The Journal of Australian Ceramics Vol 53 No 1 April 2014

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

WALKER<br />

~<br />

Feeneys<br />

Clay<br />

Cesca<br />

Glazes & Colours<br />

I --...,.-- • ___..<br />

.<br />

I • ,<br />

II __-_ ... -~<br />

Rolf Bartz - Imperial Porcelain 4317 Exhibition 2003<br />

packs <strong>of</strong> all Walker and Feeneys<br />

available for purchase.<br />

will be donated to

Contents<br />




5 Marea Gazzard by Damon Moon<br />


16 SHARDS<br />


19 Leaning Towards Asia<br />

Janet DeBoos reflects on the changing nature <strong>of</strong> <strong>Australian</strong>/Asian Connedions<br />

26 Tjungu Warkarintja (working together) in Jingdezhen<br />

Genevieve O'Ca"aghan on the work <strong>of</strong> Tjimpuna Williams and Derek Thompson<br />

32 Migratory Hybridity in the Work <strong>of</strong> Vipoo Srivilasa by Brett Farmer<br />

38 Another Country Karen Weiss pr<strong>of</strong>iles the work <strong>of</strong> Kim-Anh Nguyen and Keiko Matsui<br />

45 A Korean Odyssey Rowley Drysdale shares the story <strong>of</strong> Kim Se Wan<br />

51 Ken Mihara: Serenity in Clay A recent exhibition in Sydney<br />

54 Robin Best on living and working in Jingdezhen, China<br />

In discussion with <strong>Journal</strong> editor Vicki Grima<br />

59 Born in Australia Made in Japan Euan Craig shares his story<br />


<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association's Biennial Exhibition <strong>2014</strong><br />

Vipoo Srivila.a, Thai Na Town - Little Oz, <strong>The</strong> Country I Miss, (detail), 2012<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> <strong>Vol</strong> <strong>53</strong> N01 <strong>April</strong><strong>2014</strong> $16<br />

Cover<br />

Kim-Anh Nguyen, Sunset at Uluru. detaIl<br />

<strong>2014</strong>, co~ured (ooIKE' day on canvas<br />

complete work. h.45.7cm. w.91.4cm<br />

Photo. Greg PIper<br />

Publication dates<br />

1 Apnl. 17 July. 20 <strong>No</strong>vember<br />

Publisher<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> AssociatIOn<br />

PO Box 274 Waverley NSW 2024<br />

I 1300 720 124<br />

F; +61 (0)2 9369 3742<br />

mail@auslrallanceramics.com<br />

~. australian(eramics . com<br />

ABN 14001 <strong>53</strong>5502<br />

ISSN 1449-275X<br />

Ednar<br />

www.VlCk)gnma.com.au<br />

Marketing and Promotions<br />

Car<strong>of</strong> Fraczek<br />

Design<br />

Astrid Wehling<br />

lNII\IW.astndwehling.com.au<br />


Contents<br />


103 VIEW I: Hills Edge Clay<br />

Phil Hart shares his thoughts on a new gallery space in Adelaide and its first ceramics exhibition<br />

106 VIEW II: Shed Assemblage: an Anna Rowbury installation<br />

Review by Varia Karip<strong>of</strong>f<br />

109 VIEW III: One Foot on the Black by lucille <strong>No</strong>bleza<br />

110 VIEW IV: Four Hundred Years and Counting<br />

Cory Taylor shares news <strong>of</strong> a special 2016 event in Arita, Japan<br />

113 WEDGE: <strong>The</strong> Quiet <strong>of</strong> a Global life by laurens Tan<br />

114 POCKET PhD: Form and Function - Politics and Porcelain in the 21st Century<br />

Marianne Huhn sums up the essence <strong>of</strong> her recent research<br />


117 CERAMIC SHOTS: #clayselfie<br />

120 JOIN THE POTS: Marea Gazzard - from <strong>The</strong> lAC archives<br />

122 THE TRUDIE ALFRED BEQUEST CERAMIC <strong>2014</strong> WINNERS<br />

124 ASSOCIATION: <strong>The</strong> Trudie Alfred Bequest Follow Up 2013<br />


On <strong>The</strong> Edge <strong>of</strong> the Shelf <strong>2014</strong> & <strong>Australian</strong> <strong>Ceramics</strong> Triennale 2015<br />

133 A USTRALIA WIDE: Reports from around the country<br />

Vipoo Srivilasa, Thai Na Town - Uttle Oz, <strong>The</strong> Country I Miss, (detail), 2012<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> <strong>Vol</strong> <strong>53</strong> <strong>No</strong> 1 <strong>April</strong> <strong>2014</strong> 516<br />

Subscriptions Ma nager<br />

Ashley McHutchrson<br />

w.w.r.ashleyfiona,com<br />

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

Suzanne Dean<br />

Australia Wide Reports<br />

ACT: Jennifer Collier<br />

NSW: (andice Anderson<br />

OLD: lyn Rogers<br />

SA: Sophia Phillips<br />

lAS: Kim foole<br />

VIC: Robyn Phelan<br />

WA: Elame Bradley<br />

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Editorial<br />

So many interesting personal stories, stunning studio ceramics and<br />

possibilities to share in one issue ... if only space could expand to<br />

fit every story in. That being said, I am proud to share this bumper<br />

160 page issue with you. <strong>No</strong>t only do we have our first issue<br />

focusing on the connections between Australia and Asia, we also<br />

share two special essays (from curator Susan Ostling and guest<br />

writer Margaret West) and short statements from each <strong>of</strong> the<br />

29 artists exhibiting in the Association's biennial exhibition, the<br />

course <strong>of</strong> objects: the fine lines <strong>of</strong> inquiry to be held at Manly<br />

Art Gallery & Museum in May <strong>2014</strong>.<br />

<strong>The</strong> valued connections between people who make objects<br />

from clay, the ways in which skills and knowledge about ceramics<br />

have been (and still are) shared between people, communities and<br />

countries, and how the objects themselves connect us to each<br />

other through use, appreciation and trade, form the basis <strong>of</strong> many<br />

<strong>of</strong> the stories on these pages. <strong>The</strong> opportunities for travel are<br />

more available now than ever before so this exchange is sure to<br />

continue.<br />

We also pay tribute to Marea Gazzard, a sculptor and<br />

c1ayworker and a leader and advocate for the visual arts and the<br />

craft sector. Damon Moon brings together her large life in his<br />

tribute on pages 5-12.<br />

And to finish I say a HUGE thank you to my <strong>of</strong>fsider in TACA's<br />

<strong>of</strong>fice for close to 6 years - Ashley McHutchison. She is leaving<br />

us to dedicate more time to her studio practice. She has brought<br />

much to the Association and the <strong>Journal</strong>: consistent dedication to<br />

members and subscribers and an eagerness to take on the varied<br />

tasks which arise in our busy <strong>of</strong>fice on a daily basis. We've had<br />

fun!<br />

Hope to see you at Manly in May,<br />

~.<br />


In our upcoming July issue we will pay tribute to Bob Connery<br />

from Stokers Siding Pottery who died in December 2013. As<br />

we farewell this master potter, we will also welcome those new<br />

to ceramics in our special EMERGING issue. It promises to be<br />

an exciting edition with potters and ceramicists, writers and<br />

photographers, and even an emerging editor, all keen to show<br />

us what's happening in their corner <strong>of</strong> our diverse and changing<br />

<strong>Australian</strong> ceramics community.<br />


Contributors<br />

Brett Farmer is Lecturer in the Faculty <strong>of</strong> Arts, Varia Karip<strong>of</strong>f is an emerging arts writer from<br />

Chulalongkorn University, Bangkok. He is the I Melbourne who has written for RealTime<br />

author <strong>of</strong> numerous publications in the fields <strong>of</strong> Arts, Broadsheet and other publications. Her<br />

film, media and Thai cultural studies. His current I poetry and short stories have been published<br />

research work focuses on Thai media arts and I in journals and blogs in Australia, New Zealand<br />

global modernity; E: brett.f@chula.ac.th.<br />

and the UK. When she isn't building websites,<br />

managing social media for small businesses and<br />

artists, writing, or looking after her two young<br />

I daughters, she is either out or asleep.<br />

www.variakarip<strong>of</strong>f.com<br />

Genevieve O'Caliaghan is a writer and<br />

editor based in Sydney. She is Associate Editor<br />

at ARTAND Australia magazine, and has<br />

worked with artists from the APY Lands for the<br />

past five years; www.artaustralia.com.<br />

I<br />

I<br />

I<br />

I<br />

I<br />

Laurens Tan was born in 1950 in <strong>The</strong> Hague,<br />

Holland <strong>of</strong> Chinese parents. He works in<br />

sculpture, architectural and animated space,<br />

music and video, graphics and industrial design<br />

and currently has an exhibition touring Canada<br />

and a forthcoming solo exhibition at the<br />

University <strong>of</strong> Chicago's Center in Beijing from<br />

July 2104; WWW.octomat.com.<br />

4 THE IOURNAl OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Marea Gazzard, Paddington, Sydney 1963 (printed 2000) by David Moore, gelatin silver photograph, National<br />

Portrait Gallery, Canberra. <strong>The</strong> series David M oore: From Face to Face was acquired by gift <strong>of</strong> the artist and<br />

finanCial assistance from Timothy Fairfax AM and L Gordon Darling AC CMG 2001 .<br />

Marea Gazzard 1928-2013<br />

A tribute by Damon Moon<br />

It must have only been a day or so before Marea Gazzard passed away that I was looking at one <strong>of</strong><br />

her works in the Art Gallery <strong>of</strong> South Australia. It was included in a small display gathered together by<br />

the gallery's Assistant Curator <strong>of</strong> <strong>Australian</strong> Paintings and Sculpture, Elle Freak, under the title <strong>of</strong> <strong>The</strong><br />


Marea Gazzard, Torso I , c.1967, part <strong>of</strong> a collection <strong>of</strong> work displayed in <strong>The</strong> Mind's Eye, 2013 at the Art Galle.y <strong>of</strong><br />

South Australia; photo: courtesy Damon Moon<br />

Mind's Eye , Paintings by Tony Tuckson, Fred Williams and John Olsen rubbed shoulders with more<br />

contemporary work, and there were some ceramics as well - bowls by Harry Marchant and Lucy Beck, a<br />

Tom Sanders jug and a big Alex Leckie vase from the late 1950s.<br />

Marea Gazzard was represented by her 1967 ceramic sculpture Torso I , a fairly typical piece and<br />

instantly recognisable as belonging to a series <strong>of</strong> works she made in the 1960s which were <strong>of</strong>ten known<br />

by the collective title Dials. I have a very similar piece in my own collection and its simple, slightly<br />

anthropomorphic form sits with quiet assurance on a little table near a window, where the light just<br />

catches the s<strong>of</strong>t edge <strong>of</strong> unglazed clay. While the piece is typically Gazzard it also brings to mind <strong>No</strong>lan's<br />

ground-breaking icon <strong>of</strong> <strong>Australian</strong> modernism, Boy and the Moon (Moonboy) c.1939--40, as well as<br />

any number <strong>of</strong> Hans Coper vessels, both in form and in their dry, modelled texture, It is recognisable in<br />

any <strong>of</strong> these guises as a head and a neck, abstracted but nonetheless evocative.<br />

<strong>The</strong> curatorial premise given for this grouping <strong>of</strong> work asserted that "<strong>The</strong> artists .. . have each<br />

developed a unique visual language influenced by aspects <strong>of</strong> International Abstract Expressionism (the<br />

curator's term, not mine) Chinese and Japanese calligraphy and <strong>Australian</strong> Aboriginal Art", but I don't<br />

equate Gazzard 's work with any <strong>of</strong> these movements; nor, I think, did she.<br />

When Marea Gazzard left Australia for Europe in 1955 with her husband Don Gazzard, a leading<br />

young modernist architect, she was already well-schooled in international modernist trends in art, design<br />

and architecture. <strong>The</strong> Gazzards moved with a pretty sophisticated set in Sydney, forming friendships<br />


Tribute: Marea Gazza rd<br />

Marea Gazzard, Hungry Horse Gallery; photo: David Moore; Pottery in Australia , <strong>Vol</strong> 3 <strong>No</strong> 1, May 1964<br />

with, amongst others, the archited Harry Seidler who had studied at Harvard under Walter Gropius and<br />

w ith Joseph Albers at Black Mountain College.<br />

Marea Gazzard had studied ceramics at East Sydney Technical College (now National Art School),<br />

thereby gaining a valuable introdudion to craft skills, and this initial contad with clay, combined with<br />

her exposure to international design trends through publications such as Domus magazine, laid the<br />

groundwork for what was to come .<br />

After touring through Europe, the Gazzards, like so many young <strong>Australian</strong>s, ended up in London.<br />

Don Gazzard soon began working as an architect and Marea made contact with artists like Lucie Rie<br />

and Hans Coper, w hose work she knew and admired greatly. She decided to attend the London Central<br />

School <strong>of</strong> Arts and Crafts, gaining entry to the full-time course in 1956. It was an excellent training<br />

ground, providing a mix <strong>of</strong> craft skills and exposure to avant-garde principles through a cohort <strong>of</strong> visiting<br />

ledurers.<br />

Fellow students also provided inspiration, and Gazzard first became interested in handbuilding<br />

through con tad with Ruth Duckworth, who had originally trained as a sculptor. Combine all this with<br />

the extensive contads gained through Don Gazzard's work as an archited and the easy access to British<br />

and European collections, and it is obvious that she was gaining a very rounded and sophisticated<br />

education in all facets <strong>of</strong> art and design.<br />

THE JOURNAL OF AUSTRALIAN CERAM1CS APR il <strong>2014</strong> 7

Marea Gazzard c. 1985 by Lewis Morley, type C photograph, National Portrait Gallery, Canberra; gift <strong>of</strong> the artist 2003<br />

Donated through the <strong>Australian</strong> Government's Cultural Gifts Program<br />

Marea Gazzard 'inhabited' the great museums and galleries <strong>of</strong> London and in the holidays she would<br />

travel to Europe where she found a quite different approach to ceramics than that espoused by Bernard<br />

Leach and the majority <strong>of</strong> British craft potters. Even more pr<strong>of</strong>oundly, she saw Etruscan and Greek<br />

sculpture in-situ, with the archaic Cycladic sculpture and Minoan pottery <strong>of</strong> the Mediterranean striking<br />

a powerful chord. <strong>The</strong>re was also a moment <strong>of</strong> reconnection with her own Greek heritage, where the<br />

continuing craft skills practised at the village level made a deep impression.<br />

Leaving Europe, the Gazzards travelled to <strong>No</strong>rth America. Based in Montreal they participated in<br />

a surprisingly active Canadian arts scene as well as being close to New York with its great museums,<br />

including the newly opened Guggenheim designed by Frank Lloyd Wright. In 1960 they returned to<br />

Australia, but the sense <strong>of</strong> internationalism would remain .<br />

Although Sydney could not compare with New York or London, it was a relatively large city which,<br />

by the 1960s, was beginning to come <strong>of</strong> age. Maraea Gazzard continued her studies, this time with<br />

Lydon Dadswell who ran a highly regarded scu lpture course at the National Art School, and she began<br />

to exhibit her work. Importantly, she also became active in societies and committees, including the New<br />

South Wales Potters' Society and a group that was fighting for the preservation <strong>of</strong> the inner-city Sydney<br />

suburb <strong>of</strong> Paddington where she lived, She attended meetings <strong>of</strong> the Contemporary Arts Society and<br />

was a member <strong>of</strong> the steering committee for the inaugural issue <strong>of</strong> Pottery in Australia.<br />

An important commission dating from this period resulted in a series <strong>of</strong> ceramics for the Hilton Hotel<br />

in Hong Kong, where she managed to lift a prosaic brief by designing and making wall-mounted pieces<br />


Tribute: Marea Gazza rd<br />

which, while still having strong echoes <strong>of</strong> the work <strong>of</strong> Hans Caper, were very different to the prevailing<br />

trends in <strong>Australian</strong> ceramics.<br />

It should not be surprising that her willingness to extend her own ceramics practice also translated<br />

into an ambition for ceramics and 'the crafts' in general to become more fully engaged with the wider<br />

fields <strong>of</strong> art and design. She had obseNed first-hand the activities <strong>of</strong> the American Craftsmen's Council<br />

and groundbreaking publications like Craft Horizons and she was keenly aware <strong>of</strong> the need for an<br />

<strong>Australian</strong> organization <strong>of</strong> this kind, one which could unite the crafts and help them rise above a largely<br />

amateur approach.<br />

in 1963 Marea Gazzard helped found the New South Wales Branch <strong>of</strong> the Craft Association <strong>of</strong><br />

Australia, which signalled the beginning <strong>of</strong> the era <strong>of</strong> pr<strong>of</strong>essionalism, with its attendant boards, grants<br />

and, dare I say it, politics, in the <strong>Australian</strong> Crafts. She also began to exhibit more regularly, and highly<br />

placed critics such as Elwyn Lynn, Robert Hughes and Donald Brook recognised in Gazzard a singular<br />

and sophisticated artist who, despite her ongoing involvement with the evolving crafts movement, rose<br />

above the prevailing dross and clutter with work <strong>of</strong> monumental simplicity.<br />

In 1968 she travelled to Peru as Australia's representative to a World Crafts Council Conference,<br />

where she proposed that Australia should be part <strong>of</strong> the Asia region for the purposes <strong>of</strong> the council<br />

and its activities, a move that gave Australia a stronger voice within its own region and signalled an<br />

acceptance <strong>of</strong> the importance <strong>of</strong> the evolving crafts movement outside Europe and America. By 1970<br />

Marea Gazzard had become a Director <strong>of</strong> the World Crafts Council, thus cementing her position as a<br />

player on the international stage, at a time when the crafts were gaining credibility within the wider<br />

field <strong>of</strong> the arts.<br />

Her own work, too, gained in strength, which in Gazzard's oeuvre was signalled by subtle and<br />

incremental change and a refinement <strong>of</strong> technique - no sudden shifts in direction, just doing what she<br />

did and doing it ever better. In a move that presaged much contemporary practice, by the mid-1970s<br />

she began making large installations, sometimes working with other craftspeople such as the weaver<br />

Mona Hessing in their highly influential Clay and Fibre exhibition.<br />

Marea Galzard, White Bindu. 1995-2002. clay, 19 pieces, h.55.5-68cm, photo: courtesy Utopia Art Sydney<br />


Tribute: Marea Gazzard<br />

It's interesting to note that almost all <strong>of</strong> Marea Gazzard's work up to this point had, in reality, been<br />

more about the sculptural representation (in clay) <strong>of</strong> objects that recalled the vessel, or, more <strong>of</strong>ten,<br />

were simply symmetrical forms with no opening or suggestion <strong>of</strong> use. This work had been met with<br />

some acclaim, yet the creation <strong>of</strong> more free-form objeds that did not enclose a volume, and moreover<br />

were combined with fibre in the context <strong>of</strong> an installation, became very contentious indeed.<br />

Donald Brook, a critic who adively supported the most experimental <strong>of</strong> contemporary art practice,<br />

thought that Gazzard's work had crossed a line. Other equally influential critics and museum<br />

pr<strong>of</strong>essionals held quite opposite views, designating Gazzard and Hessing as 'the superstars <strong>of</strong> <strong>Australian</strong><br />

craft' . <strong>The</strong> point is that. unlike theorists like Brook, who were driven by a complex set <strong>of</strong> academic<br />

arguments which designated that certain things (objeds, adions, intentions) were art and others were<br />

not, Gazzard, with a sophisticated background in design and craft and architedure, made objects whose<br />

success or failure were judged in and by their presence - their finesse, their restraint and their objecthood.<br />

<strong>The</strong> early seventies also saw Marea Gazzard eleded as the inaugural Chair <strong>of</strong> the Crafts Board<br />

<strong>of</strong> the Australia Council and World Crafts Council Vice-President for Asia. As well as being a highly<br />

accomplished maker, Marea Gazzard was the most powerful and influential figure in the <strong>Australian</strong><br />

crafts and a significant player on the international stage.<br />

Through the 1970s, she continued her demanding schedule <strong>of</strong> administrative work while continuing<br />

to refine her own practice, exhibiting and leduring both in Australia and overseas. In 1980, Marea<br />

Gazzard became the first eleded President <strong>of</strong> the World Crafts Council. She travelled between Sydney<br />

and New York where the secretariat was based, and worked on strengthening the ties between<br />

the WCC and UNESCO. Gazzard was subsequently appointed a member <strong>of</strong> the <strong>Australian</strong> National<br />

Commission <strong>of</strong> UNESCO and was a delegate to the conference on World Cultural Policies where she<br />

argued for the identification, preservation and development <strong>of</strong> the crafts.<br />

It is a significant and impressive record <strong>of</strong> achievement, at least in terms <strong>of</strong> a career, but. with the<br />

benefit <strong>of</strong> hindsight, one has to question just what the results adually were <strong>of</strong> all <strong>of</strong> this adivity.<br />

Marea Gazzard played a pivotal role in lobbying governments on behalf <strong>of</strong> the crafts, yet much <strong>of</strong> the<br />

craft's infrastructure - the boards, magazines, courses, and organisations - that resulted from all this<br />

adivity have now gone. Bod ies like the World Crafts Council are shadows <strong>of</strong> their former selves, hardly<br />

rating a mention in contemporary <strong>Australian</strong> craft and design circles. Meanwhile, the contemporary art<br />

movement, which had been an almost underground adivity during the halcyon days <strong>of</strong> the <strong>Australian</strong><br />

crafts, is now the most powerful, prestigious and amply funded arts lobby in the country. Which just<br />

goes to show that all the good intentions in the world, even when combined with the creative genius <strong>of</strong><br />

a talented maker and a formidable political awareness, can't turn a sow's ear into a silk purse. <strong>The</strong> truth<br />

was that the quality <strong>of</strong> a great deal <strong>of</strong> the work made under the rubric <strong>of</strong> 'the Crafts' simply couldn't<br />

live up to the quality <strong>of</strong> the strudures that people like Marea Gazzard had created. and the house<br />

began to crumble.<br />

In 1984, having reSigned from her position on the World Crafts Council, Gazzard was approached by<br />

the architedural firm which had been commissioned to build the new Parliament House in Canberra.<br />

She was asked to submit a proposal for a large work to be installed in the Executive Court, adjacent<br />

to the Prime Ministerial suite. She produced a maquette based on a series <strong>of</strong> rounded forms, which<br />


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

Tribute: Marea Gazzard<br />

Above: Marea Gazzard Milos IV, 1990, clay, h.66cm w.59cm, d.23cm<br />

Below: Marea Gazzard Han;a V, 2005, clay h.66.Scm; collection National Gallery<br />

<strong>of</strong> Australia, donated by John Eager; photos: courtesy Utopia Art Sydney<br />


Marea Gazzard and 'l.1. P. , 2006, bronze; photo: courtesy Utopia Art Sydney<br />

would not be made in clay but instead cast in bronze. <strong>The</strong> works were cast at the Meridean foundry in<br />

Melbourne, and in March 1988 Mingarri: <strong>The</strong> Little Gigas was installed in Parliament House. Marea<br />

Gazzard, the doyen <strong>of</strong> the <strong>Australian</strong> Crafts movement, had become a sculptor.<br />

From this time on, Gazzard's career left the orbit <strong>of</strong> the crafts, as much by her own resolve as through<br />

the dictates <strong>of</strong> materials. It's all a bit silly anyway, these delineations, because compared to much<br />

contemporary sculpture (if indeed that term even is applicable anymore) she remained an object-maker<br />

who crafted her work up until its final incarnation in bronze, and then further worked on patina and<br />

polish with as much attention as was given to considerations <strong>of</strong> siting, size and form . Her work didn't<br />

seek to confront, shock or challenge, screaming for attention like a three year old in the lolly aisle at the<br />

supermarket. She didn't exhibit her unmade bed in cutting edge biennales or cry in her beer because an<br />

tenured art theorist didn't celebrate her work in an obscurantist tract for Parkett magazine.<br />

She was the model <strong>of</strong> pr<strong>of</strong>essionalism in everything she did and she remained true to her vision<br />

throughout her life. She made assured, beautiful, restrained and very grown-up things, and she will be<br />

sorely missed.<br />

Damon Moon is a well-known maker, writer and commentator on ceramics and the new<br />

Creative Director <strong>of</strong> the <strong>Ceramics</strong> Studio, Jam Factory, Adelaide, SA.<br />

Willunga <strong>2014</strong><br />

Editor's note: See pages 120-121 for Marea Gazzard'5 Join the Pots feature.<br />


Shards<br />

I ART UNLIMITED <strong>2014</strong><br />

I Dunedoo's annual art competition<br />

I and exhibition will be held in the<br />

I NSW Central West town from 23-25<br />

May <strong>2014</strong>. Prize money in excess <strong>of</strong><br />

$11 ,000 is on <strong>of</strong>fer<br />

I C losing date for entry forms is<br />

I Thursday 24 <strong>April</strong> <strong>2014</strong>.<br />

I Ent ry forms can be downloaded<br />

from www.artunlimitednsw.com.au.<br />



In the <strong>No</strong>vember issue <strong>of</strong> the<br />

<strong>Journal</strong>, 52/3, Danaher Lane Studios<br />

were mentioned in the Victorian<br />

report on page 126. <strong>The</strong>se studios<br />

are now known as Elm Place<br />

Studios, a name change which<br />

occurred when David Pottinger<br />

took over from Gregory Bonasera.<br />

Head here for an update:<br />

https://www.facebook.com/<br />

elmplacestudios.com.au<br />


Belgium is hosting an exhibition <strong>of</strong><br />

contemporary ceramics, the Biennale<br />

de la Ceramique d' Andenne<br />

2015. Applications close 30 June<br />

<strong>2014</strong>. <strong>The</strong>re are no restrictions <strong>of</strong><br />

nationality or age to participate.<br />

For more information go to<br />

www.biennaledelaceramique.be<br />

and click on the English version.<br />


.. and the word is 'clay'l<br />

I Announcing <strong>The</strong> Word [CLAY] as an<br />

I Image Photographic Competition<br />

I for the photographers amongst us<br />

... or for a photographer you may<br />

know.<br />

Be creative. Make the word [clay]<br />

from clay, paint the word [clay]<br />

on a pot, drizzle [clay] slip on a<br />

surface, paint your body with [clay]<br />

ochre. . whatever your idea, there<br />

I must be a ceramic link. <strong>The</strong>n take<br />

I a photo <strong>of</strong> your word [clay] and<br />

I submit it to the <strong>Journal</strong>.<br />

I Go here for more details:<br />

I http://tinyurl.com/thewordclay<br />


I Ben Carter, a potter from the US,<br />

I has now published the 54th episode<br />

<strong>of</strong> his podcast, 'Tales <strong>of</strong> a Red Clay<br />

Rambler'. He interviews potters,<br />

ceramicists and culture makers from<br />

around the world. <strong>Australian</strong> potters<br />

I featured include Janet DeBoos,<br />

Merran Esson and Vipoo Srivilasa.<br />

Great listening for the studio '<br />

www.tales<strong>of</strong>aredclayramblercom<br />


www.creativespaces.net.au<br />

Creative Spaces is a free resource<br />

to find or list space to rent in<br />

order to develop, create, exhibit or<br />

perform creative work.<br />


Jam Factory is pleased to<br />

announce that Dr Damon Moon<br />

has been appointed as the new<br />

Creative Director <strong>of</strong> JamFactory's<br />

<strong>Ceramics</strong> Studio. JamFactory<br />

CEO Brian Parkes says, "Damon<br />

is one <strong>of</strong> the few people in<br />

the country who could equally<br />

comfortably manage a project<br />

that involved digging up and<br />

processing local clay by hand<br />

and one that required computerdesigned<br />

graphics being applied<br />

to refined industrial blanks."<br />

Moon commenced the position<br />

in mid-January <strong>2014</strong>.<br />



<strong>The</strong> Creative Innovation Centre<br />

is here to help you reach your<br />

<strong>2014</strong> creative business goals! <strong>The</strong><br />

CIIC is an <strong>Australian</strong> Government<br />

supported initiative helping creatives<br />

with their businesses, at no cost to<br />

you. Find out more here:<br />

www.creativeinnovation .net .au<br />


Entries dose 27 June <strong>2014</strong> for the<br />

Gold Coast International Ceramic<br />

Art Award; go here for more info:<br />

www.theartscentregc.com.auigallery<br />

I<br />

I<br />

I<br />

A~C&t4Ittit.&<br />

OPEN<br />

~<br />

<strong>2014</strong><br />

16&17 AUGUST<br />

AUSTRALIAN CERAMICS OPEN STUDIOS <strong>2014</strong><br />

<strong>The</strong> event known as the OSCAS in 2013 has been renamed and will now<br />

be known as <strong>Australian</strong> <strong>Ceramics</strong> Open Studios (ACOS). On Saturday<br />

