The Journal of Australian Ceramics Vol 53 No 2 July 2014

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WALKER<br />

~<br />

Feeneys<br />

Clay<br />

Cesco<br />

Glazes & Colours<br />

wr---... ..... · ..<br />

----I<br />

I • . • -<br />

I I .....___'_.-.... 1<br />

""<br />

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

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

r.'lillVCI are available for purchase.<br />

Icailids will be donated to

-1<br />

Contents<br />




5 Bob Connery by David Cross and Andrew Stewart<br />


12 SHARDS<br />


15 Clay <strong>The</strong>rapy Caterina leone reports on Alana Wilson's Aquatherapie works<br />

19 Alana Wilson Collage<br />

20 Convergence: Andrei David<strong>of</strong>f by Varia Karip<strong>of</strong>f<br />

23 Alana Wilson Collage<br />

24 Emotional Intelligence <strong>The</strong> art <strong>of</strong> Charlotte Le Brocque by Stephen Bird<br />

28 Of Peace and Pottery Caitlin Eyre introduces Daniel Garretson<br />

30 Hello Emilie! Emilie Ristevski shares her passion<br />

32 Dog in the Trees Kate Fagan's response in poetry to Alexandra Standen's ceramics<br />

34 Some advice from those who've been around a while .. ,<br />

37 Let's Hit Re-FRESH A letter to the future from Rachael McCallum<br />

41 Four artists review one exhibition Pippin Drysdale's Tanami Mapping III<br />

45 In Context by lindsey Wherrett<br />

48 A Search for Answers Caterina leone talks with Moyra Elliott and Peter Wilson<br />

50 Pr<strong>of</strong>ile: Elisa Bartels<br />

51 Pr<strong>of</strong>ile: Bokeh Gallery<br />

Emilie Ristevski<br />

porcelain bowls<br />

photography and styling<br />

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

Page 30<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> <strong>Vol</strong> <strong>53</strong> N02 <strong>July</strong> <strong>2014</strong> $16<br />

Cover<br />

Lindsey Wherrett. black. and<br />

white plates, <strong>2014</strong>, Clay.vorks YG<br />

wheelthrown. diam. 24cm<br />

Photos: Jonathan Wherrett<br />

Publication dates<br />

1 April, 17 <strong>July</strong>, 20 <strong>No</strong>vember<br />

Publisher<br />

<strong>The</strong> <strong>Australian</strong> CeramICS Ass(xJatlOn<br />

PO Box 274 Waverley NSW 2024<br />

To 1300 720124<br />

F: +61 (0)293693742<br />

mail@austratianceramtc5.(om<br />

WNW.australianceramics.com<br />

ABN 14 001 <strong>53</strong>5502<br />

ISSN 1449-275X<br />

Managing Editor<br />

Vicki Gnma<br />

www.vkkigrima.(om.au<br />

Guest Ednor<br />

Catetrina Leone<br />

W'WW.caterinaleone.(om<br />

Marketing and Promotions<br />

Carol Fraaek<br />


Contents<br />

52 Pr<strong>of</strong>ile: Leah Fraser<br />

<strong>53</strong> Pr<strong>of</strong>ile: Lorraine Guddemi<br />

54 Pr<strong>of</strong>ile: Stephanie Hammill<br />

55 Pr<strong>of</strong>ile: Home@735 Gallery<br />

56 Pr<strong>of</strong>ile: Jacob Ogden Smith<br />

57 Pr<strong>of</strong>ile: Thomas Quayle<br />

58 Pr<strong>of</strong>ile: Tessa Wallis<br />

59 From Paint to Clay Caterina Leone talks with Ben Quilty about his recent ceramic work<br />



75 Three Experiences <strong>of</strong> our National Pottery Competition Port Hacking Potters Group<br />


79 VIEW 1: HERE&NOW14: <strong>The</strong> state <strong>of</strong> ceramics in WA<br />

Curator Emma Mahanay Bitmead introduces this upcoming exhibition<br />

81 VIEW 2: Round the Mountain<br />

Merrie Hamilton reviews Gail Nichols' recent exhibition at Sabbia Gallery<br />

83 SPACES AND PLACES: late Nights and Dusty Clothes<br />

Amy Kennedy inteNiews Leah Jackson, Resident Artist at <strong>No</strong>rthcote Pottery Supplies in Melbourne<br />

87 WEDGE: Of Layer Cakes and Hokey Pokey - It's all in the Cooking by Moyra Elliott<br />

88 POCKET PhD: Objects <strong>of</strong> Embodied Tension Belinda Winkler shares her PhD research<br />

90 STUDIO: An Overflow <strong>of</strong> Creativity Caterina Leone reports on Cascade Artists' Studios<br />



96 ARTIST IN RESIDENCE: Time Out Julie Pennington reports on her Spanish residency<br />

98 GATHERINGS: On the Edge <strong>of</strong> the Shelf A report by Gabrielle Powell<br />


104 AUSTRALIA WIDE: Reports from around the country<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> 2 <strong>July</strong> <strong>2014</strong> $16<br />

Design<br />

Astrid Wehling<br />

\Wf\N.astridwehling.com.au<br />

Subscriptions Manager<br />

Rachael Hegh<br />

Pro<strong>of</strong>reader, (ontent<br />

Suzanne Dean<br />

Australia Wide Reports<br />

ACT: Sue Hewat<br />

NSW: Candice Anderson<br />

OLD: Lyn Rogers<br />

SA: Sophia Philhps<br />

TAS: Jill Eastley<br />

VIC: Robyn Phelan<br />

WA: Elaine Bradley<br />

Printed by<br />

Ne'NStyle Printing Co Pty ltd<br />

41 Manchester St. Mile End SA; 5031<br />

certified to ASlNZS /50 14001:2004<br />

Environmental Management<br />

Systems. Printed on Titan<br />

Satin and Knight Smooth<br />

using I 00% vege table~based<br />

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Editorial<br />

Vicki Grima, Alana Wilson and<br />

Cath Fogarty at Chinaclay on<br />

21 June, celebrating Alana's<br />

exhibition and Chinaclay's first<br />

anniversary.<br />

I hesitated to use the word 'emerging' as the defining word for this issue's focus, but had difficulty<br />

coming up with other options; 'new' and 'unknown' didn't really fit. <strong>The</strong> aim <strong>of</strong> this special issue is to<br />

encourage and support those in the early stages <strong>of</strong> their career whether recent graduates or those who<br />

have decided to prioritise their art above everything else. And so, embracing the term 'emerging', I<br />

asked Caterina Leone to join me as guest editor. I have enjoyed seeing some <strong>of</strong> her creative ideas come<br />

to fruition on the following pages.<br />

Some words from Caterina Leone:<br />

<strong>Ceramics</strong> is the art form Ihal, more than any othel; makes my heart beat faster. I sense it is becoming<br />

more popular and yet many SliJI do not understand its magic. J hope to help change thor by writing about<br />

ceramics in a way Ihal unearths this particular magic even for those with no more knowledge than thaI<br />

something called 'ceramics' exists. As this is the 'emerging' issue. / was also inspired by the way today s<br />

emerging artists consider the representation <strong>of</strong> their work in social media. As photography is more<br />

imporlantthan ever. J organised for two separate artists, a ceramicist and a poet, to interpret the work <strong>of</strong><br />

another. based solely on images.<br />

New and different approaches to reviewing and interpreting art are necessary and should be as exciting<br />

as the work being made by the emerging artisls <strong>of</strong> Australia. Many have laughed at my 'youthful naivety'<br />

when J express my opinion that arts writing should no longer be paid for by an interested party. <strong>The</strong><br />

opportunity 10 guest edit this journal has shown me Ihat perhaps this is possible after all. and that the<br />

way fonvard lies in approaching critical writing as an art form, capable oj existing hand-in-hand with Ihe<br />

artwork il explores.<br />

I hope you enjoy the issue. As always, feedback is welcome.<br />

<strong>No</strong>te: I am currently curating Back to the Table , an exhibition <strong>of</strong> emerging ceramic artists and potters<br />

who I asked to consider our changing relationship with tableware and gatherings around the dinner<br />

table. It runs from 14 September to 16 <strong>No</strong>vember <strong>2014</strong>, so I hope you can make it to Sturt Gallery in<br />

Mittagong - it's always well worth the trip!<br />


Contributors<br />

Stephen Bird is a Sydney-based artist who initially I<br />

trained as a painter at Art College in Dundee,<br />

Scotland. He works in a range <strong>of</strong> mediums<br />

including ceramics, drawing, painting and<br />

I<br />

animation. Stephen has exhibited extensively for I<br />

over twenty years in the United Kingdom, USA I<br />

and Australia and lectures part-time at the<br />

I<br />

National Art School, Sydney.<br />

I<br />

www.stephenbird.net<br />

Caitlin Eyre is an emerging curator and arts<br />

writer based in Adelaide. She completed her<br />

double Master <strong>of</strong> Arts (Art History and Curatorial<br />

and Museum Studies) at the University <strong>of</strong><br />

Adelaide in 2013. She is currently serving as<br />

the Resident Curator at Carclew (a youth arts<br />

organisation in Adelaide) and is the Assistant<br />

Curator for ARI Grid Projects.<br />

E: caitlin.l.eyre@gmail.com<br />

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

Kate Fagan is a poet, songwriter and musician<br />

who lectures in Literary Studies at UWS. Her<br />

latest collection First Ught (Giramondo 2012)<br />

was short-listed for both the NSW Premier's<br />

Literary Awards and <strong>The</strong> Age Book <strong>of</strong> the Year<br />

Award, and she supported Joan Baez on her<br />

2013 tour <strong>of</strong> Australia and New Zealand.<br />

www.katefagan.com<br />

Photo: Brian Rapsey<br />

I<br />

I<br />

Caterina Leone is a freelance writer and artist.<br />

A graduate <strong>of</strong> the National Art School, with a<br />

BFA in <strong>Ceramics</strong>, words are now her clay. She<br />

is obsessed with unearthing new and different<br />

ways to write about ceramics, approaching<br />

writing as a connected yet independent art form<br />

from the ceramics it investigates.<br />

www.caterinaleone.com<br />


Bob Connery in Japan, 2010; photo: courtesy Bob Connery's archive<br />

Bob Connery 1941-2013<br />

A t ribute by David Cross<br />

Bob Connery, master potter, musician, scientist, teacher and visionary died peacefully at Murwillumbah<br />

Hospital on 12 December 2013 as his daughters sang his soul on with a rendition <strong>of</strong> Six White Horses.<br />

Bob's studio and gallery, Stokers Siding Pottery, has been an icon <strong>of</strong> the <strong>No</strong>rthern Rivers art scene for the<br />

past 30 years. Bob and his partner Julie Rainow, who managed Stokers Siding Pottery, have showcased<br />

arts and crafts from the <strong>No</strong>rthern Rivers and all over Australia, including the work <strong>of</strong> Indigenous<br />

artists. <strong>The</strong>y have nurtured and helped develop the careers <strong>of</strong> dozens <strong>of</strong> artists and craftsmen and<br />

women. Bob's own work was internationally acclaimed and recognised, particularly in Japan where<br />

his lustre ware ceramics were so highly regarded that he was given 'signing rights' by Grand Tea<br />

Master Sen Shoshitsu, effectively guaranteeing the quality and worth <strong>of</strong> his work. Bob was one <strong>of</strong> only<br />

two westerners to have been given such recognition and was accorded the right to have a kiln in Japan,<br />

<strong>The</strong> move to the Far <strong>No</strong>rth Coast was an outcome <strong>of</strong> a vision Bob had <strong>of</strong> creating an arts community<br />

along the lines <strong>of</strong> Monsalvat (an artist's colony in Victoria). A number <strong>of</strong> friends who shared similar<br />

views and values became involved with the project. A run-down old dairy and banana farm at Stokers<br />

Siding was bought in 1973 and Duck Palace was born . As much an outcome <strong>of</strong> the alternative-lifestyle<br />

hippy era as it was <strong>of</strong> a Monsalvat vision, Duck Palace was one <strong>of</strong> the first alternative communes or<br />

co-operatives in the Tweed (NSW). With the purchase by the partnership in 1977 <strong>of</strong> the old Stokers<br />

Siding Store and Bakery, Bob had the opportunity to pursue his dream <strong>of</strong> establishing a commercial<br />

pottery and gallery. Over the next 30 years the distinctive two-storey building became the centre <strong>of</strong> his<br />



