Pottery in Australia, <strong>Vol</strong> 33 <strong>No</strong> 2, W inter<br />

1994.<br />

Jane was born in England where she trained as a pharmacy chemist.<br />

She met her husband Ian while working in Uganda and they moved to<br />

Australia and settled in Canberra where she rapidly developed a passion<br />

for clay. She studied with Alan Peascod and Alan Watt at the ANU<br />

School <strong>of</strong> <strong>Ceramics</strong>, graduating in 1989. Peascod encouraged her to join<br />

the Canberra Potters Society (CPS) in 1988, which she did with alacrity,<br />

taking on, in turn, every <strong>of</strong>fice-bearing position including president<br />

and treasurer. In 1992 Jane also began teaching at CPS and her love <strong>of</strong><br />

glazes will live on in students who did her glaze courses. <strong>The</strong>y are sure<br />

to honour her rule - a glaze test in every kiln firing.<br />

In 1999 Jane joined the Inner City Clayworkers Co-operative in<br />

Sydney where she was a member for seven years before regretfully<br />

giving up her membership to focus on preparations for overseas<br />

travel. Jane was also a member <strong>of</strong> a second cop-op, Tra inspotters, in<br />

Bungendore. Around this time Jane bought land at Tarago using a<br />

bequest from her step-father in England in whose memory she named<br />

the property Moonshill. She opened up her studio to locals <strong>of</strong>fering a<br />

drop-in ad-hoc tutorial for anyone, regardless <strong>of</strong> skill or experience. Jane<br />

also ran her Hot to Pot workshops there, and was thrilled to participate<br />

in the very first OSCAS this past August, beaming with pride at the 70+<br />

cars that visited over two days.<br />

In 2008, Jane won a Churchill Fellowsh ip to travel to the USA and UK to visit other community-based<br />

pottery studios to find out how she could further develop Moonshill. On her return, full <strong>of</strong> ideas, she<br />

drew up a list <strong>of</strong> all the things she wanted to do, then promptly set about achieving most <strong>of</strong> them in the<br />

years since.<br />

Jane is survived by hundreds <strong>of</strong> good pots in collections across the globe and by almost as many<br />

students. <strong>The</strong> village <strong>of</strong> Tarago and the potters <strong>of</strong> the region will remember a potter who was always<br />

interested to help. A few <strong>of</strong> us will remember long and lively conversations in the car driving to courses,<br />

members events, studios or exhibitions in which Jane was always encouraging, refreshingly frank, and<br />

unfailingly kind. http://janecrick.netfirms.com<br />


Sandra Burgess, Plexus<br />

PhD Exhibition; University Gallery, University <strong>of</strong> Newcastle 28 August - 4 September <strong>2013</strong><br />

In her PhD exhibition,<br />

Plexus, at the University <strong>of</strong><br />

Newcastle in September,<br />

Sandra Burgess asked<br />

viewers to notice the little<br />

things.<br />

Plexus (meaning<br />

'matting' or 'plaiting') was<br />

a survey <strong>of</strong> the layering<br />

<strong>of</strong> history and physical<br />

matter that develops in a<br />

place. For Burgess, that<br />

place is Hanging Rock near<br />

Nundle, NSW, where she<br />

tends a property.<br />

"I want people to consider the fragility <strong>of</strong> the natural world and our impact on it," Burgess explained.<br />

<strong>The</strong> idea <strong>of</strong> layering was explored using multiple mediums (including ceramics, paper, found objects and<br />

plant installations) and by taking the viewer from the 'macro' to a 'micro' perspective.<br />

Burgess's macro perspective was apparent in a series <strong>of</strong> deep half-spherical ceramic forms - each<br />

violently gashed and cracked - which stood confidently at the gallery's entrance and represented the<br />

effects <strong>of</strong> mining on the land. Other parts <strong>of</strong> the exhibition featured blackberries, prickly pear and grass<br />

heads formed in porcelain to represent the weeds that invaded during colonial times.<br />