16 & Sunday 17 August <strong>2014</strong> we will link as many ceramic studios as we<br />

can muster around the country for ACOS, a national weekend <strong>of</strong> ceramic<br />

sampling, sales and mayhem! Go here to submit your Expression <strong>of</strong> Interest:<br />

http://tinyurl.comlacos<strong>2014</strong>; deadline: 16 May <strong>2014</strong>.<br />

bod-F. ra ,<br />

(, 'r rnporary Artists<br />


Pinch Pottery: Functional,<br />

Modern Handbuilding by<br />

Susan Halls; published by Lark<br />

<strong>2014</strong>; $34 from<br />

www.angusrobertson.com.au<br />

Pit Firing Cera mics Modern<br />

Methods, Ancient Tra ditions by<br />

(<strong>Australian</strong>) Dawn Whitehand;<br />

published by Schiffer Publishing,<br />

2013; $38 from<br />

WW"N'.angusrobertson.com.au<br />

Wood-fired <strong>Ceramics</strong> 100<br />

Contemporary Artists by Amedeo<br />

Salamoni; foreword by Jack Troy<br />

Published by Schiffer Publishing<br />

2013; $68 from<br />

WINW.angusrobertson .com.au<br />

I<br />


Etsy features many talented<br />

<strong>Australian</strong> ceramic artists on their<br />

website, induding Brianna Peterson<br />

from Mrs Peterson Pottery. Watch<br />

the 3:24min video about Brianna<br />

here: http://www.youtube.coml<br />

watch ?v=ymYRTYf8esO<br />

Some Etsy tips for new sellers:<br />

1. Good product photography is key I<br />

to your shop's success.<br />

2. It's important to 'tag' your items<br />

w ith the right keywords so that your I<br />

potential customers can find your<br />

products when searching on Etsy.<br />

3 . Etsy has a wonderful community<br />

<strong>of</strong> sellers. Get involved with an Etsy<br />

Team for support, knowledge and,<br />

most importantly, fun l<br />

4. Don't be afraid to get started.<br />

Your shop doesn't have to be<br />

perfect - it's more important to start<br />

getting your work out there.<br />

Go to the website for tutorials on all<br />

<strong>of</strong> the above: www.etsy.comlau<br />

Get your first 20 products online for<br />

free. Just click here:<br />

www.etsy.comlpromotion and enter<br />

I<br />

the code CERAMICS.<br />

Etsy<br />

lynda Draper<br />


Come along to Manly Art Gallery &<br />

Museum for a special afternoon on<br />

Sunday 4 May <strong>2014</strong>, 2-4 pm.<br />

Join exhibition curator Susan Ostling<br />

in discussion with several featured<br />

artists in an engaging discussion<br />

about their art practices and 'fine<br />

lines <strong>of</strong> inquiry' in their works.<br />

<strong>The</strong> exhibition is TACA's biennial<br />

exhibition, the course <strong>of</strong> objects:<br />

the fine lines <strong>of</strong> inquiry.<br />

An afternoon not to miss!<br />


Connections:<br />

Australia<br />

and Asia

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

Connections: Australia and As ia<br />

Leaning Towards Asia<br />

Janet De800s reflects on the changing nature <strong>of</strong> <strong>Australian</strong>/Asian connections<br />

In October 2012, the Gillard Government released the Australia in the Asian Century White Paper'<br />

in w hich the 'Executive Summary' stated that,<br />

Asia s rise is changing the world. This is a definingfealllre <strong>of</strong> Ihe 2 J 51 century - the Asian century ...<br />

Within only ale", y ears, Asia will not only be the worlds largest producer 0/ goods and services, it will also be the<br />

world's largest consumer <strong>of</strong> them. 11 is already the most populous region in the world. I lT lhe Ill/ure, il will also be<br />

home 10 the majority <strong>of</strong> the worlds middle cJl.Jss.<br />

<strong>The</strong> Asian century is an <strong>Australian</strong> opportun i ~y. As the global cen/re <strong>of</strong> graVity shifts (a our reg ion, the tyranny <strong>of</strong><br />

dis tance is being rep/aced by the prospects afproximity.<br />

Australia is located in the righl place <strong>of</strong> the right time - in the Asian region in the Asian century.]<br />

This economic imperative is a far cry from the genteel and romantic leaning towards the Orient that<br />

was present in Bernard Leach's philosophising and influential A Potter's Book'. Although Leach spent<br />

most <strong>of</strong> his time in Japan, early on mixing with a privileged coterie <strong>of</strong> writers and artisVcraftsmen,<br />

uncertain still what path to follow, he also travelled to China and worked for two years with Dr Alfred<br />

Westharp - a man who was on a mission, ... " to 'save' China from the West's turmoil, ... " .'<br />

It is ironic that back in the early 20th century it was Westharp's mission to "save China from the<br />

West", w hilst today in the early 21 st century w e frequently encounter the reverse - a fear <strong>of</strong> the effed<br />

on us <strong>of</strong> China (and other Asian countries) and a desire to minimise their role in our future. Coming to<br />

"know thine enemy" is exemplified in one <strong>of</strong> our elder statesmen <strong>of</strong> ceramics, Peter Rushforth.<br />

Rushforth, a prisoner <strong>of</strong> war <strong>of</strong> the Japanese in Burma and Changi, came to embrace Japanese culture<br />

both during and post war, via reading the writings <strong>of</strong> Leach's friend, Dr Soetsu Yanagi, as well as Leach's<br />

own A Potter's Book' Earlier, when studying pottery at Melbourne Tech nical College (now RMID, like<br />

fellow Victorians Allan Lowe and Harold Hughan, Rushforth found inspiration in the Chinese pots in the<br />

H. W. Kent Collection <strong>of</strong> Oriental <strong>Ceramics</strong> at the National Gallery <strong>of</strong> Vidoria. It was here that he started<br />

a life-long relationsh ip w ith chun and celadon glazes that was to find expression as '<strong>Australian</strong> ' through<br />

Opposite page: Robin Best, <strong>The</strong> Pepper Pot - <strong>The</strong> Legacy <strong>of</strong> Coenraad Temminck, 2013<br />

http://pandora.nla .gov_au/parv'133850/201309 1401221asiancentury.dpmc.gov.aulindex. html<br />

20 12 Asia Century WhIte Paper pl<br />

1940: A Potter's Book. london: Faber & Faber; New ed.; with introductions by Soyetsu Yanagl and Michael Cardew.<br />

London : faber & Faber. 1976; ISBN 978''{)-571-10973-9<br />

4 WNVV.vads.ac.uk/learning!learndex.php?themej d=CSCU7&theme_fe

Connections: Australia and Asia<br />

use <strong>of</strong> local materials. This kind <strong>of</strong> 'Iocalising hybridisation' has been characteristic <strong>of</strong> much <strong>Australian</strong><br />

ceramics since and has been the outcome <strong>of</strong> many engagements with Asia.<br />

In the earlier years, the' Asia leaning' was almost exclusively towards Japan due to the broad influence<br />

<strong>of</strong> Leach's book and t hose who taught according to its principles. Colleagues and peers <strong>of</strong> Rushforth,<br />

such as Col Levy, Mollie Douglas, Ivan McMeekin, Ivan Englund and more, all looked to Japan. Many,<br />

such as Les Blakebrough, made what amounted to pilgrimages to Mashiko (home <strong>of</strong> a community <strong>of</strong><br />

Japanese and international potters working within the Mingei (folk) aesthetic) and Kyoto where other<br />

potters such as Doug Lawrie and Fred Olsen from the USA, had settled. Through connections made in<br />

Japan, these potters made visits to Australia, thus reinforcing the Japan/ceramics connection. <strong>The</strong>re were<br />

also Japanese ceramics artists who migrated to Australia and settled here - Shiga Shigeo, Hiroe Swen,<br />

Mitsuo Shoji and Heja Chong (Korean <strong>of</strong> Japanese birth)·<br />

Looking at early editions <strong>of</strong> Pottery in Australia (now <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>) there is<br />

a clear reflection <strong>of</strong> the dominant Anglo-Oriental outlook that characterised studio ceramics through the<br />

1960s and 1970s. ' <strong>The</strong>re is also evident a somewhat 'anthropologicaVcultural studies' way <strong>of</strong> looking<br />

at t ravel experiences in Asia . In the seventies and eighties, there were also reciprocal visits by Japanese<br />

masters, Fujiwara Yu and Shimoaka TatsuZQ, following Hamada Shoji who visited in the mid-sixties .<br />

Whilst most <strong>of</strong> the writing is about t raditional or historical ceramics from this part <strong>of</strong> the world,<br />

there are references to avant-garde Japanese ceramics (Sodeisha 1948-1998 and Shikokai 1947-1958).<br />

An important travelling exhibition <strong>of</strong> the work <strong>of</strong> the Sodeisha movement was acquired early by the<br />

Newcastle City Art Gallery, forming the core <strong>of</strong> a world-class collection <strong>of</strong> Japanese ceramics.<br />

<strong>The</strong> Asian stone garden from the Suzhou Museum (next door to the Humble Administrator's Garden); designed by I.M,Pei<br />


Connections: Australia and As ia<br />

As well as the drift to experience Japan, during this time there were potters travelling to other places,<br />

most notably south-east Asian countries such as Thailand, Indonesia, Singapore and, after the end <strong>of</strong><br />

the war, Vietnam. Many were students on exchange studies w ith art institutions in Asia during a period<br />

when there was an explosion <strong>of</strong> agreements between schools. Kyoto-Seika University in Japan, Hongik<br />

University in Korea, Silpakorn in Thailand and La Salle in Singapore, amongst many others, had students<br />

travelling both to and from Australia. But although Australia had established diplomatic relations with<br />

China in 1972 8 , travel to China remained difficult and only a few intrepid Sinophiles visited the Middle<br />

Kingdom.<br />

However, ASia-literacy was increasing in Australia, and although there remained a consistent interest<br />

in Japanese ceramics, the gaze shifted west' and diversified.<br />

Throughout the eighties there was a move away from 'studio pottery' towards 'design'. With a fast<br />

disappearing ceramics industry in Australia, ceram ics artist/designers started to look further afield. <strong>The</strong><br />

general retail market was filled w ith ceramic product made in Asia, usually Ch ina, but also Bangladesh,<br />

India and Thailand. <strong>The</strong> opportunity to design for mass production in manageably small batches, in<br />

factories where there was still a lot <strong>of</strong> hand finishing, was seductive and sensible.<br />

An early adopter <strong>of</strong> these opportunities (around 2000) was Rod Bamford, who had spent t ime in India<br />

immediately after graduation from East Sydney Technical College (now National Art School), and worked<br />

w ith Royal Thai Porcelain and subsequently Monno factory in Bangladesh, realising designs for Sydney<br />

restaurateur Stefano Manfredi's 'cup suite'.'o<br />

Other ceramics artists engaged with industry throughout this period, including me, with limited<br />

editions <strong>of</strong> a collaborative tea set made with respected Chinese designer Pr<strong>of</strong>. Zhang Shouzhi from<br />

Beijing. This teaset was exhibited in Smartworks" at the Powerhouse Museum in Sydney, as was Rod<br />

Bamford's Manfredi Suite, and both are now held in the permanent collection <strong>of</strong> that institution.<br />

After initially meeting Pr<strong>of</strong>. Zhang Shouzhi when he was here as a speaker at the 1996 Nat ional<br />

<strong>Ceramics</strong> Conference International Connections held in Canberra, I got to know him in Yixing later<br />

in 1996 when I was invited to participate in the First Symposium for Western Potters. Relationships<br />

established during that time have persisted through to today, and have led to many more projects<br />

6 ThiS migration <strong>of</strong> Asi .. m ceramic artists continues to this day, wIth some particularly \lisible practitioners being Somchal (haroen and Vipoo<br />

Srivilasa from ThaIland. Somchai was Head <strong>of</strong> <strong>Ceramics</strong> at Sitpakorn UniverSity when he migrated to Australia in 2002 . He trained as an<br />

Industry mouldmaker, and because <strong>of</strong> his exceptional skills in this area (not something commonty taught in <strong>Australian</strong> ceramics courses) he<br />

has been able to establish a company <strong>of</strong>fering that service to <strong>Australian</strong> makers, Vipoo Srrvilasa arrived from Thailand in 1997 and has<br />

become known for his community engagement projects..<br />

1963, Pottery in Austraha, <strong>Vol</strong> 2 <strong>No</strong> 2, 'Onda Potters' Village', pp11 - 14, (a subject which reappears in the early 70s) is typical <strong>of</strong> the<br />

time, and is one <strong>of</strong> well over a hundred artICles appearing before 1990 that directly Of indirectly have things Japanese as their subjects.<br />

On the topic <strong>of</strong> Blzen (place and kiln type) there are 14+ references.<br />

8 <strong>The</strong> Whitlam Government established a diplomatic relationship WIth China in 1972 when Australia ceased to recognise the legitimacy <strong>of</strong><br />

Chiang Kal·shek, with formal ties established a few years later in 1975.<br />

9 as far west as the sub

Connections: Australia and Asia<br />

Porcelain carving class at the Pottery Workshop in Jingdezhen, China; photo: courtesy Janet OeBoos<br />

involving students and colleagues working in fadory and studio environments in Ch ina. It has been<br />

a two way street with students and their teachers coming to Australia. This sort <strong>of</strong> relationship is<br />

invaluable as it is for the long term, not just a single event, and it is the nature <strong>of</strong> fruitful, nonexploitative<br />

working relationships in China.<br />

Just before this 'leaning towards China' took root for <strong>Australian</strong> ceramicists, two particularly<br />

important events occurred not just for ceramics, but also for the whole <strong>Australian</strong> art world. One was<br />

the mounting <strong>of</strong> the first Asia Pacific Triennale (APD" in Brisbane in 1993 and almost synchronously,<br />

there was the establishment <strong>of</strong> Asialink 13 , a joint initiative <strong>of</strong> the University <strong>of</strong> Melbourne and the<br />

philanthropic Myer Foundation.<br />

Whilst the APT (every three years) continues to provide a window into contemporary Asian art,<br />

Asialink has, through its residency programs, enabled artists in many media and disciplines - including<br />

ceramics - to develop an understanding <strong>of</strong> our neighbours through extended periods <strong>of</strong> creative work<br />

in the host countries. This is perhaps one <strong>of</strong> the best examples <strong>of</strong> established programs for developing<br />

Asia-literacy. <strong>The</strong>re is a holistic approach that is not fearful <strong>of</strong> change, and a board <strong>of</strong> management that<br />

is willing to take risks.<br />

22 THE JOURNAL OF AUSTRAlJAN CERAMJCS APRil <strong>2014</strong>

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

Connections: Australia and Asia<br />

To return to the White Paper, the submission from Asiali nk stated,<br />

Increasingly, in pulicy discussiom aboUl best-practice in/erna/ional cultural policy, exchange, collaboration wId<br />

partnership opportunities are identified as key strategies to bUilding stronger; deeper and broader cultural links<br />

be/ween 110l;ons. This responds to Asialink Arts experience that reciprocity and partnerships are lire masl effective<br />

means <strong>of</strong> developing mUlual knowledge, understanding and respect within Ihe Asian region.<br />

<strong>The</strong> Paper talks also <strong>of</strong> the 'multiplier effect' <strong>of</strong> residency programs, and the power <strong>of</strong> person-toperson<br />

networks, before going on to talk about a somewhat different model from the usual 'residency<br />

plus exhibit ion ' one that ceramics has tended to follow.<br />

Arts residencies are hands-on, immersive experienct:s that nurture strong people-la-people networks thai are<br />

sustained long term through the development <strong>of</strong> ongoing projects and collaborations. Technology, increased travel<br />

and communication options, and shifts in the nature <strong>of</strong> art production and the art market have all provided challenges<br />

/0 the 'traditional' concepl <strong>of</strong> cultural exchange. Increasing/y, residences are 'mobile' or 'virtual' rather (han stalic.<br />

Increasingly, Asialink Arts programs operale as a 'laboratory' to develop, explore and lest some 0/ these innovaJive<br />

models. U fing a research-based network model, rather Ihan an outcomelKPI model, highly successful projects have<br />

been achieved that have ongoing and developing outcomes. This model is increasingly being seen (IS 'best-practice '<br />

cultural engagement and if adaptable to many countries in Asia.<br />

In the submission there are two case studies cited, that could well become models for future ceramics<br />

residencies. 14<br />

<strong>The</strong> first <strong>of</strong> these is the education/cultural tourism venture - something that has been commonplace<br />

for some time now. Since the late 1990s, <strong>Australian</strong> National University has run, as part <strong>of</strong> its graduate<br />

coursework program, a Chinese Intensive. This course con sists <strong>of</strong> a three-week immersion in the<br />

study <strong>of</strong> traditional porcelain techniques and is conducted at a private studio in Jingdezhen, the selfstyled<br />

porcelain capital <strong>of</strong> China. <strong>The</strong> Pottery Workshop, Jingdezhen, is the last <strong>of</strong> a series <strong>of</strong> studios"<br />

developed by Caroli ne Cheng, a US-trained ceramics artist from Hong Kong.<br />

<strong>The</strong> Pottery Workshop is what I would term a 's<strong>of</strong>t landing in China' for new travellers there.<br />

Although travel has become spectacularly easy in China w ith high speed trains everywhere, the lack<br />

<strong>of</strong> fluency in Mandarin can be daunting, and there is the additional attraction <strong>of</strong> specialist shopping<br />

for ceramics tools, equ ipment, materials, transfers <strong>of</strong> all kinds and skills. One can pay the clay man<br />

12 htlps:llwww qagoma.qld .gov.aulexhlbitionslapt<br />

13 http://asial!nk.unlmelb.edu.aul<br />

14 hnp1lcms.unimelb.edu.aulasialinklpublkatlooslwhitepaper<br />

15 <strong>The</strong> first studIO is in Hong Kong, and runs classes for both ex pats and Chinese nationals who could be descnbed as 'the commined amateur'.<br />

Cheng also invites international artists to exhibit and deliver workshops and lectures. <strong>The</strong> second studio i5 in Shanghai, and <strong>of</strong>fers oil Similar<br />

mix <strong>of</strong> faCIlities and classes. Her employees are mainly young graduates from US and Chinese institutions. <strong>The</strong> latest venlure (except for a shop<br />

and gallery that was opened more recently In Beijing) has been to open and develop a complex in the Old $culpturefactory in Jmgdezhen<br />

providing studios, wortshops, seminars and access (for paying international and Chinese residents) to skilled ceramics artisans <strong>of</strong> all<br />

persuaSIOns. ANU was the first <strong>Australian</strong> school (in fact the first school) to have a live-m, intensive program <strong>of</strong> demonstratIOns <strong>of</strong> traditional<br />

porcelain techniques provided for a large group. Since that first session, there has been much more development, a youth hostel built to hou~<br />

the overflow <strong>of</strong> (mainly) young ceramics graduates, and an education centre mfinitely more generous In space that the previous studio (which<br />

in turn is now a library/gallery extension 10 the c<strong>of</strong>fee shop).<br />


Connections: Australia and As ia<br />

to bring the clay to your studio in a cart, pay the glaze man to spray it after you have made it, the<br />

kiln man to fire it, and the decal specialist to decorate it ... you can then get the box man to make a<br />

custom packing/presentation box, and the carry man to take it to the post <strong>of</strong>fice .. consequently, this<br />

has become a major destination for ceramics makers and designers who want to produce relatively<br />

small runs <strong>of</strong> domestic ware and decorative items. Sculptors such as Julie Bartholomew'· and Michael<br />

Keighery have both had work made in Jingdezhen; and, in addition, Julie has learnt traditional skills<br />

in flower making, sh ipping back to Australia multiples <strong>of</strong> porcelain flora. Carol ine Cheng herself has<br />

designed a range <strong>of</strong> 'wearable art' - kimono-type garments hanging from thick, curtain-rail-like rods,<br />

and covered with hundreds and hundreds <strong>of</strong> butterflies made, <strong>of</strong> course, by 'the butterfly lady'. <strong>The</strong>se<br />

have been extremely well received and now hang in the British Museum and other venerable collecting<br />

institutions. 17<br />

This is not the only residency in Jingdezhen. Just outside the town proper, in romantic San Bao Village,<br />

an earlier residency studio was established by ceram icist JiangSheng Li. This is smaller, more intimate,<br />

and well suited to a more reflective residency. It also has an unusual feature on the property - 'Korea<br />

House' - funded by a group <strong>of</strong> Korean pr<strong>of</strong>essors and business people, and available for Korean artists<br />

to stay and work. <strong>The</strong> increasingly 'mixed' Asian experience is the future, as more and more Asian artists<br />

become mobile and connected and wealthier (and so able to move internationally with greater ease) .<br />

Another well established Chinese venture that has seen many <strong>Australian</strong>s (and other international<br />

artists) travel to the small town <strong>of</strong> Fuping, near Xi'an, is FLlCAM. 18 It has played host to many major<br />

ceramics events, including the General Assembly <strong>of</strong> the International Academy <strong>of</strong> <strong>Ceramics</strong>. <strong>The</strong> visit<br />

by a group <strong>of</strong> <strong>Australian</strong> and New Zealand artists to Fuping in 2006-7 spawned a series <strong>of</strong> ongoing<br />

exhibitions and events, the most recent being Sharing the Experience."<br />

And so it has tended to be on individual initiatives that strong, ongoing relationships with Asia have<br />

been established. <strong>The</strong>se relationships last when they have flexibility, generosity and good outcomes for<br />

all parties. <strong>The</strong>re needs to be an equality in what is on <strong>of</strong>fer and what is taken. <strong>The</strong>re continues to be<br />

interchanges, collaborations and cultural visits by <strong>Australian</strong> ceramics artists and potters to many Asian<br />

countries. Bruce McWhinney, recently Head Teacher <strong>of</strong> <strong>Ceramics</strong> at <strong>No</strong>rthern Sydney Institute <strong>of</strong> TAFE<br />

(Brookvale), leads group travel to Japan. as well as Indonesia (Bal i), managing projects too many to<br />

mention here." Bruce typifies the response <strong>of</strong> these 'long term Asia tragics' when asked whether most<br />

<strong>of</strong> his engagement was personal or institutional. He sa id, " ... personal, although my position as Head <strong>of</strong><br />

<strong>Ceramics</strong> certainly opened doors." And so it is in the balance between the personal and the institutional<br />

that the most effective forays can be made - 'the personal' because that promotes ethical engagement,<br />

and 'the institutional' because it opens doors for others.<br />

As clayworkers looking to the future, we might well take to heart Gillard's foreword to the White<br />

Paper where she stated that we had the following choice - "to drift into our future or to actively<br />

shape it" .<br />


Connections: Australia and Asia<br />

left to right: Mr Chiu, Michelle Lim, Paul Mathieu, Janet DeBoos. He Van at Huaguang, Zibo, China<br />

Photo: courtesy Janet DeBoos<br />

In the world <strong>of</strong> <strong>Australian</strong> ceramics, we have had almost half a century <strong>of</strong> drifting towards Asia. <strong>No</strong>w<br />

is the time to more actively engage in the creation <strong>of</strong> both personal and institutional exchange pathways<br />

and creative partnerships that will allow us to become an influential player in the region .<br />

Janet De800s is Emeritus Fellow at the <strong>Australian</strong> National University, and was Head <strong>of</strong> ANU<br />

<strong>Ceramics</strong> Workshop f rom 1998 to February 2013.<br />

16 http://australianceramics.com/homelimages/sloriesiSl_2JwarburtoJ'Vbartho!omewlJulie-BARTHOlOMEW.JP9<br />

17 www.sothebys.comlenlduCtlOnsl2013/pvt-setiing-caroline-cheng-hkOS02.htmIH&i=O<br />

18 Fule International Ceramic Art Museums (FUCAM), an extraordinary proiect, built on the jomt VISion <strong>of</strong> Hsu khi and Xu DuFeng, where a<br />

seri6 <strong>of</strong> large brick ceramics muc;.eums have been built holding the works <strong>of</strong> artists from various countries who have undertaken<br />

residenCIes there.<br />

19 WIIVW.5turt nsw. edu.aulbl~he-fuping·group-sharing-the-e)(perjence<br />

20 A first time Asia visitor in t983 to India, Bruce led tours to China in 2003, to Japan from 2005 to 2011 until Fukushima intervened, and Ball<br />

SUKe 2009. He also works with the leam at Gaya Ceramic Art Centre in Ubud as well as developing Ubud Aft Villa; WYvW.ubudartvilla.com<br />


Connections: Australia and Asia<br />

Tjungu Warkarintja (working<br />

together) in Jingdezhen<br />

Genevieve O'Callaghan on the work <strong>of</strong>Tjimpuna Williams and Derek Thompson<br />

<strong>The</strong> city <strong>of</strong> Jingdezhen revolves around porcelain. On China's mainland, it is a truly global city, with<br />

people from around the world visiting to study at the Jingdezhen Ceramic Institute and work in the<br />

many special ist studios. Porcelain has been produced there for over a thousand years, and it is so woven<br />

into the city's fabric that even the walls <strong>of</strong> San Bao village are bricked with it, from big blue and white<br />

pots to earthenware vessels. This is the Millennium Wall, at once relic and unfolding project, built by the<br />

San Bao Ceramic Art Institute about ten years ago and added to by constant donations.<br />

At Ernabella Arts, in Pukatja community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in<br />

South Australia, art is also literally written on the walls. Celebrated for its batiks, paintings on canvas,<br />

and now its ceramics, the art centre proudly and publicly displays its seven decades <strong>of</strong> history with walka<br />

(design) painted on the outside walls, the black background popping with desert reds and blues and<br />

greens. At the front gate, sealed into concrete, are ceramic plates and tiles, from the Ernabella Arts'<br />

<strong>Ceramics</strong> Studio, now known as Pukatja Pottery, which has been making work for the last 15 years.<br />

In the early years, Ernabella Arts worked together with Adelaide's JamFactory, with artist exchanges<br />

and the Jam providing blank bisqued forms to the community, which when decorated and glazed would<br />

then be sent back to Adelaide for firing. <strong>The</strong> work was celebrated in a Jam Factory exh ibition titled<br />

Tjungu Warkarintja: Working Together in 1998. Things have since grown w ith the 2003 conversion<br />

<strong>of</strong> the screen-printing room into a ceramics studio; the running <strong>of</strong> workshops by ceramicists like Robin<br />

Best, Ge<strong>of</strong>f Crispin, Janet De Boos and Ben Carter; the development <strong>of</strong> men's workshops where Derek<br />

Thompson and Ngunytjima Carroll have trained; the establishment <strong>of</strong> the Remote Communities Ceramic<br />

Network that sees artist exchanges between Ernabella Arts, Munupi Arts and Crafts on Melville Islands,<br />

and the Hermannsburg Potters in the <strong>No</strong>rthern Territory; the <strong>Australian</strong> National University, Canberra,<br />

residencies; and the many Pukatja Pottery exhibition highlights including numerous commercial gallery<br />

exhibitions and last year's Telstra National Aboriginal and Torres Strait Islander Art Award at the Museum<br />

and Art Gallery <strong>of</strong> the <strong>No</strong>rthern Territory, Darwin. In <strong>2014</strong> Tjungu Warkarintja: Fifteen Years at<br />

Sabbia Gallery, Sydney, returns Pukatja Pottery to the theme <strong>of</strong> 'working together', what Milyika Carroll<br />

calls the process <strong>of</strong> generous people "helping us make our ideas work in clay'"<br />

Opposite page: Tjimpuna WiWams working in the Big Pot Factory<br />

Jlngdezhen. China; photo: courtesy Ernabella Arts<br />

1 MtlYIk:a Carroll, Tjungu warkarinrja: working together, Desert Mob Symposium, 6 September 2013.<br />


Connections: Aust ra lia and Asia<br />

It was with this approach in mind that in 2013 Tjimpuna Williams and Derek Thompson from<br />

Ernabella Arts went to the Big Pot Factory near San Bao, Jingdezhen, to experiment with scale. <strong>The</strong><br />

aim <strong>of</strong> the residency was not to achieve a kind <strong>of</strong> fusion <strong>of</strong> styles and subject matter;' it was to give<br />

Tjimpuna and Derek the biggest possible canvas to work with. <strong>The</strong>y would use the same sgraffito<br />

technique as back home, but would see what they could do when challenged with form, in a place with<br />

"facilities and kilns unlike anything in Australia" .'<br />

Above: Ernabella Ans ceramics studio shelves: photo: Julian Green<br />

Opposite page: various images taken whilst Tjimpuna Williams and Derek Thompson worked in Jingdezhen, China<br />

1 underglaze tests 2 San Bao wall 3 Ding and Tjimpuna Williams 4 Ding and Derek Thompson 5 Tjimpuna decorating work<br />

in the Big Pot Fadory, Jingdezhen 6 Chinese glaze materials; photos: courtesy Ernabel la Arts<br />

When Tjimpuna and Derek arrived in Jingdezhen the difference in their technique became clear:<br />

"Our way was very different from the Chinese way, which was nearly all blue and white, done with fine<br />

brushes" .4 <strong>The</strong> Ernabella way employs sgraffito as it relates to the cultural tradition <strong>of</strong> milpatjunanyi, or<br />

stories told in the sand ' <strong>The</strong> artists <strong>of</strong> the Big Pot Factory had also never seen such liberal use <strong>of</strong> colour;<br />

they came to watch, and join in. Tjimpuna recalls: " One <strong>of</strong> the young painters came and decorated a<br />

plate using our colours and sgraffito technique. People working at the factory would come in to look at<br />

our pots, and we would take breaks and watch what they were doing" 6 Despite the differences, both<br />

Tjimpuna and Derek found things they appreciated about the Chinese style, with Derek creating a pot<br />

in blue and white and Tjimpuna likening the Chinese design to Ernabella walka - the water pattern<br />

As explained to the author in an intelView with Tjimpuna Williams, Janet DeBoos and Ruth McMillan, 13 February <strong>2014</strong> .<br />

Tjimpuna Williams in Tjungu Warkatintja; Fifteen Years, Sabbia Gallery, Sydney. exhibition catalogue. <strong>2014</strong>.<br />

4 Ibid.<br />

S A Pitjamjatjara term 'mllpatjunanyl' stili e)(ists across the APr Lands.<br />

6 Unless otherwise IndICated, all Tjimpuna Williams quotes are taken from a statement, 10 February <strong>2014</strong>.<br />