Above: Bob Connery, bowl and box; Sen Shoshitsu, 15th generation descendant <strong>of</strong> Sen Rikiyu, founder <strong>of</strong> the Tea ceremony,<br />

awarded Bob's teabowls with 'box-signing'. This means that the work is formally accepted for use in the Tea ceremony.<br />

Below: Stokers Siding Pottery; photos: Jimmy Malecki<br />

and Julie's creative life. Bob resigned from teaching and devoted himself solely to the produdion <strong>of</strong><br />

ceramics and, in partnership with Julie, the development <strong>of</strong> a gallery that provided a retail outlet for his<br />

and others' work.<br />

Bob's passion for ceramics developed early when he learnt raku pottery from Shiga Shigeo in the<br />

1960s. His interest in ceramics was further developed through working with Roswitha Wulff, and later at<br />

Stokers Siding he collaborated with Laine Langridge and then Andrew Stewart. His early work at Stokers<br />

was woodfired until he installed a gas kiln. <strong>The</strong> first firing <strong>of</strong> the woodfired kiln proved to be a very<br />

drawn-out affair involving the consumption <strong>of</strong> a few too many glasses <strong>of</strong> red . Burnt and blistered Bob<br />

and Laine ruefully decided to limit drinking during future firings.<br />

With his background in science Bob was well placed to experiment with various glazes, some <strong>of</strong><br />

which were made from local clays. His expertise in reduced-lustre glazes, developed in the 1990s,<br />

owed much to his science training. And it was his<br />

mastery <strong>of</strong> lustre ware, an ancient Persian style,<br />

which cemented his reputation both nationally and<br />

internationally.<br />

Whether throwing pots, playing music or<br />

cooking for friends, Bob was a passionate<br />

perfectionist. Sometimes a hard taskmaster. he<br />

was a loyal and generous friend, a devoted family<br />

man and a respeded community elder. He will be<br />

greatly missed by countless friends, colleagues and<br />

admirers.<br />

This text by David Cross is an edited version <strong>of</strong> an article<br />

which first appeared in <strong>The</strong> Tweed Valley Weekly and the<br />

onhne Echonet Daily in December 2013 .<br />


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

Tribute: Bob Connery<br />

<strong>Ceramics</strong> by Bob Connery; the green and red open bowl (on the right) uses what was termed an 'envy green' base glaze.<br />

Photos: courtesy Bob Connery's archive<br />

A tribute by Andrew Stewart<br />

I met Bob in 1977, back when he and Laine Langridge started Stokers Siding Pottery. <strong>The</strong>y built a little<br />

woodfired Dutch oven kiln and I used to come over and fire it with them. 50 began a long friendship<br />

that was also a friendship with Julie, Mary Lee, all the kids, and the whole extended family and farm. In<br />

fact, the interesting dynamic <strong>of</strong> extended families was something we had in common and my extended<br />

family has woven in and out over the years too, including the seven years I was Bob's partner in the<br />

pottery and lived upstairs.<br />

Working alongside Bob, I became familiar with his moods, from occasional despondency and the wellknown<br />

bellow when things went drastically wrong, to the much more frequent bouts <strong>of</strong> enthusiasm,<br />

which sometimes were like a force <strong>of</strong> nature you just had to go along with. He loved music, food, wine<br />

and sociability. But he could also be inward, driven and oblivious. He worked quickly with the easy<br />

rhythm <strong>of</strong> a musician who plays with the freedom that comes only after lots <strong>of</strong> practice; he was also<br />

always a meticulous craftsman.<br />

I got to know his way <strong>of</strong> making pots well. I can pick Bob's pots the same way I might have picked<br />

him out in a crowd. <strong>The</strong>y have a 'Bobness' about them. I can see his familiar gestures and movements<br />

as he made them. Handles, spouts, lids, rims, foot rings - they sprang from his fingers in a way that, to<br />

me, is unmistakably Bob. His decoration energetically fills all the available space, just as his personality<br />

would fill a room, whether it was a classroom or the Stokers Hall on New Year's Eve, playing with the<br />

band.<br />

Over the last couple <strong>of</strong> decades the two major themes in Bob's work were lustres and Japan. He first<br />

became interested in pottery through Shigeo Shiga in Sydney in the sixties and Japanese ceramics were<br />

always an inspiration. His first visit to Japan around 2000 was the beginning <strong>of</strong> a close relationship with<br />

a group <strong>of</strong> potters there, mostly in the pottery village <strong>of</strong> Koishiwara in Kyushu.<br />

In the early nineties Bob started working seriously on his reduced lustre pots, becoming a master <strong>of</strong><br />


Tri bute: Bob Connery<br />

<strong>Ceramics</strong> by Bob Connery; the vessel (above left) uses a lovely turquoise base glaze with copper and silver<br />

lustre which appears gold after firing _ <strong>The</strong> slab-built vase (above right) features a copper red base glaze that<br />

breaks to copper green after lustre firing; photos: courtesy Bob Connery's archive<br />

the difficult chemistry, application and firing <strong>of</strong> lustre pigments. He developed his own original style<br />

that was different from traditional Islamic lustre pottery, so when he took this with him to Japan it was<br />

considered quite exotic. A remarkable cross-cultural feat then happened - he began making tea bowls<br />

and other tea ceremony ware in reduced lustre, which was exhibited to great acclaim and Bob was<br />

given the imprimatur <strong>of</strong> an important tea master.<br />

In Koishiwara, Bob-san became a respected and loved figure, in particular by Hizuru and Narumi<br />

Kajiwara and their children, Yume and Shotaro. <strong>The</strong>y lived with Bob and Julie here in Australia for some<br />

months while Hizuru studied lustres, and the first thing they did when they got home to Japan was to<br />

build - no, not a lustre kiln - a deck!<br />

Right from his beginnings in the high school science lab, Bob was always an inspiring and generous<br />

teacher. He taught ceramics at Murwillumbah and Lismore TAFE Colleges for many years and<br />

conducted workshops in lustre and other techniques in various parts <strong>of</strong> Australia. Through his teaching,<br />

encouragement, publications, travel, dynamic personality and, <strong>of</strong> course, fine pots, he touched many<br />

lives and made many friends.<br />

For me, there was never anyone I could talk about pots with as I could with Bob, but it was never<br />

just about pots. It was about music and art, books, science, politics, philosophy and years <strong>of</strong> shared<br />

references. And it was never just talk. It was working and doing things together. Bob kept working,<br />

courageously, right to the end, still experimenting, still aiming for that next lustre firing. He had a few<br />

people working with him on that and I was glad to be one <strong>of</strong> them.<br />

This text is an edited version <strong>of</strong> words spoken by Andrew Stewart<br />

at Bob's Memorial Party on 2B December 2013.<br />


Shards<br />


Karen Weiss would like to<br />

apologise for the mistake<br />

which appeared in <strong>The</strong> <strong>Journal</strong><br />

<strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>,<br />

<strong>53</strong>/1, April <strong>2014</strong> in her article<br />

Another Country. On page<br />

38, paragraph 3, it read, "Kim­<br />

Anh Nguyen left her birthplace,<br />

Vietnam ... . " Kim-Anh Nguyen<br />

was actually born in England.<br />

On page 40, paragraph 1,<br />

mention was made that .<br />

"by then she had two small<br />

children". In fact, by then Kim­<br />

Anh had three small children .<br />

I NEW DVD<br />

I A short film has been made by<br />

filmmaker Carolyn Constantine<br />

about <strong>The</strong> Course <strong>of</strong> Objects<br />

- the fine lines <strong>of</strong> inquiry,<br />

TACA's <strong>2014</strong> biennial exhibition<br />

at Manly Art Gallery & Museum;<br />

16:30 mins. <strong>The</strong> DVD includes<br />

interviews with curator Susan<br />

I Ostli ng and artists Simone Fraser<br />

and Toni Warburton in their<br />

studios; $15, includes postage<br />

within Australia.<br />

Call 1300 720 124 or go to<br />

I www.australianceramics.com<br />

and click on 'shop' .<br />


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

would like to thank Square One<br />

I Studios at Erskineville for their<br />

warm welcome at recent meetings<br />

<strong>of</strong> the Association committee and<br />

members. SQ 1 Studios houses many<br />

artists, potters and other creatives.<br />

I Among them are Julia Meyerowitz­<br />

I Katz, Claypool <strong>Ceramics</strong> Studio,<br />

I Deb Taylor, Milly Dent, Naomi Taplin,<br />

Merran Esson and Jan Downes.<br />

www.sq1.net.au<br />


<strong>Ceramics</strong> Victoria's newly<br />

redesigned website.<br />

www.ceramicsvictoria.org.au<br />


Andrei David<strong>of</strong>f has been awarded<br />

an Australia Council for the Arts<br />

Early Ca reer Residency Grant, which<br />

he will be undertaking at Vaucluse<br />

House in September <strong>2014</strong>, with the<br />

resulting project being exhibited in<br />

December. See article on Andrei's<br />

work on page 20 <strong>of</strong> this issue.<br />

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Our photographic cha llenge for <strong>The</strong><br />

<strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, <strong>53</strong>/3, is<br />

Clay with Scale . Take a photo <strong>of</strong> one (or<br />

more) <strong>of</strong> your ceramic creations and play<br />

with the scale. Make it look BIG I Make it<br />

look small. Whatever your idea, there must<br />

be a ceramic link. Submit your image to<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> by<br />

following the requirements outlined here:<br />

http://tinyurl.com/claywithscale<br />

See the winners <strong>of</strong> ... and the word is<br />

CLAY on pages 93-95 <strong>of</strong> this issue.<br />


30 Objects 30 Insights<br />

Published in April <strong>2014</strong> by the<br />

Gardiner Museum; Editors Rachel<br />

Gotlieb and Karine Tsoumis. A pr<strong>of</strong>ile<br />

<strong>of</strong> 30 historically and culturally<br />

important objects from the renowned<br />

Gardiner Museum, Toronto, which<br />

has one <strong>of</strong> the greatest collections<br />

<strong>of</strong> ceramics in the world. <strong>The</strong><br />

paperback features works by illustrious<br />

names such as Marc Chagall,<br />

Betty Woodman, Marilyn Levine,<br />

Wedgewood and Delft.<br />

To purchase go to http://<br />

blackdogonline.com; USD$29 .95<br />

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Check out curator Glenn<br />

Barkley's feature article in Issue<br />

51.4, May <strong>2014</strong>, <strong>of</strong> ART and<br />

Australia titled, 'So Hot Right<br />

<strong>No</strong>w? Contemporary <strong>Ceramics</strong><br />

and Contemporary Art'.<br />

Go to:<br />

www.artandaustralia.com<br />

to buy the issue.<br />



A new report, Mapping the<br />

<strong>Australian</strong> Craft Sector, was<br />

released on 18 June <strong>2014</strong>. It is the<br />

most comprehensive national<br />

study <strong>of</strong> contemporary <strong>Australian</strong><br />

crall and design in decades. <strong>The</strong><br />

report was commissioned by the<br />

National Craft Initiative (NCI), a<br />

partnership between the <strong>Australian</strong><br />

Craft and Design Centres (ACDC)<br />

and the National Association for<br />

the Visual Arts (NAVA) and was<br />

funded by the Australia Council<br />

for the Arts. <strong>The</strong> findings <strong>of</strong> this<br />

report suggest contemporary<br />

craft is facing a period <strong>of</strong> unusual<br />

turbulence, characterised by a<br />

number <strong>of</strong> challenges and exciting<br />

opportunities.<br />

(J<br />

I<br />

A~C&WItlt8<br />

OPEN<br />

~<br />

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

16&17 AUGUST<br />

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

On Saturday 16 & Sunday 17 August <strong>2014</strong> hundreds <strong>of</strong> potters across<br />

Australia will open their studios to the public over a weekend that promises<br />

to be a celebration <strong>of</strong> clay, creativity and community. <strong>The</strong> event is hosted by<br />

I <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association (TACA) for its members. See page 111 <strong>of</strong><br />

this issue and www.australianceramics.com for a list <strong>of</strong> participating studios.<br />