<strong>The</strong> exhibition was also concerned with the microscopic, a perspective which has captivated Burgess's<br />

imagination for thirty years. Featured was a fantastical exploration <strong>of</strong> diatoms, the silica skeletons <strong>of</strong><br />

prehistoric algae. "I was first fascinated by diatoms after reading {biologistj Ernst Haeckel's books," said<br />

Burgess. "I also knew I was using them in the kiln bricks first given to me in 1979." Southern Ice was<br />

a fitting material for her diatom reconstructions as it conveyed the tiny organisms' decorative swirls <strong>of</strong><br />

lines and dots.<br />

''I'm asking people to look closer and notice the small things," said Burgess, ... because everything is<br />

connected. And it's how you can really treasure things, by knowing more about them."<br />

Report by Candice Anderson. http://theartisansobject.com<br />


A year <strong>of</strong> workshops in<br />

south-east QLD<br />

We started with the Helen<br />

Charles Big Pot workshop in<br />

late June. Helen's workshops<br />

are always fully booked<br />

and with a waiting list l<br />

This was no exception with<br />

participants coming from<br />

NSW to play at building<br />

large forms with BRT clay for<br />

two fun filled days. Helen's<br />

Venturi burner for drying clay<br />

was a huge hit, again!<br />

<strong>The</strong> second workshop was Explore Porcelain Slab Building with Kenji Uranishi organised by the<br />

Gold Coast Art Gallery and held in the Gold Coast Potters studio. This workshop booked out very<br />

quickly, and it was a huge success.<br />

Shirley Battrick's Printing on Clay workshop was held in August - another fully booked workshop<br />

with rave reviews from the participants.<br />

We have two fantastic workshops coming up, Firstly, on 5 & 6 October, we have Malcolm Greenwood<br />

from NSW who will also have a display <strong>of</strong> pots for sale in the Clay Art Benowa gallery, In early<br />

<strong>No</strong>vember Vicki Grima will give a participation workshop on pinch pots, as well as judging our Annual<br />

Members' Exhibition.<br />

<strong>The</strong> Gold Coast Potters are holding their 4th Art & Crafters Market on Sunday 1 December, With a<br />

great diversity in art and craft stalls, these markets have become very popular, We have demonstrations<br />

galore, a pizza van, c<strong>of</strong>fee van, cakes, sausage sizzle and music '" what a great Christmas precursor!<br />

Go to our web pages for lots more: www.goldcoastpotters.com; www.clayartbenowa.com;<br />

www.facebook.com/GoldCoastPottersAssociation<br />

Report by Lynette Rogers<br />


Australia Wide<br />

A short pr<strong>of</strong>ile on Maria Chatzinikolaki<br />

Maria Chatzinikolaki (silent 'C') is an emerging ceramic artist, born in Greece, who is currently a studio<br />

tenant at Adelaide's JamFactory. After high school Maria studied visual arts and graphic design in<br />

Athens and proceeded to work there for international advertising firms until the opportunity for change<br />

presented itself:<br />

When my parents moved to one <strong>of</strong> the islands <strong>of</strong> Greece (Paros), I jumped at the chance to<br />

follow them and live a less complicated lifestyle. I found a job as a retail assistant in a shop<br />

that sold local ceramics and when one <strong>of</strong> their production assistants got sick I was asked to<br />

help with production .. . two years later I was decorating their main dinnerware range.<br />

In 2007 Maria moved to Australia and began<br />

extending her knowledge and skill in ceramics<br />

w ith courses at Adelaide College <strong>of</strong> the Arts and<br />

porcelain workshops at Jam Factory with Robin Best,<br />

who was her mentor in 2010 when she became an<br />

aAssociate in the <strong>Ceramics</strong> Studio at JamFactory.<br />

Working predominantly with slipcast porcelain,<br />

Maria decorates blanks, altered to make each<br />

unique, using a variety <strong>of</strong> techniques including<br />

impressed decoration, slip trai ling and painting<br />

with underglazes. Recently Maria has shifted from<br />

production ware to more one-<strong>of</strong>f pieces with an<br />

emphasis on the sculptural effects <strong>of</strong> combining<br />

decoration and form. Using established patterns and her own unique decorative style, Maria plays upon<br />

the personal, cultural and historical aspects <strong>of</strong> pattern and its ability to transform, define and defy form.<br />