28 THE IOURNAl OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Connections: Australia and Asia<br />

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

Opposite page. top: Tjimpuna Williams at Ernabella<br />

Opposite page. below: Tjimpuna Williams. Carlene Thompson and<br />

Janet DeBoos at work in the ErnabeUa Arts ceram ics studio. 20 14<br />

Photos: Julian Green<br />

resembling the Anangu pattern for tali (sand hills). the feather pattern like tjanpi (Spinifex grass). and<br />

concentric circles like kapi tjukula (waterholes).<br />

All around Jingdezhen there is a constant flow <strong>of</strong> production: from extrusions <strong>of</strong> wet clay to orderly<br />

lines <strong>of</strong> raw pots, from the constant firing <strong>of</strong> the village's many kilns to the pushing <strong>of</strong> wooden carts<br />

laden with glazes, the city is constantly ticking. People work in specific roles - throwing, glazing,<br />

carving, brush painting and firing the kiln - so that all processes are regularly in motion. During<br />

Tjimpuna and Derek's three-week visit, fireworks sang in the sky most nights to celebrate weddings and<br />

birthdays; the next day a reminder lay in the red confetti that peppered the streets. But amid the pace is<br />

peace - " a beautiful place with punu tjuta (lots <strong>of</strong> trees) but not lots <strong>of</strong> people", Tjimpuna remembers<br />

<strong>of</strong> San Bao.<br />

in this rich environment so far from home, both Tjimpuna and Derek could concentrate fully on their<br />

practice, and this meant solving problems, from the colour going on - a problem resolved with the help<br />

<strong>of</strong> Janet DeBoos - to the pots they'd come to conquer. Tjimpuna explains: "When we got there, twelve<br />

pots were waiting for us in our studio at the Big Pot Factory. It made us both a bit worried - the biggest<br />

were taller than us, and we did not know how we would reach the top." Both artists started with the<br />

small pots, thinking all the time about the big ones. With a little help lifting the enormous forms, it was<br />

the stories they were putting down on the big pots, how they enjoyed drawing that deep, long line' ,<br />

that got them through.<br />

" it was the Year <strong>of</strong> the Snake, which is something we were told after we had done the first works, "<br />

Tjimpuna recalls. "My story is Piltati - it is about two water snakes. One <strong>of</strong> Derek 's stories is Wanampi -<br />

a different water snake story. We both liked how the Chinese artists put down dragons and water. " For<br />

both Tjimpuna and Derek, the time in Jingdezhen brought on the realisation <strong>of</strong> similarity amid difference<br />

that comes with stepping outside your usual context. "Looking at the big Chinese pots every day, Derek<br />

and I began to see that while our pots and the Chinese pots look very different, they are also painting<br />

their country and their stories, but in their way." Tjimpuna didn't paint in blue and white, but she could<br />

appreciate the Chinese artists' visions <strong>of</strong> country, and although the residency was not expressly aimed<br />

at experimentation in style, it was in this supported creative space that Derek could try his hand at blue<br />

and white, casting his views <strong>of</strong> his Pitjantjatjara country through a different lens.<br />

in Jingdezhen, both Tjimpuna and Derek pushed their mark-making to a brave new size that relates<br />

not only to their country but also to their grand plans for Ernabella Arts' future. in connecting Pukatja<br />

Pottery across continents, Tjimpuna Williams and Derek Thompson have taken tjungu warkarintja<br />

(working together) worldwide.<br />

Tjungu Warkarintja: Fifteen Years was held at Sabbia Gallery. Sydney. in March <strong>2014</strong>.<br />

7 See Derek. Thompson. statement,S February <strong>2014</strong><br />


Connections: Australia and Asia<br />

Migratory Hybridity in the<br />

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

by Brett Farmer<br />

Edward Said famously argues that the migrant or exile<br />

possesses a 'double vision' that is formed in the tension <strong>of</strong> the<br />

twin cultural spheres - old world/new world, natal culture/<br />

adopted culture - that frame the unique experiences <strong>of</strong><br />

transnational migration. Where most people, he writes, "are<br />

principally aware <strong>of</strong> one culture, one setting, one home",<br />

migrants" are aware <strong>of</strong> at least two, and this plurality <strong>of</strong><br />

vision gives rise to an awareness <strong>of</strong> simultaneous dimensions,<br />

an awareness that - to borrow a phrase from music - is<br />

'contrapuntal"'. (Said, 2000: 186) Though he is cautious to<br />

avoid essential ising or romanticising the pluralised vision <strong>of</strong><br />

migration as some sort <strong>of</strong> aesthetic privilege, he does argue<br />

that it frequently acts as a spur to artistic expression and<br />

imbues the work <strong>of</strong> migrant artists with a distinctive hybrid<br />

edge. <strong>The</strong> contradictory impulses <strong>of</strong> migration - belonging<br />

and otherness, gain and loss - enable different perspectives,<br />

different visions and different orders <strong>of</strong> creativity to emerge.<br />

As a nation built out <strong>of</strong> migration, the contrapuntal double vision <strong>of</strong> migrancy has a central, if not<br />

always formally legitimated, presence in <strong>Australian</strong> arts and culture. From the long, traumatic history<br />

<strong>of</strong> displacement and enforced migration <strong>of</strong> indigenous <strong>Australian</strong>s, through the alienated nostalgia <strong>of</strong><br />

European settler cultures, to the intensified multiculturalism <strong>of</strong> the post-war era <strong>of</strong> mass migration,<br />

<strong>Australian</strong> art has been a major forum for imagining, articulating and processing the nation's multiple<br />

histories <strong>of</strong> diasporic passage and expatriation. A recent con tribution to this rich tradition <strong>of</strong> migrant<br />

visions can be found in the dynamic work <strong>of</strong> Thai-<strong>Australian</strong> ceramicist Vipoo Srivilasa.<br />

Relative to other countries, Thailand has not been a major source culture <strong>of</strong> <strong>Australian</strong> migration<br />

but the two countries have a surprisingly long history <strong>of</strong> fruitful exchange across many levels including<br />

government, trade, tourism and education. Indeed, it was in the context <strong>of</strong> the latter that Vipoo, like<br />

many young Thais before and since, first came to Australia in 1997 to undertake postgraduate studies in<br />

fine art. Following his decision soon thereafter to take up permanent residency, Vipoo has emerged as<br />

a singular talent <strong>of</strong> note on the local arts scene, prized by critics and collectors for his idiosyncratic but<br />

meticulously crafted works <strong>of</strong> ceramic art.<br />

Above: Vipoo Srivilasa, Best Friend. Hot line Series, 2012, porcelain, cobalt pigment, h.2Scm, w.2Scm, d.2cm<br />

Opposite page: Thai Na Town - Little Oz, <strong>The</strong> Country I Miss, installation B detail. small sculptures created by<br />

participants using air·dry clay in Thailand. <strong>No</strong>vember 2012; photos: Korakij Chaisirisopon<br />


Vipoo Srivilasa, Thai Na Town - Little Oz, 20 t 2, Thailand: photo: Korakij Chaisirisopon<br />

With their characteristic blend <strong>of</strong> classical decorative and modernist conceptual traditions, Vipoo's<br />

quirky ceramic pieces are marked by a strong, even constitutive, logic <strong>of</strong> hybridity that speaks directly<br />

to his own personal experiences <strong>of</strong> transcultural migration. Indeed, Vipoo openly declares that the<br />

biculturalism <strong>of</strong> his Thai-<strong>Australian</strong> identity has been a singular influence on his work. He proudly claims<br />

the liminal figure <strong>of</strong> the mermaid, for example, as a symbolic alter ego, featuring her as a reiterative<br />

motif across a good deal <strong>of</strong> his oeuvre. A hybrid chimera par excellence, the mermaid is a stock creature<br />

<strong>of</strong> mythological traditions worldwide and Vipoo recalls being entranced by Thai variants <strong>of</strong> mermaid<br />

legends as a child. Appropriating the figure in his adult artwork, Vipoo marshals the mermaid as a<br />

talismanic manifestation <strong>of</strong> his own 'life between two worlds' as well as a lure to the fanciful creation <strong>of</strong><br />

new forms and possibility <strong>of</strong> being enabled by the contrapuntal 'in-between-ness' <strong>of</strong> the migrant artist's<br />

'double vision'.<br />

Beyond the mermaid, Vipoo's work is characterised more generally by persistent maritime metaphorics<br />

with fish, shells and other aquatic motifs in abundance. His 2009 exhibition, Indigo Kingdom, for<br />

example, used coral and other forms <strong>of</strong> sea flora as a figural entr~e into a complex aesthetic meditation<br />

on his own biography and the floating life <strong>of</strong> the transnational migrant, as well as a thoughtful critique<br />

<strong>of</strong> the impact <strong>of</strong> human activity on marine ecosystems, arguably another form <strong>of</strong> trans-spheric contact<br />

and exchange. A longstanding metonymic symbol <strong>of</strong> travel and migration, the sea is also a site <strong>of</strong><br />

enduring liminality, a world <strong>of</strong> borderless liquidity where the finite boundaries <strong>of</strong> terra firma dissolve<br />

into mercurial flows. <strong>The</strong> original primal home <strong>of</strong> life on earth, the sea remains, however, an alien<br />


Connections: Australia and As ia<br />

Vipoo Srivilasa, Thai Na Town - Little Oz. installation A detail, 201 2; photo: Korakij Chaisirisopon<br />

environment and a space that discomfits easy ideas about identity and belonging. Small wonder that the<br />

sea and its extraordinary life forms, at once familiar and bizarre, should prove such a rich repository for<br />

Vipoo's evocative explorations <strong>of</strong> migratory hybridity.<br />

In this context, it's also possibly no accident that Vipoo should have concentrated his visual art<br />

practice on the medium <strong>of</strong> ceramics as, <strong>of</strong> all the arts, it has the closest and most enduring association<br />

with histories <strong>of</strong> t ranscultural contact and exchange. Whether as utilitarian objects <strong>of</strong> daily use, vessels<br />

for storage, or valuable commodities <strong>of</strong> commerce in their own right, ceramics have been an integral<br />

element <strong>of</strong> the grand histories <strong>of</strong> human migration and trade. It's a set <strong>of</strong> historical narratives that Vipoo<br />

indexes knowingly w it h, for example, his emphatic use <strong>of</strong> classical blue and white colour schemes. While<br />

his early work experimented with a polychromatic aesthetic, Vipoo has increasingly come to privilege a<br />

duochromatic blue and white palette as his preferred trademark colour scheme. On the one hand, an<br />

obvious homage to the classical aesthetics <strong>of</strong> Asian ceramics - including those <strong>of</strong> his native Thailand<br />

where Sino-Thai blue and white ware emerged as an important strand <strong>of</strong> Thai ceramics from as early<br />

as the Ayutthaya period (Robinson, 1985); on the other, Vipoo's marked, almost obsessive, use <strong>of</strong> a<br />

blue and white aesthetic is also a clear nod toward the great history <strong>of</strong> Chinese export porcelain and<br />

its pivotal role in t he establishment <strong>of</strong> East-West trade routes. Found today in almost every corner <strong>of</strong><br />

the globe, Chinese blue and white porcelain is a microcosmic distillate <strong>of</strong> vast centuries <strong>of</strong> transnational<br />

commerce and thus another potent symbol <strong>of</strong> the processes <strong>of</strong> migratory hybridity with which Vipoo's<br />

work is centrally engaged.<br />


Thai Na Town - Little Oz, <strong>The</strong> Country ' Miss, installation B detail, collaboration with Chinese and Thai<br />

volunteers in Thailand, <strong>No</strong>vember 2012; porcelain, plasticine, melamine; photo: Korakij Chaisirisopon<br />

In a recent 2010 residency program at the Pottery Workshop in Jingdezhen, China, Vipoo took<br />

this reflexive engagement with the grand transcultural history <strong>of</strong> export porcelain to even further,<br />

poignant extremes. His tenure in China coincided with another especially violent episode in the ongoing<br />

colour-coded street demonstrations that have polarised Thai politics for the better part <strong>of</strong> a decade.<br />

Marshalling scores <strong>of</strong> local volunteers as assistants, he invited them to paint portraits on a series <strong>of</strong><br />

125 Chinese-style ceramic soupspoons, the kind <strong>of</strong> utilitarian object churned out in the millions by<br />

the ceramic export industries <strong>of</strong> China, and then randomly write 'red' and 'yellow' on the reverse as<br />

symbolic avatars for the casualties <strong>of</strong> the latest round <strong>of</strong> civic unrest in his homeland. Later in Thailand,<br />

he invited a corresponding group <strong>of</strong> local Thai volunteers to make a small stand for each <strong>of</strong> the spoons<br />

in the shape <strong>of</strong> a lotus, the Buddhist symbol <strong>of</strong> the search for enlightenment and the impermanence <strong>of</strong><br />

life. Titled <strong>The</strong> Country I Miss, the resultant installation operated as at once a memorial to loss, each<br />

spoon poised upright in a cluster <strong>of</strong> impassive faces akin to a sea <strong>of</strong> headstones, as well as an objectmediated,<br />

art-based practice <strong>of</strong> interpersonal transcultural communication. Ceramic objects literally<br />

bear the imprint <strong>of</strong> the person or persons whose hands have crafted them but, for the most part, these<br />

remain tacit and unknown. <strong>The</strong> spoons in <strong>The</strong> Country I Miss give voice to this silent transindividual<br />

dialogue, explicating the presence <strong>of</strong> the people across whose hands the spoons journey and, by so<br />

doing, blurring interpersonal boundaries between self and other, living and dead, past and present, red<br />

and yellow, Chinese and Thai, creator and user.<br />

I had the pleasure <strong>of</strong> participating in another communal style art project organised by Vipoo as<br />

part <strong>of</strong> his Thai Na Town - Little Oz exhibition in 2012/13. Part <strong>of</strong> <strong>of</strong>ficial, government-sponsored<br />

celebrations to mark the 60th Anniversary <strong>of</strong> <strong>Australian</strong>-Thai Bilateral Relations, this exhibition was held<br />

six months apart in Sydney and Bangkok. Alongside its showcase <strong>of</strong> representative examples <strong>of</strong> Vipoo's<br />

work - with his characteristically ludic figurines and elaborately-patterned ceramic pieces blending a<br />

host <strong>of</strong> local, regional and global influences - the exhibition also featured a selection <strong>of</strong> amateur pieces<br />


Connections: Australia and Asi a<br />

Thai Na Town - Little Oz opening in Bangkok, Thailand in <strong>No</strong>vember 2012; left to right: Nino Sarabutra, Vipoo Srivilasa,<br />

Alvin Tan Teek Heng, Amornthep Mahamart and Krisaya Luenganantakul: photo: Toomraya Mangklabruks (Vipoo's mum)<br />

made by volunteer ex-pats at brief workshops run by Vipoo. <strong>The</strong>se ex-pats - Thais residing in Sydney,<br />

or, in the case <strong>of</strong> Bangkok, <strong>Australian</strong>s residing in Thailand andlor other Thais who were past residents<br />

<strong>of</strong> Australia - were invited to craft small clay symbols <strong>of</strong> things they missed or remembered most fondly<br />

from their 'other' home. At once a typically generous gesture <strong>of</strong> participatory communitarianism on<br />

Vipoo's part, the incorporation <strong>of</strong> these multiple expressions <strong>of</strong> transcultural memory and longing served<br />

as a powerful complement to Vipoo's signature themes <strong>of</strong> migration and the doubled perspectives <strong>of</strong><br />

transnational identity. Surveying the scores <strong>of</strong> tiny, handmade objects, many <strong>of</strong> them almost childlike in<br />

their unpr<strong>of</strong>essional crudeness, one was instantly drawn into the private worlds and biographies <strong>of</strong> these<br />

unnamed artists. Many <strong>of</strong> the objects were patterned on instantly recognisable cultural symbols - iconic<br />

landmarks, foodstuffs, symbolic flora and fauna - but many others were almost entirely idiosyncratic,<br />

drawn from the inner memory worlds <strong>of</strong> the individuals concerned, and opaque in their significance<br />

to the outside observer other than as poignant expressions <strong>of</strong> affective desire and dialogue across the<br />

competing spheres <strong>of</strong> here and there and then and now that typify the double vision <strong>of</strong> the transcultural<br />

migrant. It is a vision given rich and evocative voice in the evolving ceramic art practice <strong>of</strong> Vipoo<br />

Srivilasa.<br />

Works cited:<br />

Robinson. Natalie V. · Sino-Thai <strong>Ceramics</strong>." <strong>Journal</strong> <strong>of</strong> the Siam Society.<br />

<strong>Vol</strong>. 73. no. 1-2 (1985): 113-131.<br />

Said. Edward. Reflections on Exile and Other Essays.<br />

Harvard. MA. Harvard University Press. 2000,<br />

http://vipoo.com<br />

Brett Farmer is Lecturer in the Faculty <strong>of</strong> Arts. Chulalongkorn University. Bangkok.<br />


Connections: Australia and Asia<br />

Another Country<br />

Karen Weiss pr<strong>of</strong>iles the work <strong>of</strong> Kim-Anh Nguyen and Keiko Matsui<br />

<strong>The</strong> past is a foreign country; Ihey do Ihings differently Ihere.<br />

L. P Hartley. <strong>The</strong> Go-Between<br />

People leave their home land because they have to. Sometimes it is under duress, fearfully, silently, at<br />

night. Sometimes they are irresistibly drawn by a vision <strong>of</strong> a different, better life which their place <strong>of</strong><br />

birth is unable to <strong>of</strong>fer them.<br />

It is never an easy process, a new language, different values; like standing on slippery ice, never<br />

certain whether the next step will lead to a tumble. But there can be a point where an accommodation<br />

is reached, a point <strong>of</strong> transformation when the strange becomes the familiar.<br />

Kim-Anh Nguyen left her birthplace, Vietnam, crammed into a small fishing boat with forty others,<br />

not knowing where they were heading. She was eight years old. It was 1976. <strong>The</strong> Saigon in which she<br />

had grown up had been renamed Ho Ch i Minh City by the victorious Communists in the previous year.<br />

Her father's connection with the fallen government <strong>of</strong> South Vietnam had made him and his family<br />

a target for reprisals. <strong>The</strong>y ran out <strong>of</strong> food and fuel. <strong>The</strong>re was a constant fear <strong>of</strong> pirates. Drifting,<br />

they encountered a ship which provided them with food and enough petrol to reach the shores <strong>of</strong><br />

Malaysia. Here her family spent a year in a camp before being taken in as refugees by the New Zealand<br />

Government.<br />

Kim-Anh loved drawing, entering and winning several competitions, and she continued with art<br />

to Year 10. Academic success in other areas prompted her to enrol in a Bachelor <strong>of</strong> Science course.<br />

Kim-Anh remarks, "I was young and you do have that mind set, art won't lead you to a career." While<br />

working on her degree, Kim-Anh met and married her husband, a dentist, also Vietnamese, who had<br />

been adopted and raised in New Zealand. <strong>The</strong> following year the couple migrated to Sydney, Australia.<br />

"That first year was difficult for me," she says. " I left my family, got married, different name, different<br />

uni ... I'd heard so many horrible things about Australia, the heat, the snakes, the spiders." Australia's<br />

multi-culturalism came as a shock. "[In New Zealand] you're unique because you're one <strong>of</strong> the few<br />

Asians. It feels good." She adds, "Eventually you adapt."<br />

OppOSite page: Kim-Anh Nguyen, Spinifex. 2009<br />

coloured Southern Ice paperclay, h.3&m, w.23cm<br />

Photo: Greg Piper<br />


Connections: Au stra lia and Asia<br />

Above: Road Len Travelled, <strong>2014</strong>, Cool Ice, coloured slips, tallest, h.l Ocm, w.8cm, d.7cm; above right: Kim-Anh Nguyen<br />

Opposite page: Boat People's Hor;zon, 2011, coloured porcelain, wall piece h.5Ocm, w.l OOcm<br />

All work by Kim-Anh Nguyen; photos: Greg Piper<br />

On graduating she worked in a pathology laboratory and spent a year doing a Certificate 3 parttime<br />

in Design at TAFE. " I always had that desire .. to do something with your hands, draw, design."<br />

<strong>The</strong> ceramics stalls at Penrith market inspired her to do an evening college pottery course where she<br />

intended to make her own cups and bowls. <strong>The</strong>n she heard about the Inner City Clayworkers Teapot<br />

Show, a visit that was to change her life. She overheard someone talking about courses at TAFE,<br />

"not just one or two days, a real course. I was so excited"! But by then she had two small children.<br />

She discussed it with her husband who told her, "You should do it. <strong>The</strong> housework can wait." Kim­<br />

Anh ended up spending five years at TAFE, graduating in 2006 with a Diploma in <strong>Ceramics</strong> and was<br />

accepted by Inner City Clayworkers as a graduate. She worked with them for one year, using her<br />

laundry as her studio.<br />

Kim-Anh has a connedion with indigenous people. Her husband is probably Montagnard, indigenous<br />

Vietnamese. She admires and colleds Aboriginal art and has travelled to Far <strong>No</strong>rth Queensland, Central<br />

Australia, Broome and the Bungle Bungles to experience first hand the land and the people. In her<br />

work, Kim-Anh brings together her Vietnamese heritage and her life in New Zealand and Austral ia. Her<br />

striking hand built, multi-layered carved slip Road Less Travelled series is inspired by a length <strong>of</strong> striped<br />

Vietnamese Montagnard cloth her father-in-law gave her and the colours and rugged textures <strong>of</strong> the<br />

<strong>No</strong>rthern Territory and Western Australia . In Ethereal, a Stanthorpe Prize winner, she uses concentric<br />

ci rcles and the strong use <strong>of</strong> repetition <strong>of</strong> simple small elements to create the movement and dynamism<br />

that can be seen in some Aboriginal art, but which is also reminiscent <strong>of</strong> Van Gogh's swirling skies.<br />

Her Spinifex series <strong>of</strong> vessels, made with thousands <strong>of</strong> tiny coloured coils, draw on a basketry<br />

workshop she attended at Sturt, weaving together pine needles. <strong>The</strong> pots spiral up, like the Maori koru,<br />

the symbol <strong>of</strong> new life. Kim-Anh says, "I came across the Spinifex people who were displaced like me.<br />

[Spinifex] is a very hardy resilient grass and that's the resilience you find in people who are displaced."<br />

One <strong>of</strong> her major works is Boat People's Horizon, a group <strong>of</strong> boats made using this method, each<br />

representing a boat that has been significant in <strong>Australian</strong> history, from the First Fleet to the SIEVs laden<br />

with asylum seekers, as well as her own small fishing boat.<br />


Connections: Australia and Asia<br />

Kim-Anh describes her work as " Personal. Places and history where I came from, a bit here, a bit<br />

there. I don't plan work, it just seeps through" . She adds with a smile, "I'm constantly migrating. I don't<br />

know where's next!"<br />

Keiko Matsui has a very different story. She arrived in Australia from Japan in 1999 on a working<br />

holiday, because the warmest place she could get on a working visa was Australia. Employed by a<br />

Japanese company in Sydney, she found herself in the same restrictive workplace as in Japan and she<br />

began to question whether this life was what she really wanted. "Japan is very competitive. [Your!<br />

parents believe you finish uni, you go to work with company, you get married w ith someone nice, you<br />

have kids, happy ever after."<br />

Wh ile working as a secretary in Australia, she joined a pottery class at the Bondi Pavilion. She had<br />

attended an evening pottery class in Japan and had done a one day workshop at Shigaraki, but it was<br />

in Australia that she saw the possibility <strong>of</strong> another life - as a ceramic artist. Working at seven casual<br />

jobs she pulled together enough money to undertake a BA in Fine Arts (Honours) at National Art School<br />

(NAS), graduating in 2006. At last, she was doing work she loved, working for herself. As she says,<br />

"I may not become rich being a potter, but I want to live with my passion until I die. I wouldn't nor<br />

couldn't choose this occupation if I were living in Japan. Australia is the place that gave me freedom and<br />

opportunity to find what I really love. I am so thankful to Australia."<br />

At NAS she made bowls and vases, experimenting with form but designing work that was functional<br />

as well as sculptural, following the Japanese tradition <strong>of</strong> making artworks that are meant to be used.<br />


Connections: Australia and Asia<br />

Above: Keiko Matsui in her studio; above right: Keiko Matsui, Stitched Bow', detail, 2013, porcelain, wheelthrown<br />

stitched with thread. clear glaze, h.13cm. w.28cm; photo: courtesy artist<br />

Opposite page: Koiko Matsui, Mother and Child, 2012, porcelain, wheelthrown, altered, white matt glaze<br />

tallest, h.37cm, d.14cm; photo: Steve Cummings<br />

<strong>The</strong> Western way <strong>of</strong> making something that is both beautiful and functional but not using it presents a<br />

philosophical challenge to her, as do the high prices they command.<br />

She explored this in her Honours year with a wall piece, Seven Souls, seven simple white porcelain<br />

bowls placed on a stepped stand. She asks, "Is this fine art or craft?" Her work continues to mirror this<br />

conundrum. Keiko describes it as "not fully Western, not fully Eastern" . She moves between functional<br />

work and scul ptural. Her functional pieces are mainly exquisite white porcelain bowls and vases,<br />

sometimes with line drawings in cobalt, or thrown and altered with the cicatrice <strong>of</strong> a join or the gentle<br />

reshaping <strong>of</strong> a rim as decoration. She says, "Making a simple beautiful bowl is one <strong>of</strong> the hardest things<br />

for a potter."<br />

Her sculptural work may be inspired by occurrences in her life. Her grouping Still Life - Torn , a 2011<br />

John Fries Prize finalist, came about as an emotional response to her after-birth complication during<br />

which she lost a lot <strong>of</strong> blood. It was a cathartic process, throwing cylinders, crying, hitting and tearing<br />

the pots while still weak from the physical trauma. By contrast, as a new mother and living on the<br />

NSW Central Coast, Mother and Child and similar groupings made the following year are delicate and<br />

expressive studies in curved volumes occupying space. <strong>No</strong>w living with a toddler, her recent works are<br />

vessels stitched with red, yellow and orange thread and brightly coloured cheerful brushwork poppy<br />

designs.<br />

Keiko's ultimate ambition is to exhibit in Japan. While remaining true to her own vision, she regards it<br />

as "a good test for me how Japanese regard my work" .<br />



Keiko Matsui, Towards, 2012, porcelain, wheelthrown, altered, clear and white matt glaze. tallest. h.26cm, d.17cm<br />

Photo: Steve Cummings<br />

<strong>The</strong>re are bonds with one's place <strong>of</strong> origin that are never severed . <strong>The</strong> strong bonds <strong>of</strong> family, the<br />

smell and taste <strong>of</strong> food shared at home, or the unique music <strong>of</strong> one's mother tongue. In a new land,<br />

they linger. like the aftertaste <strong>of</strong> wine. <strong>The</strong>se artists have taken the old and the new. and through their<br />

art expressed this duality. bringing the two together. giving it as a gift to their other home. Australia.<br />

Nguyen, Kim-Anh, Interview with K.Weiss 27.11 .2013<br />

www.kanmadeceramics.com<br />

Matsui, Keiko. Interview w ith K.Weiss 11 .12.2013<br />

http://keikomatsui.com.au<br />

L.P.Hartley, <strong>The</strong> Go-Between<br />

http://en.wikiquote.org/wiki/ L._P._Hartley<br />

http://en.wikipedia.org/wiki/Fall_<strong>of</strong>_Saigon<br />

© K.Weiss <strong>2014</strong><br />

Kim-Anh Nguyen's next exhibition will be held at mu ceramics studio gallery in Sydney<br />

from 26 <strong>April</strong> to 17 May <strong>2014</strong>; http://studiomu.com.au<br />


Connections: Australia and As ia<br />

A Korean Odyssey<br />

Rowley Drysdale shares the story <strong>of</strong> Kim Se Wan<br />

<strong>No</strong>body knows exactly how much rain fell in the hour or two preceding the landslide which devastated<br />

Kim Se Wan's studio in the early morning <strong>of</strong> 24 June 2013 .<br />

Measuring rain after such calamitous events inevitably becomes more subjective than scientific, but<br />

the general consensus is that on the heels <strong>of</strong> three weeks <strong>of</strong> soaking rain, 30 to 35 cm (12 to 14 inches)<br />

bucketed down in 120 minutes. <strong>The</strong> steep hillside behind what remains <strong>of</strong> Se Wan's studio has a good<br />

cover <strong>of</strong> mature pine and a healthy understorey <strong>of</strong> scrub, but it was not enough to hold together the<br />

sodden country, and ultimately at the height <strong>of</strong> the flood the trees themselves became battering rams.<br />

Mercifully, nobody was in the studio at the time.<br />

Se Wan watched the events unfold from his nearby rented house. One can only imagine the spew<br />

<strong>of</strong> material that swept out <strong>of</strong> his large studio: tons <strong>of</strong> clay, minerals, pots and equipment joined the<br />

swirling waters destined for the Han River, which flows through Seoul and eventually into the South<br />

China Sea.<br />

A few days later, Se Wan, known to many as Wany, rang me in Australia. With typical candour and<br />

rancour, he told me in an expletive-laden few sentences what had happened . He confessed he was<br />

"mental down" [depressed] and stated that if anybody doubted "human [global] warming " they were<br />

" f .... cking dumb brother".<br />

Kim Se Wan's studio after the landslide, 25 June 20 13

Connections: Australia and Asia<br />

I agreed, and, with little to say, incidentally<br />

reported that we in Australia were about to elect a<br />

prime minister who was just that - a climate change<br />

sceptic.<br />

Daesin is a small town one and a half hours drive<br />

south-west <strong>of</strong> Seoul, population 5000 Nearby are<br />

three <strong>of</strong> Korea's major ceramic centres: Yeojhu, Inchon and Gwang Ju. During the 2013 floods, ten<br />

villagers were drowned. In Inchon two ceramic artists lost their lives in the floodwaters. After the water<br />

receded, the painstaking job <strong>of</strong> putting back together people's emotional and material lives was assisted<br />

by strong community and logistical help from the army.<br />

On 25 June, the very next day, a small army <strong>of</strong> potters, farmers, friends and a platoon <strong>of</strong> servicemen<br />

from a nearby military base, descended on the battered studio and started work. An excavator reshaped<br />

the landslide site, benching it. When they left, a few bolts jutting from a cement slab footing was all<br />

that remained <strong>of</strong> one half <strong>of</strong> the studio - a salient reminder <strong>of</strong> the velocity <strong>of</strong> the avalanche. In that<br />

particular part <strong>of</strong> the studio, Se Wan had stored some 2000 pieces <strong>of</strong> work destined for the Yeojhu<br />

Ceramic Expo trade show.<br />

For local potters this month-long event is a vital capital-raising opportunity. <strong>The</strong>re are over 100 stores.<br />

Tens <strong>of</strong> thousands <strong>of</strong> visitors from all over Korea make the annual pilgrimage, and many purchase their<br />

day-to-day tableware from potters like Kim Se Wan, deliberately eschewing cheaper Chinese imports.<br />

<strong>The</strong>re's a sense <strong>of</strong> 'Korean-ness' in this act, which aligns with a certain cultural psyche described as<br />

'Han', a concept nobody, academics included, seems to be able to succinctly summarise. But lurking in<br />

the ingredients is a sense <strong>of</strong> exasperation with history, politics and natural catastrophe.