Download Mapping <strong>The</strong><br />

<strong>Australian</strong> Craft Sector here:<br />

www.nationalcraftinitiative.<br />

(om.au.<br />

*-' . - -<br />

.~-<br />

_.-. - --<br />

::.-==-~ -----<br />

I<br />

Images from the<br />

Reduced Lustre<br />

Workshop with<br />

Bob Connery in<br />

2010 at<br />

Lue Pottery, NSW.<br />

https:llflic.krl s/aHsjpVdj3c<br />


Ever thought <strong>of</strong> using a bike to create<br />

pots? COFA graduate, Ion Fukazawa<br />

has developed a device that generates<br />

centrifugal force (via a manned-bicycle)<br />

which is then used to create ceramic<br />

vessels. Created as part <strong>of</strong> Ion Fukazawa's<br />

COFA final year design exhibition, the<br />

video was shot on Cockatoo Island in<br />

Sydney. http://Yimeo.comI71867178<br />

BE IN IT TO W IN USDS48.000!<br />

<strong>The</strong> 8th Gyeonggi International<br />

Ceramic Biennale (GICBiennale<br />

2015) will be hosted by the<br />

Korea Ceramic Foundation from<br />

24 April to 31 May 2015. As<br />

part <strong>of</strong> the main program, <strong>The</strong><br />

International Competition is calling<br />

for entries. It is open to all and<br />

artists are encouraged to display<br />

their imagination and creativity in<br />

ceramics (clay) to the fullest.<br />

<strong>The</strong> Grand Prize Winner will receive<br />

I cash KRW 50,000,000 (approx.<br />

USDS48,000) and a solo exhibition<br />

at GICBiennale 2017. For full details<br />

please visit, www.kocef.org;<br />

submission <strong>of</strong> images:<br />

I 1 September - 7 <strong>No</strong>vember <strong>2014</strong><br />


From Shannon Garson, President, <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association:<br />

I have just started using Instagram, an exciting social media resource. Like many web-based<br />

resources, Instagram is particularly effective in keeping regional artists in touch with their<br />

peers. I have been making an effort to use the hashtag #australian ceramics when posting<br />

photos <strong>of</strong> my work. Hashtags are a way <strong>of</strong> organizing images you post to the internet or<br />

Instagram so anyone searching Instagram or Google for '<strong>Australian</strong> ceramics'<br />

will be easily able to find your work. You can link any images on Instagram<br />

back to your entry in the <strong>Australian</strong> <strong>Ceramics</strong> Directory. I suggest that this<br />

would be a great way for artists across Australia to be part <strong>of</strong> a wider<br />

international community and get their work seen when someone is searching<br />

for an <strong>Australian</strong> potter, sculptor or ceramicist.<br />



Focus: Emerging<br />

Opposite page: Alana Wilson, Aquatherap;e<br />

(Reef Amphora), <strong>2014</strong>, porcelain paperelay<br />

various glaze finishes; photo: artist<br />

Below left: Alana Wilson, Aquatherap;e<br />

(Whitewash), <strong>2014</strong>, porcelain paperelay<br />

various glaze finishes; photo: Scott Wilson<br />

Below right: Alana Wilson, Aquatherapie<br />

(Standing Amphora 11), <strong>2014</strong>, porcelain<br />

paperclay, various glaze finishes<br />

Photo: artist<br />

Clay <strong>The</strong>rapy<br />

Caterina Leone reports on Alana Wilson's Aquatherapie works<br />

Alana Wilson is, to be blunt, an emerging artist to watch . Her work is already recognisably hers, yet with<br />

intriguing developments from each body <strong>of</strong> work to the next. Engaging in person, Wilson possesses the<br />

desire to experiment coupled with the self-confidence to do so. <strong>The</strong> result is a beautiful interrelation<br />

<strong>of</strong> aesthetic, meaning and technique and a surface treatment that is unusually advanced for such a<br />

young artist. A recent Honours graduate <strong>of</strong> the National Art School, Wilson was awarded the Sabbia<br />

Gallery Exhibition Award in 2011 for her graduate body <strong>of</strong> work, she was the recipient <strong>of</strong> the UNSW Arc<br />

Ceramic Residency, and most recently, has participated in a group show at emerging gallery Home@735<br />

in Redfern.<br />

Her most current body <strong>of</strong> work, Aquatherapie, is the culmination <strong>of</strong> her dedicated glaze testing<br />

and a refinement <strong>of</strong> her unique aesthetic. <strong>The</strong> collection takes its name from a Vogue Paris editorial by<br />

Mario Sorrenti. Wilson draws inspiration from a wide variety <strong>of</strong> sources, from contemporary fashion,<br />

the classical forms <strong>of</strong> antiquity, Cy Twombly's sculptures, to her love <strong>of</strong> the ocean and her other life as<br />

a swim instructor. In her UNSW studio, amongst her beautifully curated collages <strong>of</strong> inspirations, is an<br />


Focus: Emerging<br />

Wilson's workbook. and inspiration, <strong>2014</strong>; photo: Caterina leone<br />

Above right: Alana Wilson, Aquatherap;e (Amphora I), <strong>2014</strong>, porcelain paperday. various glaze finishes; photo: artist<br />

image <strong>of</strong> an ancient amphora being pulled from the water's depth by a diver. Wilson's Aquatherapie<br />

works are, in many ways, an imagining <strong>of</strong> what comes next. Taking the classical amphora form, she<br />

has recreated them for a new age, whilst simultaneously making them appear ancient, encrusted with<br />

the accumulation <strong>of</strong> centuries underwater. Almost paradoxical in nature, her works are a celebration <strong>of</strong><br />

both old and new, reconciling the conflicting aesthetics <strong>of</strong> water and fire. <strong>The</strong> veneration <strong>of</strong> antiquity<br />

ends with the iconic forms; their surface treatment is thoroughly modern in both appearance and<br />

technology. Embracing new materials such as a commercial pink slip, the resulting works successfully<br />

achieve her aim <strong>of</strong> harmonising "the opposing aesthetics <strong>of</strong> primitive, rough and raw with subtle,<br />

composed and contemporary". In some works, such as Amphora /, the glaze has consumed the<br />

form beneath, swallowing the openings between the vessel and its handles. In another, the glaze has<br />

devoured the opening <strong>of</strong> the vessel, sealing it shut. Such anthropomorphising <strong>of</strong> an inanimate glaze<br />

can extend beyond appearance; some pieces even make s<strong>of</strong>t noises when handled, due to air pockets<br />

in the bubbling surfaces, reminiscent <strong>of</strong> a shell that one holds to the ear to hear the ocean. Wilson<br />

speaks <strong>of</strong> the works interacting in the kiln, the highly reactive nature <strong>of</strong> the chemicals used sometimes<br />

causing nearby works to stain one another, a collaboration <strong>of</strong> vapour distribution. <strong>The</strong> works seem<br />

alive, as though one may return to an exhibition to see further growth and a spot <strong>of</strong> colour that wasn't<br />

previously there.<br />

Another new form, the large, wide, uneven bowls, also draw inspiration from antiquity, this time from<br />

a Neolithic Chinese bowl seen at the NGV, Melbourne. It is not usually a form she is drawn to, preferring<br />

more closed shapes. Even this small w ay <strong>of</strong> stepping out <strong>of</strong> her comfort zone shows that Wilson is<br />

unlikely to become repetitive. Each successive body <strong>of</strong> work has grown into an independent, distinct<br />

entity, stemming from an obsessive desire to refine her surface treatment.<br />

Exhibited at Home@735 Gallery in March <strong>2014</strong>, the Aquatherapie works possessed an overwhelming<br />

power, eclipsing their surroundings, making irrelevant the challenges <strong>of</strong> the small, unusual space.<br />

However, the works are quiet in their power, with their muted palette and subtleties <strong>of</strong> texture and<br />

colour that warrant close and long inspection. Wilson has created works that need no philosophy <strong>of</strong><br />

art, no theory <strong>of</strong> criticism or even language to appreciate them; all you need are eyes. <strong>The</strong> rest is just<br />

justification for that pre-linguistic, primal 'yes!'<br />


Focus: Emerging<br />

<strong>The</strong> Secret to Alana Wilson's Glazes:<br />

Wilson's already distinctive surfaces have obsessed her since art school, and she has devoted her practice<br />

to developing them in a highly technical and precise manner. She uses porcelain or terracotta paperclay,<br />

for both the lightness <strong>of</strong> the fired work and the ease <strong>of</strong> manipulation when wet. Her forms are <strong>of</strong>ten<br />

exaggerated; uneven bowls with feet almost too small for their size, or vessels that bulge outwards on<br />

one side more than the other. <strong>The</strong> paperclay easily allows Wilson to handbuild these individual forms.<br />

She coats the works, after the bisque, in slip, usually silicon carbide-based. It seems fresher to her, and<br />

is more reactive with the glaze. <strong>The</strong> more silicon carbide in the slip, the more bubbles on the finished<br />

surface. Highly reactive at stoneware temperatures, the silicon carbide vaporises through the glaze<br />

directly layered on top, creating the texture. After the slip, Wilson paints the works with washes she<br />

has developed, typically containing 8-10% tin, which mattify the surface. She has slowly increased the<br />

amount <strong>of</strong> tin over time, consequently making the works more susceptible to vapours from the other<br />

glazes around them in the kiln. <strong>The</strong> tin <strong>of</strong>ten flashes pink during firing. In her recent work she has<br />

begun experimenting with red iron oxide, copper oxide and titanium washes too, the latter <strong>of</strong> which<br />

also mattifies, though not as successfully as tin. <strong>The</strong> titanium produces a stony-beige glaze. Lithium<br />

and barium, chemicals that eat into the clay, are also used helping to produce the pockmarked, spongy<br />

surfaces. Whilst understandably secretive about her recipes, she imparts that it is important not to mix<br />

the layers too much.<br />

Alana Wilson in her studio. <strong>2014</strong>; photo: Caterina Leone

Focus: Emerging<br />

Wilson's test pieces for<br />

Aquatherapie, <strong>2014</strong><br />

Right: Wilson 's collage <strong>of</strong><br />

inspirations and tea-bowl test<br />

pieces for Aquatherapie, <strong>2014</strong><br />

Photos: Caterina Leone<br />

Opposite page: Alana W ilson<br />

Collage on Andrei David<strong>of</strong>f I,<br />

<strong>2014</strong>, terracotta clay and crushed<br />

stoneware clay in plaster mould<br />

with C-type print and titanium<br />

wash, h.30cm, w.21 em<br />

Wilson fires her works in an electric kiln. She rigorously tests the combinations <strong>of</strong> slips and washes on<br />

test pieces first - small mountainous shapes, which become beautiful works <strong>of</strong> art in their own right,<br />

placed en masse. Wilson prefers to make tea bowls for test pieces; though more time-consuming, they<br />

allow a greater discernment <strong>of</strong> the eventual effects <strong>of</strong> the glaze, its reaction to inner and outer surfaces<br />

as well as different thicknesses <strong>of</strong> application. Despite this, there are still discrepancies between the<br />

tests and the finished product. <strong>The</strong> tests are smaller, and thus more <strong>of</strong> them fit in the kiln, leading to a<br />

greater transference <strong>of</strong> colours. Originally intending to study painting at art school, a painterly approach<br />

and sensitivity to colour is still evident in the thick, textured, multi-coloured surfaces. Wilson begins with<br />

a clear idea and works methodically and scientifically to that end, indicative <strong>of</strong> her background in object<br />

design. Yet she still finds joy in the ultimate lack <strong>of</strong> control, the submission to the ki ln and its happy<br />

accidents.<br />

www.alanawilson.com<br />


Alana Wilson, (<strong>of</strong>/age on Andre; David<strong>of</strong>f 1, <strong>2014</strong>, terracotta clay and crushed<br />

stoneware clay in plaster mould w ith C·type print and titanium wash; h.30cm, w.21cm<br />

Caterina Leone: Art has always been remade in the eyes <strong>of</strong> each viin·ver, and today wilh photography<br />

<strong>of</strong>ten the only access (I viewer may have to a work, there is a further element <strong>of</strong> abstraction added /0<br />

this remaking and interpretation. Inspired by A/ana Wi/son s own collages, which she makes before a<br />

body <strong>of</strong> work 10 serve as inspiration, J asked her 10 instead create collages based on another artist s<br />

work, and/rom photographs o/Ihat work. Using Andrei David<strong>of</strong>f's ceramics as her starting point,<br />

Ihe collages shown here, and all page 23, combine both artists' aeslhetics, generating new works o[<br />

art thaI demonstrate the beauty 0/ this treml/ormation from work. 10 photo. to audience. 10 new work~<br />

completed afresh by each viewer.