Maria had her first solo exhibition at JamFactory in 2012, and has had work in numerous group<br />

exhibitions locally and nationally, including this year's Clunes Ceramic Award in which she won the<br />

Emerging Artist Prize, and the Woollahra Small Sculpture Award. Maria's work can be found at<br />

JamFactory (SA), Beaver Gallery (ACT), Potier (VIC) and Sturt Gallery (NSW).<br />

www.mariachatzinikolaki.com.au<br />

https:llwww.facebook.com/pages/Maria-Chatzinikolaki.Porcelain<br />

Instagram: mariaxceramics<br />

Report by Sophia Phillips, http://sophiaphillips,carbonmade.com<br />


A recent exhibition near Hobart<br />

At the Rosny Schoolhouse Gallery in August <strong>2013</strong>, an inspired and skilfully executed exhibition,<br />

Stairway to Heaven , was held by two <strong>of</strong> the Tasmanian <strong>Ceramics</strong> Association 's finest ceramicists,<br />

Christine Crisp and John Watson. <strong>The</strong> artists worked independently, each unaware <strong>of</strong> how the other<br />

was approaching the chosen theme. <strong>The</strong> harmonious outcome largely comprised a variety <strong>of</strong><br />

architectural pieces representing the religious aspirations <strong>of</strong> different cultures across the ages -<br />

Egyptian pyramids, tombs and reliquaries, a Russian Orthodox Church, Tibetan monasteries,<br />

Islamic minarets, Buddhist stupas, Mount Athos and a humble English parish church.<br />

Christine'S handbuilding, rich with poetic illusion and symbolism, enables her to express her love<br />

<strong>of</strong> history and architecture. She cleverly translates the dressmaking process used by her mother and<br />

grandmother into working with clay slabs, then she textures the surface with handmade coils incised<br />

with patterns. Her constructions are varied and intricate. Christine said, "My approach to Stairway to<br />

Heaven was fairly broad, allowing me to express a lot <strong>of</strong> different ways people think they can get to<br />

heaven, culturally and personally."<br />

John's work tended towards a more<br />

literal translation <strong>of</strong> the theme. He said,<br />

"<strong>The</strong> exhibition provided an opportunity<br />

to indulge my penchant for making towers<br />

and other architectural forms, many <strong>of</strong><br />

which were inspired by happy memories<br />

<strong>of</strong> trekking in the Himalayas for several<br />

months in 1970. I love working with clay,<br />

and ceramic processes comprise the core <strong>of</strong><br />

my art, but I'm not a purist and <strong>of</strong>ten utilise<br />

other media to embellish the work, including<br />

poppy seeds, wood, metals and acrylic inks.<br />

Sometimes I even use glue!"<br />

Report by Jude Maisch<br />

http://tasmanianceramics.com<br />


Danaher Lane Studios<br />

If there were to be an archaeological dig <strong>of</strong><br />

the layers <strong>of</strong> dust settled on the rafters at the<br />

Danaher Lane Studios, it would revea l over 15<br />

years <strong>of</strong> pottery activity.<br />

<strong>The</strong> layers <strong>of</strong> dust would begin with David<br />

Elliot and David Golightly who established the<br />

first lease <strong>of</strong> this warehouse in 1998. Alongside<br />

their slipcast ceramics business they created<br />

a series <strong>of</strong> smaller studios. Potters Robbie<br />

Harmsworth, Margaret Carlton and Fiona Hiscock were the first to fill these spaces. Fiona remembers<br />

communal tea breaks and turns cooking lunch as a convivial feature <strong>of</strong> those early studio days.<br />