Connections: Australia and Asia<br />

Opposite: Yeojhu Ceramic Expo<br />

Photo: Andrew Bryant<br />

Opposite below: Kim Se Wan<br />

Ida Bowl, 2013<br />

Photo: Stephen Roberts<br />

Right: Kim 5e Wan<br />

Photo: Andrew Bryant<br />

Despite this, Kim Se Wan, like many <strong>of</strong> his potter friends, has a deep appreciation for historical Korean<br />

ceramics. As a consequence, the Ida tea bowl is at the forefront <strong>of</strong> much <strong>of</strong> their practice. Many are<br />

made, usually in a wood kiln, and many are trashed alarmingly soon after firing. Alongside the sixchambered<br />

Inchon kiln is an enormous boulder standing in a sea <strong>of</strong> shards. It is engraved with the<br />

pictograph, Ceramic Tomb . In December 2012, I watched two potters smash dozens <strong>of</strong> bowls on this<br />

lump <strong>of</strong> granite mainly because they had emerged from the long firing a little too shiny. To the western<br />

eye, or at least to mine, Ido tea bowls seem desperately beige on first sighting. In fact they are the<br />

confluence <strong>of</strong> a complex interplay <strong>of</strong> material, technique, history and aesthetic.<br />

During the autumn <strong>of</strong> 2013, with a colleague I visited Se Wan's reformatted studio. Refreshingly, it<br />

was in full production with Se Wan making voluminous amounts <strong>of</strong> work aided by two assistants, Ko<br />

Dae Kyoung and Ju Suk Joong. Both have university degrees, have served two years in the Korean Army,<br />

and now work for low wages happy in the knowledge they are gaining valuable experience. Ko Dae<br />

Kyoung, nicknamed (perhaps reluctantly), Johnny Depp, says his dream is to own his own studio. <strong>The</strong>re<br />

can be no doubt there is a sense <strong>of</strong> personal pride in their decision to buck the corporate world option.<br />

Over the many years I have known Wany he has <strong>of</strong>ten reiterated that he is proud to be a potter,<br />

clearly making the distinction between 'potter' and 'ceramic artist'. His sale source <strong>of</strong> income is from<br />

the sale <strong>of</strong> work, mainly gas fired tableware. Consequently, the studio is seldom idle. It is quite common<br />

for Se Wan to begin throwing a run <strong>of</strong> say, two dozen plates, at 10 or 11 pm. Meals are <strong>of</strong>ten eaten at<br />

midnight, spread out across newspaper hurriedly laid down on tables used for waxing, brushing slip and<br />

glazing,<br />

Other potters from around Daesin call in with little or no notice anytime between 6pm and 6am.<br />

Animated conversations ensue, usually concerning clay bodies, glazes, firing schedules, and other<br />

potters. Often enough one will help the other with a task such as attaching handles or brushing slip<br />

onto green ware. A TV mutters away on the wall and the air is foggy with cigarette smoke. Most <strong>of</strong><br />


Con nections: Australia and Asia<br />

the time heat radiates from one or other <strong>of</strong> the<br />

twelve-burner gas kilns.<br />

Se Wan makes most <strong>of</strong> his own clay bodies,<br />

which arrive in their raw state by the ton, won<br />

from nearby hills. He takes particular care in<br />

blending small amounts <strong>of</strong> the Ido tea bowl clay,<br />

which looks the crudest but actually takes most<br />

time and a considerable amount <strong>of</strong> experience to<br />

prepare.<br />

Top: Kim Se Wan studio scene; Rowley Orysdale<br />

second from right; photo: Andrew Bryant<br />

Above: Kim Se Wan, Shino Bowl, 2013<br />

Photo: Stephen Roberts<br />

<strong>The</strong> better versions <strong>of</strong> these bowls retail for<br />

anywhere between $300 and $3000 and there<br />

seems to be a healthy enough demand, both<br />

in Korea and Japan. A nearby potter has only<br />

recently finished building a three-chambered kiln<br />

designed specifically to make Ido tea bowls. It<br />

cost him $20,000 to construct.<br />

During my fourth trip to Korea in October<br />

2013, Wany was driving Singapore potter<br />

Steven Lowe, Andrew Bryant from Australia<br />

and me through the countryside behind Inchon.<br />

Rounding a bend I noticed and pointed to a<br />


Connections: Australia and Asia<br />

Above: Kim Se Wan. Oribe Bowl. 2013<br />

Below: Kim Se Wan. Woodfired Bowl. 2013<br />

Photos: Stephen Roberts<br />


<strong>The</strong> images above show the lee 30-metre-long Onggi jar anagama k.iln which has been designated an Important Cultural<br />

Object; photos: Andrew Bryant<br />

thick pall <strong>of</strong> smoke billowing from what had to be a kiln. Wany stopped and we urged him to introduce<br />

us to what was obviously a very surprised bunch <strong>of</strong> potters on the fourth day <strong>of</strong> a long firing. Three<br />

generations <strong>of</strong> Lee family potters were present. <strong>The</strong> kiln, a 30-metre-long Onggi jar anagama kiln was<br />

some three metres wide, with a cavernous firebox mouth into which whole logs were being hurled. It<br />

has been designated an Important Cultural Object, and has been fired regularly for 140 years. Sitting<br />

in the middle <strong>of</strong> the group, with the straightest <strong>of</strong> spines, was an older man, a declared Living National<br />

Treasure. <strong>The</strong> kiln was estimated to be at about 1200°(, <strong>The</strong>re was no sign <strong>of</strong> either a cone or a spy<br />

hole.<br />

When we walked back to the main road I noticed there was not one sign indicating what went on up<br />

that short driveway. What was going on was a rare, deep glimpse into the far past.<br />

<strong>No</strong>t long after, I sat on a chair outside Kim Se Wan's studio, making notes. From inside I could hear<br />

the clink <strong>of</strong> ware being unloaded from a kiln. Commentary flowed, none <strong>of</strong> which I could understand.<br />

Dragonflies and other insects buzzed around. It made for a peaceful scenario given the catastrophic<br />

nature <strong>of</strong> recent events. <strong>The</strong> sky was cloudless but occasionally I could hear ominous rumblings <strong>of</strong> what<br />

could have been a storm brewing. In fact it was military tanks firing at a not-too-distant artillery range.<br />

Welcome to a Korean potter's typical day.<br />


Connections: Australia and Asia<br />

Ken Mihara: Serenity in Clay<br />

A recent exhibition in Sydney<br />

Liverpool Street Gallery in East Sydney was pleased to host an exhibition <strong>of</strong> renowned Japanese<br />

ceramicist Ken Mihara, comprising 15 new ceramic vessels, in <strong>No</strong>vember 2013.<br />

James Erskine, Director <strong>of</strong> liverpool Street Gallery said, "I first saw Ken Mihara's work when 1 visited<br />

Galerie Besson in London some ten years ago. 1 was immediately taken by his work and bought a piece<br />

a little later. As fate would have it, about three years ago I took over Galerie Besson on Anita Besson's<br />

retirement, with Matthew Hall and David Coe (Erskine, Hall & Coe), and we had a marvelous exhibition<br />

<strong>of</strong> Ken's work. I then decided that we should show the work in Sydney and so liverpool Street Gallery<br />

did last <strong>No</strong>vember to great acclaim. Ken 's forms are very exciting and tactile. <strong>The</strong> different patinas<br />

remind one <strong>of</strong> the four seasons and all the different climates. Ken's work is instant ly recognisable; there<br />

is a sense <strong>of</strong> grandeur about the work that is greater than the actual size. In my humble view, he is one<br />

<strong>of</strong> the world's foremost ceramicists."<br />

Ken Mihara, Kigen (Genesis) #1, multi-fired stoneware, h.44cm, w.74.Scm, d.20.Scm; photo: Tsunehiro Kobayashi

Connections: Australia and Asia<br />

Ken Mihara shared these few words about the work displayed in Sydney - "As this show marked my<br />

debut in Australia, I chose to exhibit not only a style <strong>of</strong> work from my latest series Kei (MindscapeJ, but<br />

also forms associated with my previous series Ko doh (Pulse) and Kigen (Genesis) . Such an assortment"<br />

<strong>of</strong> styles will not be seen elsewhere. Kei (MindscapeJ is my latest body <strong>of</strong> work and I believe it captures<br />

greater movement and sculptural f luidity than my previous works. As I change with the passing <strong>of</strong> time,<br />

so must my work. "<br />

Shimane Prefecture, Japan, <strong>2014</strong><br />

Wahei Aoyama, owner <strong>of</strong> Yufuku Gallery in Tokyo, explained about M ihara's technique.<br />

"Ken Mihara works in unglazed. high-jircd sioneware and uses clay taken/rom the hills a/his home in Izumo. His<br />

ceramics are formed through clay coiling and fiJrlher shaped and sharpened with his hands. After drying, the works<br />

are fired in a difficult 3-slep process that seeks to 'unlock Ihe memories <strong>of</strong> clay' that lie inherem within any kind <strong>of</strong><br />

common clay. After bisque firin& Mihara applies silica slip 10 the surface <strong>of</strong> his works, Qnd fires the piece for 40<br />

hours in a gas kiln at a temperature <strong>of</strong> 1280(}C. After this first main firing, Ihe silica slip is shorn <strong>of</strong>f, and the piece<br />

is fired once again in a second main firing/or 40 hours at ] 280°C. With each firing, the c.% urs trapped within the<br />

mineral content <strong>of</strong> the clay is released and revealed upon his surfaces, ranging from bright oranges to dark. blue hues.<br />

With works in nearly 30 public collections throughoUi the world, including the Metropolitan and the Victoria & Albert<br />

Museums, il can be said that Ken Mihara is now one <strong>of</strong>thelrontrwmers <strong>of</strong> contemporary Japanese ceramics. ,.<br />

Photos: courtesy Liverpool Street Gallery, Sydney and Yufuku Gallery, Japan<br />

www.liverpoolstgallery.com.au<br />

Below: Ken Mihara, Kodoh (Pulse) #3, multi-fired stoneware, h.32.5cm, w.40.5cm, d.29cm<br />

Opposite: Ken Mihara, Kei (Minsdscape) #2, multi-fired stoneware, h.39cm, w.34cm, d.29cm<br />

Photos: Tsunehiro Kobayashi<br />

52 THE JOURNAL OF AUSTRALIAN CERAMICS APR IL <strong>2014</strong><br />


Connections: Australia and Asia<br />

Robin Best on living and<br />

working in Jingdezhen, China<br />

<strong>Journal</strong> editor Vicki Grima recently asked Robin a few questions<br />

about her last three and a half years in the 'Porcelain Capital',<br />

AbOliJ .fingdezhen: <strong>The</strong> county <strong>of</strong> JingdezIJen is in nOr/heastern }iangxi province in China. It is known as Ihe<br />

Porcelain Capital because it has been producing quality pOllery for / 700 years with a well-documented history<br />

r/tal stretches back more than 2000 years. }ingdezhen was named one oj the lOp 24 national historical and cultural<br />

cities o/the People's Republic o/China on 28 February 1982. In 2004, Jingdezhen celebrated the millennium o/it'·<br />

becoming the porcelain capilal and assuming its present name.<br />

hllp://en. wikipedia.org<br />

Vicki Grima: Are you still living in Jingdezhen and why?<br />

Robin Best: In the past year Jingdezhen streets have become choked with traffic and China's building<br />

program <strong>of</strong> new apartment blocks fills the air with dust and dirt and noise abounds. After living in<br />

Jingdezhen for 3.5 years I am taking a break to return to Adelaide for a quiet time and take in some<br />

fresh air.<br />

VG: How long have you been in China?<br />

RB: This year I will be in Jingdezhen for three months in autumn to work with the porcelain maker. He<br />

is a master turner and he hires a porcelain thrower to make the basic shapes <strong>of</strong> the vases. <strong>The</strong> vases are<br />

thrown in three pieces (body, neck and base), turned and joined when they are dry, then glazed and<br />

once fired .. . all this on vases 2-3 mm thick.<br />

Ever since arriving in Jingdezhen I have worked successfully with two sisters - first Snow Yu and now<br />

Ping Yu - who have been my translators for three years helping me with every conceivable problem<br />

associated with living in China. I can't begin to tell how much I have valued their help and friendship - I<br />

landed on my feet meeting those two. And <strong>of</strong> course I can help them with the strange ways <strong>of</strong> 'the<br />

foreigners' . And I was able to write the English abstract for Ping Yu's very interesting research paper for<br />

her Master's Degree on how porcelain came to be made in Jingdezhen over 1000 years ago.<br />

VG: Why do you live where you do?<br />

RB: I live in a high-rise building with a view <strong>of</strong> the mountains <strong>of</strong> San Bao - it is breathtaking in autumn<br />

when the weather is at its most dramatic. It is incredibly different from the dry plains <strong>of</strong> Adelaide.<br />

Jingdezhen is sub-tropical so the rainfall is very high and the rivers swell and flood in the wet season.<br />


Connections: Australia and Asia<br />

Robin Best, <strong>The</strong> British East India Company - Trade and War, 2013, cast translucent Jingdezhen porcelain with Xin Cai<br />

onglaze painting. silver fo il on lids, made and painted by the artist in Jingdezhen, Chi na; installation, h.31 .Scm. w. 11 Oem<br />

Photos: Kevin Young<br />

Jingdezhen itself is <strong>of</strong>ten flooded. Jiangxi province and adjacent An Wei Province are where you find the<br />

beautiful mountains - Huang Shan, San Qing Shan and Lu Shan - that were popular with the foreign<br />

population in summer, and where there are still many magnificent residences. <strong>The</strong>re are many original<br />

Ming towns including Yowli, the original porcelain port <strong>of</strong> Jingdezhen.<br />

VG: Do you work wit h the local artists and crafts people and is there an exchange <strong>of</strong> skills?<br />

RB: Well yes there is an exchange. Many <strong>of</strong> the local potters attend <strong>The</strong> Pottery Workshop Friday night<br />

talks and will pick up on contemporary trends. Many visiting artists, including me, give classes at the<br />

famous Jingdezhen Ceramic Institute where students can plug new ideas <strong>of</strong> working.<br />


Connections: Australia and Asia<br />

Below and oPP"'ite: Robin Best. <strong>The</strong> Pepper Pot - <strong>The</strong> Legacy <strong>of</strong> Coenraad Temminck, 2013, handthrown translucent<br />

Jingdezhen porcelain, glazed, Xin Cai cnglaze painting. painted by the artist in Jingdezhen. China. h.S9cm, w.32cm<br />

Photos: Kevin Young<br />


Connections: Australia and Asia<br />


Connections: Australia and Asia<br />

VG: What keeps you there?<br />

RB: Well I am not really 'there' anymore ... I visit to work with the porcelain makers on some thrown<br />

vessels and some mouldmaking and slipcasting for new work.<br />

VG: What do you enjoy about the Ch inese culture?<br />

RB: Many years ago, in the early seventies, I studied ceramics at the South <strong>Australian</strong> School <strong>of</strong> Art with<br />

Milton Moon who was a devotee <strong>of</strong> the Japanese school, but I had wanted to know about Chinese<br />

porcelain and particularly contemporary Chinese porcelain. So I subscribed to two communist magazines<br />

China Pictorial and China Reconstructs. This was my introduction to contemporary Chinese porcelain<br />

that consisted <strong>of</strong> revolutionary image-making for posters and porcelain. Since that time I have broadened<br />

my interest in Cathay (the old word for China) into researching its famous visitors including Marco Polo,<br />

Frau Ricci and the German Jesuits who taught the Chinese how to make glass. More recently I have<br />

been looking at 19th century French Chinoiserie in Rococo France, but the other great Rococo porcelain<br />

country is Germany and this is the place where I would like to live next and work for a while.<br />

VG : What are some <strong>of</strong> the differences between working in China and in Australia?<br />

RB: I had always made my own porcelain but to make very large porcelain vases was not possible<br />

in Australia so I moved to China to see if I could manage it from there. <strong>The</strong> ability to order large<br />

translucent fine porcelain to be delivered to my apartment, ready to paint in on-glaze colours ... it was<br />

a revelation. Although Chinese Xin Cai (oil colour) on porcelain is very fine, the oils and solvents they<br />

use are not pleasant to use, so I took myself <strong>of</strong>f to Germany (the rediscoverers <strong>of</strong> porcelain in the 18th<br />

century) for two weeks to learn another method <strong>of</strong> painting. I returned with the best German Meissen<br />

colours and quill brushes and fat oil (reduced pure gum turps) to render my stories <strong>of</strong> trade, exploration,<br />

natural history, exoticism and cu lture. <strong>No</strong>w <strong>of</strong> course I have all <strong>of</strong> my brushes made in Jingdezhen by the<br />

master brush maker here.<br />

Before I went to China I was running the JamFactory <strong>Ceramics</strong> Studio - a very interesting but difficult<br />

job. I had little time for my work and also found it difficult to increase the scale <strong>of</strong> my porcelain work.<br />

As you can imagine the skill level is very high in China and the cost <strong>of</strong> production very low. Many artists<br />

and designers go there to make their work. It is quite an eye opener to be around watching the highend<br />

porcelain that is produced. Ai Weiwei made his famous sunflower seeds there for his Tate Modern<br />

exhibition and Ah Xian makes his beautiful busts in Jingdezhen.<br />

VG: What plans, if any, do you have for the future?<br />

RB: Germany.<br />


Connections: Australia an d Asia<br />

Born in Australia<br />

Made in Japan<br />

Euan Craig shares his story<br />

On 21 January 1990, I did not, in fact, come to Japan. I came to Mashiko. It just happened to be in<br />

Japan. I came in search <strong>of</strong> the 'Mingei' ideal, the beauty <strong>of</strong> function, which turned everyday life into art.<br />

You see, from a young age I had questioned the values <strong>of</strong> the disposable society in which I found<br />

myself: where convenience took precedence over beauty; where beauty was an esoteric mystery existing<br />

somewhere in the realm <strong>of</strong> 'Art'; where Art was sociopolitical comment hung in a gallery somewhere<br />

that you visited on a school excursion once a year ... maybe. Making a good living was more important<br />

than living a good life. I was small and weak and the world around me was a fearful place, full <strong>of</strong> anger<br />

and violence, sickness and pain, death and wasted lives. I knew that there must be more to life than<br />

that, and, powerless though I felt, I dreamed <strong>of</strong> a better world.<br />

<strong>The</strong>n I discovered pottery. <strong>The</strong> pottery studio in the old stables at the high school was a sanctuary.<br />

I was not particularly talented, but I was dedicated. and learned to make beauty from base earth,<br />

to express myself through this amorphous clay. More than this, it was a blend <strong>of</strong> art and science,<br />


Connections: Australia and Asia<br />

philosophy and physical labour, humanity and nature. When I chose to become a potter, it was not<br />

about what I wanted to do, but about who I wanted to be. Here was beauty which could enrich<br />

people's lives, every day <strong>of</strong> their lives, and give them solace, peace and, perhaps, even hope. I learned<br />

about Mingei; about leach, Yanagi and Hamada and their stance in defence <strong>of</strong> a healthy, humanistic<br />

and accessible art based on the functional beauty <strong>of</strong> traditional societies.<br />

After four years at university studying ceramics and another four honing my skills and eking out<br />

a living as a functional potter, as opposed to a dysfunctional one I suppose, I came to Mashiko. This<br />

is where Shoji Hamada, National living Treasure, had built his pottery and lived his life <strong>of</strong> peace and<br />

beauty - Mashiko, with its 400 potteries and history <strong>of</strong> pottery going back 10,000 years. I was accepted<br />

as a "deshi", a disciple, by Tatsulo Shimaoka, who was the leading deshi <strong>of</strong> Shoji Hamada and became<br />

a National living Treasure in his own right. In his earthen-floored studio, with its thatched ro<strong>of</strong> and<br />

paper windows, I learned to make his beautiful vessels on a traditional wooden kick wheel and fire them<br />

in the noborigama wood kiln. I learned that the healthier and more beautiful the process <strong>of</strong> making the<br />

vessel is, the more healthy and beautiful the finished vessel will be.<br />

I stayed in Mashiko after graduating from Shimaoka's, finding my own voice in clay, striving towards<br />

the Mingei ideal. A wife, four children and a wood kiln later, I was calmly happily ever-aftering. <strong>The</strong>n,<br />

one afternoon, as I was finishing some tea bowls and vases, the world changed. <strong>The</strong> Great East Japan<br />

Below: A view <strong>of</strong> the studio from the stables; throwing deck is visible on the right <strong>of</strong> the photo<br />

Opposite: 1 Chattering on pots drying in the studio 2 Euan firing 3 Euan in the studio on the throwing deck<br />

Photos: Euan Craig<br />



Connections : Australia and As ia<br />

Earthquake, and the nuclear disaster that followed, forced us to leave our home in Mashiko . We<br />

sought refuge in my wife's home town <strong>of</strong> Minakami, in the mountains 200 km west <strong>of</strong> Mashiko. After<br />

almost a year as refugees, we moved into this 140-year-old farm house and with the help <strong>of</strong> friends<br />

and strangers, locally and internationally, we are rebuilding our lives. Shoji Hamada's grandson, Tomoo,<br />

gave me one <strong>of</strong> the old wooden kick wheels from the original Hamada Pottery to help me start my new<br />

studio. My studio has an earth floor; I draw water from the well, prepare my clay by hand and make<br />

my work on the Hamada wheel. I work by natural light and fire in a wood kiln - as potters have for<br />

thousands <strong>of</strong> years, in rhythm with the seasons, in harmony with nature.<br />

Euangama in the snow, from kiln shed on far left to sign on far right, including the mulberry orchard, but not induding the<br />

neighbour 'S house on the right; photo: Euan Craig<br />

<strong>The</strong> world has changed and needs to find a way forward. Perhaps the path lies in understanding that<br />

we are part <strong>of</strong> nature, sharing a common understanding <strong>of</strong> beauty. Art is the beauty, joy and peace <strong>of</strong><br />

living every day, powerless no more, still dreaming <strong>of</strong> a better world.<br />

http://euancraig.blogspot.com ,au<br />

Editor's note: I highly recommend subscribing to Euan's blog, and scrolling back t hrough<br />

previous posts. <strong>The</strong>re is lots <strong>of</strong> good reading.<br />


ThiS latest bIennial exhibition the course <strong>of</strong> objects: the fine lines <strong>of</strong> inquIry emerges through the<br />

longstanding partnership <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association and Manly Art Gallery & Museum,<br />

<strong>The</strong> appreciation <strong>of</strong> ceramics as 0 creative discipline, and an interest in its changing nuances, has 0<br />

particularly receptive bose here. This has been fostered by the Gallery's expanding ceramics coUection<br />

- established originally over 50 years ago, and through the dose working relationships between the<br />

st<strong>of</strong>f <strong>of</strong> the Gallery, the Association, and ceramics artists.<br />

Manly Art Gallery & Museum is a place where there is a lively interest in what ceramic objects can do<br />

or soy or mean, and what these objects in turn can teU us about ourselves, our social histories and<br />

conventions, our attitudes and taste.<br />

This project is supported by Arts NSW's Curatorial Support initiative grant. a devolved funding program<br />

administered by Museums & Galleries <strong>of</strong> NSW on behalf <strong>of</strong> the NSW Government.<br />

Mollie Bosworth<br />

Amanda Bromfield<br />

Kirsten Coelho<br />

Greg Daly<br />

John Dermer<br />

Kate Dorrough<br />

lynda Draper<br />

Merron Esson<br />

Fiona FeU<br />

Cathy Franzi<br />

Simone Fraser<br />

Neville French<br />

Susan Frost<br />

Shannon Garson<br />

Steve Harrison<br />

Fiona Hiscock<br />

Janetta Kerr-Grant<br />

Diamando KoutseLUs<br />

KyUe Rose Mclean<br />

Sarah Ormonde<br />

Vicki Passtow<br />

Dianne Peach<br />

Julie Pennington<br />

Robyn Phelan<br />

Ben Richardson<br />

Tanio Rolland<br />

liz Stops<br />

Prue Venables<br />

Toni Warburton<br />

..<br />



--<br />

Mu_ms<br />

A Galleries<br />

<strong>of</strong>NSW<br />

Investment<br />

- I<br />

Trade &<br />

~ ArtsNSW<br />

~~<br />


the course <strong>of</strong> objects:<br />

the fine lines <strong>of</strong> inquiry<br />

the course <strong>of</strong> objects: the fine lines <strong>of</strong> inquiry is an exhibition without a specific theme.<br />

Rather. the intention is to provide a wav to map. gather. a

\\~dc specfnlm <strong>of</strong> experience and yeaming. Julie l'ennillb'1:0n for in~tance says the way she<br />

works is like doodling or scribbling -with a pen in haner building strucrurcs like labyrinrhs<br />

and mazcs, whcre a sense <strong>of</strong> play is always doubled with its own shadow. Diamando<br />

KoursclJis' out <strong>of</strong> control extnlsions <strong>of</strong> clay suggest the state <strong>of</strong> only just-balancing rapid<br />

flows <strong>of</strong> idea~ or words or expectations. Lynda Draper uses the memory <strong>of</strong> vintage<br />

"kniekknack~" as a m("

to open up conH!rsations<br />

Perhaps this seems like a curiou~ line <strong>of</strong> inquiry. 1100\"(:\,er the;,e objcctli I ~uggC;;[ 5(:em [0<br />

re""al something with in [hemscIH,oo; that enables further dialogue. or rather. insists on<br />

opening up the conversation. Take for instance Susan Frost's clusters <strong>of</strong> II hcel thrown<br />

plates. bowls. dishes and ja~. In their ~ingulaJity . the function <strong>of</strong> coach <strong>of</strong> the objc'Cts is<br />

foremost. and yet their form and size and c'Olour draws them hack 'l, an integral part <strong>of</strong> a<br />

paJticular group. 'lllis is the eOl1l'er..ation - hetwc'Cn the ten,ion <strong>of</strong> usc and pIaL'Cmcnt.<br />

singuhrit) and cluster. Intercstingly. Kate Dorrough identifies erc"ating col1l'ersation a

fingerprint<br />

I t's been on my desk for forry years, moving with me from house ro house, holding pens and<br />

pencils, occasionally a flower. Souvenir gift <strong>of</strong> a fricnd on her return from London, the smaIl<br />

Stoneware borrle would have been made ro contain ink or blacking - one <strong>of</strong> many that were<br />

made around the ,8sos. I rs precisely resolved form atteSts to irs functional nature; the marks<br />

<strong>of</strong> throwing and tool-finishing arc obvious, and it rears a few nicks and lumps. Quite an<br />

ordinary little thing. Except for the fingerprint. About haInvay up the side, it's surprisingly<br />

small, faint and slightly smudged, but undeniable. Objcr:tively, not a surprise. Hands touch<br />

clay. Clay ac'Cepts impressions. Firing confimls them. 'evertheless, the poignancy <strong>of</strong> that<br />

tiny print is pr<strong>of</strong>ound.<br />

Every object Starts with a Story. Each thing that arises as a result <strong>of</strong> human endeavour -<br />

through need or aspiration - carries with it the narrative <strong>of</strong> irs inception and manufacture.<br />

It project5 this narrative upon those who experience it; in tum, we furnish it with manifold<br />

ways <strong>of</strong> being. Its manifestations are never sill/,'lilar; irs multiplicities enrich our lives as our<br />

lives enrich it, in a c-ycle which is both cumulative and reflexive. When the light falls upon an<br />

artifacrual object we, tOO, arc illumined. When the light falls upon an object that has been<br />

made with passion and intent, our humanity is mirrored back to us. Our physieal being and<br />

our psyche are enhanced by this meeting with another thing in the world that has an<br />

aeSthetic and human dimension - an expericnce which is rapidly tx.'COming displaced by<br />

glossy images <strong>of</strong> a virrual world filled with chimeric objects.<br />

We live our lives through objecrs; without thcm we are as naked apes. Otherspeck. •.., use bits<br />

and pieces from their habitat ro as.siSt them in their inStinct for sUf\~val- lIsually to acquire<br />

food or build neSts; however, as far as we know, they neither conceive and make nor at'quire,<br />

covet and fetishise objects as we do - as we have been doing for millennia. Objects have<br />

become our gods, whether in the likeness <strong>of</strong> gods or not.<br />

Objects made from clay have a particular place in this pantheon. <strong>The</strong>y are among the firSt to<br />

be made by humans and, unlike the majority <strong>of</strong> our objcc'ts, they are made directly from the<br />

base raw matter <strong>of</strong> our planet. Furthermore, <strong>of</strong> all the materials from which we make<br />

objects, for whatever purpose - whether art or artefact, functional, symbolic, or expressive<br />

- clay is moSt uniquely responsive to the touch <strong>of</strong> the human hand - coaxing, mercive or<br />

collusive. Amenable to manipulation - in every sense <strong>of</strong> the word - the variety <strong>of</strong> fOlms clay<br />

ean assume is prodigal, limited only by the imagination.ltwilJinglyacceprs an inexhaustible<br />

rangc<strong>of</strong> patterns, an infinite range <strong>of</strong>texrurcs; with the use <strong>of</strong> glaze - whether adjunctive or<br />

apparently innate - ceramic forms can demonStrate sumptuous gloss and gloriolls colour or<br />

the moSt subtle nuances <strong>of</strong> tone and surface. Together with the ,vide range <strong>of</strong> effe

it may exist discreetly as a potential metaphor for thc human body, or Haunt it as a tropc;<br />

in an evocation <strong>of</strong> landscape and landform it may invokc the land from which the clay was<br />

e:\tracred; it may exist as an abstract example <strong>of</strong> pure form with no intcnded referent.<br />

Whatever form the ceramic work rakes, and whatever its context, ifwc give it the opportunity<br />

- the time and attention in a world that so clamours for those precious qualities - it may<br />

lead us, in the integration <strong>of</strong> our physical being and our imaginative lives, to become more<br />

richly human.<br />

Of all the Objects we make and use and dre-am on, those made from clay most directly<br />

transfer the touch <strong>of</strong> the maker to the hand <strong>of</strong> the user. In them we may discern the finger<br />

marks <strong>of</strong> the maker - the unimpeded correspondence between imagination and action - the<br />

shape <strong>of</strong> the maker"s intent and hanel. With the malleable congeniality <strong>of</strong> clay, no form is<br />

predetermined, nothing is preordained. Somewhere between the paste and mud·slime slop<br />

<strong>of</strong> slip and slurry and the taut reverberative drum <strong>of</strong> leather-hardness awaiting calving,<br />

sha\~ng or incising is the malleable seduction <strong>of</strong> this earthly matter awaiting the hands<br />

<strong>of</strong> the potter - the pleasure <strong>of</strong> the potter - and, ultimately, the delight <strong>of</strong> the viewer,<br />


InstlU 5 - As I grow Into my skin, 2012<br />

Woodflred stoneware using Tasmanian<br />

cloys with glaze <strong>of</strong> local sandstone,<br />

dolerite and ochre.<br />

Torso foliage vase: h21cm: d.13cm<br />

Boulder foliage vase: h.12.Scm: d.12.5cm<br />

Photo: Jonathon Wherrett<br />

BEN RI C H A RD S O N<br />

I have sought to reflect place and e).'Plore<br />

purpose in contemporary eulUire through the<br />

usc <strong>of</strong>local raw matetials. My making responses<br />

develop from the revealed potential <strong>of</strong> the fired<br />

materials, not in manipulation <strong>of</strong> them to satisty<br />

preconceived olltcomes - this continues as a<br />

persistent and suStaining line <strong>of</strong>inquiry.