Focus: Em erging<br />

Convergence: Andrei David<strong>of</strong>f<br />

By Varia Karip<strong>of</strong>f<br />

For sculptor and ceramic artist Andrei<br />

David<strong>of</strong>f, last year held opportunities and<br />

tests in almost equal measure. I hesitate to<br />

ask directly whether he thinks he has kept his<br />

two practices - functional and conceptual -<br />

growing equally apace, and whether they are<br />

coming to a kind <strong>of</strong> resolution .<br />

His solo exhibition <strong>The</strong> Speicherring<br />

Project, shown at Craft in September,<br />

provided an opportunity to interrogate him<br />

obliquely'. " <strong>The</strong> Speicherring Project,"<br />

he said, "is a synthesis <strong>of</strong> functional ceramic<br />

and sculptural elements. <strong>The</strong> premise was to<br />

bring the two together." It has been several<br />

years since David<strong>of</strong>f took to using clay in his<br />

sculptural practice, instead favouring wood<br />

and found objects in large-scale architectural<br />

interventions. This most recent exhibition<br />

featured lead vessels that reference the<br />

functional, though are rendered sculptural<br />

and distinct from traditional clay forms by<br />

their material, which is toxic. Large ceramic<br />

bowls echoed the shape <strong>of</strong> outsized satellite<br />

dishes rather than anything you would find<br />

in a domestic setting, and the large ceramic<br />

vessels resembled something out <strong>of</strong> an industrial application. Three oil paintings <strong>of</strong> the world's largest<br />

radio telescope in Arecibo, Puerto Rico, unlocked key concerns <strong>of</strong> David<strong>of</strong>f's - our relationship to<br />

architectural spaces and how those spaces then relate to landscape. <strong>The</strong> connections between the five<br />

series <strong>of</strong> works are non-lineal; he invited the audience to discover links between the separate pieces. In<br />

a roundabout way, David<strong>of</strong>f answered my question about his functional and sculptural practices: "<strong>The</strong>y<br />

took time to resolve because I intentionally held them separate." <strong>The</strong> Speicherring Project, named<br />

after the Hadron Collider, was intended to forcibly bring the two together, to collide them, if you will.<br />

Tension between the two strands <strong>of</strong> his practice will always exist, though David<strong>of</strong>f now doesn't see his<br />

themes varying that much. As he deals with the everyday at his potter's wheel, there is still containment,<br />

space, the inside <strong>of</strong> the bowl or pot and how it relates to its outside form. <strong>The</strong> day before his exhibition<br />

opening, his production-ware was featured in a prominent design blog . In a modest firestorm <strong>of</strong><br />

attention and interest, he picked up several large commissions from a Melbourne interior design firm.<br />

A new restaurant and a design marquee beyond the velvet rope <strong>of</strong> the Bird Cage at the Spring Racing<br />

Carnival were simultaneous projects that tested the mettle <strong>of</strong> his home studio set up. "I work from<br />

20 THE 10URNAl OF AUSTRALIAN CERAMICS JULY <strong>2014</strong>

Focus : Emerging<br />

-----<br />

Opposite page: David<strong>of</strong>f working in his studio under the watchful eye <strong>of</strong> Augustine; photo: Clare Plueckhahn<br />

Above: All ceramics by Andrei David<strong>of</strong>f, 2013; photos: Clare Plueckhahn<br />

1 Stoneware. semi·gfazed porcelain, slip decorated porcelain, various dimensions<br />

2 BrushStroke production series, 2013, unglazed. slip·decorated translucent porcelain, largest bowl d.2Scm<br />

3 Production teapots, glazed porcelain, approx. h.23cm<br />

4 Black White production series, 2013, semi-glazed translucent porcelain, various dimensions<br />


Focus: Emerging<br />

a converted bungalow in a sprawling backyard in the<br />

north <strong>of</strong> the city. <strong>The</strong> gas kiln I purchased for a few<br />

hundred dollars was a lucky e8ay find. I really put it<br />

through its paces in the last couple <strong>of</strong> months; it was<br />

firing almost every day. A timely Australia Council<br />

Art Start grant let me kit the studio and enabled me<br />

to increase my production and handle these larger<br />

commissions ...<br />

Andrei David<strong>of</strong>f has a few mentors to thank for his<br />

burgeoning small ceram ic business. He is especially<br />

grateful to Kris Coad and Sally Cleary, his supervisors at<br />

RMIT where he completed his MFA in 2012. During his<br />

undergraduate and postgraduate studies he exhibited<br />

regularly in artist run initiatives (ARls) in Melbourne<br />

and Sydney. Though only 30** , David<strong>of</strong>f is a reluctant<br />

technology user. However, he doesn't deny the benefit<br />

<strong>of</strong> being visible in social media and the blogosphere,<br />

whether it be a moody photo <strong>of</strong> a pot on Instagram<br />

or an update on Facebook. "Having a web presence,<br />

especially having very sharp images <strong>of</strong> my work available<br />

to the public, has been a boon for the business side, "<br />

he admits.<br />

Andrei David<strong>of</strong>f. Transition Series<br />

Speicherring Project, 20 13. installation<br />

detail, slip-decorated porcelain, each approx.<br />

diam.55cm; photo: Anita Beaney<br />

His studio shows the ravages and triumphs <strong>of</strong> a working space - the floor runs at an angle downwards<br />

to the back window, ivy grows through crevices, and a whispering gum tree dominates the southern<br />

w indow. "I enjoy this space," David<strong>of</strong>f says <strong>of</strong> the bright studio with green aspects. <strong>The</strong> shelves <strong>of</strong> his<br />

studio are stocked w ith examples from his three current production series. Glazed porcelain, brushwork<br />

w ith slip, and glazed dark stoneware are a nod to an Eastern aesthetic and a Scandinavian sense <strong>of</strong><br />

design. "An integral part in the functional series is the interaction between clay and glaze.<br />

I want people to experience the distinct but complementary characteristics between<br />

the two. " Today, his production series is stocked around Australia and also in London.<br />

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

· Wriler Varia Kanp<strong>of</strong>f IS Andrei David<strong>of</strong>f 's partner and believes all diffICult questK>nS to one's loved ones should be asked<br />

obhQueIy.<br />

• ~ Andrei IS actually 31 but has trouble admitting it.<br />

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

~<br />

-­.~-<br />

Andrei David<strong>of</strong>f, 720 Series. Speicherring Project. 2013, installation detail, semi·glazed porcelain, various dimensions<br />

Photo: Anita Beaney

Alana Wilson, Col/age on<br />

Andrei David<strong>of</strong>f II, <strong>2014</strong><br />

photocopied ceramic dish with<br />

pastel and black iron wash on<br />

paper, h.30cm, w.21cm

Focus: Emerging<br />

Emotional Intelligence<br />

<strong>The</strong> art <strong>of</strong> Charlotte Le Brocque by Stephen Bird<br />

All learning has an emotional base.<br />

PlaID<br />

In his recent BBC TV documentary about outsider art, Alan Yentob tried to define the difference<br />

between 'art brut' and the established art scene. He says, "Official culture has a dialogue with art<br />

history, whereas art brut is usually a monologue." I am not an enthusiast <strong>of</strong> black and white definitions<br />

<strong>of</strong> art, but it is an interesting observation seeing as so much contemporary art is a reinterpretation <strong>of</strong> the<br />

art <strong>of</strong> the past. In an education system that is increasingly driven toward homogenised artist statements<br />

and concept-driven practice, I <strong>of</strong>ten ask myself whether it's possible for an artist who has gone through<br />

a formal arts education to maintain some <strong>of</strong> the enthusiasm, passion and intuition <strong>of</strong> the untrained<br />

artist.<br />

Charlotte Le Brocque was born in Darlinghurst, Sydney, in 1991, but grew up (and now lives) in<br />

Woronora Heights, NSW. Her father has a shop which sells and fixes power tools and her mother<br />

worked for some time at the local library. Charlotte remembers setting her sights on being an artist<br />

at the age <strong>of</strong> six, and her parents have always been fully supportive <strong>of</strong> that decision. Charlotte'S<br />

grandmother, Viva Titterington, was a self-taught painter <strong>of</strong> imaginary landscapes. At high school<br />

Charlotte was encouraged to paint by her art teacher, Catherine Harry, who also suggested that she<br />

apply to study at National Art School.<br />

For some artists a chance encounter with a certain medium, along with an encouraging tutor,<br />

changes the direction <strong>of</strong> their art forever. This was the case with Charlotte when, in 2011, she studied<br />

raku ceramics under the guidance <strong>of</strong> Don Court at National Art School. Don's enthusiasm for pottery<br />

was contagious and I remember listening in admiration as he eulogised over a small pinch pot made<br />

on the very first day <strong>of</strong> the course. And it was during the afore-mentioned raku class that Don's gentle<br />

encouragement planted the seed in Charlotte's imagination which WOUld, over the next three years,<br />

blossom into a body <strong>of</strong> work which has received much attention from some <strong>of</strong> Sydney's most respected<br />

gallery owners. For the works presented in her degree show at the National Art School in 2012,<br />

Charlotte also won the Sabbia Gallery Prize, which has led to a solo show at the gallery in <strong>2014</strong>.<br />

Charlotte's technique, developed during Don's class, was unassuming and rudimentary. It's the one<br />

which many <strong>of</strong> us pass right by without a second thought as we develop skillS and refinements to<br />


Charlotte le Brocque, Shaun, <strong>The</strong><br />

Over Enthusiastic Shearer With<br />

Sharp Shears, 2013, raku clay, glazes<br />

h.S8cm, w.2Scm, d.21cm<br />

Photo: Stephen Bird

Charlotte Le Brocque, Put Your Paws Up And Drop the Carrots and You Can Dig But You Can't Hide, 2013, raku clay<br />

and glazes. approx. h.3Ocm. w.l Scm. d.20cm; photo: Stephen Bird<br />

navigate our way through the complexities <strong>of</strong> the arVpottery maze. Charlotte was looking for a simple<br />

engagement with a material through which she could communicate and understand countenance from<br />

within herself and from those around her. She didn't want apparatus or machines to come between<br />

herself and her creations - tools would dull the sensation she ekes out <strong>of</strong> the clay with her fingers. I<br />

have seen Charlotte scrutinising a lump <strong>of</strong> clay for many hours. I have then left the room for a short<br />

time to return to a fully formed clay character sitting on the table with Charlotte nowhere to be seen.<br />

I now real ise she is an artist who needs to be totally alone to produce her works. Charlotte's early<br />

works were glazed with the most unctuous fritted glazes (containing copper, iron, cadmium and cobalt)<br />

which she mixed, and then applied in private after class had finished for the day. I remember seeing a<br />

whole table covered with these heads the day they came out <strong>of</strong> the kiln and they stopped me in my<br />

tracks. Having gained self-confidence and self-awareness in the preceding years, Charlotte had found<br />

a language that really worked for her, and it was interesting to see that develop into a menagerie <strong>of</strong><br />

expressive animals.<br />

Charlotte's works expose something about her emotional state. <strong>The</strong>y reveal her feelings about herself<br />

and her relationship to those around her. A clear influence on Charlotte'S work is her favourite childhood<br />

film by Walt Disney, <strong>The</strong> Lion King. She admits to strongly identifying with the carefree warthog<br />

Pumbaa who, with his motto 'hakuna matata' (no worries), has a peculiarly <strong>Australian</strong> persona.<br />


Charlotte Le Brocque, Say Wha t? 2013, rak u clay, glazes. h.31em, w.47em, d.2I em; photo: Stephen Bird<br />

Charlotte has recently been making a farmyard <strong>of</strong> charader animals including pairs <strong>of</strong> animals and<br />

groupings <strong>of</strong> animal-human relationships. Shaun, <strong>The</strong> Over Enthusiastic Shearer With Sharp Shears,<br />

is one such potent image and appears to be loaded with that capricious <strong>Australian</strong> expectation <strong>of</strong><br />

the great land's bountiful supply <strong>of</strong> raw materials. You Can Dig But You Can't Hide and Put Your<br />