Desperate to find a substantial slipcasting space, fate led Greg Bonasera to the studio in 2005. He<br />

landed at Danaher Lane just as 'elliot golightly' had departed. Similarly, David Pottinger arrived and set<br />

up a space for his nerikome practice.<br />

Currently, the studio is home to 11 artists, nine <strong>of</strong> whom work with clay. Communal activity continues<br />

to flourish under the studio-ship <strong>of</strong> David Pottinger who took over the lease and manages the space.<br />

<strong>The</strong>re is access to shared kilns, slab rollers, clay sinks, warm conversation and much technical discussion.<br />

It is clear to see the design influences <strong>of</strong> current Danaher Lane occupants Chela Edmunds' textile and<br />

Kim Russell's jewellery training at RMIT. <strong>The</strong>se makers take a whimsical, fresh and energetic approach to<br />

the ceramic process.<br />

Craig Pearce's business, Urban Cartel, makes slipcast, porcelain tableware - old-fashioned milk<br />

bottles that pull at the nostalgic heart strings. Craig trained at Bendigo University in the 1990s while<br />

Brooke Thorn recently honed her skills at Holmesglen TAFE. Brooke Thorn's handthrown pots have<br />

beautiful minimal lines that emphasise her subtle, multi-dipped glaze surface. Barbara Mcivor began her<br />

ceramics training in Queensland and carries the wisdom and skill gained from making ceramic sculpture<br />

and wheelwork since the 1970s. In the neighbouring studio is Alison Frith who, when not in class at<br />

Holmesglen TAFE, throws delicately decorated pottery.<br />

As the dust settles before the Wetvac sweeps through, it is clear that the underlying and consistent<br />

key ingredient to the success <strong>of</strong> the Danaher Lane Studios has been a continuum <strong>of</strong> communal purpose<br />

and support within a material specific studio.<br />

Report by Robyn Phelan, http://robynphelan.com.au<br />


Busy in the West<br />

We're preparing for the Christmas rush. Sandra Black, Cher Shackleton, Di Sigel and Greg Crowe are<br />

in Fremantle Art Centre's massively popular Bazaar, 6-8 December, then open studios on 14 and 15<br />

December. South <strong>of</strong> the River Potters' exhibition Glorious Mud was held in October and Perth Studio<br />

Potters is set for their Members' Selective in <strong>No</strong>vember.<br />

At Central Institute <strong>of</strong> Technology, Artist In Residence Cynthia White (MFA), whose background is film,<br />

recently explored the interdisciplinary platform <strong>of</strong> mixed media. With a grant from the City <strong>of</strong> Fremantle<br />

for Community Development Funding, her project intersects ceramic form and video in an installation,<br />

Evolving Memory, that opens at <strong>The</strong> Moores Building Contemporary Art Gallery in April 2014.<br />

Sandra Black and Fleur Schell exhibited in Expressions <strong>of</strong> Self in August/September with Skepsi<br />

Gallery at Montsalvat in Victoria, and Helen Foster won an award at Bunbury Biennale. Rockingham<br />

Regional Arts (RRA) and local ceramicists have keenly awaited having a ceramics studio in Rockingham's<br />

new arts centre. Under Bec Thomas' guidance a group has formed and equipment is being garnered.<br />

<strong>The</strong> City <strong>of</strong> Rockingham waived hire fees for the first year in return for RRA support.<br />

Ian Dowling in Margaret River has recently completed a commission, collaborating with local library<br />

users to create a courtyard waterwall at the local library. Two metres square <strong>of</strong> clay was sculpted, carved,<br />

imprinted then completed wit h oxide resist and glaze. Another project at Surfers Point was two walls <strong>of</strong><br />

textured cast ceramic tiles attached to formwork and cast in-situ into two large concrete walls.<br />

Bela Kotai's Counterweight in ClTs Gallery Central displayed his mastery <strong>of</strong> clay with airy, skeletal,<br />

architectural forms reminiscent <strong>of</strong> bridge constructions traversing massive chasms. For her Advanced<br />