Fluidity <strong>2014</strong><br />

Hondbuilt. mld·fjre<br />

h.27cm; w.4Ocm; d.21cm<br />

Photo: Olornando Koutsellls<br />


My practice is intuitive and alchemical, sensitive to the<br />

limits and possibilities <strong>of</strong> materials and glazes. T he<br />

exploration <strong>of</strong> conceptual ideas within the parameters<br />

afforded by the materials, leads me to discoveries.

Slow Silence 11 2013<br />

Porcelain, matt/sheen white/ pole<br />

grey glaze with banded iron oxide.<br />

Oil Con: h.28.5cm; d.9cm<br />

Cannister: h.16cm; d.12.Scm<br />

Cup: h.10em: d.8cm<br />

Funnel: h.16 em; d.lOcm<br />

Photo: Greg Hancock<br />

Kirsten Coelho is represented by<br />

H elen Gory Galorle, Melbourne<br />

Utilising domeStic forms and<br />

I am always attempti ng to<br />

convergence between materiality

A Sentence <strong>of</strong> Teapots <strong>2014</strong><br />

Porcelain slip cast assembly<br />

In stallation: h.21.5cm; w.140cm: d.17cm<br />

Photo: Richard Stringer<br />


I n the carly 1980s I set myself the<br />

a teapot in the manner <strong>of</strong> a cubiSt: pai<br />

curves and sharpening edges. This jou<br />

from the conSl:raints <strong>of</strong>functionality into<br />

expectations can be continuaUy r p rlph n p(

River bank 2012<br />

Stoneware with loyers <strong>of</strong> glaze<br />

h,S3cm; w,36cm: d.31cm<br />

Photo: Jennl Corter<br />

River country <strong>2014</strong><br />

Stoneware with layers <strong>of</strong> gloze<br />

h,SScm; w.35cm: d.23cm<br />

Photo: Jennl Carter<br />


My fine line <strong>of</strong> inquiry is the interplay and tension<br />

between the geStural painterly mark and the hand built<br />

three-dimensional form, a conversation between paint<br />

and clay.<br />

Kate Dorrough Is represented<br />

by Art House Gallery, Sydney

Flemington Lemon Handled Vessel, 2011<br />

Handbullt stoneware with porcelalne sUp<br />

and stains and oxides<br />

h.44cm; w.2Scm; d.23cm<br />

Fiona Hiscock is represented by Beaver<br />

Galleries. Canberra and Mossgreen<br />

Gallery, Melbourne<br />


Utilising the ceramic vessel as a vehicle for painting<br />

and narrative has been my abiding intereSt. Recent<br />

imagery has concentrated on plants found in remnant<br />

early colonial gardens - plants early colonis1s deemed<br />

necessary for survival.

Changing Sky <strong>2014</strong><br />

Thrown earthenware. lustre glozes<br />

h.17cm; d,18cm<br />

Late Afternoon Light <strong>2014</strong><br />

Thrown earthenware. lustre glozes<br />

h.31cm; d.32cm<br />


<strong>The</strong> relationship between lustre and light has inspired<br />

me to capture impressions <strong>of</strong> the fleeting moments <strong>of</strong><br />

changing light through e1ouds, rain , dust and heat.

Carranballa Rd, Skipton 2013<br />

Pair <strong>of</strong> hcndbuilt porcelain and<br />

stoneware vessels<br />

h,30cm; w.30cm; d.21.Scm<br />

h.28cm; w.31cm; d.22,Scm<br />

Photo; Jeremy Dillon<br />

:;cv,!;:ral years my practice has been<br />

ldscape: eA'}Jloring notions <strong>of</strong> space,<br />

light. <strong>The</strong> silhouetted imagery on these<br />

works reference the tall and ancient pine windbreaks<br />

that Une the paddocks in the sheep and cattle (:ountry<br />

<strong>of</strong> Skipton, WeStern Victoria. <strong>The</strong> dark shadows <strong>of</strong><br />

the windbreaks create a sombre, beautiful patteming<br />

against the horiwll. My aim is to capture that sense<br />

<strong>of</strong> space, exposure and sparseness.

Untltl8cl12013<br />

Hondbuill porcelain<br />

h.14cm; w.26cm; d.16cm<br />

Photo; Julie Pennington

Contolned Impressions senes <strong>2014</strong><br />

Call, thrown and altered, terrocotta<br />

slip, dry glaze, mldfire<br />

h.46cm: w.24cm; d.24cm<br />

Photo: Greg Piper<br />

Simone Fraser Is represented by<br />

Sabblo Gallery. Sydney<br />


My inquiry involves looking from the macro <strong>of</strong>landscape to<br />

the minutiae <strong>of</strong> surface. ExplOling creativity in process, I see<br />

my work as a selies <strong>of</strong> communications about the senses,<br />

te;\'ture and beauty.

and fornl are used to stimulate<br />

environment; and as well, to e)..'press a<br />

deeoIv internalised and ethereal sense <strong>of</strong> place.

Copper lode <strong>2014</strong><br />

Soluble metal salts on polished porcelain<br />

h.14cm; d.12cm<br />

Photo: Mollie Bosworth<br />


,\ I) protracted line <strong>of</strong> enquiry is cxamining the elusi\'c<br />

effeets <strong>of</strong>solublc mctal salts on porcelain. Utilising<br />

minimal torms and asimplc direct mcthod <strong>of</strong><br />

pattcrnmaking, my concern is about the relationship<br />

bctwccn inside and outside sUlfaees, evidenced through<br />

the migration <strong>of</strong> colour and pattcrn.

Oval bowl and sieve 2013<br />

Jingdezhen porcelain. cost, pierced;<br />

handle fIred separately suspended In<br />

kiln, joined after firing<br />

Bowl: h.8.Scm: w.l1.Scrn: d.8cm<br />

Sieve: h.9.Scm: w.7S; d 16cm<br />

Photo: Terence Bogue<br />

Prue Venables is represented by<br />

Olsenlrwln, Sydney and Beaver<br />

Galleries. Canberra<br />


;\ly experimcnts have led to ne\\' lines <strong>of</strong> inquiry inll1y<br />

\\'ork - the exploration <strong>of</strong> ncw matcrials, new teehniqucs,<br />

and radical advcntures into a range <strong>of</strong> unusual and<br />

cxperimental objects. I continue to extend this practiec to<br />

incolvorate the lise <strong>of</strong> materials other than eb~, and<br />

making separate components to bcjoincd after firing.

(From left to right) Early Morning, Midday<br />

Journey, last Corner <strong>2014</strong><br />

Hlgh ~flred terracotta and porcelain body,<br />

Iron-oxlde Inloy, Layered slips and dry gLoze<br />

h.19cm; w.33cm: d.28cm<br />

h.19cm; w.33cm; d.33cm<br />

h.1S.Scm: w.27: d.25cm<br />

Photo: Ion Hilt<br />


Finding a true and sensitive understanding <strong>of</strong> material is<br />

central to m) praetirms all my inquiry.

littoral Drift 20M<br />

thrown altered porcelain, scr<strong>of</strong>flto.<br />

brushwork. photographic decals,<br />

Variable Dimensions.<br />

Smallest piece: h.1cm; w.4cm: d.4cm<br />

flot bowl\h,&c;m; w.15cm; d.15cm<br />

toll Jug~h'lcm; w.7cm; d.7cm<br />


I glean, picking up small things overlooked and discarded<br />

as I comb the littoral zone inspiring a range objects floating<br />

between the land and the sea. Hours collecting, observing,<br />

listening and smelling become marks, drawings, areas <strong>of</strong> terra<br />

sigi.1lata pooling over the rims and into the belly <strong>of</strong> the bowl.<br />

Drawing into the porcelain, pulling marks and lines out<br />

through the layers <strong>of</strong> tetTa. sigillata to the surface <strong>of</strong> the vessel.

Romancing the Stone <strong>2014</strong><br />

Pegmatite rock dust, boi-tunze<br />

porceleln stone. arkose send, keolin.<br />

ground steatite, pine tree wood aSh.<br />

Acacia wood ash, calcined pet cow<br />

bones. eucalypt sow dust.<br />

h.9cm; w.13.2cm; d.12.2cm<br />

Photo: Steve Harrison<br />

Steve Harrison Is represented by<br />

Watters Gallery. Sydney<br />


I have always had an interest in the natural world,<br />

particularly in growing plants, as well as attcmpting to live a<br />

gentle, crcativc life with a small. light footprint. l\'ly research<br />

into and usc <strong>of</strong>loealmaterials has been the central mandala<br />

in I11V ceramics. My recent work ha.

Textured plat •• <strong>2014</strong><br />

Porcelain. wheel thrown. incised lines<br />

h.2cm: d.20cm<br />

Photo: Michael Haines<br />


~I)' line <strong>of</strong>inquil) focu.~:s ,gnc91our.Jor!Jl"lll1dfunction, ]<br />

look at the relationships 1:x:t\v.een.object!3~ ~~ting pieces<br />

that have a purpose on their t)~'nb\\r ~ fot.moail integral<br />

part <strong>of</strong> a group, I use colour. shape, partern -an

<strong>The</strong> Sanctuary, detail <strong>2014</strong><br />

Porcelain, engobe, and sgraffito, roku<br />

clay, stob·bultt. engobe & oxide wash<br />

h.32cm; w.SScm; d.42cm<br />

Photo: Art Atelier: Andrew SIkorski<br />


I am following in the fOo~

Once Upon A Time My Fath~r went to<br />

Hanging Rock, (detail), <strong>2014</strong>,<br />

Hand-pinched Southern Ice Porceloln<br />

& Keones 33, stoneware gloze, stains<br />

& oxides<br />

installation: h.19cm; w.120cm; d.24cm<br />

photo: Christopher Sanders<br />


My line <strong>of</strong> inquiry is<br />

tangible records infol111ed bv<br />

recorded hi ~torics and feelings

If artworks are simultaneously the elements in an exhibition's<br />

conStruction <strong>of</strong> meaning while being, dialectically, subjected to its<br />

Staging, they can also at moments articulate aeSthetic and intellectual<br />

positions or define modes <strong>of</strong> engagement that transcend or even defY<br />

their thematic or Structural exhibition frames. T he artwork can, in<br />

short, resiSt the very exhibition that purports to hold it neatly in place.<br />

Elena FIUpovic (2013) 'What Is an exhibition?' In Jens H<strong>of</strong>fmann (ed.),<br />

ren Fundamental Questions <strong>of</strong> Curating. Mousse Publishing. Milan.<br />

the course <strong>of</strong> objects: the fine lines <strong>of</strong> inquiry<br />

2 Moy - 8 June <strong>2014</strong><br />

Manly Art Gallery & Museum<br />

West Esplanode Reserve, Manly NSW 2095<br />

T: + 61 2 9976 1421<br />

E: artgollery@monly.nsw.gov.au<br />

www.manly.nsw.gav.au/attroctions/gallery<br />

10am· 5pm Tuesdoy-Sunday<br />

Free entry<br />

Front and Back Covers Greg Daly Changing Sky <strong>2014</strong> detoil<br />

graphic design Inkahoots

View I<br />

Maria Parmenter, Treescapes I, 2013, stoneware, handbuilt, slip. tallest, h.12cm, w.&m; photo: Michael Haines<br />

Opposite page: Honor Freeman. Wa tertigh t, 2013. porcelain, slipcast; photo: courtesy artist<br />

Hills Edge Clay<br />

Phil Hart shares his thoughts on a new gallery space in Adelaide<br />

and its fi rst ceramics exhibition<br />

I don't buy this 'pop up' thing. I think exhibition spaces are meant to be serious, pr<strong>of</strong>essional, well<br />

established cornerstones <strong>of</strong> the creative industry. Places to present work to an educated and enthusiastic<br />

audience sourced from an extensive and strategic mailing list built up over time by said establishment's<br />

dynamic director/curator. It appears to me that commercial galleries are disappearing, downsizing or<br />

perhaps diversifying what they do and hats-<strong>of</strong>f to anybody that can sustain a lasting enterprise in this<br />

era <strong>of</strong> commercial throwaway consumerism. Here in South Australia many interesting new visual art<br />

spaces have established themselves in inner city laneways, but the recent closure <strong>of</strong> Greenhill Galleries,<br />

an Adelaide arts icon for some 40 years, is perhaps an example <strong>of</strong> business responding to market trends;<br />

like the local car industry, another important institution has ceased to exist. Although many commercial<br />

galleries will show ceramics from time-to-time, apart from the JamFactory there are few venues left to<br />

present ceramics, particularly pots, in a substantial, recogn ised manner.<br />

An exciting initiative <strong>of</strong> one local council has seen the creation <strong>of</strong> a purpose-built gallery to perhaps<br />

assuage some <strong>of</strong> the exhibition needs <strong>of</strong> South <strong>Australian</strong>-based craftists.<br />

Gallery 1855 is situated on the suburban fringe <strong>of</strong> Adelaide, an area where concrete, bitumen<br />

and brick melt away into the leafy eucalyptus-lined creeks and rolling grazing land eyed by property<br />

developers. <strong>The</strong> listed building, which was historically the Tea Tree Gully council chambers, was<br />

refurbished in 2013 with a modern extension . Couched in such a lovely space, the recent exhibition<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong> 103

View I<br />

Opposite page:<br />

1 Susan Frost, Nested Dishes, 2013, porcelain, wheelthrown, largest. h.6cm, diam.21 cm; photo: Michael Haines<br />

2 Philip Hart, Knit One, 2013, Cool Ice, wheelthrown. inlaid decoration, h.18cm, w.20cm, d.20cm; photo: Michael Kluvanek<br />

3 Gerry Wedd, Gum Coo/amon, thrown and altered, coloured slip with sgraffito, h.28cm, w.2Scm, d.l .5cm<br />

4 Lesa Farrant, Flotsam and Jetsam. 2013, porcelain, slipcast, h.SOcm<br />

<strong>of</strong> ceramics entitled Hills Edge Clay provided an engaging and impressive collation, almost survey, <strong>of</strong><br />

Adelaide's ceramics practitioners. With the absence <strong>of</strong> some <strong>of</strong> the more well-known or perhaps senior<br />

artists, the works demonstrated a diverse and skilled approach to the making <strong>of</strong> forms and surface<br />

treatment.<br />

Thoughtfully curated and beautifully presented by the Council Arts and Cultural Officer Niki<br />

Vouis, the exhibition firstly set out to introduce the local community to the material, technical and<br />

conceptual strength that is South <strong>Australian</strong> ceramic art. Secondly, Gallery 1855 is very much a<br />

fledgling establishment that is bu ilding an identity and relationship with the immediate community<br />

and concurrently with the wider arts community. Its growth, development and support <strong>of</strong> creative<br />

practitioners, whether locally based or further afield, involves a delicate but determined balancing act.<br />

<strong>The</strong>re's also an historical connection. Hills Edge Clay is Gallery 1855's first ceramics exhibition<br />

and they hope to make it an annual event. To a point it echoes the City <strong>of</strong> Tea Tree Gully's 3D-year<br />

connection with emerging ceramicists from around South Australia through its former annual Painting<br />

and <strong>Ceramics</strong> Exhibition.<br />

This alternative exhibition, along w ith associated socially-based workshops and studio tours facilitated<br />

by South <strong>Australian</strong> ceramicists, will build upon the historical connection by <strong>of</strong>fering ceramicists paid<br />

opportunities to work with the local community and also the opportunity to present their work annually<br />

in a pr<strong>of</strong>essional and supportive environment.<br />

<strong>The</strong> work in the exhibition was <strong>of</strong> outstanding quality - Lesa Farrant's slipcast assemblages <strong>of</strong><br />

beachcombed detritus displayed a clever interpretation <strong>of</strong> the recycled plastic debris made organic; Helen<br />

Fuller's fine, coilbuilt, terra cotta vessels were patterned with a painters approach to surface treatment<br />

demonstrating a much sort after marriage <strong>of</strong> line and form; and Leo Neuh<strong>of</strong>er's unctuous explorations<br />

<strong>of</strong> the viscera are sidestepped here for something more about mark making and abstraction. Honor<br />

Freeman continued to focus our attention on the mundane domestic object, in this case oozing bath<br />

plugs and wall mounted funnels weeping drippy puddles over the plinth. Merrilyn Stock confirmed that<br />

woodfired ceramics could be made in a state denuded <strong>of</strong> trees whilst also contributing to the diversity<br />

<strong>of</strong> methodology and aesthetic intent with a finely made group <strong>of</strong> wheelthrown and handbuilt vessels<br />

and lidded boxes. <strong>The</strong> other artists in the inaugural exhibition were Alison Arnold, Maria Chatzinikolaki,<br />

Gus Clutterbuck, Lesa Farrant, John Ferguson, Honor Freeman, Susan Frost, Helen Fuller, Phil Hart, Peter<br />

Johnson, Marie Littlewood, Wayne Meara, Leo Neuh<strong>of</strong>er, Maria Parmenter, Silvia Stansfield, Merrilyn<br />

Stock, Ulrica Trulsson, Mark Valenzuela, Angela Walford, Caroline Walker-Grime and Gerry Wedd.<br />

Gallery 1855 and the recently opened Jam Factory at Seppeltsfield gallery/shop in the 8arossa Valley,<br />

hold exciting prospects for potters, ceramicists, makers and artists <strong>of</strong> all disciplines. <strong>The</strong> challenge is to<br />

sustain and develop the interest and enthusiasm <strong>of</strong> the buying public whilst delivering an exhibition<br />

program <strong>of</strong> attentively curated, clever and creative exhibitions.<br />

www.teatreegully.sa.gov.au/gallery1855<br />


View I<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong><br />


View II<br />

Shed Assemblage:<br />

an Anna Rowbury installation<br />

l<br />

Review by Varia Karip<strong>of</strong>f<br />

We enter the dimly lit gallery space; the light has the effect <strong>of</strong> inviting quiet reverence, akin to being in a<br />

room housing light-sensitive antiquities, or perhaps, a place <strong>of</strong> worship. Black netting suggests walls and<br />

a ro<strong>of</strong>, and encloses a space which we gradually recognise as a shed by the objects assembled within it.<br />

<strong>The</strong> netting acts like a fragile, shifting, impermanent membrane - this is the physically recreated memory<br />

<strong>of</strong> the artist's experience <strong>of</strong> rural sheds. <strong>The</strong> tools, hooks, gates, buckets and small creatures among dry<br />

leaves could be the refuse in any half-forgotten work space, but here they are deliberately cast together,<br />

constructed from ceramics or selected found objects.<br />

Emerging artist Anna Rowbury has previously dealt in what could be considered 19th century<br />

concerns. Chief among these are rural life and pastoral themes, more associated with our colonial past<br />

than with contemporary art (Cow's Eye View and Sorrow to the Shepherds, Woe unto the Birds).<br />

Rowbury recasts these long celebrated, traditional themes - ceramic cow busts appear as white-washed<br />

bone with the pink tinge <strong>of</strong> a newborn; they are death and life at once. <strong>The</strong>y express an uncomfortable<br />

reality for urban dwellers - the harshness <strong>of</strong> rural life, but also our tendency to idealise nature. As such,<br />

Rowbury's works tend to ambiguously recall both nostalgia and s<strong>of</strong>tness and death and decay. Her<br />

experience <strong>of</strong> the western Victorian coast, where she formerly lived, is a fertile ground for her forays<br />

into memory and imagination.<br />

Coming from a background in painting, Rowbury (who went on to study Fine Arts (<strong>Ceramics</strong>) at RMID<br />

approaches her installations with the eye <strong>of</strong> a painter. Indeed, paintings have accompanied her ceramic<br />

works and she has collaborated with her mother, painter Josephine Rowbury. Anna Rowbury is above<br />

all, "interested in the processes <strong>of</strong> 'making''' . Using paperclay, raku and porcelain, she constructs objects<br />

or creatures as solid forms before cutting them through and hollowing them out. Rowbury employs a<br />

multi-layered approach to achieving the desired surface look in her clay works. "I colour the clay with<br />

stains. I love slip decoration and the layering <strong>of</strong> engobes." In some cases she will do multiple firings to<br />

bring out decorative layers, including using final touches <strong>of</strong> lustre and oxides. Whilst there is a focus on<br />

the craftsmanship <strong>of</strong> an object that she creates, more broadly Rowbury interrogates the spaces where<br />

making takes place. Her installation, Just Like Home (2012), a series <strong>of</strong> ceramic moths stitched into<br />

breezy muslin, evoked the mood in these spaces <strong>of</strong> making. <strong>The</strong>se spaces are an intermediary "between<br />

'outside' and the house proper", and a place where unfinished projects rest (or gather dust) and where<br />

insects find shelter and are trapped. In Shed Assemblage, a ceramic moth rests atop discarded fur. its<br />

fat little body painted in the hue <strong>of</strong> human skin, and the rough work surface <strong>of</strong> the table adding further<br />

contrast to the textures. Rowbury emphasises the importance <strong>of</strong> this surface patina and the colour <strong>of</strong><br />

the objects, to evoke a shred <strong>of</strong> memory or perhaps a more visceral response. "I display the forms <strong>of</strong>f<br />

the usual plinth. I like to see my work in relationship to other elements that have their own story -<br />

surface patina, colour, sympathetic shape - and they talk to my piece."<br />


View II<br />

Anna Rowbury, Shed Assemblage. installation. 2013. aluminium strudure, netting. ceramic, found objects, sound loop<br />


View II<br />

Moths, crafted from various clays, are a recurring image in Rowbury's work; they are emblematic <strong>of</strong><br />

her themes and a source <strong>of</strong> reference for her colour palette. <strong>The</strong>ir subtle, dusty colouring (the nudes,<br />

pinks, browns that Rowbury draws from) is at odds with their gaudy, flitty daytime cousins. It is their<br />

association with decay and transformation that speak volumes in Rowbury's work. Moths are shrouded<br />

creatures <strong>of</strong> night; it is only on closer inspection that their wings reveal patterns or, indeed, a quiet kind<br />

<strong>of</strong> beauty. <strong>The</strong> artist asks that we reconsider the notion that moths destroy an object by consuming<br />

fabric; she suggests that they instead alter it, imbuing it with age and use. Similarly, Rowbury creates<br />

spaces and environments where a shifting mood prevails as though the internal climate <strong>of</strong> her work<br />

is overcast with breaks <strong>of</strong> sun. Though enigmatic about her work, one gets the sense that the art <strong>of</strong><br />

making is both as accidental as the leaves that blow into a shed, and deliberate as a painstakingly<br />

sculpted trowel or moth.<br />

Anna Rowbury's Shed Assemblage project has been assisted by the <strong>Australian</strong> Government, through<br />

the Australia Council for the Arts. its Funding and Advisory Body. Anna Rowbury was the recipient <strong>of</strong> an<br />

Australia Council ArtStart Grant in 2013-<strong>2014</strong>.<br />

www.annarowbury.com<br />

http://vimeo.com/70008444<br />

Craft. Flinders Lane. Melbourne<br />

20 June - 27 July 2013<br />

<strong>Australian</strong> Government<br />

4<br />

_Ia CouncIl<br />

for the Arts<br />


View III<br />

Left to right: Ge<strong>of</strong>f Thomas<br />

Gail Nichols and Susie<br />

McMeekin in Gulgong<br />

Photo: Lucille <strong>No</strong>bleza<br />

One Foot on the Black<br />

by Lucille <strong>No</strong>bleza<br />

<strong>The</strong>re 's an irony to this story. Whilst it can take years to put together an exhibition <strong>of</strong> woodfired pots,<br />

within a week <strong>of</strong> the NSW Rural Fire Service Commissioner Shane Fitzsimmons opening this exhibition at<br />

Kerrie Lowe Gallery, these wood firers were once again in the thick <strong>of</strong> fighting fires. But this time it was<br />

not firing their pots; rather the fires which devastated many areas in the Blue Mountains and the Southern<br />

Highlands in October 2013.<br />

<strong>The</strong> exhibition title, One Foot on the Black, was inspired by this safety slogan that is used by the Rural<br />

Fire Service - a firefighter who keeps one foot on the burned terrain will be safer if the flames change<br />

direction and set fire to unburned terrain.<br />

Ge<strong>of</strong>f Thomas is the deputy captain <strong>of</strong> Hillside Brigade near his sheep farm, Rangoon, in Gilgandra,<br />

whilst Susie McMeekin is crew leader and deputy captain with South Katoomba Brigade, and Gail Nichols<br />

is crew leader and training <strong>of</strong>ficer with Mongarlowe Brigade near Braidwood.<br />

We are proud to have these wonderful potters as part <strong>of</strong> our community.<br />

One Foot on the Black was held from 11 to 29 October 2013 at Kerrie Lowe Gallery<br />

Newtown NSW; www.kerrielowe.com<br />


Spaces and Places<br />

Four Hundred Years<br />

and Counting<br />

Cory Taylor shares news <strong>of</strong> a special 2016 event in Arita, Japan<br />

Arita, Japan's premier porcelain town, is preparing for big birthday celebrations in 2016 to<br />

commemorate the four hundredth anniversary <strong>of</strong> its famous porcelain industry, and a number <strong>of</strong><br />

<strong>Australian</strong> artists will be there to help.<br />

Pioneering the <strong>Australian</strong> involvement in the celebrations is Japanese-<strong>Australian</strong> artist Shin Koyama.<br />

Shin was invited to Arita at the beginning <strong>of</strong> 2013 by the organiser <strong>of</strong> the 2016 celebrations, Hugh<br />

Tanaka, after a chance meeting in Jingdezhen. Since then Shin has been spending much <strong>of</strong> his time<br />

in Arita assisting with the development <strong>of</strong> networks between the town and the international ceramics<br />

community.<br />

Historically, Arita has never been the focus <strong>of</strong> international exchange initiatives but, given the scope<br />

and significance <strong>of</strong> the 400 Years celebration, this is set to change. Local kilns like Kohrakugama and<br />

Densakugama are showing a new enthusiasm for reaching out to an international artistic community.<br />

Underpinning this new mood is a generational shift in a business where kilns are traditionally handed<br />

down from father to son. At the same time, in the face <strong>of</strong> competition from (hina, there has been a<br />

prolonged downturn in industrial scale production and consumption <strong>of</strong> Japanese ceramics,. This has<br />

generated a hunger for new collaborations between artists, designers and local artisans to produce<br />

internationally recognised work <strong>of</strong> the highest possible quality.<br />

<strong>The</strong> irony <strong>of</strong> Arita's isolationist mood <strong>of</strong> late is not lost on this new breed <strong>of</strong> kiln owners. After all,<br />

the global reputation <strong>of</strong> Arita porcelain was built on the international export trade to Europe, which<br />

began in the late 1700s under the patronage <strong>of</strong> the Dutch East India (ompany. This proud tradition <strong>of</strong><br />

exporting high quality porcelain around the world created enormous wealth for. Arita over a long period<br />

<strong>of</strong> time, and this is still evident when one walks down the main street past heritage-listed showrooms<br />

and kilns dating back to the Edo Period.<br />

One <strong>of</strong> Shin's aims in Arita is to introduce international ceramic artists to the rich heritage <strong>of</strong> the town<br />