Paws Up And Drop <strong>The</strong> Carrots seem to be anthropomorphic interpretations <strong>of</strong> Charlotte'S personal<br />

relationships played out by cartoonish bunny rabbits. Charlotte admits to having difficulty reading other<br />

people's emotional states and body language, but she hopes and believes that through her work she<br />

will develop these essential life skills. She <strong>of</strong>ten judges the success or failure <strong>of</strong> a piece by the way the<br />

work looks back at her. I think Charlotte's practice revolves around self-reflection and projection and she<br />

is extremely committed to this. I look forward to seeing her first solo show and I wish her all the best in<br />

pursuing her career at her new studio in Sydenham, NSW.<br />

Charlotte Le Brocque's exhibition, I don't want to be a pie, is on from 23 <strong>July</strong> to 16 August<br />

<strong>2014</strong> at Sabbia Gallery, 120 Glenmore Road, Paddington NSW 2021; www.sabbiagallery.com<br />

Stephen Bird is a Sydney-based artist and lecturer in ceramics at National Art School, Sydney.<br />

www.stephenbird.net<br />

THE 10URNAl Of AUSTRALIAN CERAMICS JULY <strong>2014</strong> 27

Focus: Emerging<br />

Of Peace and<br />

Pottery<br />

Caitlin Eyre introduces Daniel Ga rretson<br />

Daniel Garretson is an emerging ceramic artist.<br />

Born in Sydney and raised in the United States, he<br />

returned to Australia in 2003 to undertake a Bachelor<br />

<strong>of</strong> Arts majoring in philosophy at the University <strong>of</strong><br />

Wollongong. Gradually becoming frustrated with<br />

the teachings <strong>of</strong> Western philosophy, Daniel instead<br />

focused his attentions on the questions and answers<br />

provided by Eastern ph ilosophies. After reading<br />

Soetsu Yanagi's <strong>The</strong> Unknown Craftsman , a Zen<br />

Buddhist perspedive on arts and crafts, Daniel<br />

dropped out <strong>of</strong> university briefly to travel and visit<br />

the studios <strong>of</strong> <strong>Australian</strong> potters. Upon his return and<br />

the completion <strong>of</strong> his degree, he decided to pursue<br />

a career in pottery and left for the United States<br />

in 2006 to begin a three-year apprenticeship with respeded American potter Mark Shapiro. In 2010,<br />

Daniel undertook a year-long residency at the Red Lodge Clay Centre in Montana where he worked to<br />

develop and nurture his own style and artistic practice. Last year he completed a Master <strong>of</strong> Fine Arts<br />

at the New York State College <strong>of</strong> <strong>Ceramics</strong> at Alfred University, one <strong>of</strong> the world's most prestigious<br />

ceramics schools.<br />

Pottery brought Daniel peace from his philosophical dissatisfactions by providing him with a different<br />

way <strong>of</strong> perceiving and approaching the world around him. Even now, Daniel says he greatly enjoys<br />

the way the making process allows him to generate questions in the studio and actively work towards<br />

satisfactory solutions; it also ads as a kind <strong>of</strong> meditative state for him. Outside the studio, Daniel's mind<br />

is busy with thought: dreaming, sketching in his notebook and thinking about the physical nature <strong>of</strong> his<br />

work. By contrast, the studio is a calm place where Daniel quietens his thoughts and allows the haptic<br />

knowledge he has gained through his pradice take over. "Approaching the clay with a loose idea,<br />

spontaneity is my friend," he says. "I enjoy a pot revealing itself to me rather than imposing my ideas on<br />

the materials." Daniel sees overly concentrated efforts to produce objects <strong>of</strong> great beauty, importance<br />

and usefulness as being counterintuitive to the making processes, preferring instead to approach the<br />

creation <strong>of</strong> works with greater philosophical depth. "Concepts, techniques, and even the objeds<br />

themselves are secondary to the experiences they afford," Daniel says. " It is the experience <strong>of</strong> drinking<br />

warm c<strong>of</strong>fee from a handmade mug, or sharing a meal with friends and family using sturdy, wheelthrown<br />

plates that invigorates my work."<br />


~---<br />

Focus: Emerging<br />

Daniel returned to Australia earlier<br />

this year and has recently been accepted<br />

into the Associate Training Program <strong>of</strong><br />

respected Adelaide arts organisation<br />

JamFactory Contemporary Craft and<br />

Design and is currently working out <strong>of</strong><br />

their <strong>Ceramics</strong> Studio. Associates spend<br />

two years nurturing and developing<br />

their artistic practice under the guidance<br />

and mentorship <strong>of</strong> accomplished<br />

creative directors in their field, while<br />

also gaining specialised knowledge and<br />

expertise through collaborative projects,<br />

productions and commission work. Daniel<br />

hopes the Associate Program will help<br />

him to turn his artistic practice into a<br />

sustainable career venture and, ultimately,<br />

help him to actualise his dream <strong>of</strong> having<br />

an independent studio practice.<br />

All work by Daniel Garretson, earthenware with gold lustre<br />

Photos: courtesy artist<br />

www.jamfactory.com.au/associateprogram.php<br />


Focus: Emerging<br />

Opposite page: Emilie Ristevski, porcelain bowls<br />

wooden spoons, photography and styling, <strong>2014</strong><br />

Hello Emilie!<br />

Emilie Ristevski shares her passion<br />

I am a 21 -year-old designer-maker based in Sydney, Australia, currently studying a Bachelor <strong>of</strong> Design<br />

at the College <strong>of</strong> Fine Arts, Paddington. Through the combination <strong>of</strong> design, styling and photography<br />

I focus on translating stories and ideas to add meaning and longevity to my work.<br />

Majoring in Ceramic Design, my focus is on developing the ceramics skills <strong>of</strong> wheel throwing,<br />

handbuilding and slip casting. This is extremely important to me as I appreciate the many different<br />

stages that go into each handmade ceramic piece.<br />

I have a tactile approach to design, continually making with my hands using a range <strong>of</strong> natural<br />

materials. I also play with various types <strong>of</strong> clay to create diverse collections <strong>of</strong> handmade vessels and<br />

ceramic objects for the table. My pieces are handformed, wheelthrown, or cast in small runs, with a<br />

high attention to detail and the tactile handmade quality <strong>of</strong> each piece. I love the idea <strong>of</strong> being able to<br />

create hand-held objects that people touch, hold and use with their hands - a ceramic piece completely<br />

formed by my hands to be held in someone else's.<br />

Inspiration for my designs comes from many things - organic forms found in nature and objects<br />

from my travels around the world. I enjoy the simplicity and rawness <strong>of</strong> the subtle details, from surface<br />

texture to beautifully simple forms that stack, nest and sit within each other. I love to arrange and<br />

re-arrange simple forms to create compositions, combining small elements to bring a series <strong>of</strong> objects to<br />

life.<br />

Inspired by traditional craft and artisan techniques, I also experiment with other natural materials<br />

including wood and fibre. Pieces such as my wooden spoons are carved by hand, filed, sanded and<br />

polished, with some taking days or weeks to complete.<br />

I am drawn to creating work within series and collections, exploring ideas <strong>of</strong> repetition and examining<br />

the way each piece interacts with others within a space. By learning, thinking and making through the<br />

handmade process, none <strong>of</strong> my pieces are exactly the same and therefore not perfect. I see these slight<br />

imperfections as a mark <strong>of</strong> the maker, embracing the essence <strong>of</strong> the handmade.<br />

http:/ / helloemilie.com<br />

http://instagram.com/helloemilie<br />


Dog in the Trees<br />

<strong>The</strong> three <strong>of</strong> us, standing on the bank<br />

and counting leaves: one red. Four yellow.<br />

Below us the autumn <strong>of</strong>ferings<br />

wash into a swollen creek, litter rocks<br />

mossy and tumbled. <strong>The</strong> cherries turn<br />

where chainsaws have severed the trunks<br />

<strong>of</strong> eighty unwanted willows. Counting leaves,<br />

counting hours. You bend to the meadow<br />

and loop a skein <strong>of</strong> bark around neat fingers,<br />

poking one through a hollow shrug.<br />

My telescope. Th is eye sees right to the heart<br />

<strong>of</strong> the moon. Eighteen nineteen thirty thousand<br />

leaves skittering like flames and our boy<br />

busy with pinecones. Donkeys bellow<br />

a warning from the hill as a van<br />

scrapes to a halt by the concealed spring.<br />

Flagons jostle like muddy drums.<br />

You drop the bark as nine yellow-tailed<br />

black cockatoos bobble and vault<br />

over the spruce. Look' One, two, three<br />

four. five, six, seven. I am a blackbird and these<br />

are my feathers. <strong>The</strong> sun sinks behind<br />

the gully palisade. Without it things feel<br />

damp and low. I haul the baby snug into me,<br />

pivot to go. Wood smoke, confiding hand.<br />

Suddenly stars and a dog floating<br />

above the blazing trees like a lullaby.<br />

Kate Fagan

Focus: Emerging<br />

All work by Alexandra Standen 20131<strong>2014</strong><br />

Photo: Kern Hendricks<br />

Alexandra j. three forms immediately reminded<br />

me <strong>of</strong> myself with my 1wo young children; the<br />

perjpeclive in thaI image suggests one large<br />

and two small chairs. Her pieces seem highly<br />

oJ/uned 10 natllral ecologies. And I )vas lhinking<br />

a/so about counting and repetition, which are<br />

strong Ihemes in many <strong>of</strong> Alexandra s other<br />

works (such as the wunderful repealing bluepainted<br />

dashes; J love thul piece).<br />


Fo cus: Emerging<br />

Some advice from those<br />

who've been around a while •••<br />

After exh ibiting in Primavera at the MeA<br />

and at GAG Projects, Greenaway Art Gallery,<br />

Adelaide, from 25 June to 25 <strong>July</strong>, with two<br />

shows coming up in Dubai and Singapore, I<br />

couldn't agree more with this "stop thinking,<br />

worrying ... doubting" statement. Of course you<br />

have to work for it every day and it won't come<br />

easily, but keep at it, apply for funding to pursue<br />

those large projects, apply for artist residencies<br />

(nationally and internationally) and art pri2es to<br />

expose your work to a broad audience.<br />

www.mca.com.au/exhibition/primavera-<br />

2013-young-australian-artists<br />

Juz Kitson, Changing Skin, 2013<br />


I came across this quote the other day in a letter<br />

between Sol Lewitt and Eva Hesse. Sol advises<br />

Eva that we must ... "stop thinking, worrying,<br />

looking over ... [our] shoulder wondering,<br />

doubting, fearing, hurting, hoping for some easy<br />

way out, struggling, grasping ... Stop it and just<br />

DO ... "<br />

This resonated with me on so many levels.<br />

I believe it's as simple as that: Just DO! I've<br />

always told myself: Keep dedicated by<br />

making, experimenting, refining, drawing,<br />

researching every day; stay focused on the<br />

long and windy path ahead and continue<br />

pushing and developing the medium,<br />

ultimately challenging yourself along the<br />

way. Over the past five years I've seen my<br />

practice as a creative journey, with constant<br />

evolution. Most importantly, I follow my gut<br />

instinct and intuition, allowing my work to<br />

evolve.<br />

Tania Rollond, Dawn Song, <strong>2014</strong><br />


I don't think one ever feels ready to exhibit.<br />

still don't seem to feel ready! If I waited for that,<br />

nobody would ever see my work. It does take a<br />

while to find your feet after study, but don't let<br />

it drag on too long - it can easily turn into an<br />

excuse that comes from, and contributes to, a<br />

lack <strong>of</strong> confidence. Lack <strong>of</strong> confidence has <strong>of</strong>ten<br />