Diploma, Holly Courtney is creating<br />

work (see image right) informed by<br />

her fascination with science fiction by<br />

combining large thrown and extruded<br />

parts into forms that reflect her imagined<br />

fantasy <strong>of</strong> extra terrestrial landscape and<br />

that which might inhabit it<br />

Report by Elaine Bradley<br />

http:// elainebradley.blogspot.com.au<br />


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On the Shelf<br />

On the Shelf<br />

NEW<br />

Lustre<br />

More books are available on www.australianceramics.com<br />

4. Grafisk (Graphic) Porcelain<br />

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2014 Foc:u5<br />

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Emerging artists<br />

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Studio VISits by appointment<br />




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AND GALLERY at Gundaroo NSW has reopened.<br />

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New web site:<br />



Summer School I 8-18 January 2014<br />

University <strong>of</strong> Southern Queensland I Toowoomba<br />

32 Designs!<br />

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Learn new techniques and sharpen<br />

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Retreat.<br />

Choose from an exciting selection<br />

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Ant hony Brink<br />

Other classes cover painting,<br />

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and theatre.<br />

Great for slabs or thrown pots!<br />

Carved wood with an oil fin ish for du rability.<br />

HandRoller d imensions: IOem x I .Scm<br />

Olllilll! SI/(/l'l'illf.: \011' I\'/Iift/hle!<br />

~ MKMPotteryTools.com<br />

Phone: 00 1.920.205.2701<br />

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Wa i kato <strong>Ceramics</strong> (NZ)<br />

salcs@polterysupplies.co.nz<br />

078568890<br />

Botany Pottery SLudio (NZ)<br />

ooIJX)l.s@ihug.co.nz<br />

09 27 1 2626<br />

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~ Pottery Classes<br />

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wheel head 33cm (1<br />

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easy clean control pad<br />

* aux. speed control buttons<br />

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low pr<strong>of</strong>ile footpedal<br />

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options<br />

• dip-n marine ply shelves<br />

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vmca sid" roller

A SMooth ~n.d Con.slstent porcel~ln. 0od!j<br />

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malcolM Qreel'\wood<br />

Ironstone<br />

Add ~ llttle w~rMth to !jour work<br />

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like usonf<br />


woodrow<br />

kilns<br />

Featuring<br />

Everything you need, including a set <strong>of</strong> shelves and<br />

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Our 'Watch Dog' backup safety circuit to prevent over<br />

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Fiber Board Insulation - Up to 60% cheaper to run<br />

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light weight design means it's easy to install or move<br />

Too many to list here - Check our Website for full details<br />

Kiln Servicing and Spares<br />

Elements & <strong>The</strong>rmocouples for all brands<br />

Shelves, Props, Fiber Blanket and Board<br />

We can retro fit our Multi-stage controller to your old<br />

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Offering service and repairs onsite in the Sydney area<br />

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9 Pr<strong>of</strong>ile/ Program memories with 1 to 8 stages<br />

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cooling for things like glass or crystal glazes<br />

A set <strong>of</strong> easy to follow plain English instructions<br />

with step by step photos<br />

Recommended firing pr<strong>of</strong>iles with handy wall<br />

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• Allin Ooe Mixing Pugmills<br />

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o<br />


A retail space for handmade <strong>Australian</strong> ceramics<br />

40 Burnie Sl Clovelly NSW 2031<br />

Thurs- fri IOam - 6pm / Sal - Sun IOam-3pm<br />

By appointment outs ide these hours<br />

042790 4407<br />

www.chinaclay.com.au<br />

<strong>Ceramics</strong> Design Studio<br />

www.sit.nsw.edu.au/ceramics/gymea<br />

We <strong>of</strong>fer a wide range <strong>of</strong> specialist ceramic studio courses<br />