- its human expertise in porcelain making and its beauty. To get to Arita you take a Kyushu Rail train<br />

from Fukuoka. heading for Nagasaki. <strong>The</strong> intervening countryside is flat farmland cultivated with rice<br />

and vegetable crops, until you leave the hot springs town <strong>of</strong> Takeo and start climbing into the hills. Ten<br />

minutes from Takeo you enter a narrow, wooded valley and spot your first red brick chimney sticking up<br />

from among the pines - then you know you're in porcelain country.<br />

In its heyday Arita boasted upwards <strong>of</strong> a thousand kilns, all concentrated in a long winding valley<br />

guarded at either end by a samurai sentry. <strong>No</strong>w there remain approximately two hundred working kilns,<br />

dotted in amongst stately porcelain showrooms, Shinto shrines, Zen temples, and a beautifully clear<br />

stream that once powered some four hundred crushing mills. Also winding through the town are the<br />

famous tombei, or head-high walls, built out <strong>of</strong> the glazed bricks from dismantled kilns.<br />

110 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Spaces and Places<br />

1 lucille <strong>No</strong>bleza standing under the largest ceramic torii gate in Japan<br />

2 <strong>The</strong> Gen·emon kiln during a reduction firing<br />

3 Shin hand finish ing a piece at the Happy Lucky Site-Arita<br />

Beyond this valley lies West Arita from which some <strong>of</strong> Saga Prefecture's best produce comes -<br />

green tea, rice and sake. Food is a passion shared by all Japanese wherever they live, so inevitably the<br />

conjunction <strong>of</strong> food with porcelain will be a major focus <strong>of</strong> the 400 Years celebration. As a way <strong>of</strong><br />

initiating foreign artists into the food culture <strong>of</strong> Arita, Shin is in discussions with a local consortium<br />

<strong>of</strong> architects, kiln owners and food enthusiasts to convert an abandoned worker's cottage behind the<br />

main street <strong>of</strong> Arita into an izakaya, or pub, where visiting artists can mix with the locals and share<br />

information about their work. He has also renovated a hundred year old cottage into a guesthouse for<br />

invited artists.<br />

In July 2013 Shin invited Brazilian artist and teacher Sebastiao Pi menta to come to Arita for a threemonth<br />

residency at Happy Lucky Site-Arita. <strong>The</strong> purpose <strong>of</strong> Pimenta's residency was to further the<br />


Spaces and Places<br />

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

Shin (holding work. at fight) in the studio with a colleague producing new work. (known as Shining China) for the<br />

Densakugama kiln. It is brightly coloured with designs inspired by early 20th century kimono fabrics.<br />

Photos: courtesy Shin Koyama<br />

efforts <strong>of</strong> the town to reach out to foreign artists. As a fluent Japanese/English/Portuguese speaker with<br />

rich experience in both Japanese and Chinese artist residencies, Pimenta has become a key person in the<br />

spread <strong>of</strong> information and the management <strong>of</strong> the fledgling residency program at Happy Lucky Site. He<br />

is also keen to extend the reach <strong>of</strong> information about Arita to South America in the future. Pimenta will<br />

return to Arita in <strong>April</strong> <strong>2014</strong> for a six-month residency at Happy Lucky during which he will be engaged<br />

by the 2016 organising committee to liaise with international artists.<br />

Shin also invited Melbourne-based artist Vipoo Srivilasa and Brisbane-based artist Kenji Uranishi to visit<br />

Arita in late 2013 to research possibilities for future collaborations. Both artists have a deep knowledge<br />

<strong>of</strong> porcelain and therefore bring enormous enthusiasm for the idea <strong>of</strong> building an ongoing relationship<br />

with Arita porcelain producers with the view to benefitting other artists from around the world. In June<br />

<strong>2014</strong>, Adelaide-based artist Kirsten Coelho will commence a two-week residency at Happy Lucky Site­<br />

Arita based at the Kohrakugama factory.<br />

This is all excellent news for Arita, and for the <strong>Australian</strong> ceramic community, for as beautiful as Arita<br />

is, it remains in decline and is relatively isolated from the international conversation around trends in<br />

porcelain. For <strong>Australian</strong> artists the 2016 celebrations represent an opportunity to connect with some<br />

<strong>of</strong> the world's most revered porcelain producers, where they live. At least four National Living Treasures<br />

maintain their kilns and continue to work in Arita. Anyone who has the chance to come to Arita, even<br />

as a visitor, will leave with a new respect for the importance <strong>of</strong> place in the evolution <strong>of</strong> porcelain. At<br />

least this is the hope <strong>of</strong> the organisers <strong>of</strong> the big 2016 bash. <strong>The</strong>y also anticipate that the party will<br />

attract a whole new set <strong>of</strong> international friends, with enough energy and enthusiasm to set up the town<br />

for the next four hundred years.<br />

https:l /www.facebook.com/pages/Happy-Lucky-Site-Arita/132233913614626<br />

Cory Taylor is a novelist and essayist and a regular contributor to Griffith Review,<br />


<strong>The</strong> Quiet <strong>of</strong> a Global Life<br />

by Lau rens Tan<br />

<strong>Ceramics</strong> was my major at the South <strong>Australian</strong> School <strong>of</strong> Art, and marked the beginning<br />

<strong>of</strong> a visual exploration <strong>of</strong> how I might reconnect with my origins. Thirty years later I<br />

find myself in China on an Australia China Council residency in Red Gate's Tuanjiehu<br />

apartment in Beijing. A lifelong sense <strong>of</strong> displacement as a universal foreigner was<br />

challenged in a strange yet hospitable milieu.<br />

<strong>No</strong>t long before the Beijing Olympics, I was at an exhibition opening at AnniArt in the<br />

798 art district, where I encountered an elegant senior Beijinger who showed me some<br />

painted dynamic geometries on postcards that he'd made. A retired architect who still has<br />

his practice in Houston, he now resides in his hometown, Beijing, only occasionally on call<br />

in Houston. <strong>The</strong> flamboyant 74-year old also holidays in his beach shack in Bali in a 3-way<br />

annual sojourn. He seemed neither overwhelmed nor anxious about what most <strong>of</strong> us<br />

would see as an impractical arrangement.<br />

Since July 2012 I have been a seasonal resident in Las Vegas. A 'cultural' pilgrim from<br />

1995 to 2005, I frequented this desert jewel for material for my thesis, <strong>The</strong> Architecture<br />

<strong>of</strong> Risk, developing projects in animation, interactive games, industrial design,<br />

architectural and graphic design and historical research (Vegascana ). I had been seriously<br />

looking at making my base there. Helping a friend buy a house in 2011 catalysed me to<br />

finally bite the bullet. At that time my exhibitions schedule was focused on the American<br />

continent, so it <strong>of</strong>fered solutions - storage and fewer flight miles. Initially I found the quiet<br />

emptiness <strong>of</strong> the desert unsettling, but I now see this as the desired attributes you would<br />

expect from a reading room.<br />

My 1970s house is in Paradise, 15 minutes drive east <strong>of</strong> Downtown and the Strip. This<br />

week, Boz Scaggs performed at the Eastside Cannery, a relatively new suburban casino<br />

around the corner from the house on Boulder Highway. Bob Marley's Wailers and Kenny<br />

Rogers are coming to play there in May. <strong>The</strong>re has been a serious influx <strong>of</strong> Asian eateries,<br />

mostly around Chinatown; the quality and range is quite a change from how it was five<br />

years ago. I rarely venture into the Strip, but relish it when friends come to visit.<br />

Moving to a familiar Las Vegas was the stimulus and stark contrast I needed after living<br />

in Beijing for more than six years. <strong>The</strong> Beijing experience itself was a first for me, as I had<br />

to fend for myself without a full time academic salary. I had a new infrastructure and an<br />

independent studio and my work flourished. It has become clear that I can't do without<br />

my studio in Beijing and I would also be at a loss without regularly touching base at home<br />

in the IIlawarra in NSW.<br />

As I rummage around the US west coast for new inspiration, the continuum <strong>of</strong> my<br />

Beijing series <strong>of</strong> works may have been disrupted, so my nomadic existence will be further<br />

put to the test this coming year. I'm looking forward to seeing how things develop.

Pocket PhD<br />

Form and Function -<br />

Politics and Porcelain in<br />

the 21st Century<br />

Marianne Huhn sums up the essence <strong>of</strong> her recent research<br />

<strong>The</strong>re is a scrap <strong>of</strong> paper that floats from sketchbook to sketchbook and each time I begin a new book<br />

it gets re-pasted into the front page. It reads, 'material objects are not divorced from social relations'.<br />

Where or how do social relations fit into the shape or space <strong>of</strong> objects?<br />

Functional ceramics are objects that involve the viewer like no other art form can . "<strong>The</strong> vessel<br />

makes his messages immediately accessible because the form is a familiar one." 1 Ceramic objects are<br />

experienced through our thoughts and our senses. What we see and what we touch engages w ith<br />

our lives and herein lies the opportunity for functional ceramics to hold a message. <strong>The</strong> words 'social<br />

relations' can be interpreted as the relationship or workings between people, between two or more<br />

parties.<br />

Return ing to the piece <strong>of</strong> paper, what a group <strong>of</strong> objects can reveal is something about who we are<br />

and where we are today. Interacting with one another can also happen through storytelling. I use visual<br />

narration around the shapes I make to reflect the conversation that happens between shapes, people<br />

and ideas. From one shape or line to the next, a story is revealed and the connection between you and<br />

the form is completed. Representations that I draw are imaginative but open to interpretation. How<br />

can I communicate through visual images a message <strong>of</strong> our political time, our society, onto functional<br />

familiar forms? <strong>The</strong> early 20th century holds some clues ...<br />

<strong>The</strong> history <strong>of</strong> Russia and the formation (realisation) <strong>of</strong> the Soviet Union is generally understood,<br />

however there is a small period within this environment that reflected the changes and transformation<br />

<strong>of</strong> its culture that is hardly known. In St Petersburg there was a ceramics factory called the Lomonosov<br />

Porcelain Factory. As the Bolsheviks (later to be the Communist party), took over the governing <strong>of</strong> the<br />

people <strong>of</strong> Russia in 1917, they used this factory to produce propaganda porcelain. <strong>The</strong> blanks, or empty,<br />

undecorated slipcast forms, were mainly plates, and the Bolshevik party encouraged artists <strong>of</strong> the time<br />

to portray the political and social changes to the community in a positive and invigorating way. For a<br />

short period, avant-garde artists in Russia experienced a creative freedom that was unparalleled: painters<br />

were sculpting; stage deSigners were creating monumental sculptures, and ceramics factories were<br />

producing effectively three-dimensional 'posters'.<br />


Marianne Huhn, Vulnerable Vessel, 2012, Limoges porcelain, coloured oxides, wheelthrown, reduction·fired<br />

approx. h.22cm; photo; Christopher Sanders<br />

What this pocket <strong>of</strong> time reveals is a connection to my favourite re-pasted piece <strong>of</strong> paper, that<br />

objects are never divorced from social relations. At this point in history, ceramics reflected back to<br />

the community the changes and influences in their lives. <strong>The</strong> communities were engaged with the<br />

production <strong>of</strong> the work, the display and the read ing <strong>of</strong> this work. <strong>Ceramics</strong> played an important role in<br />

the politics <strong>of</strong> the day.<br />

Can politics and porcelain be united today? I wonder ... can one influence the other?<br />

How can one inform the other and can a space exist where the boundaries are blurred?<br />

1 Rawson .P 1984. <strong>Ceramics</strong>. UOIversity <strong>of</strong> Pennsylvania Press.<br />

www.mariannehuhn.com<br />



Potters Marks<br />

1 Robin Best<br />

2 Euan Craig<br />

3 & 4 Kim-Anh Nguyen<br />

5 Vivian Thompson, Ernabella Arts<br />

6 Various artists from Ernabella Arts<br />

7 Keiko Matsui<br />


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

----<br />

Ceramic Shots<br />

WINNER<br />

Photographer: IIkay Canakkalelioglu Dere, Perth WA, January 2013<br />

<strong>The</strong> cha llenge was to " snap a selfie with one <strong>of</strong> your ceramic works,<br />

post it to instagram tagged #clayselfie, then email it to the <strong>Journal</strong>" .<br />

Thank you to the judges <strong>of</strong> our competition - seven <strong>of</strong> our valued <strong>Journal</strong> stockists and advertisers.<br />


1 Photographer: Demet tper Dide. Turkey. January <strong>2014</strong><br />

2 Photographer: Kathleen Walek<br />

Marie E.v.B. Gibbons, Denver USA<br />

March 2013<br />

6<br />

3 Photographer: Aleta Bates. Lyn Bates. OLD<br />

february <strong>2014</strong><br />

4 Photographer : Emy Christianson, Adriana<br />

Christianson , VIC , February <strong>2014</strong><br />

5 Photographe,: John Daly. Lake George NSW<br />

february 201 4<br />

6 Photographer: Carol Forster. OLD. february <strong>2014</strong><br />

7 Photographer: Ben Mullins, Annemieke Mulders (with<br />

the heJp <strong>of</strong> Gandalf the duckling). WA. february 201 4<br />

8 Photographer: Kara Pryor. NSW, January <strong>2014</strong><br />

9 Photographer: Metin Erturk, Turkey, December 2013<br />


10 Photographer: Claire Heathcock, Cairns OLD, January <strong>2014</strong><br />

11 Photographer: Creina Moore, Stradbroke Island OLD, february <strong>2014</strong><br />

12 Photographer: Helen Hay, Kanimbla Valley NSW, f ebruary <strong>2014</strong><br />

13 Photographer: Desiree Kenafake, Southport OLD, february <strong>2014</strong><br />

14 Photographer: Miss Annabel Dee, Essex England, January <strong>2014</strong><br />

15 Photographer: Ruby Pilven, Ballarat VIC, December 2013<br />

16 Photographer: Karin Dovel. Balmain NSW, February 201 4<br />

17 Photographer: Julia Phelps, Kensington NSW, February <strong>2014</strong><br />

18 Photographer: Sheri Bird, Tighes Hill NSW, January <strong>2014</strong><br />

19 Photographer: Rosalie Duligal, Gymea Bay NSW, february <strong>2014</strong><br />

Like to take part in our next CERAMIC SHOTS photographic competition7<br />

See page 16 for details about <strong>The</strong> Word {CLAY] as an Image.<br />


Join the Pots<br />

Marea Gazzard<br />

From the archives <strong>of</strong> Pottery in Australia (PIA)<br />

and <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> (JAC)<br />

1959<br />

Two Containers 1959<br />

Photo: Don Gazzard<br />

<strong>The</strong> lAC, <strong>Vol</strong> 49 <strong>No</strong> 3<br />

<strong>No</strong>vember 2010<br />

Earthenware pot<br />

17" high; white<br />

opaque glaze<br />

inside, glaze inlay<br />

decoration outside<br />

with oxides rubbed<br />

into the body<br />

Purchased by the<br />

Commonwealth<br />

Art Advisory Board<br />

Photo: Les<br />

Blakebrough<br />

PIA, <strong>Vol</strong> 1 <strong>No</strong> 2<br />

<strong>No</strong>vember 1962<br />

Man~a Gazzard;<br />

photo: David Moore<br />

PIA, <strong>Vol</strong> 3 <strong>No</strong> 3,<br />

<strong>No</strong>vember 1964<br />

Coiled Dials, h.24" cone 4<br />

firing, black pigment, shown<br />

at Gallery A, Sydney 1966<br />

Photo: Harry Snowden<br />

PIA, <strong>Vol</strong> 6 <strong>No</strong> 2 Summer 1967<br />

Marea Gazzard's comment after attending the World Crafts Conference in Peru, September 1968:<br />

I think that potters gain much from looking at other crafts-seeing objects in<br />

metal and fibre in these museums was an enriching experience. After a very busy<br />

Conference, the opportunity <strong>of</strong> seeing the wonders <strong>of</strong> the world <strong>of</strong> craft made me<br />

doubly sure that the effort <strong>of</strong> ~oin~ to the Lima Conference was worthwhile.<br />

Stoneware, approx. h.24"<br />

Richey Prize 1969; Coach<br />

House Gallery, Melbourne<br />

PIA. <strong>Vol</strong> 8 <strong>No</strong> 2, Spring 1969<br />

1970<br />

Coiled stoneware, Shield,<br />

grey·green feldspathic<br />

glaze with added oxides<br />

and red low-fire enamel,<br />

22" x 22" x 8"; Gallery A<br />

exhibition; photo: Ge<strong>of</strong>f<br />

Hawkshaw; PIA, <strong>Vol</strong> 9<br />

<strong>No</strong> 1. Autumn 1970<br />

......<br />

120 THE JOURNAL Of AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Join the Pots<br />



1973<br />

Mallia I. II. III<br />

stone\Nare clay<br />

white opaque<br />

glaze<br />

h .4~51cm<br />

exhibition at<br />

National Gallery<br />

<strong>of</strong> Vi doria<br />

PIA. <strong>Vol</strong> 12 <strong>No</strong> 2<br />

Spring 1973<br />

front cover<br />

1973<br />

Marea Gazzard<br />

Photo: Leslie Gerry<br />

PIA. <strong>Vol</strong> 12 <strong>No</strong> 2. 1973<br />

In London. I became interested in nonfuncllonal<br />

objects. We were all getting Into<br />

coiling wIth all sorts 01 approaches. <strong>The</strong>re was<br />

a Jamaican girl who dId it her way, and<br />

somebody from Egypt doing If his way - and<br />

we all JUS! starfed 10 work In our vanous<br />

directions.<br />

Anyway, (wouldn', call my work pottery. Potlery<br />

I think IS delined as an object for use. I buy my<br />

useful objects from other people who make<br />

them lar better than I do. and I rather like<br />

having their work around. But then, I don't think<br />

I'm making say sculpture either - I'm just<br />

makIng objects I dOn ', think AS up to me 10<br />

classify what I'm creating. I( somebody with a<br />

discerning eye feels It's arl. tnat's great.<br />

<strong>The</strong> Inspiration for my wOrk comes from<br />

everywhere. In my recent exhibitIon. 101<br />

example. the human body. garments. armour.<br />

From nature-rocks - II'S really all your liIe. that<br />

you bflng together.<br />

I also lend 10 work around an Idea, a concept<br />

which just happens, II rather possesses your<br />

visual thinking and you just can't do anything<br />

else but thai, you Just work it through 10 its<br />

limit Until suddenly you can' l do It any more<br />

and you realise it's flmshed - II'S out 01 your<br />

mind,<br />

For eJlample, the pieces thaI I exhibited in 1973<br />

were very Iragl1e forms I then started thinking<br />

about other things 1 became more interested in<br />

the shouk:ters <strong>of</strong> pots, when I was makll"lQ pot<br />

Shapes, and thiS led me on to the Idea <strong>of</strong><br />

shoulders <strong>of</strong> other things and so on, until finally<br />

the sirong shoulder·llke form <strong>of</strong> the Uluru series<br />

evolved And now, there's no way that I could do<br />

any more <strong>of</strong> Ihal kmd 01 work.<br />

Sometimes I do sense ttloUgh, that there is<br />

conhnUlty - you probably keep dOing the same<br />

thing all your hfe, With certain forms I feel<br />

constantly 'I've done this before',<br />

1979<br />

M ingar,; IV<br />

1979<br />

PIA. <strong>Vol</strong> 28<br />

<strong>No</strong> 1<br />

February 1989<br />

Marea Gazzard -<br />

an interview<br />

PIA. <strong>Vol</strong> 19 <strong>No</strong> 1<br />

May-June 1980<br />

Marea Gazzard: Photographs<br />

by John Delacour. courtesy <strong>of</strong><br />

the Resource Centre from their<br />

slide kit on Marea Gazzard<br />

PIA. <strong>Vol</strong> 19 <strong>No</strong> 1<br />

May-June 1980<br />

1973<br />

Coiled white stoneware. glazed<br />

and unglazed, fired in an electric<br />

kiln to 1260"(; round pots<br />

approx. h.66cm; Bonython Art<br />

Gallery. Sydney NSW<br />

Photo: Don Gazzard<br />

PIA. <strong>Vol</strong> 12. <strong>No</strong> 1. Autumn 1973<br />





Congratulations to the winners <strong>of</strong> <strong>The</strong> Trudie Alfred Bequest Ceramic Scholarships <strong>2014</strong>:<br />

Sharyn Dingeldei (VIC), Ebony Heidenreich (SA), Kylie Rose Mclean (NSW), Adriana Prasnicki<br />

(NSW) and Inga Svensden (NSW). Each <strong>of</strong> the winners received $4000 to assist them with their<br />

ceramics studies at a tertiary institution in <strong>2014</strong>. Many thanks to the judges - Kirsten Coelho (SA),<br />

Neville French (VIC), Shannon Garson (QLD) and Vicki Grima (NSW).<br />

A call for Round 4 applications (for study in 2015) will be announced in <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong>, Issue <strong>53</strong>/2 . <strong>The</strong> deadline is mid-September <strong>2014</strong>.<br />

About the <strong>2014</strong> winners<br />

Sharyn Dingeldei is enrolled at RMIT in<br />

Melbourne, in the Bachelor <strong>of</strong> Fine Arts, Object<br />

Based Practice. "As one <strong>of</strong> the recipients <strong>of</strong> the<br />

<strong>2014</strong> Trudie Alfred Bequest Ceramic Scholarships,<br />

being financially assisted enables me to venture<br />

outside my comfort zone. This is both frightening<br />

and exciting at the same time, and I am looking<br />

forward to being challenged through serious<br />

artistic exploration at a higher level to further my<br />

ceramic arts practice"; www.sharamics.com.au<br />

Ebony Heidenreich is studying a Bachelor <strong>of</strong><br />

Visual Arts (Honours) at the University <strong>of</strong> South<br />

Australia. "In the year ahead I intend to build<br />

on my techn ical ability, try new processes, and<br />

refine and polish my craft. I also think it's really<br />

important at this stage to discover who I am as<br />

an artist and focus on developing an individual<br />

style."<br />

Photo: Katelin Delhanty<br />


Kylie Rose McLean is studying her Advanced<br />

Diploma in Visual Arts (<strong>Ceramics</strong>) at <strong>The</strong> <strong>No</strong>rthern<br />

Sydney Institute, Hornsby Campus in Sydney,<br />

NSW. She is looking forward to focusing on her<br />

Advanced Diploma body <strong>of</strong> work and having the<br />

opportunity and time to explore and develop<br />

some new ideas; www.loopyrose.com<br />

Adriana Prasnicki is studying a Bachelor <strong>of</strong><br />

Design majoring in <strong>Ceramics</strong> at College <strong>of</strong><br />

Fine Arts, University <strong>of</strong> NSW. "I'm currently<br />

undertaking a six month internship with Van<br />

Eijk & Van Der Lubbe (www.vevdl.com) in <strong>The</strong><br />

Netherlands. I will be looking after their craft·<br />

based products with a particular emphasis on<br />

ceramics. When I return home I start with my<br />

graduation major work. This image shows me<br />

setting up a window display for the release <strong>of</strong><br />

a line <strong>of</strong> ceramics by Van Eijk & Van Der Lubbe,<br />

part <strong>of</strong> a collaboration with Dutch company<br />

Imperied Design; http://be.netlaprasnicki<br />

Inga Svendsen is studying a Bachelor <strong>of</strong> Visual<br />

Arts at Sydney College <strong>of</strong> the Arts, University <strong>of</strong><br />

Sydney. Over the next couple <strong>of</strong> years she plans<br />

to continue her experimentation with coloured<br />

porcelain techniques and the development <strong>of</strong><br />

new forms. On the theoretical side, she will<br />

be investigating life, memory and everyday<br />

experience and its incorporation into ceramic art.<br />

http://ingasvendsen.blogspot.com.au<br />

201 5 A P P L I CAT ION SOP ENS 0 0 N~ __<br />

A call for Round 4 applications (for study in 2015) will be announced in the next<br />

issue <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, <strong>Vol</strong> <strong>53</strong> <strong>No</strong> 2, July <strong>2014</strong>, and on our<br />

website, www.australianceramics.com. <strong>The</strong> deadline is mid-September <strong>2014</strong>.<br />


Association<br />

<strong>The</strong> Trudie Alfred<br />

Bequest Follow Up 2013<br />

Verney Burness<br />

Bachelor <strong>of</strong> Visual Arts (<strong>Ceramics</strong> Major) at ANU, Canberra<br />

My final undergraduate year was a sustained engagement w ith the materiality <strong>of</strong> clay: the inherent<br />

relationship between clay, geological forms and natural forces. I spent 2013 creating forms inspired by<br />

rocks, mountains and their detritus; invoking ideas <strong>of</strong> fragmentation, breakage, and sedimentation, and<br />

encouraging the viewer to contemplate and reflect upon their relationship to nature as creative and<br />

destructive agents.<br />

I used processes <strong>of</strong> freezing, superheating, reforming and breaking many different clay types<br />

using the natural forces that form the continually changing landscape. I also experimented with<br />

unconventional processes such as raw firing, exploding works in the kiln and layering glaze within the<br />

clay body before breaking and firing. Many <strong>of</strong> these techniques were developed on a rewarding trip<br />

to Jingdezhen (China) in <strong>April</strong> with the <strong>Australian</strong> National University <strong>Ceramics</strong> Workshop, where I was<br />

able to spend time within a vibrant ceramics culture as well as expand my international network. <strong>The</strong>se<br />

experimentations invited the integration <strong>of</strong> the moving image to document 'smashing events'. I was an<br />

unknowing performer within the work but also an agent within its processes <strong>of</strong> change. I also began to<br />

use photography, light and glass in the installation space, experimenting in an exhibition context.<br />

<strong>The</strong> Trudie Alfred<br />

Bequest Ceramic<br />

Scholarship was vital to my<br />

achievements during 2013.<br />

Funding <strong>of</strong> this nature<br />

allows students to grow<br />

and develop with pride and<br />

independence. My thanks<br />

go to <strong>The</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> Association and<br />

to Trudie Alfred.<br />

Verney Burness<br />

Sky Crevasse, 2013<br />

Porcelain on glass<br />

Various dimensions<br />

Photo: James Allen<br />


Association<br />

Alice Couttoupes<br />

Bachelor <strong>of</strong> Fine Arts (Honours), COFA<br />

Alice (outtoupes, Eponymic Emperialisms, 2013<br />

Left: Untitled #2, 20 13, ink on velin, h.80cm, w.SOcm<br />

Right: Untitled #3, ink on velin, h.80cm, w.8Ocm<br />

2013 was a challenging year - the most productive, frustrating, satisfying, demanding, all-absorbing and<br />

onerous year <strong>of</strong> tertiary study so far. I wanted to create a body <strong>of</strong> work that was substantial, original,<br />

pr<strong>of</strong>essional and beautiful, that pushed (my own) boundaries, and was something I was truly proud <strong>of</strong>.<br />

Receiving the scholarship allowed me to achieve this as the financial support helped cover the costs <strong>of</strong><br />

materials while I experimented with developing ideas. It also enabled me to execute my body <strong>of</strong> work in<br />

a pr<strong>of</strong>essional manner - to have assistance from a pr<strong>of</strong>essional photographer and cover the presentation<br />

costs <strong>of</strong> printing, framing, and the design and construction <strong>of</strong> stands.<br />

My research led to me incorporating photography as a means <strong>of</strong> presenting my work. I created<br />

sculptural porcelain pieces <strong>of</strong> various types <strong>of</strong> the <strong>Australian</strong> banksia flower which were then worn in<br />

a series <strong>of</strong> staged photographic portraits. Expanding my ceramics practice, as well as relying on other<br />

forms <strong>of</strong> media, allowed me to broaden the scope <strong>of</strong> critical cultural and social commentary I wished<br />

to achieve through my art practice. I wouldn't have been able to push and develop my practice in this<br />

direction had it not been for the generous scholarship funds, so thank you!<br />


Association<br />

Anne-Marie Jackson<br />

Bachelor <strong>of</strong> Fine Arts (Honours) at National Art School, Sydney<br />

In 2013 I was awarded the Trudie Alfred Bequest Ceramic Scholarship which allowed me to spend one<br />

more valuable year at the National Art School to complete Honours. My Honours project focused on<br />

the relationship between objects and their context. I made wheelthrown vessels which I pushed into<br />

different spaces while still wet, thereby altering the forms. I am particularly interested in the contrast<br />

between s<strong>of</strong>t, round, clay objects and the typically hard. rectilinear environments in which they sit.<br />

As my work focused on form, I used unglazed surfaces which made the quality <strong>of</strong> the clay an<br />

important aspect <strong>of</strong> the work. <strong>The</strong> scholarship funds allowed me to experiment with different clays,<br />

which I tested for colour. throwing strength, plasticity and finish.<br />

<strong>The</strong> scholarship also allowed me to attend Clay Push Gulgong where I was exposed to the variety <strong>of</strong><br />

ceramic practice taking place in Australia and internationally, and this has helped me to clarify my own<br />

direction.<br />

At the end <strong>of</strong> the year I was fortunate to win the N.E. Pethebridge Award and the Sabbia Gallery<br />

Exhibition Award. I have now set up my own studio at home and am working towards creating a body<br />

<strong>of</strong> work for my show at Sabbia in September 2015.<br />

I am grateful to Trudie Alfred for leaving such a generous bequest and would like to thank <strong>The</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> Association for selecting me to receive this scholarship.<br />

www.amcjackson.com<br />

Anne-Marie Jackson, Altered series, 2013. MFQ and Cool lee, various dimensions; photo: courtesy artist<br />


Associati on<br />

Kate Jones<br />

Bachelor <strong>of</strong> Fine Arts, Object Based Practice, RMIT, Melbourne<br />

My year began with the award <strong>of</strong> the Trudie Alfred Bequest and finished with an inspirational trip to<br />