been my worst enemy and it's a downward spiral.<br />

Lack <strong>of</strong> confidence prevents you putting your<br />

work out for people to see, and yet the only cure<br />


Focus: Emerging<br />

for it, in my experience, is good, constructive<br />

criticism from people you respect, not just a<br />

"That's amazing!" from friends. It's important<br />

to seek out a good mentor and ask for critique.<br />

If you don't get your work out there it's easy to<br />

end up making no work at all, and the lack <strong>of</strong><br />

confidence just gets worse.<br />

It's a constant battle to establish a routine, yet<br />

it is crucial to your practice, so try to find a job<br />

with regular days and hours if you can.<br />

A network or community <strong>of</strong> like-minded<br />

artists is important It sometimes/<strong>of</strong>ten feels like<br />

everybody else thinks you're crazy, and it's very<br />

hard to be crazy on your own!!<br />

Merran Esson, Pod Stacks 1 & 2, <strong>2014</strong><br />

Always just work, even when you're not<br />

feeling inspired; it's the only way to get to the<br />

better stuff. You can (and should) judge or<br />

analyse the work afterwards, but not before<br />

or during the making. It's the crucial steppingstone,<br />

but you don't have to keep it; discard the<br />

uninspired later. Tchaikovsky said, "We must be<br />

patient, and believe that inspiration will come to<br />

those who can master their disinclination."<br />

www.taniarollond.com.au<br />


Being an artist is not so much a calling, rather it's<br />

something that develops over time, and then one<br />

day you realise that you are an artist. You are<br />

living the life, but it's tough. Leaving college and<br />

emerging onto the art scene is full <strong>of</strong> pitfalls and<br />

speed bumps, but you are lucky as the ceramics<br />

world is full <strong>of</strong> conferences and festivals that<br />

you can, and should, attend. Start networking<br />

with others in the same situation. Form a<br />

collective or rent a shared studio space. Share<br />

the cost <strong>of</strong> a kiln (or two). Build a kiln. <strong>Ceramics</strong><br />

has always had a community atmosphere, so<br />

sharing facilities as you begin your pr<strong>of</strong>essional<br />

life is a good idea. If you want this to be your<br />

pr<strong>of</strong>ession, don't make excuses about it being<br />

too hard or too expensive to set up. I am renting<br />

a studio space from Claypool in Sydney and I am<br />

fascinated to watch this business grow and<br />

expand. It's a great launching pad for recent<br />

graduates. <strong>The</strong> costs might be less than your<br />

current institutional fees. Also look around at<br />

gaps in the market for something that you can<br />

provide. It will pay your rent and assist you to<br />

improve your skills. Submit applications for group<br />

and award exhibitions; you may not always be<br />

selected, but it's a necessary process that we<br />

have all gone through. TAKE GOOD IMAGES! It's<br />

how the world sees what you do online.<br />

http://merranesson.com<br />


Firstly let me say that I was lucky to have a<br />

surname that helped to open doors for me but I<br />

still had to produce work to a quality that would<br />

sell in the galleries I approached.<br />

I didn't have my first solo exhibition until I was<br />

43, and I had been potting since I was 24. My<br />

father Ivan McMeekin would not have a joint<br />

show with me because he felt that il we showed<br />

together, when he died, interest would wane in<br />

my work and the prices I was getting would I all.<br />

So I was on my own on that Iront<br />

I had always had Christmas sales at home and<br />

sold to shops in the suburbs. After his death<br />



Focus: Emerging<br />

OWEN RYE<br />

I have a policy <strong>of</strong> not giving advice that is<br />

unasked for, but I was asked so here goes ...<br />

For a new artist, taking on the art world and<br />

attempting to conquer it is like taking on the<br />

whole crew from Jimmy Sharman's boxing tent.<br />

<strong>The</strong> art world reminds me <strong>of</strong> a flock <strong>of</strong> seagulls<br />

with a bucket <strong>of</strong> chips. To join the flock, become<br />

friendly with a large seagull if possible.<br />

Susie McMeekin, Hartley Village<br />

Celadon, 2011<br />

I started to approach galleries and organise<br />

exhibitions. I was involved in group shows in my<br />

local area and I also took part in markets. My<br />

experience is that my work does not sell well<br />

at markets because I want too much money<br />

for them but it is a great place to unload your<br />

seconds at cheap prices.<br />

Don't take any notice <strong>of</strong> people who tell you<br />

how to go about getting recognised. <strong>The</strong>y can<br />

only tell you what worked for them. You are<br />

different so you need to work out your way. <strong>The</strong><br />

more astute among you will see the contradiction<br />

here - advising someone to ignore advice. Sorry.<br />

Alan Peascod gave me a lot <strong>of</strong> wise and useful<br />

advice. He said that no matter what is happening<br />

in your life, keep working.<br />

I would like to say with full force that<br />

you should not show until you have work<br />

<strong>of</strong> exhibition quality. You do your name and<br />

reputation no good putting up work that is<br />

under-developed and not quite there - it is not<br />

just a matter <strong>of</strong> 'getting yourself out there'. Start<br />

with group shows and ease into it.<br />

Be reliable. When you deliver your work<br />

anywhere, have it priced on the base, with sizes<br />

recorded and invoiced. Don't make extra work<br />

for the gallery or shop. Be prepared to work with<br />

the gallery people you are involved with. It can<br />

be a very intense relationship so you need to be<br />

able to get on. Also be realistic about pricing. If<br />

you are fresh out <strong>of</strong> art school you should not<br />

be charging equal prices to the masters <strong>of</strong> your<br />

craft. This also gives people a chance to get in on<br />

the ground floor and follow your career, buying<br />

pieces as the quality and the value <strong>of</strong> the pots<br />

goes up and gives them an ongoing interest in<br />

your work and development.<br />

www.5u5iemcmeekin.com<br />

Getting there involves doing things you think<br />

you cannot do - the cliche is 'getting out <strong>of</strong> your<br />

comfort zone'. If you don't, then you will stay<br />

where you are. If you want to go international,<br />

then go international. Go and visit the people<br />

who interest you, face to face. Forget about<br />

reading about them, it's a waste <strong>of</strong> time. Talk<br />

to them. Remember the old saying about 'the<br />

company you keep'.<br />

www.owenrye.com<br />

Owen Rye, Two Vases, 2013<br />


•<br />

[1, rg 1i"ij' rg ~ '[j' @ '[j' INl rg {f (J)) '[j' (J)) fK{ rg<br />


This is about you> <strong>The</strong> future.<br />

<strong>The</strong> far and wide Emerging<br />

Contemporary Australia.<br />

I can feel it, and maybe you can<br />

too,<br />

It's like there is about to be some<br />

kind <strong>of</strong> gentle uprising that will<br />

sweep away the confusion. I feel<br />

it about <strong>Ceramics</strong>, here, now, in<br />

Australia.<br />

, Andit is so,exciting.<br />

'<strong>The</strong> , past several, months have; from<br />

a government level, begun the<br />

stranglulation <strong>of</strong> art and craft. TAFE<br />

cuts and Biennale boycotts prove<br />

that 'the money trail ' determines<br />

our <strong>Australian</strong> art representatives if<br />

we, the observing involved, don't<br />

make a conscious effort to<br />

comment.<br />

Independently, the skills <strong>of</strong> noble<br />

crafts are still to be found.<br />

This very journal's history is pro<strong>of</strong><br />

that from a humble source, a<br />

supportive and influential energy<br />

can emerge.<br />

In <strong>Ceramics</strong>, the significance<br />

and role <strong>of</strong> 'Ceramic tradition' is<br />

changing into something more<br />

exclusive than ever before.<br />

Department stores and their<br />

cheap wares have changed the<br />

game for many practitioners.<br />

'Artist' and 'Master' are becoming<br />

titles, interchangeable. <strong>The</strong><br />

humble goal <strong>of</strong> handmaking<br />

articles for function is more and<br />

more <strong>of</strong>ten blending with the Art<br />

realm, until the 'function' is a visual<br />

one. It's a fascinating bridge to<br />

cross, a path that's been evolving<br />

for years. This is probably not news<br />

to the readers <strong>of</strong> ceramics journals.

WHEN<br />


"MAK E GOOD ART"<br />

N£ll b~lK~N - COKK£NC£K£Nl SP££CH.<br />


Art is a battlefield, so why am I so excited! (?)<br />

»> It is because this is an opportunity to I hit refresh I.<br />

" What will happen to the Arts?" We Will .<br />

• • •<br />

But the pressure is on, to new graduates and those lucky enough to<br />

have financial support for their art, to show the world the true value <strong>of</strong><br />

our skills. This is a passive method <strong>of</strong> protest against the undervaluing <strong>of</strong><br />

our cultural contribution.

Ruth Ju-Shih Li<br />

Crystall ine glaze on<br />

Emerging Artists - we have the<br />

power to steer our future into the<br />

next phase <strong>of</strong> culture! We can<br />

make the items that write the<br />

history. We can influence opinion.<br />

We can change understanding <strong>of</strong><br />

this throw-away society into<br />

something healthier for us all!<br />

Sometimes it might not seem<br />

like our work can touch as many<br />

hearts as we wish, or in the ways<br />

we intend, but that's the magic<br />

<strong>of</strong> humanity and unpredictability.<br />

Don't be disheartened, because<br />

one thing is for sure, your objects<br />

- as obscure or as functional as<br />

you decide - will always be odd to<br />

the many ... until the powerful few<br />

inform their opinion.<br />

SO Dear, fresh-faced and<br />

struggling artists, let us, together<br />

make our journey into the pixel<br />

eyed public and refresh their<br />

memory <strong>of</strong> a time when<br />

possessions were few, unique<br />

and eternal.<br />

Let's get excited!<br />

Kindest regards,<br />

Rachael McCollum<br />

enthusiastic fool<br />

PS: Thank you to Holly, Ruth and Anne­<br />

Marie for being the future with me!<br />

You can comment in <strong>The</strong> Future Forum<br />

http://www.rachae lmccallum.com/the-futureforum.html#<br />

Anne-Marie Jackson<br />

http://amcjackson.com<br />

Ruth Ju-Shih Li<br />

http://goldfishli.wordpress.com<br />

Neil Gaiman Commencement Speech<br />

https:llwww.youtube.com/watch?v=ikAb­<br />

NYksel<br />

Holly Macdonald has no website yet, but<br />

exhibited in May <strong>2014</strong> in Home@735,<br />

Surry Hills, Sydney.<br />


Focus : Emerging<br />

Pippin Drysdale, Penumbra - Tanam;<br />

Mapping III, 201 4, installation, porcelain<br />

incised with coloured glazes, tallest h.3Ocm<br />

Photo: Sue Warrington<br />

Four<br />

artists<br />

•<br />

review'<br />

one<br />

exhibition<br />

Pippin Drysdale's Tanami Mapping //1 was held<br />

at Sabbia Gallery, Paddington NSW, from 14<br />

May to 7 June <strong>2014</strong>. <strong>The</strong> third instalment <strong>of</strong><br />

the Tanami Mapping Series explores the unique<br />

desert landscapes <strong>of</strong> the north-west <strong>of</strong> Australia .<br />

Four artists, each from different disciplines,<br />

were asked to view the exh ibition and respond<br />

using words or images . Beginning as an<br />

experiment to discover how their backgrounds<br />

influence their viewing <strong>of</strong> ceramics, what<br />

emerged was possibly even more pr<strong>of</strong>ound: the<br />

similarities in response are pro<strong>of</strong> <strong>of</strong> art's pow er to<br />

transmit emotion and transcend the individua l to<br />

speak to all, to the human condition.