Short Courses:<br />

Qualifications:<br />

9 Week Introductory Classes, 18 Week Advanced Wheel,<br />

Mould M aking, Handbuilding, Open Studio Practice<br />

Certificates, Diploma and Advanced Diploma in <strong>Ceramics</strong><br />

VET FEE help available for Diploma & Advanced Diploma<br />


Photo: Silversalt Photography<br />

<strong>Ceramics</strong> by Robert Jeffers<br />

Marian.HoweIl2@det.nsw.edu.au<br />

<strong>The</strong> Kingsway & Hotharn Road, Gyrnea NSW 2227, Tel: (02) 9710 5001<br />


Invited Artists<br />

Asia<br />

jean Moon Hwan, Korea<br />

jean Sung Cheal. Korea<br />

Masaho ana, japan<br />

Mahito Kudo, japan<br />

USA<br />

Tara Wilson<br />

Judith Duff<br />

Scot Parody<br />

james Kasper<br />

josh Copus<br />

South America<br />

Marcelo Tokai<br />

EU<br />

Herve Rousseau<br />

Pascal Ge<strong>of</strong>froy<br />

Nicholas Rousseau<br />

jean Francois Bourlard<br />

UK<br />

Matthew Blakely<br />

Australia<br />

Chester Nealie<br />

Sandy Lockwood<br />

Su Hanna<br />

Ray Cavill<br />

Robert Barron<br />

New Zealand<br />

MIChael O'Donnell<br />

1 - 18 May 2014<br />

Mystery Bay<br />

NSW Australia<br />

21 invited artists from Asia, USA, Europe, UK,<br />

South America, New Zealand and Australia<br />

This ceramics woodfire festival will bring together lovers <strong>of</strong><br />

woodfire providing an exciting exchange <strong>of</strong> ideas and techniques<br />

in May 2014. <strong>The</strong> invited artists will produce a body <strong>of</strong> work, build<br />

a kiln then complete a long wood firing.<br />

<strong>The</strong> idyllic location is a 40-acre private property, Corunna Farm,<br />

situated near Mystery Bay NSW, surrounded by national park,<br />

where Corunna inlet enters the sea. Invited artists will also give<br />

slide talks on their practices and techniques. Participants will have<br />

the opportunity to mingle, view, talk and interact with the invited<br />

potters. Entertainment in the evenings will also be provided.<br />

<strong>The</strong>re will be a series <strong>of</strong> exhibitions at the Bega Regional Gallery<br />

as well as Narek Gallery, Ivy Hill and Spiral Gallery.<br />

<strong>The</strong> festival is for everyone - ceramics enthuSiasts, woodfirers,<br />

potters, students, teachers and anyone else with an interest in<br />

pottery and ceramics. Registrations are now open.<br />

www.on-the-edge-<strong>of</strong>-the-shelf.com<br />

Coven or: Daniel Lafferty<br />

T: 02 6493 6724; 0428 478 719<br />

E: bandicootpottery@gmail.com

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association's<br />

Biennial Exhibition 2014<br />

Manly Art Gallery & Museum<br />

2 May - 8 June 2014<br />

lynda Draper<br />

Janice & Garry<br />

<strong>2013</strong><br />

earthenware and<br />

glaze, h.27cm<br />

the course <strong>of</strong> objects;<br />

the fine lines <strong>of</strong> inquiry<br />

Curator: Susan Ostling<br />

Mollie Bosworth, Amanda Bromfield, Kirsten Coelho, Greg Da l y, John Dermer<br />

Kate Dorrough , Lynda Draper , Me r ran Esson, Fiona Fell. Cathy Franzi<br />

Simone Fraser Neville French , Susan Frost . Shannon Garson, Steve<br />

Harrison . Fi ona Hiscock. Janetta Kerr-G rant, Diamando Koutasell i s<br />

Kylie Rose McLean , Sa rah Ormonde . Vicki Passlow . Dianne Peach, Julie<br />

Penn i ngton . Robyn Phelan . Ben Ri chardson . Tania Rollond, Liz Stops<br />

Pr ue Venables and Toni Warburton.<br />

Manly Art Gallery & Museum, West Esplanade, Manly NSW 2095<br />

www.manly.nsw.gov.au T: 02 9976 1500

WALKER<br />

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