New York . I completed my BFA at RMIT, creating both course work and personal work which I found<br />

challenging and gratifying. During the year I was involved in four exhibitions.<br />

<strong>2014</strong> promises to be just as busy as I am returning to RMIT to complete an Honours year. I will also<br />

be participating in the Fresh! graduate exhibition at Craft Victoria in <strong>April</strong>, Back to the Table at Sturt<br />

Gallery, my own exhibition at Craft Victoria later in the year, and the RMIT graduate show, all <strong>of</strong> which<br />

will provide stimulating opportunities for me to explore various aspects <strong>of</strong> my work.<br />

<strong>The</strong> Trudie Alfred Bequest has been useful to me because <strong>of</strong> the financial support it has provided, and<br />

also, importantly, the recognition <strong>of</strong> my work from the wider ceramics community, giving me confidence<br />

to experiment and pursue my own ideas. <strong>The</strong> study structure at RMIT has allowed my work to evolve by<br />

providing facilities that enable me to create larger pieces in an environment where the emphasis is not<br />

solely on commercial via bility. <strong>The</strong> support that this affords has resulted in a shift in my practice towards<br />

more sculptural and abstract expression, a place that I look forward to exploring in greater depth in the<br />

year to come.<br />

http://katejj.tumblr.com<br />

Work by Kate Jones. 2013<br />

Left: Make big shadow>, h.l00cm<br />

Below: And the nights are not full enough, h.50cm<br />

Terracotta, handbuilt; photos: Jeremy Dillon<br />


Association<br />

Antonia Throsby, Pendant Lights, 2013, PayDirt Eatery Braidwood, earthenware. wheelthrown, various dimensions<br />

Photo: Kelly Sturgis<br />

Antonia Throsby<br />

Graduate Certificate In Visua l Arts - Studio Practice<br />

After receiving the Trudie Alfred Bequest Ceramic Scholarship I enrolled at ANU to continue studying<br />

ceramics through the Graduate Certificate In Visual Arts - Studio Practice. This allowed me to do a lot <strong>of</strong><br />

the practical work from my home studio, whilst having excellent guidance along the way.<br />

In July I travelled to Jingdezhen in China, an amazing experience in itself. I made ten or so forms<br />

on the wheel from which I then had moulds made. I am using these moulds and exploring exciting,<br />

dynamic, ways <strong>of</strong> slipcasting. After extensive testing I developed my own porcelain casting slips. My<br />

aim is to create a series <strong>of</strong> contemporary light shades drawing upon the <strong>Australian</strong> landscape for<br />

inspiration. I have concentrated on shape and various surface treatments whilst also experimenting with<br />

translucency and colour.<br />

<strong>The</strong> extra funds also made it possible for me to buy a larger kiln in which to fire my work. My website<br />

is almost complete and will be up and running soon, which is exciting. <strong>The</strong> Bequest has enabled me to<br />

carry on my love and interest within the world <strong>of</strong> ceramics and I feel very privileged to have had this<br />

opportunity.<br />

www.antoniathrosby.com<br />

128 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Participating<br />

Artists<br />

Asia<br />

jean Moon Hwan KOREA<br />

jean Sung Cheal KOREA<br />

Masaho Ono JAPAN<br />

Mallito 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 />

Pascal Ge<strong>of</strong>froy<br />

Nicholas Rousseau<br />

jean Francois Bourlard<br />

1-18 May <strong>2014</strong><br />

Mystery Bay<br />

NSW Australia<br />

22 artists from Asia, USA, Europe, UK, South<br />

America, New Zealand and Australia<br />

This ceramics woodfire festival will bring together lovers <strong>of</strong> woodfire<br />

providing an exciting exchange <strong>of</strong> ideas and techniques in May <strong>2014</strong>. <strong>The</strong><br />

invited artists will produce a body <strong>of</strong> work, build a kiln then complete a long<br />

woodfiring.<br />

<strong>The</strong> idyllic location is a 40·acre private property, Corunna Farm, situated<br />

near Mystery Bay NSW, surrounded by national park, where Corunna inlet<br />

enters the sea. Invited artists will also give slide talks on their practices and<br />

techniques. Participants will have the opportunity to mingle, view, talk and<br />

interaa with the invited potters. Entertainment in the evenings will also be<br />

provided.<br />

<strong>The</strong>re will be a series <strong>of</strong> exhibitions at the Bega Regional Gallery as well as<br />

Narek Gallery, Ivy Hill and Spiral Gallery.<br />

<strong>The</strong> festival is for everyone - ceramics enthusiasts, wood firers, potters,<br />

students, teachers and anyone else with an interest in pottery and<br />

ceramics. Registrations are now open.<br />

UK<br />

Matthew Blakely<br />

Africa<br />

Grace Oriaku Oji<br />

Ogbonna Dennis<br />

1-7 May<br />

9-13 May<br />

14-18 May<br />

building a small anagama kiln, master demos and talks<br />

exhibition opening<br />

BO-hour woodfiring, master demos and talks<br />

exhibition opening<br />

master demos and talks, exhibition opening, films<br />

market and pot swap<br />

Australia<br />

Chester Nealie<br />

Sandy Lockwood<br />

Su Hanna<br />

Ray Cavill<br />

Robert Barron<br />

New Zealand<br />

MichaelO'Donnell<br />

ArtistS will be demonstrating throughout the festival, with most artist's talks<br />

happening twice over the 3-week period. <strong>The</strong>re are exhibition openings at<br />

local galleries each weekend and wonderful local entertainers performing<br />

for your relaxation and pleasure throughout the 3-week period.<br />

www.on-the-edge-<strong>of</strong>-the-shelf.com<br />

Covenor: Daniel Lafferty<br />

T: 02 6493 6724; 0428478719; E: bandicootpottery@gmail.com

Gatherings to come<br />

----<br />

International Guest<br />

Mahito Kudo<br />

Japanese pottery originated from earthenware cooking tools made and fired by the ancient inhabitants<br />

living on the far east island <strong>of</strong> Asia . It might be said that they were pioneers <strong>of</strong> wood fire pottery. Since<br />

the invention <strong>of</strong> earthenware, they improved their diets and survival rate and found a rich community<br />

with the cultures <strong>of</strong> animism and shamanism. <strong>The</strong> religious viewpoint <strong>of</strong> Japanese people has long been<br />

linked with that <strong>of</strong> the ancient times.<br />

During the early centuries, Chinese and Korean culture was brought into Japan, and our ancestors<br />

absorbed this to enrich our civilization, enabling us to progress and refine. By the end <strong>of</strong> the Middle<br />

Ages our own Japanese culture had blossomed - the tea ceremony, flower arranging, bonsai and<br />

pottery. Until the present time the Japanese aesthetic sense has remained deeply connected but, due to<br />

rapid worldwide development <strong>of</strong> scientific and industrial techniques (which gives us a higher standard <strong>of</strong><br />

living), the forests are now ruined and our seawater is polluted. Even when a state becomes prosperous,<br />

we can see the traditional community culture breaking down. Development through destruction might<br />

be the human fate, but I feel it's very sad .<br />

Although I don't aim to be a traditional craftsman, I am trying my best to create original fresh pieces<br />

in the way our prehistoric woodfire potters made their tools <strong>of</strong> living, and to worship the spirit <strong>of</strong><br />

nature, hoping my pieces will be <strong>of</strong> some use and joy to the people.<br />

As a potter, I heartily wish to learn, with respect, many things from our frontiers' creative intelligence,<br />

and go on to develop it.<br />

I'm looking forward to seeing you at Mystery Bay in May <strong>2014</strong>.<br />


Gatherings to come<br />

International<br />

Guest<br />

Masaho Ono<br />

In his book Road to Art German art historian, Heinrich Lutzeler, says,<br />

Art is what continues to exist and art continues to exist under these conditions:<br />

<strong>The</strong>re is no art without skill<br />

<strong>The</strong>re is no an without purity<br />

<strong>The</strong>re is '10 arl without fruth<br />

I keep these words in my heart.<br />

Among the pottery existing in Japan today, I am strongly moved by giant jars made in Tokoname<br />

during the 12th century, the Yama-chawan tea bowls made in the Seto region during the 12th century<br />

and the Ido-chawan tea bowls descended from Korea in the 16th century. My pot making has received<br />

great revelations from this pottery, as these pots are made using produdion methods, which are simple,<br />

mindless and artistically primitive. <strong>The</strong> creator's feelings are transmitted diredly into the pottery. I can<br />

feel the creator's large-hearted spirit as the swollen giant jar appears about to burst from the inside out.<br />

<strong>The</strong> bodies <strong>of</strong> the Yama-chawan and the Ido-chawan stretch out with a speed as though it is bursting<br />

from the bottom out towards the edge. <strong>The</strong> insides <strong>of</strong> the bowls are deep and wide. From them I feel<br />

the creator's incredible skill and strong willpower; they radiate purity and truth. Today they are behind<br />

glass cases in museums as examples <strong>of</strong> pottery which continues to exist as art.<br />

I live in the pottery town <strong>of</strong> Mashiko. I use local materials. I throw on a kick wheel which enables me<br />

to transfer my strong wish to the clay. I fire in a climbing kiln which gives me much more exciting results<br />

than I expect, though not always. I enjoy conversing with potters from the past through my daily work<br />

- it connects me with them. I hear them telling me, "Your skill still has a way to go". I reply to them,<br />

"Maybe so, but I am the same as you in my spirit - assimilated with clay and kiln at all times." All that<br />

remains for me is just to keep kicking the wheel everyday.<br />

Road to Art finishes with this note, " In the end, the road to art is the road to humanity". On 11<br />

March 2011, most <strong>of</strong> the woodfiring kilns in Mashiko distrid were destroyed by a huge earthquake.<br />

Immediately after the news spread we received many encouraging messages and financial support from<br />

potters all over the world. Such support gave us a big push to rebuild our woodfiring kilns. What a<br />

wonderful world <strong>of</strong> pottery making! We always appreciate this warm support.<br />

Let's enjoy sedately with clay and with kiln!<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong> 131


. CERAMICS<br />



We are calling for Expressions <strong>of</strong> Interest for speakers and demonstrators as part <strong>of</strong> the 2015<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale. Take this op portunity to push the boundaries an d su bmit to be<br />

part <strong>of</strong> the program or nominate someone who inspires you to step up and get involved.<br />

Make this program yours and be part <strong>of</strong> the biggest event in the <strong>Australian</strong> ceramics calendar!<br />

Visit the Stepping Up website for further details<br />

on the themes and the Expression <strong>of</strong> Interest<br />

package www.australianceramicstriennale.com<br />

Expressions <strong>of</strong> Interest close: COB Friday 22 August <strong>2014</strong><br />

Contact: Project Manager. Mel George. Craft ACT: Craft and<br />

Design Centre projectlOcraftact.org.au Ph 02 62629333<br />

Stepping Up partne rs: Craft ACT: Craft and Design Centre .<br />

<strong>The</strong> <strong>Australian</strong> Na tional Univers ity, Canberra Potters' Society.<br />

Strathnairn Arts Association. <strong>The</strong> Australi an Cera mics Association<br />


.: Stepping Up: <strong>The</strong> Changing World<br />

Stepping Up: Your Role In the Future<br />

Stepping Up: Making Money<br />


Claybodies<br />

Claybodies is a newly formed Canberra group <strong>of</strong> pr<strong>of</strong>essional practising ceramic artists. It has grown<br />

from initially six members in 2013 to around twenty-five in early <strong>2014</strong>. Most members have a<br />

connection to ANU School <strong>of</strong> Art <strong>Ceramics</strong> Workshop. <strong>The</strong> aim <strong>of</strong> the group is to <strong>of</strong>fer a continuing<br />

forum to share ideas, information and technical knowledge that supports the development <strong>of</strong><br />

pr<strong>of</strong>essional artistic pathways. This is achieved with monthly meetings, critique sessions, workshops,<br />

shared expertise and group exhibitions. Claybodies seeks to create a visible presence in Canberra and<br />

beyond by showcasing ceramics to the community. <strong>The</strong> intent is to celebrate the diversity <strong>of</strong> clay whilst<br />

encouraging innovation amongst members to enhance their varied practices.<br />

Claybodies held its inaugural group exhibition 'ceraMIX' at Form Studio and Gallery in February <strong>2014</strong>,<br />

opened by Canberra ceramic artist Bev Hogg. This exhibition featured 12 artists - Jenny Harris, Melinda<br />

Brouwer, Jo Victoria, Anne Masters, Fran Romano, Anne Langridge, Tania Tuominen, Zhou Xuan, Erin<br />

Kocaj, Judy Greenfield, Pam Crossley and Agnieszka Berger.<br />

Other members have an exhibition planned for 13- 29 June 2013 at Strathnairn Gallery in Canberra.<br />

For more details go to, wvvw.strathnairn .com.au/exhibitions.<br />

A report by Sue Hewat<br />

1 Zhou Xuan 2 Pam Crossley 3 Anne Masters<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong> 133

Forest Memories: Maryke Henderson<br />

Currently on display at Tamworth Regional<br />

Gallery is Forest Memories, an exhibition <strong>of</strong><br />

work by New England artist Maryke Henderson.<br />

<strong>The</strong> exhibition features soda vapour-fired works<br />

that represent the marks left on a forest by<br />

natural and human intervention as Henderson's<br />

artist statement explains:<br />

As the flame transporting the soda vapours passes over<br />

the clay, if leaves a mark like a memory <strong>of</strong> its passing.<br />

This is what happens in nature when the passage oj<br />

fire, storms, insects, animals and man passes tlllvugh<br />

Ihe/oresf.<br />

Soda glazing has become a focus for the<br />

artist as it allows her to explore its layering and<br />

ageing effects on the surface <strong>of</strong> the clay. She also<br />

hand mixes her clay from various materials to<br />

encourage certain colour responses.<br />

Maryke Henderson, Forest 2013<br />

Soda vapour-glazed stoneware; tallest 84cm<br />

Photo: Stuart Hay, ANU Photography<br />

"Her main interest appears to be in creating<br />

surface effects through an unpredictable firing<br />

process that cannot be repeated, " says Tamworth<br />

Regional Gallery's Exhibitions and Collections<br />

Officer, Pam Brown. "<strong>The</strong> process allows Maryke<br />

to look at ageing on things like weathered lichens and walls that peel away. Her finishes represent a<br />

layering <strong>of</strong> the past, present and future," she says.<br />

For Henderson, the somewhat random results <strong>of</strong> soda firing contrast with the deliberateness <strong>of</strong><br />

making to achieve meaning in the work. "<strong>The</strong> unpredictable painting with fire on the clay over the<br />

controlled mark-making and construction develops a dimension <strong>of</strong> tension between the organic and the<br />

contrived, <strong>of</strong> nature and man," she says.<br />

Maryke Henderson has featured in more than thirty exhibitions since 1988 in Sydney, Canberra,<br />

Brisbane, Perth and regional centres.<br />

Forest Memories is on display at Tamworth Regional Gallery until 3 May <strong>2014</strong>.<br />

For more information. phone 02 6767 5248 or visit www.tamworthregionalgallery.com.au.<br />

A report by Candice Anderson<br />

134 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Activities on the Coast<br />

<strong>The</strong> Gold Coast Potters' Association is planning several workshops this year. In May. Anne Mossman will<br />

be showing us how to use coloured porcelain clay, followed by Claire Locker in July, showing techniques<br />

with decorated s<strong>of</strong>t slabs. Our next big event is the Art & Crafters' Market on Sunday 4 May.<br />

<strong>The</strong> 2013 Members' Exhibition was a huge success, with <strong>Journal</strong> editor Vicki Grima as our esteemed<br />

judge. <strong>The</strong> overall winner was Megan Puis with Habitat (detail image below). Images <strong>of</strong> the w inning<br />

entries can be viewed at www.goldcoastpotters. com. Our members also enjoyed the pinch pot<br />

worKshop that Vicki conducted.<br />

Johanna DeMaine was the winner <strong>of</strong> the Three Dimensional Prize (Gladstone Ports Corporation<br />

Award) at the prestigious Martin Hanson Memorial Art Awards in Gladstone in <strong>No</strong>vember 2013. Art on<br />

Cairncross gallery will be holding an exhibition <strong>of</strong> Johanna's new works, Landscapes <strong>of</strong> the Mind. in<br />

July <strong>2014</strong>.<br />

Beatrice Prost won the Space section <strong>of</strong> the Bribie Island Potters Clay Creations Exhibition in<br />

<strong>No</strong>vember 2013 with her installation Earth in a Cube and Ellen Appleby won the Sculpture section with<br />

her decorated porcelain workActivities <strong>The</strong> Fish Rule, Okay.<br />

Kari and Stephen Roberts will be running workshops at their Piccabeen Pottery, Palmwoods<br />

throughout <strong>2014</strong>. Contact Stephen on sr@stephenrobertsceramics.com.au for more information.<br />

A report by lyn Rogers<br />


Mark Valenzuela<br />

Mother Figurine. 2013<br />

handbuilt white stoneware<br />

blacK glaze pencil. h.69cm<br />

Photo: Art Informal<br />

Sophia Phillips introduces Mark Valenzuela<br />

Mark Valenzuela is a relatively new addition to Adelaide's ceramics community. After deciding to move<br />

to Australia from the Philippines with his partner two years ago, Valenzuela quickly established a<br />

reputation as a conceptually driven artist with considerable technical knowledge and skill. At the heart<br />

<strong>of</strong> Valenzuela's practice is an exploration <strong>of</strong> the individual within society. Internal and external conflict,<br />

anxiety and repetition are residing themes that Valenzuela uses to reveal the ways that an individual<br />

adjusts, conforms and rebels against his/herself and the society in which they live.<br />

I asked Valenzuela to tell us a bit about his experience with ceramics in the Philippines:<br />

<strong>The</strong>re is a strong focus on wood firing, so there is an aesthetic preference for rGlv, earthy works thaI comes from thar.<br />

<strong>The</strong>re ;s also a strong Japanese influence among some ceramic artists in the Philippines. For ceramic ar/iSIS based<br />

in (he provinces (outSide Manila), we have lillie access /0 ceramic supplies and facilities, so we dig and process our<br />

own clay and use makeshift kilns, or do open firing. 1 have had so many different makeshift kilns; e.g. in myoid house<br />

in Dumaguete I would sometimes constmct the kiln around a single work and then fire at night hoping my landlord<br />

wouldn 1 notice!<br />

Over the past decade Valenzuela has exhibited widely in the Philippines, Thailand, Singapore, China,<br />

USA and Australia, with work held in collections in the Philippines, China and Australia. He is currently a<br />

studio tenant at the JamFactory <strong>Ceramics</strong> Studio in Adelaide.<br />

www.artinformal.com/artists/view/56/<br />

A report by Sophia Phillips<br />

136 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

Figuratively Speaking @ <strong>The</strong> Lady Franklin Gallery<br />

Recently, <strong>The</strong> Lady Franklin Gallery - a charming Greek edifice in Lenah Valley - was the venue for<br />

an inspiring exhibition exploring ways in which artists portrayed the figure in their work. Coordinator<br />

Dawn Oakford set up a dialogue bringing together Tasman ian artists working in both two and three<br />

dimensions with the resulting exhibition, Figura tively Speaking, an exciting mix <strong>of</strong> art forms and<br />

individual interpretations <strong>of</strong> the figure. Kate Piekutowski's skilfully layered prints, vibrant paintings by<br />

Vicki Chapman, Robin-Mary Calvert, and Kit Hiller, and fluid drawings by Russell Joyce and Birgitta<br />

Magnusson-Reid adorned the walls, providing a stimulating context for the ceramic work displayed<br />

below.<br />

Many <strong>of</strong> the sculptural works portrayed the female figure. <strong>The</strong> swelling contours <strong>of</strong> Sally Curry's<br />

figures exploited the tactility <strong>of</strong> clay in her endeavour to portray the curves <strong>of</strong> the female form in<br />

a manner reminiscent <strong>of</strong> Picasso. Susie McMahon's mixed media doll forms were quiet meditations<br />

on transience, life and loss. Other works recalled life experiences <strong>of</strong> women - Melissa MacCrum's<br />

stylised ceramic figures, mothers from different eras, represented family connections and memories;<br />

Carolyn Audet's tall handbuilt vessels, decorated with symbols <strong>of</strong> the human figure, also referred<br />

to fami ly, focusing on the all-seeing mother who watches over her progeny; and Dawn Oakford's<br />

doll-like statues, assembled from slipcast components, were decorated with snippets from her<br />

life, suggestive <strong>of</strong> broader narratives. Janet Walmsley recalled childhood memories <strong>of</strong> life in Kenya<br />

through her abstract slipcast ceramic figures.<br />

All these artists share a love <strong>of</strong> the medium with which they work. <strong>The</strong>re was a freshness and<br />

immediacy about Figuratively Speaking, enhanced by the connections that the works suggested<br />

when displayed together.<br />

A report by Llewellyn Negrin and Dawn Oakford<br />

Sally Curry, <strong>The</strong> Muses, 2013; photo: Robin Roberts<br />


<strong>Ceramics</strong> at Melbourne <strong>No</strong>w<br />

<strong>The</strong> catch phrase <strong>of</strong> 'Melbourne <strong>No</strong>w' brags: " More than<br />

300 artists, 8000 m' <strong>of</strong> exhibition space. Free Entry" . <strong>The</strong><br />

exhibition that spread across both <strong>The</strong> Ian Potter Centre:<br />

NGV Australia and NGV International had Victoria abuzz.<br />

Exemplifying Melbourne's ceramics community were<br />

Stephen Benwell and Prue Venables. Benwell's series <strong>of</strong><br />

sensual male sculptures continued his fascination for Greco­<br />

Roman statuary, and Venables' strainers appeared as precious<br />

and magical reliquaries arranged w ithin a velvet-covered<br />

niche .<br />

Janet Beckhouse's large sculptural grotesques stood in<br />

public sentinel and Penny Bryne's hundreds <strong>of</strong> refashioned<br />

figurines sprayed across the wall like a chanted protest<br />

bubble. Brendan Huntley's raw, whimsical totems and Ricado<br />

Idagi's self-portraits had a strong, expressive presence. Painter and stunning colourist Angela Brennan<br />

journeyed into glaze and earthenware w ith her naYvely made ceramics based on vessels from antiquity,<br />

and Alan Constable'S robustly built cameras delighted as always. I also really enjoyed the haunting<br />

beauty <strong>of</strong> Michelle Ussher's large porcelain work. Raymond Young 's spiritedly made shields were inspired<br />

by a clan elder's drawings and he was assisted by ceramicists Gretchen Hillhouse and Tony Stone as part<br />

<strong>of</strong> a statewide Indigenous Arts Officer in Prisons program.<br />

Much <strong>of</strong> the excitement was about the sheer number and breadth <strong>of</strong> artists, activities and events<br />

aligned to Melbourne <strong>No</strong>w. NGV Director Tony Ellwood has certainly lifted the calibre <strong>of</strong> public<br />

engagement, in particular the quality and inventiveness <strong>of</strong> the childrens programming.<br />

In Vipoo Srivilasa's two-hour Bleach workshop, small 'coral' sculptures created from recycled blue<br />

and white coloured rubbish were made as part <strong>of</strong> the Melbourne <strong>No</strong>w Community Hall. This was a<br />

disappOintingly minor event given Srivilasa's recent local and international projects that bring alive the<br />

place where clay, cultural and social etiquette, and values meet - Home at the Gyeonggi International<br />

Ceramic Biennale, Korea (httpJ/Vimeo.comlB<strong>53</strong>12114) and Thai Na Town Little Oz (http://Vimeo.<br />

coml57977259) are two engaging examples.<br />

<strong>The</strong> event closed on 23 March; www.ngv.vic.gov.au/melbournenow.<br />

For more, go to Robyn Phelan's blog, http://iookingwiths<strong>of</strong>teyes.blogspot,com.au<br />

A report by Robyn Phelan<br />

Above: Michelle Ussher, Amarouts M irror, 2012, porcelain, glazed, painted. powder-coated<br />

steel, milliput, h.6Scm, w.4Sem; purchased Victorian Foundation for living <strong>Australian</strong> Artists 2012<br />

Photo: courtesy National Gallery <strong>of</strong> Vidoria; e Michelle Ussher<br />


Born among the Eucalypts: Melanie Sharpham<br />

Melanie Sharpham once described to me her fondness for the silver gums in her Kensington garden.<br />

<strong>The</strong>y inspired her business, Eucalypt Homewares.<br />

In her garden boutique studio, Mel designs slipcast porcelain tableware. Pivotal to her development<br />

was seledion by FORM in 2004 to attend the Designing Futures program for emerging artists. "I started<br />

small at one trade fair; six months later I'd moved to tableware. I had a young family, was pregnant,<br />

I produced a range and with no grants, took it to a trade fair over East" An entrepreneur was born.<br />

Selling at Perth Upmarket and Fremantle Art Centre's Bazaar allowed key customer feedback which she<br />

then aded on. Two years ago, five big orders arrived convincing her to quit her teaching job and" go<br />

for it".<br />

Starting with slipcast vessels in tinted porcelain, she was casting, decorating and finishing - tasks<br />

she'd disliked at Perth TAFE. She began applying Chinese tissue designs. Interiors are glazed, ware oncefired,<br />

then exteriors polished. Despite time and space limits, efficiency evolved. Recently Mel introduced<br />

her own print patterns. Contrasting her macro/micro patterns she notes which work best, explaining, "I<br />

always wanted to do my designs; 1 never liked putting someone else's designs on my work. It took years<br />

to identify a transfer maker and be in a position to pay for large batches made to order".<br />

With attentive styling and great photography on her website, her vessels appear contemporary<br />

and unprecious. Colours and imagery stem from native flora around the studio. Mel is emphatic that<br />

affordability, usefulness and beauty go hand-in-hand. Her work is for use, not destined for the china<br />

cabinet<br />

<strong>No</strong>w supported by her mum for administration and with two studio assistants, her Eucalypt<br />

Homewares are found in outlets across Australia. "<strong>The</strong>re's hard work and risk," she says. "I never<br />

considered clay a hobby; 1 always felt it<br />

would become my career" ... and it is,<br />

a blossoming one!<br />

www.eucalypthomewares.com.au<br />

Left: Work by Melanie Sharp ham<br />

Photo: Claire McFerran<br />

A report by Elaine Bradley<br />


Stockists<br />

ACT<br />

canberra potters society<br />

1 aspinal st watson<br />

national gallery <strong>of</strong> australia<br />

books hop parkes pi canberra<br />

walker ceramics<br />

289 canberra ave fyshwick<br />

NSW<br />

art gallery <strong>of</strong> nsw<br />

art gallery rd the domain<br />

sydney<br />

bathurst regional art gallery<br />

70-78 keppel st bathurst<br />

bellingen newsagency<br />

83 hyde st bellingen<br />

blackwattle pottery<br />

20 stennett rd ingleburn<br />

broken hill regional art gallery<br />

404-408 argent st broken hill<br />

brookvale ceramic studio<br />

11/9 powells rd brookvale<br />

chinaclay<br />

40 burnie st clovelly<br />

cowra regional art gallery<br />

77 darling 51 cowra<br />

essential object<br />

65 andy poole drY tathra<br />

gaffa<br />

281 clarencest sydneycbd<br />

gleebooks<br />

131 glebe point rd glebe<br />

NEW<br />

goulburn regional art gallery<br />

cnr church and bourke sis goulburn<br />

hazelhurst regional gallery<br />

782 kingsway gymea<br />

inner city clayworkers gallery<br />

cnr st johns rd & darghan st glebe<br />

keane ceramics<br />

177 debenham rd south somersby<br />

kerrie lowe gallery<br />

49-51 king st newtown<br />

lake macquarie art gallery<br />

la first 51 booragul<br />

moochinside<br />

111 killcare rd hardys bay<br />

museum <strong>of</strong> contemporary art<br />

140 george st sydney<br />

northern rivers pottery supplies<br />

S4d terania 5t north lismore<br />

nsw pottery supplies<br />

411159 arthur st homebush<br />

nulladolla potters<br />

princes hwy milton<br />

planet<br />

114 commonwealth st surry hills<br />

powerhouse museum<br />

500 harris street ultimo<br />

sabbia gallery<br />

120 glen more rd paddington<br />

sturt craft centre<br />

range rd mittagong<br />

NT<br />

jacksons drawing supplies<br />

7 parap pi parap<br />

NEW<br />

museum and art gallery <strong>of</strong> the nt<br />

conacher st fannie bay<br />

QLD<br />

artspace mackay<br />

61 gordon 51 mackay<br />

cairns regional gallery<br />

cnr abbott and shields sts cairns<br />

gallery + cafe f rit<br />

104 yabba rd imbil<br />

gold coast city gallery<br />

135 bundall rd surfers paradise<br />

pottery supplies<br />

51 castlemalne st milton<br />

queensland art gallery<br />

stanley pi south bank<br />

the clay shed<br />

2124 hi-tech dve kunda park<br />

SA<br />

art gallery <strong>of</strong> south australia<br />

north terrace adelaide<br />

bamfurlong gallery<br />

main st hahndorf<br />

the pug mill<br />

17a rose Sl mile end<br />

TAS<br />

burnie regional art gallery<br />

77-79wilmolst burnie<br />

derwent ceramic supplies<br />

16b sunderland 51 moonah<br />

NEW<br />

NEW<br />

devonport regional gallery NEW<br />

45-47 stewart st devonport<br />

VIC<br />

bendigo art gallery<br />

42 view st bendigo<br />

brunswick bound<br />

361 sydney rd brunswick<br />

clayworks<br />

6 johnston crt dandenong<br />

craft<br />

31 flinders lane melbourne<br />

national gallery <strong>of</strong> victoria<br />

180 st kilda rd melbourne<br />

north cote pottery supplies<br />

142-144 weston st brunswick east<br />

potier<br />

29 mills st albert park<br />

potters equipment<br />

13/42 new 51 ringwood<br />

readings books<br />

3091ygon 51 carlton<br />

readings books<br />

112 aeland 5t st kilda<br />

shepparton art gallery<br />

70 welsford Sl shepparton<br />

the brunswick street bookstore<br />

305 brunswick st fitzroy<br />

WA<br />

fremantle arts centre<br />

1 finnerly st fremantle<br />

geraldton regional art gallery<br />

24 chapman rd geraldton<br />

graham hay<br />

robertson park artISts studio<br />

northbridge<br />

jacksons ceramics<br />

shop 4, 30 erindale rd balcatta<br />

perth institute <strong>of</strong> contemporary<br />

art<br />

perth cultural centre james st<br />

northbridge<br />

potters market<br />

56 stockdale rd o'connor<br />


lopdell house gallery<br />

418 titirangi rd waitakere city<br />

south street gallery<br />

10 nile st west nelson<br />

140 THE JOURNAL OF AUSTRALIAN CERAMICS APRi l <strong>2014</strong>

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142 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong>