<strong>The</strong> exhibition was like walking through an <strong>Australian</strong> landscape. Each bowl was marked with li nes and<br />

shapes depicting a brightly-coloured landscape. Imagining that each <strong>of</strong> Pippin's ceramic bowls could be<br />

flattened, I replicated the lines and shapes in drawing form (see above image), to create a 20 landscape<br />

that mimics both her minimal aesthetic and appreciation for the <strong>Australian</strong> landscape.<br />

http://hugomuecke.com<br />


Sunburnt. Hot. Intense. Light-filled. <strong>The</strong>se were some <strong>of</strong> my immediate reactions as I walked into the<br />

latest solo exhibition by Western <strong>Australian</strong> ceramic artist Pippin Drysdale. As my eyes slowly adjusted<br />

to the vivid colours and the many plinths that were beautifully placed around the first floor <strong>of</strong> Sabbia<br />

Gallery, I could see that this large collection <strong>of</strong> new work was grouped into vignettes, each displaying<br />

a panoply <strong>of</strong> intense colour and light variations that abstractly described the body and soul <strong>of</strong> the<br />

<strong>Australian</strong> Outback - where ancient forms and land masses grace the wide open spaces <strong>of</strong> remote hot<br />

places.<br />

One <strong>of</strong> the more dramatic groupings in the show was Green Swamp Hills, Tanami Mapping III,<br />

<strong>2014</strong>, an installation <strong>of</strong> eight ceramic forms that bounced and sang on a dark charcoal plinth at the<br />

back <strong>of</strong> the exhibition space. In citrus hues <strong>of</strong> lemon and lime, these s<strong>of</strong>t, smooth, conical forms asked<br />

to be devoured like scoops <strong>of</strong> sorbet at the end <strong>of</strong> a meal. It was as if each colourful form was quietly<br />

and poetically speaking to its neighbour in a secret language, requiring the viewer to lean in and<br />

intensely listen for each poetic verse.<br />

As a mark-maker I am always fascinated to take a closer look at the surface treatment <strong>of</strong> Pippin's<br />

ceramic forms, and on this occasion she did not disappoint. Each form was eloquently enveloped with<br />

s<strong>of</strong>t lines and marks that, for me, evoked deeply held memories <strong>of</strong> looking out <strong>of</strong> small car and plane<br />

windows while studying land formations and farmlands as they qu ickly zoomed by. It is as if Pippin<br />

never wants your eye to trip up or lose concentration. And mine never did as I spent a lovely morning<br />

with this beautiful exhibition.<br />

www.michelemorcos.com<br />



If I had one word, instead <strong>of</strong> three hundred, to describe Pippin Drysdale's latest exhibition Tanami<br />

Mapping III, it would be 'overwhelming'. <strong>The</strong> technical brilliance <strong>of</strong> the work overwhelms; the vibrancy<br />

<strong>of</strong> colour overwhelms; the dynamism <strong>of</strong> the surface decoration overwhelms; and the artist herself<br />

overwhelms. Inspired by the desert landscape <strong>of</strong> Tanami in the <strong>No</strong>rthern Territory, the works are more<br />

than a reference to that land - they visually, energetically and emotionally encapsulate it.<br />

<strong>The</strong> vessels surge upward exuberantly from tiny bases, before drawing the eye down into the endless<br />

womb <strong>of</strong> colour wit hin - a funnel to capture the world. This single colour is the inner intensity <strong>of</strong> the<br />

world when peeled back, layer by layer. <strong>The</strong> exteriors too, are expressions <strong>of</strong> the landscape, reduced to<br />

the essence, the essential. <strong>The</strong> lines dancing across the exterior are scratches by the artist-as-shaman: in<br />

Penumbra , the usually crisp lines are wounds whose bleeding edges allow us a glimpse into a further<br />

layer <strong>of</strong> the earth, its blood and muscle, usually hidden. Yet the obviously hand-drawn quality <strong>of</strong> the<br />

lines, in contrast to the airbrush smooth perfection <strong>of</strong> the glazes, cements the works in human reality<br />

and makes Tanami Mapping III a celebration <strong>of</strong> creative accomplishment and vision as well as <strong>of</strong> the<br />

land that is their inspiration.<br />

Startling contrasts <strong>of</strong> colour are typical <strong>of</strong> the body <strong>of</strong> work as a whole; Drysdale is as unafraid <strong>of</strong> bold<br />

contrasts and colours as is the <strong>Australian</strong> landscape. Walking through the exhibition is to see the Tanami<br />

landscape from ground and air at once, to simultaneously see sunrise and sunset, w ith eyes that have<br />

escaped a physical body. <strong>The</strong> works speak to that part <strong>of</strong> us that knows itself to be one with nature,<br />

not above or apart from it, and because they are ceramic - a composition <strong>of</strong> the elements - they are<br />

all the more powerful at their evocation <strong>of</strong> the land. <strong>The</strong>ir very material assists the subject matter, and<br />

their form - circular, unending - evokes both the spatial endlessness and symbolic timelessness <strong>of</strong> the<br />

<strong>Australian</strong> landscape. In a time <strong>of</strong> increasing risk to our natural environment, Drysdale's vision <strong>of</strong> the<br />

landscape is a celebration and a defence <strong>of</strong> nature.<br />

http://caterinaleone.com<br />


Left: Pippin Drysdale, Lone Rock - Sunburst<br />

- Tanami Mapping 111,<strong>2014</strong>, porcelain incised<br />

with coloured glazes h.17em, w.17.5cm<br />

Below left: Pippin Drysdale, Moonlight Bore<br />

- Tanami Mapping III, <strong>2014</strong>, porcelain incised<br />

with coloured glazes, h.27ern, w.1Scm<br />

Photos: Sue Warrington<br />


I had not encountered Pippin Drysdale's work<br />

before, having only seen pictures, and was<br />

blown away in the presence <strong>of</strong> the work. <strong>The</strong><br />

room is filled with glowing orbs that resonate<br />

light. like tiny worlds delicately etched with song<br />

lines. Even before reading more about Drysdale's<br />

work, one can feel the sense <strong>of</strong> geography, an<br />

intimate understanding <strong>of</strong> earth and light.<br />

Each piece seems to carry its own sense <strong>of</strong><br />

place and the vibrating colours, though vivid<br />

and dynamic, feel natural, like sunsets and far<br />

horizons and the exotic red <strong>of</strong> the desert. <strong>The</strong><br />

names <strong>of</strong> the pieces, like Moonlight Bore and<br />

Lone Rock - Sunburst, are similarly suggestive<br />

and moving in their revelation <strong>of</strong> Drysdale's<br />

connectedness with place. She is showing me<br />

the moonlight and the thunderstorms and the<br />

hills that she has seen, si nging a story.<br />

<strong>The</strong> quali ty and workmanship <strong>of</strong> the bowls is<br />

masterful. <strong>The</strong>y are so fine and delicate and yet<br />

they have a powerful presence, especially en<br />

masse. <strong>The</strong>y are almost like prayer bowls, having<br />

a feeling <strong>of</strong> sacredness. It is as though they<br />

might emanate some resonant sound if touched.<br />

<strong>The</strong>y teeter on thei r small point <strong>of</strong> contact<br />

with this world and grow up and out like living<br />

things.<br />

Tanami Mapping III left me with a feeling <strong>of</strong><br />

having gone on a journey through some new<br />

universe, one filled with planets <strong>of</strong> great beauty,<br />

newly mapped and charted.<br />

www.arthousegallery.com.au/artists/<br />


Focus: Emergi ng<br />

Lindsey Wherrett, plate<br />

Photo: Jonathan Wherrett<br />

In Context<br />

by Lindsey Wherrett<br />

I am an emerging ceramic artist; adually I'm a<br />

potter. My work is made to be used. I, like other<br />

ceramicists, work with my hands on my material<br />

every day, striving to produce beautiful, tactile<br />

and textural objem that people will use, touch<br />

and include in their daily rituals.<br />

I feel lucky to be on this path at a time when<br />

there is an upsurge <strong>of</strong> interest and resped for<br />

handcrafted products. However, I'm also aware<br />

<strong>of</strong> the physical disconned created by our digital<br />

age between the consumer and the object.<br />

<strong>The</strong> pieces that we create as potters are<br />

meant to be held, touched and used but are<br />

<strong>of</strong>ten encountered for the first time through the<br />

detached medium <strong>of</strong> the Internet. <strong>The</strong> Internet<br />

is glorious in its ability to allow us to reach an<br />

audience which is no longer just local or national,<br />

but this also means that the market place is<br />

crowded with makers' voices competing to be<br />

heard.<br />

How then do we express the true nature <strong>of</strong> our craft, all the subtleties <strong>of</strong> surface, form and fundional<br />

value to our wider audience? A large part <strong>of</strong> the answer lies in the imagery that we release into the<br />

ether. Photography is the means by which many clients experience our work for the first time, and<br />

perhaps the only time before committing to a purchase. A cleanly lit studio photo <strong>of</strong> a pot is no longer<br />

sufficient to capture the attention <strong>of</strong> potential customers. An audience bombarded by perfedly styled<br />

images <strong>of</strong> an idealistic lifestyle exped to be tantalised and excited. Our clients are not necessarily<br />

creative, may not immediately see the potential <strong>of</strong> a piece or may not perceive the subtle nuances <strong>of</strong> a<br />

glaze su rface which seem striking to the trained eye.<br />

Images <strong>of</strong> work in context tell the story <strong>of</strong> how a piece may be used and valued. <strong>The</strong> images<br />

presented must speak to the lives and desires <strong>of</strong> the target audience. <strong>The</strong> photographs must help them<br />

to visualise how their life would be better with this objed in it, how our work can bring them closer to<br />

the lifestyle they aspire to.<br />


Focus: Em erging<br />

Above and opposite page: lindsey Wherrett. ceramics; photos: Jonathan Wherrett<br />

<strong>The</strong> tactile element <strong>of</strong> the relationship with a functional ceramic object is essential to a full<br />

understanding and experience. but perhaps there are some benefits in presenting work in a visual<br />

forum. <strong>The</strong> viewer is not simply holding an object out <strong>of</strong> context and trying to imagine it in their world;<br />

we are able to show them how great it would look stacked on their kitchen bench or sitting on that<br />

linen tablecloth filled with gorgeous spring vegetables.<br />

I am fortunate that my partner is a photographer who is passionate about my work. but much <strong>of</strong> the<br />

imagery I present I create myself using nothing more than a smart phone and a well selected backdrop.<br />

Instagram and Facebook are a constant and essential point <strong>of</strong> contact w ith my audience. where a<br />

consistent and simple style hits the right note.<br />

A well composed and styled image can express texture. tactility. and potential in an object and will<br />

capture your audience. Inspiration rather than manipulation is my goal. I want to help people to see<br />

my vision and my desire to place objects in their lives that will bring them small moments <strong>of</strong> joy and<br />

satisfaction each day.<br />

www.lindseywherrett.com<br />


Focus: Eme rgin g<br />

A Search for Answers<br />

Caterina Leone: From my small experience <strong>of</strong> writing about ceramics, there have already arisen many<br />

questions born from the particularities <strong>of</strong> this medium that I desired to have answered by those with<br />

experience and knowledge surpassing mine. So, from an emerging writer to two established writers,<br />

Moyra Elliott and Peter Wilson, a request for answers and advice.<br />

Caterina Leone: Back in 1991, Peter Schjeldahl described ceramics as "a field where suspicion <strong>of</strong><br />

intellect is a given, anti-intellectualism being the shadow <strong>of</strong> certain positive values embodied in most<br />

craft movements"'. Do you think that this is valid to contemporary ceramics, and if so, do you believe it<br />

to be a negative trait?<br />

Moyra Elliott: It's still there, this anti-intellectualism, but increasingly debilitated. Philosophies through<br />

to the 'BOs celebrated and emulated nostalgia and were sceptical <strong>of</strong> rationale that compromised this. It<br />

bore relevance for a post-war world but was essentially deeply conservative - our hessian-skirt moment.<br />

<strong>The</strong>n we swung in an opposite direction with a quixotic lust for academic theory and the fit was like<br />

Cinderella'S slipper; only bits were eligible. Conceivably, vestiges at both ends provide balance rather<br />

than embarrassment.<br />

CL: Do you feel that the only way to disconnect ceramics from the craft (as opposed to art)<br />

categorisation is to sever all links with function?<br />

Peter Wilson: It's unfortunate that for many, ceramics is seen as linked to utilitarianism and therefore<br />

lacks fine art status. <strong>The</strong> argument implies that anything useful is not art.<br />

Pablo Neruda talks <strong>of</strong> the objects <strong>of</strong> simple beauty that we use and brush past in our dai ly lives and how<br />

they define our existence. For me, creating objects for people to use is a rare privilege. A simple bowl<br />

for example, is held as it is used. Deep consideration needs to be given to the nuances <strong>of</strong> its design<br />

according to its purpose, form, balance, weight and proportion, how it fits in the hand, its glazed finish<br />

and its durability. Is this not an artwork?<br />

Yanagi Soetsu, in Leach's A Potter's Book (1940) states: "'Utility is the first principle <strong>of</strong> beauty."'<br />

CL: What is your opinion on the place <strong>of</strong> negative judgement in critical writing about ceramics?<br />

ME: Working in ceramics, we link to long-standing networks <strong>of</strong> alternative cultural movements imbued<br />

with va lues that favour cooperation and support ra ther than competition and judgement. Also, a<br />

dominant idea within our culture is that the work created is a bringing forth <strong>of</strong> the maker's inner self.<br />

When an object is understood this way it becomes difficult to distinguish between work and maker.<br />

<strong>The</strong>refore criticism <strong>of</strong> the work becomes personal. And we don't do that in our corner <strong>of</strong> the art world.<br />

Or we haven't. But now that so many desire acceptance in the broader arena called fine art, maybe we<br />

must become used to more rigorous scrutiny, as fine artists must.<br />

CL: What is you r objective when writing about ceramics?<br />

ME: To ignore any promotional press release sent to me and to scrutinise the artist's statement with<br />

great care . <strong>The</strong>n, look at the work and see how that work fits with that statement. As Roberta Smith,<br />

arts critic for the New York Times, once wrote, "'I thought I was on the artist's side explaining what<br />

they were trying to get across .... <strong>The</strong>n I realised I was on the opposite side. It was very liberating. Your<br />