On the Shelf<br />

More books are available on www.australianceramics.com<br />

4. Grafisk (Graphic) Porcelain<br />

by Ane-Katrine von Bulow<br />

1. Stephen Bowers<br />

Beyond Bravura<br />

by Damon Moon and<br />

John Neylon<br />

This book covers Bowers<br />

life as an educator,<br />

studio manager and arts<br />

administrator as well as<br />

his oustandlO9 artistic<br />

career<br />

AU 549.95<br />

2. Lustre by Greg Daly<br />

This handbook aims to<br />

explain and simplify the<br />

process <strong>of</strong> creating various<br />

types <strong>of</strong> lustre. <strong>The</strong> book<br />

covers recipes fOf lustres and<br />

techniques for applYing and<br />

firing, as well as showing<br />

you the results <strong>of</strong> the<br />

author's extensive testing<br />

AU <strong>53</strong>9.95<br />

3. Oeveloping Glazes<br />

by Greg Daly<br />

For any potter beginning to<br />

experiment with fired colour,<br />

texture and decoration in<br />

their work:. this book is an<br />

essential reference with<br />

practICal advice and step-bystep<br />

Instructions for testing<br />

glazes.<br />

AU <strong>53</strong>5<br />

This short film is about Danish<br />

artist Ane-Katrine von Bulow.<br />

It sho<strong>Vol</strong>S her process <strong>of</strong> making<br />

porcelain forms and applying<br />

designs to them. She develops<br />

20 designs which she silkscreen<br />

prints onto tissue. then<br />

transfers onto her 3D vessels.<br />

Duration: 14:25 mins<br />

AU <strong>53</strong>0; limited supply<br />

available<br />


ITEM 10 20 3D 40<br />

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All prices include GST and postage<br />

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Exp!IYOat' 0 0 00101.011 __ _ <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

PO 80x 274 Waverley NSW 2024; T: 1300 720 124<br />

E: mall@au5lralianceramlCs.com; www.austrahanceramICS.com<br />

<strong>2014</strong> Focus<br />

& Deadline Dates<br />

<strong>Vol</strong> 5] <strong>No</strong> 2<br />

Publication:<br />

17 July <strong>2014</strong><br />

Emerging artists<br />

writers and<br />

photographers<br />

Deadline for copy:<br />

5 May <strong>2014</strong><br />

<strong>Vol</strong> 5] <strong>No</strong> 3<br />

Publication:<br />

20 <strong>No</strong>vember <strong>2014</strong><br />

Collaborations<br />

Oeadllne for copy:<br />

9 September <strong>2014</strong><br />

2015 Deadlines<br />

<strong>Vol</strong> 54 <strong>No</strong> 1<br />

Publication:<br />

1 <strong>April</strong> 2015<br />

Focus: to be advised<br />

Deadline fOf copy:<br />

2 February 2015

Classifieds<br />



Sydney-based pottery supply outlet selling clays from<br />

Blackwattle, Clayworks, Feeneys, Keanes, Limoges and<br />

Walkers with over 50 different clays held in stock. We also<br />

manufacture earthenware, terracotta. stoneware and<br />

porcelain casting slips. Blackwattle, Cesco, Deco and Kera<br />

underglaze colours and glazes. Bulk raw materials. stains.<br />

oxides, tissue transfers. lustres. wheels, kilns. tools.<br />

workshops, classes, earthenware and stoneware firing<br />

service. bisque ware, free advice, low prices and great<br />

service. Over 30 years potting experience, delivery available<br />

Australia-wide. Showroom open 6 days; 20 Stennett Rd,<br />

Ingleburn N5W 2565; T: 02 9829 5555; F: 02 9829 6055; E:<br />

blackwattlepottery@bigpond .com; www.blackwattle.net.au<br />


By using state <strong>of</strong> the art digital printing technology, Decal<br />

Specialists can produce high quality custom digital ceramic<br />

decals and custom glass digital decals from original artwork<br />

(CMYK). <strong>The</strong> decorative possibilities with Custom Digital<br />

Decals are only limited by your imagination! Check out our<br />

website: VVW'IN.decalspecialists.com .au<br />

T: Australia 1300 132 771 New Zealand: 0800 000 451<br />

E: enquires@decalspecialjsts.com .au<br />


Sydney inner city pottery supplies: Keane's Clay - discount<br />

on 5 bagYl0+ bags; Southern Ice Porcelain; Museum Gel<br />

Chinese Decals; wide range <strong>of</strong> tools, glazes, underglazes.<br />

Kerrie Lowe Gallery, 49 King 5t, Newtown 2042; T: 02 9550<br />

4433; W'NW.kerrieJowe.com; Mon to Sat, lOam - 5.30 pm;<br />

Thurs until 7 pm.<br />


<strong>No</strong>rthcole Pottery Supplies sells a range <strong>of</strong> quality pottery<br />

materials including clay, glaze, tools and equipment for<br />

the student, hobbyist and pr<strong>of</strong>essional. We run a range<br />

<strong>of</strong> classes and workshops for those interested in further·<br />

ing their skill and knowledge in ceramics. We <strong>of</strong>fer a firing<br />

service. studio access and residency program, as well as<br />

housing SMAllpieces, a space showcasing contemporary<br />

<strong>Australian</strong> ceramics. 142~144 Weston Street Brunswick East<br />

3057; T: 03 9387 3911 ; F: 03 9387 4011<br />

WININ.northcotepotterysupplies.com.au<br />


<strong>The</strong> CP probe is a very simple, low cost oxygen probe with<br />

an easy-to-read digital meter displaying oxidatiOn/reduction.<br />

This probe is ideal to control both gas and wood·fired kilns.<br />

Type CP oxygen probe - the simple, low-cost potters' probe.<br />

See lNINW.c<strong>of</strong>.com.auJAOS or call <strong>Australian</strong> Oxytrol Systems<br />

on 03 5446 1<strong>53</strong>0.<br />


Quality supplies and friendly service; A wide range <strong>of</strong> clays<br />

and colours, wheels, slab rollers, pugmills. extruders. all sorts<br />

<strong>of</strong> accessories, materials, glazes and tools.<br />

Shop 13/42 New St, Ringwood VIC 3134<br />

T: 03 9870 7<strong>53</strong>3; F: 03 9847 0793<br />


Manufadurers and exporters <strong>of</strong> high quality pottery<br />

equipment. Venco manufacture a range <strong>of</strong> pugmills with<br />

output capacities, suitable for schools and studios through<br />

to high capacity industrial units. Venco pottery wheels are<br />

world regarded for quality and reliability.<br />

T: +61 (0)8 9399 5265; F: +61 (0)89497 1335<br />

www.venco.com.au<br />


NEWS FLASH: Our NEW webshop will be open soon for<br />

direct orders & Greg Daly videos are now available as DVDs.<br />

Our factory outlet is open at 1/21 Research Drive Croydon<br />

South with ceramic supplies and advice - clays, glazes,<br />

colours, raw materials, tools, brushes, eqUipment, kilns,<br />

wheels, books and kiln furniture. Great parcel and pallet<br />

rates Australia wide. Please see our website for full product<br />

information including methods <strong>of</strong> use, application and faults<br />

and remedies. Download our Pottery & Ceramic Handbook,<br />

Melbourne & Canberra price lists and Feeneys Clay price list<br />

at lNWW.walkerceramics.com.au. Our aim is to use, from<br />

<strong>Australian</strong> sources, the best quality raw materials to produce<br />

our own range <strong>of</strong> <strong>Australian</strong>-made bodies, glazes and<br />

colours for all aspects <strong>of</strong> ceramic production; 2/21 Research<br />

Drive, Croydon South VIC 3136 T: 03 8761 6322<br />

F: 03 8761 6344: Toll free : 1800 692 529 or 18000ZCLAY<br />

E: sales@Walkerceramics.com.au; orders@Walkerceramics.<br />

com.au or david@Walkerceramics.com.au<br />

www.walkerceramics.com.au<br />

FOR SALE<br />

PROPERTY FOR SALE on the south coast <strong>of</strong> WA comprising<br />

40 acres pasture, 60 acres bush, 5 bedroom home complete<br />

with fully functional pottery on the tourist route. This <strong>of</strong>fers<br />

a rewarding lifestyle in a beautiful area. Details are available<br />

from owners; T: 08 98401480; E: uralba@dearmail .com.au<br />

Price: $900,000 negotiable.<br />

LOVELY PROPERTY FOR SALE in Gulgong (previously the<br />

workshop <strong>of</strong> Ivan McMeekin); includes a three bedroom<br />

house, double garage and two large sheds, one <strong>of</strong> which<br />

has been designed and built as a clay preparation unit<br />

with studio workshop and oHice area; 14 acres with creek<br />

frontage; asking $340,000; contact Peter Druitt Real Estate<br />

Mudgee; wwvv.peterdruittco.com.<br />


Twin pilot, 4 main burner, multiple shelves and props. digital<br />

pyrometer, stainless canopy and flu. Paid total <strong>of</strong> $15,500<br />

on del Feb 09; fired less than a dozen times.<br />

As new condition, currently in storage. Moved properties<br />

and won't fit new studio. A regretful sale, S9750 neg.<br />

Contad Nadine on 0417 688 642 or email<br />

nadine.wilson 1@bigpond.com<br />

KILN FOR SALE 12 cubic foot ceramic fibre-lined LPG kiln<br />

made by Steve Harrison <strong>of</strong> Hot & Sticky. Superb stoneware<br />

reduction kiln with 12 x 1" thick kiln shelves; kiln has done<br />

46 firings; plus clay and minerals. Price: $2500.<br />

Contad Greg Hampton, H: 02 42681864; M: 0415 697<br />

336; W: 02 4221 3446; E: gregh@aanet.com.au.<br />


GROUPS<br />

CERAMIC STUDY GROUP Inc. Est. 1963<br />

We are dedicated to supporting ongoing learning for all<br />

potters through monthly meetings, demonstrations and<br />

workshops by leaders in our field. CSG membership gives<br />

you access to our extensive library including up-la-the<br />

minute books, periodicals and OVOs.<br />

<strong>The</strong>re is also the opportunity to join the CSG woodflring<br />

team at our kiln at Oxford Falls. We publish an informative<br />

monthly newsletter and provide a friendly and welcoming<br />

forum for everyone interested in continuing their education<br />

in ceramics; 1: 0404 473 250 or 0243436877.<br />

E: ceramicstudygroupinc@gmail.com or find U5 on facebook.<br />

~<br />

~<br />


We encourage aU with an interest in pottery/ceramic art to<br />

jOin us on the 1 5t Wednesday <strong>of</strong> the month for demonstrations<br />

and informative meetings - 7.30pm upstairs meeting<br />

room Cronulla School 01 Arts. Surf Road, Cronulla; members'<br />

kilns. library. workshops and market stalls.<br />

T: 0407 229 151; PO Box 71 Miranda N5W 1490<br />

E: pottersgroup@hotmaiLcom<br />

www.porthackingpotters.blogspot.com<br />



ceramic mass production and artworks. Ceramic design<br />

service also available. Contact Somchai. 1: 02 9703 2557<br />

M : 0401 359 126; E: eatandclay@gmail.com<br />



Providing ceramic artists with digital and traditional<br />

photographic imagery. as well as graphic design to print or<br />

electronic media; an Associate AIPP (<strong>Australian</strong> Institute <strong>of</strong><br />

Pr<strong>of</strong>essional Photographers) with over 30 years experience<br />

in various advertising, corporate and government projects;<br />

previously (for eleven years) inaugural manager <strong>of</strong> the photographidmultimedia<br />

unit at the Powerhouse Museum in<br />

Sydney; Drummoyne NSW 2047; T: 02 9181 1188 M : 0411<br />

107744; E: greg@gregpiper.com.auwww.gregpiper.com.au<br />



Affordable. designed for structural integrity. lightweight;<br />

also for hire; flat pack option now available.<br />

Roger Fenlon, St Ives. Sydney. NSW<br />

T: 02 9488 8628; F: 02 9440 1212; M: 0417 443 414<br />



Slow Clay Centre oHers an extensive variety <strong>of</strong> ceramics and<br />

pottery classes throughout the year - weekly term classes,<br />

intensive weekends and short courses and a rich variety <strong>of</strong><br />

one~day guest artist workshops and forums. SCC caters for<br />

children and adults, from beginners to the more skilled.<br />

13 Keele SI. Collingwood VIC 3066; T: 0418 106 039.<br />

E: info@siowday.com; \NWW.slowday.com<br />



Sutherland College. Gymea 9 & 18 week short courses plus<br />

Certificate, Diploma & Advanced Diploma qualifications in<br />

ceramics - full and part-time attendance; Cor <strong>The</strong> Kingsway<br />

and Hotham Road. Gymea NSW; T: 02 9710 5001<br />

www.sydneytafe.edu.au<br />

www.facebook.comlceramicdesignstudio<br />

HOlMESGlEN<br />

Holmesgien Chadstone Campus: Diploma <strong>of</strong> <strong>Ceramics</strong><br />

<strong>The</strong> scope and vision <strong>of</strong> our DIploma <strong>of</strong> <strong>Ceramics</strong> course at<br />

Hoimesglen is to prepare students for a career in the ceramic<br />

arts. We provide a pr<strong>of</strong>essional, well equipped studio<br />

environment and the staff are recognized, practising artists.<br />

Our aim is to inspire individual development and encourage<br />

ongoing levels <strong>of</strong> inquiry. Kim Martin. Course Coordinator <strong>of</strong><br />

<strong>Ceramics</strong> and Visual Arts; T: 03 9564 1942; 03 9564 1716<br />

E: kim.martin@holmesglen.edu.au<br />

www.holmesglen.edu.au<br />



Chinaclay, located in Sydney's eastern suburbs. is a space<br />

dedicated to handmade <strong>Australian</strong> ceramics. You will find<br />

work by artist potters from all around Australia including<br />

some <strong>of</strong> Australia's best known, along with those in the<br />

early stages <strong>of</strong> their career; 40 Burnie St, (lovelly NSW<br />

2031; T: 0427 904 407; www.chinaclay.com.au.<br />


<strong>The</strong> GCC Gallery hosts a program <strong>of</strong> regularly changing<br />

exhibitions from local, national and international sources.<br />

<strong>The</strong> Arts Cenlre Gold Coast. 135 8undall Road. Surfers Paradise,<br />

OLD 4217; T: 07 55816567; E: gallery@theartscentregc.com.au;<br />

www.theartscentregc.com.aulgallery<br />

www.ceramicartaward.com; Mon to Fri, l Oam - Spm<br />

Sat, Sun & PH. 11am - 5pm.<br />


Contemporary <strong>Australian</strong> ceramics and pottery supplies<br />

located in inner city Sydne-y. <strong>The</strong> gallery features fundional<br />

ware, vessels, sculpture and jewellery by emerging and<br />

pr<strong>of</strong>essional ceramic artists; 49~51 King St, NelNtown NSW<br />

2042; 02 9550 4433; www.kerrielowe.com<br />


Upcoming exhibitions: 27 <strong>April</strong>-17 May <strong>2014</strong>: <strong>No</strong>w and<br />

<strong>The</strong>n - <strong>Ceramics</strong> by Kim-Anh Nguyen; 14 June - 5 July<br />

<strong>2014</strong>: Venus Unearthed - Sculpture by Feyona van Stom.<br />

<strong>The</strong> Gardener·s Cottage. Headland Park Artist<br />

Precinct, BIll OOa Middle Head Rd, Mosman NSW 2088<br />

1: 02 9960 1777; E: mulan@studiomu.com.au<br />

lMVW.studiomu.com.au; Tues to Sat lOam - 5pm.<br />

\uiiw, ...... ·<br />

,; \RTSP,\CE<br />


26 June - 2 Augusl <strong>2014</strong>: Still Firing at 45; Since 2004.<br />

Whitehorse Council has been custodial curator <strong>of</strong> the<br />

<strong>Ceramics</strong> Victoria Inc. Collection. In <strong>2014</strong>, this important<br />

state institution celebrates 45 years <strong>of</strong> studio ceramics in<br />

Victoria with a survey <strong>of</strong> significant works. Artspace, 1022<br />

Whitehorse Rd. Box Hill, VIC.<br />

Tues to Fri. l Oam - 4pm, Sat, 12-4pm; T: 03 9262 6250<br />

W\IIIW.whitehorseartspace.com.au<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2014</strong> 145


<strong>2014</strong> Guest Artist in Residence Program<br />

<strong>No</strong>rthcote Pottery Supplies would like to invite emerging and<br />

established ceramic artists to apply for a three month residency in<br />

<strong>2014</strong>. Selected artists will be allocated a private studio space, rent<br />

free, at our Brunswick East location. This is an opportunity for artists to<br />

develop and produce work, experiment, tackle a new project<br />

or more ...<br />

For details visit www.northcotepotterysupplies.com.au<br />

<strong>2014</strong> Dates<br />

10 June - 29 August<br />

15 September - 5 December<br />

Applications due 28 <strong>April</strong> <strong>2014</strong><br />

Hands-on<br />

Masterclass<br />

Collector's Boxes<br />

with<br />

Glenn England<br />

Saturday 14 June<br />

100m - 3pm<br />

$150.00<br />

<strong>No</strong>rthcote Pottery Supplies<br />

142-144 Weston St<br />

Brunswick East, Victoria 3057<br />

(03) 9387 3911<br />


-~-- -~--------------- ---- - -----.,<br />

COLOURS Rockwood Pigments, Cesco,<br />

Walker <strong>Ceramics</strong>, Clayworks , Deco,<br />

Chrysanthos CLAYS Bendigo, Bennetts,<br />

Blackwattle, Clayworks, Feeneys, Keanes,<br />

<strong>No</strong>rthcote, Walkers EQUIPMENT extru<br />

wheels, slab rollers,<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS 25g<br />

and more GLAZES Powder and liq<br />

Clay tools, Kemper, Giffin Gri p and<br />

NEW - Limited supply <strong>of</strong> Duncan UflJUlJ{;t<br />

<strong>2014</strong><br />




Together with our weekly classes we also have a dynamic range <strong>of</strong> guest artist workshops:<br />


KANELLOPOULOU Ceramic Large figurative Constructing SANDERS<br />

2 part mould- Conservation & & sculptural with Photography for<br />

making Restoration ceramics Paperclay social media<br />

6 Wks: Apr 29 -<br />

16 MARCH Jun 3 13 JULY 10 AUG 5 OCT<br />

Book o nlin e for workshops:<br />

www.slowclay.com<br />

SL O W<br />

CLAY<br />

CENTRE<br />

13 Keele St . Collingwood . Victoria<br />

Info@slowclay.com<br />

Studio visits by appointment only<br />


Port Hacking<br />

Potters Group<br />

A Division <strong>of</strong> Cronulla School <strong>of</strong> Arts Inc.<br />

48th National Pottery<br />

Competition and<br />

Exhibition <strong>2014</strong><br />

Hazelhurst Regional Gallery<br />

and Arts Centre<br />

GymeaNSW<br />

20 September to 1 October<br />

Judged by Patsy Hely<br />

Port Hacking Potters Group<br />

PO Box 71 Miranda NSW 1490<br />

Phone 0407 229 151<br />

Email pottersgroup@}lotmail.com<br />

Entry forms due 8 September <strong>2014</strong>

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

Association<br />

Secure and Easy<br />

online<br />

shopping<br />

is now available<br />

@ www.australianceramics.com<br />


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

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

Public and Product Liability Insurance<br />

Back issues. books and technical guides<br />



POTOBER <strong>2014</strong><br />

3-5 October<br />

<strong>The</strong> Central Institute <strong>of</strong> Technology. Perth<br />

A smorgasbord <strong>of</strong> workshops<br />

International<br />

Cathi Jefferson CAN. Jennifer McCurdy USA<br />

Ruthanne Tudball UK<br />

AustraHa<br />

Bela Korai WA. Chesler Nealie NSW<br />

W.,rrick Palmateer WA. Ted Secombe VI C<br />

Kenji Urani. hi QLD. Mary Wallace WA<br />

For registration and more de{ails;<br />

www.ceramicartswa.asn.au<br />

T: 0408 904 271 (Cher)<br />

Payment Options<br />

Credit Card· Paymate • Direct Deposit<br />

Gold C~~~t<br />

International<br />

CAL L<br />

Ceramic Art Award<br />

6 September - 26 October <strong>2014</strong><br />

FOR E 1RIE<br />

$1 0,000 FIRST PRIZE (acquisitive)<br />

Entries close Friday 27 June <strong>2014</strong><br />

www.ceramicartaward.com<br />

k<br />

GOLD<br />

<strong>The</strong> Arts Centre Cold Coasl<br />

COAST 135 Bundal l Rd Surfers Paradise Q 4217<br />

CITY 07 5581 6567<br />

galleJyOtheartscentregc.com.au<br />

GALLERY www.theartsccntregc.com.au<br />

Image:<br />

l~isa RUSSEll, 11 Shades <strong>of</strong> blue 2012, pure silk and porcelain,<br />

Winner 28th Gold Coast International Ceramic Award 2012<br />


Every Xiem'M Studio Tool <strong>of</strong>fers a simple<br />

solution and creative purpose. Beautifully<br />

designed and manufactured, Xiem Studio<br />

Tools are the new essentials for clay artists.<br />


An extremely s<strong>of</strong>t, super absorbent and<br />

long-lasting chamois sponge. Tapered<br />

edges give fine control for working with<br />

either Porcelain or Stoneware clay.<br />

Use the finishing sponge for<br />

adding final refinements to any<br />

clay body<br />

$6.95 each<br />


Choose from 8 handy shapes<br />

Available in s<strong>of</strong>t or firm. Heat,<br />

solvent, stain and crack resistant design.<br />

Great for shaping, smoothing and<br />

finishing clay in tight areas.<br />

$8.90 each<br />


Perfect for adding 3-dimensional detail<br />

to ceramics. Use to texture any malleable<br />

surface including clay, thick slip, underglaze<br />

and engobe. Pull straight, wavy, or crisscross<br />

over surfaces to create beautiful custom<br />

designs. 6 patterns to choose from.<br />

$6.30 each

mu ceramics studio gallery<br />

headland park artist precinct, mosman nsw<br />

contact mulan gock 0411473072<br />

studio 02 9960 1777<br />

studiomu.com.au<br />

o<br />


A retail space for handmade <strong>Australian</strong> ceramics<br />

40 Burnie St Clovelly NSW 2 0 3 1<br />

Thurs - Fri loam - 6pm / Sat- Sun roam - 3pm<br />

By appointment outside these hours<br />

042790 440 7<br />

www.chinaclay.com .au

MKM HANd"Ulll~K'-T'<br />

<strong>The</strong><br />



Association<br />

• OOJ (910) 105-170J tBI mIantooIsJOpnoiI.com<br />

Wailcato Cel'ilmics (NZ)<br />

078568890<br />

I DOI'.."rl'ottery Studio (NZ)<br />


Art and Ecology Centre<br />

Maroochy Bushland Botanical Gardens<br />

September 5th - 13th<br />

for more information visit our website or<br />

phone Jackie on 0438 450 349<br />

proud ly presented by<br />

Suncoast Clayworkers Association

Still Firing at 45<br />

Celebrating 45 years <strong>of</strong> <strong>Ceramics</strong> Victoria Inc. and their Permanent Collection<br />

26 June ~ 2 August <strong>2014</strong><br />

Whitehorse<br />

fiRTSPACE<br />

Image: !!any SgIem. J .. 2008<br />

C TlvlMi~ and eer.mc. v--. Inc.<br />

Located at 1he Box H* TO'Ml Hall<br />

1022 Whitehorse Road<br />

BoxH~<br />

Phone 03 9262 6250<br />

Opening hours<br />

Tuesday to Fridays lOam4pm<br />

SatlKdays 12pm4pm<br />








SHIMPO Precision Pottery Equipment<br />

To view our full range <strong>of</strong> equipment please visit our website<br />

www.shimpo.com.au<br />

lIDller<br />

[mIJ<br />

~. " -"-... .... •• >:... ....."". •• "J,,>,:,.-.:,."'""..... ~ , -~.......';'41'<br />


We <strong>of</strong>fer a range <strong>of</strong> specialist ceramic studio courses.<br />

Qualifications: Diploma, Advanced Diploma & Certificates in <strong>Ceramics</strong><br />

VET FEE Help available for Diploma & Advanced Diploma<br />

Short Courses: 9 Week Wheel & Handbuilding Classes<br />

18 Week Advanced Wheel & Mould Making Classes<br />

Open Studio Access<br />

Marian.HoweIl2@det.nsw.edu.au<br />

<strong>The</strong> Kingsway & Hotham Road<br />

Gymea NSW 2227<br />

Tel: (02) 9710 5001<br />

Photography: Saraid Brock <strong>Ceramics</strong>: Sarah Collins

<strong>The</strong><br />



Association<br />

WORK<br />

SHOPS<br />


<strong>The</strong> Life <strong>of</strong> Clay:<br />

<strong>The</strong> lessons <strong>of</strong> 25 years in Japan<br />

with Euan Craig<br />

Thursday 29 May <strong>2014</strong>; 10am - 1pm<br />

<strong>Ceramics</strong> Department @ National Art School<br />

Forbes St, Darlinghurst Sydney NSW 2010<br />

http://euancraig.com<br />

http://euancraig.blogspot.com.au<br />

Cost: $30 per person<br />

($25 TACA members)<br />


ReCLAYm &: UPcycie<br />

A contemporary ceramic sculpture workshop<br />

with Aedan Harris<br />

Saturday 21 & Sunday 22June <strong>2014</strong><br />

10am - 4pm both days<br />

Wollongong City Gallery, Cnr Kembla and<br />

Burelli Streets, Wollongong 2500<br />

www.aedanharris.com<br />

Cost: $195 per person<br />

($175 TACA members)<br />

For further information: http://australianceramics.wordpress.com/<br />

For bookings: <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

T: 1300720 124 F: 02 9369 3742 E: mail@australianceramics.com<br />



OPEN STUDIOS <strong>2014</strong><br />

Saturday 16 & Sunday 17 August<br />

A~~<br />

OPEN<br />

~<br />

<strong>2014</strong><br />

16 & 17 AUGUST<br />

<strong>The</strong> event known as the OSCAS in 2013 has been<br />

renamed and will now be known as<br />

<strong>Australian</strong> <strong>Ceramics</strong> Open Studios (ACOS).<br />

Before we are overrun with spring fairs. we will warm<br />

our studios (for those down south). open the doors and<br />

welcome the locals in to see what we make.<br />

To participate you (or your group) need to be a member<br />

<strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association and have public<br />

liability insurance cover. <strong>The</strong>re is no fee to participate.<br />

Deadline for Expression <strong>of</strong> Interest: 16 May <strong>2014</strong><br />

For more information on how to participate,<br />

go here: http://tinyurl,com/acos<strong>2014</strong><br />

or contact <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

T: 1300 720 124<br />

E: mail@australianceramics.com<br />

www.australianceramics.com<br />

<strong>The</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> Association's<br />

Biennial Exhibition <strong>2014</strong><br />

Manly Art Gallery & Museum<br />

2 May - 8 June <strong>2014</strong><br />

the course <strong>of</strong> objects:<br />

the fine lines <strong>of</strong> inquiry<br />

Curator: Susan Ostling<br />

Manly Art Gallery & Museum<br />

West Esplanade, Manly NSW 209S<br />

www.manly.nsw.gov.au<br />

T: 02 9976 1500<br />


Clay Extruder<br />

-all stainless steel<br />

so no rusting<br />

-supplied with dies<br />

-simple bayonet lock<br />

die holder (no tools reqd.)<br />

perfect for studio<br />

or classroom.<br />

- safe and easy to use<br />

cP twist-lock die holder<br />

Direct-drive wheel<br />

- stainless steel bodyflegs<br />

- optional tray tables<br />

- very quiet and smooth<br />

- high torque<br />

I rev<br />

- aux. hand speed control<br />

- can be used as table-top<br />

smooth and responsive<br />

- no belts or drive wheels<br />

Super-twin Pugmill<br />

- ultimate versatility<br />

- reclaim dry/wet scrap, extrude, de-air, blend<br />

- all stainless steel for zero clay contamination<br />

- Clip on extruding nozzles<br />

- tool-free barrel removal<br />

- twin auger mixing chamber<br />

- safe, easy feed , hopper<br />

s~<br />

';;;;"M_ system I<br />

shown extruding a 12.5cm wide tile<br />

Mk2 Series Pugmills<br />

- 3 sizes available<br />

- standard and de-airing<br />

- the world renown workhorse<br />

venco<br />

VV\I\J\N.vencO.COn1 .ilU<br />

for I7lOl8 deIaiIs 01' your ph (08) 9399 5265<br />

closest disIributor; fax (08) 9497 1335<br />


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