Focus: Em erging<br />

readers become very real and your obligation to them supersedes all others." <strong>The</strong>n for this particular<br />

work, exhibition, event or circumstance, I wonder what it is that the reader should be made aware <strong>of</strong>.<br />

PW: Critical writing should engage an audience with informed text that transcends the <strong>of</strong>ten<br />

impenetrable jargon associated with art criticism. <strong>The</strong> critic is a person who has a nuanced awareness<br />

<strong>of</strong> the field and brings a range <strong>of</strong> views and experiences to bear. It is their ro le to elucidate what the<br />

artist is aiming for and assess their level <strong>of</strong> success. <strong>The</strong>ir expressed opinion should be supported by<br />

well-developed argument. Adam Welch (NCECA 2011 ) believes criticism forms part <strong>of</strong> a conversation<br />

between the work and its audience with the critic as the intermediary.<br />

CL: Is writing about ceramics different to other mediums'<br />

ME: Writing on any subject in art requires the same criteria, and that is an understanding <strong>of</strong> the<br />

medium/subject from the point <strong>of</strong> view <strong>of</strong> history, traditions, methods, current thinking and trends,<br />

and materiality, and how all that fits into a broader context. On top <strong>of</strong> that I think experience and<br />

knowledge <strong>of</strong> the field in general and in particular is surely necessary. Opinion is, I think, a crucial<br />

adjunct. And it is opinion that we, in our field, have been reticent with. Opinion stirs the reader's brain<br />

cells. In ceramics we get far too many articles that read as though they were written by the maker's best<br />

friend .<br />

CL: Do you think there is excessive emphasis on technique, historical orientation, and/or sensory<br />

experience in critical writing about ceramics? Should theoretical criticism be more important?<br />

ME: Each <strong>of</strong> these can take on varying importance depending upon the subject at hand. We need<br />

to remember that ceramic practices don't have a long tradition <strong>of</strong> critical discourse as this term<br />

specifically refers to a way <strong>of</strong> thinking about, and valuing, fine art. To apply fine art theory to ceramics<br />

is to misunderstand the medium. <strong>Ceramics</strong> is concerned with a very sophisticated understanding <strong>of</strong><br />

material and high levels <strong>of</strong> skill, and is driven by issues such as function and production, history and<br />

tradition. <strong>The</strong>se aspects make craft media distinctive and powerful and for these reasons craft cannot<br />

sustain and doesn't deserve the same kind <strong>of</strong> theorising or critical discourse that fine art can. However<br />

we are no longer our own specialised, isolated patch. <strong>Ceramics</strong> today operates in an expanded field<br />

that encompasses other, formerly unexplored, areas <strong>of</strong> expression. <strong>The</strong>re are also encroachments into<br />

our medium by artists from other disciplines and training. <strong>The</strong> medium is trendier and the waters are<br />

muddier. <strong>No</strong> one in the wider field takes seriously j-cosy supportive article that has a scattering <strong>of</strong><br />

academic birdseed or reads like it's written by your mother. T.here is that old saying, "Be careful what.<br />

you wish for. _.--- c: ---<br />

._,<br />

/.­ /<br />


Fo cus: Emerging<br />

Elisa Bartels, <strong>No</strong>rth Curl Curl Pool<br />

<strong>2014</strong>, stained porcelain tiles, anodised<br />

metal rings, h.l6Ocm, w.190cm, d.l em<br />

Photo: Greg Piper<br />

Elisa Bartels' 'floating mosaic' sits at the razor's<br />

edge <strong>of</strong> fragility and strength. Small porcelain<br />

tiles have been stained using various oxides and<br />

commercial stains. <strong>The</strong>se tiles are then joined<br />

together using black metallic rings and the image<br />

this creates is suspended within an anodised<br />

aluminium frame where it seems to float and<br />

flutter allowing the scene to come to life.<br />

This was a commissioned piece: "My client<br />

and I decided to base the work on an aerial<br />

view <strong>of</strong> her favourite sea pool where she swims<br />

frequently and I wanted her to feel connected to<br />

this special place, especially when her busy life<br />

doesn't allow her time to dive into its comforting<br />

waters. "<br />

PROFILE:<br />

Elisa Bartels<br />

<strong>The</strong>re is a sublime duality to Bartels' work -<br />

not only do the tiles make up a complete picture<br />

but each tile is a miniature landscape in its own<br />

right. This results in a piece that encourages<br />

viewers to constantly discover new images hiding<br />

in the midst <strong>of</strong> the finished work.<br />

"Bringing this piece to fruition has taken a<br />

long time, but along the way I have created a<br />

technique which is intriguing and multifunctional.<br />

I'm excited to commence working on a new<br />

series <strong>of</strong> floating mosaics using many <strong>of</strong> the skills<br />

I have learnt for this commission."<br />

www.elisabartels.com<br />


Focus: Emerging<br />

Bokeh Gallery is located in the heart <strong>of</strong> Daylesford, just 90 minutes from Melbourne. As a<br />

contemporary art space, Bokeh is dedicated to promoting the work <strong>of</strong> <strong>Australian</strong> artists. <strong>The</strong><br />

gallery represents a range <strong>of</strong> media with a strong regional focus and hosts a changing program <strong>of</strong><br />

exhibitions and events. Although we showcase a range <strong>of</strong> artwork, photography continues to be the<br />

mainstay <strong>of</strong> the gallery.<br />

Bokeh Gallery also stocks a range <strong>of</strong> unique, handmade items by contemporary ceramic artists such as<br />

Bridget Bodenham, Megan Puis. Sarah Hudson and Yoko Ozawa. <strong>The</strong>se exquisite, individual pieces not<br />

only stand out from the mass-produced but also contain their own underlying story and intention. Some<br />

<strong>of</strong> Megan Puis' vessels currently at the gallery are inspired by the wetlands <strong>of</strong> <strong>No</strong>rth Queensland and<br />

show tidal watermarks and mangrove roots. Similarly, Bridget Bodenham's Birdy series is inspired by the<br />

surrounding bushland near her studio.<br />

Gallery Director Sonja Rolton aims to <strong>of</strong>fer a space where people can engage with the work as well as<br />

acquire these considered and well-crafted pieces . <strong>The</strong> collections range from stunning sculptural pieces<br />

to functional objects that can be enjoyed and used every day.<br />

www.bokehdaylesford.com<br />

PROFILE: Bokeh Gallery<br />

1 Yoko Ozawa<br />

2 Bridget Bodenham<br />

3 Sarah Hudson<br />

3<br />


Focus: Emerging<br />

PROFILE: Leah Fraser<br />

My current practice is a combination <strong>of</strong> painting and ceramics, and depicts spirits and shamans,<br />

ancestors or gods who are in communication with other worlds. Imagery from dreams and my own<br />

imagination are interwoven with ideas from many different religions and philosophies.<br />

My ceramic objects are part <strong>of</strong> expanding the sense <strong>of</strong> the world that this tribe inhabits, and <strong>of</strong>ten the<br />

objects find their way into my paintings. Inspiration comes from the totems and icons found in many<br />

religions (especially those that uphold animist beliefs) such as indigenous artefacts and objects made to<br />

venerate ancestral deities and spirits <strong>of</strong> nature and to accompany ritual practices.<br />

My work also includes votive figures with wide-open eyes, such as were used in many cultures to<br />

represent gods or people in shrines <strong>of</strong> worship, and highly decorated 'magic bottles', which can be<br />

understood as being the kinds <strong>of</strong> objects that might fill a magician's apothecary or be the property <strong>of</strong> a<br />

medicine man or perhaps a part <strong>of</strong> a shrine. Each bottle represents a piece <strong>of</strong> nature in some way. <strong>The</strong>ir<br />

shapes are organic and they are decorated with shells and crystals or combined with found objects to<br />

create a feeling <strong>of</strong> handmade crudeness, as though they are artefacts dug out <strong>of</strong> the ground.<br />

leah Fraser, Shaman O re/e, <strong>2014</strong>, earthenware<br />

with assorted shells and crystals, each approx.<br />

h.2Ocm, w.12cm, d.18cm; photo; courtesy artist

Focus: Eme rging<br />

21 Reasons to Repeat Myself is a 21-piece ceramic installation<br />

inspired by tribal artefacts and imbued with magical and<br />

otherworldly qualities that contain a life force or 'soul' <strong>of</strong> their own.<br />

<strong>The</strong> work explores how each <strong>of</strong> us embody the physical and mental<br />

legacy <strong>of</strong> all those who came before us.<br />

From inception, these sculptures were always about the collective<br />

- 21 individuals belonging to 1 tribe. At 21 we cross the threshold<br />

into adult maturity and the human soul is said to weigh 21 grams.<br />

Repetition has strong links w ith superstition and the compulsive<br />

need to repeat can be both comforting and disturbing. Like the<br />

generational use <strong>of</strong> patterns that convey the identity and beliefs <strong>of</strong><br />

tribal people, my patterns explore how the notions <strong>of</strong> individuality<br />

and free will are inextricably linked to familial connection.<br />

In this private and intuitive act <strong>of</strong> making I build elaborate, time-consuming sculptures that I hope<br />

will engage people in a moment <strong>of</strong> wonderment. I hand-coil each sculpture with porcelain paperclay<br />

and use a variety <strong>of</strong> small tools to create surface patterns, intuitively and without sketching. Fired to<br />

stoneware temperatures and left unglazed, each piece is sanded to enhance the bone-like quality <strong>of</strong> the<br />

porcelaneous clay body.<br />

www.lorraineguddemi.com<br />

PROFILE:<br />

Lorraine Guddemi<br />

Lorraine Guddemi, 21 Reasons to Repeat Myself, 2013, porcelain paperc1ay, hand built, unglazed, h.17-M.5cm, w.8.5-<br />

38cm. d.4.5-22cm; phOl0S: Greg Piper<br />

THE JOURNAL OF AUSTRALIAN CERAMICS JULY <strong>2014</strong> <strong>53</strong>

Focus: Emerging<br />

Stephanie Hammill, Untitled, <strong>2014</strong>, Southern Ice, WA black beach sand and copper carbonate grog, 1270 0 (<br />

h7 .Scm, w12cm; photo: Kevin Gordon<br />

oxidation,<br />

PROFILE: Stephanie Hammill<br />

I have always sought to make sense <strong>of</strong> my surroundings through the exploration <strong>of</strong> landscape and place.<br />

For me, travel is an important way <strong>of</strong> discovering my place in the world. I like to collect samples <strong>of</strong><br />

rocks, sand and dirt as souvenirs <strong>of</strong> visits. My collections <strong>of</strong> stones and glass jars <strong>of</strong> sand stand lined up<br />

on my shelves as reminders <strong>of</strong> memories and locations.<br />

My ceramic practice reflects a desire to combine and contrast two separate identities: the found<br />

unprocessed locational materials and the pristine, untouched nature <strong>of</strong> porcelain. I embed material into<br />

the clay body and then throw. Every piece <strong>of</strong> work begins in the same manner, yet the finished object is<br />

unique.<br />

I am intrigued by the possibilities <strong>of</strong>fered by the movement <strong>of</strong> the embedded materials during the<br />

motion <strong>of</strong> throwing, and the semi-random yet ordered nature <strong>of</strong> pattern created through the action <strong>of</strong><br />

making. For me, throwing is integral to my practice; it creates an interstitial space, a pause, where the<br />

movement <strong>of</strong> the clay and the embedment <strong>of</strong> the materials take on a life <strong>of</strong> their own.<br />

I hope to develop this relationsh ip between line and movement and purity and imperfection by<br />

pursuing investigations into the relationsh ip <strong>of</strong> glazes and firing methods on the found, embedded<br />

materials. Reaction, alchemy and contrast are my future lines <strong>of</strong> enquiry.<br />

www.stephaniehammillceramics.wordpress.com<br />


Focus: Eme rging<br />

PROFILE:<br />

Home@735 Gallery<br />

Home@735 is one <strong>of</strong> Sydney's newest<br />

contemporary art galleries, located in a terrace<br />

house at 735 Bourke Street, Redfern in inner city<br />

Sydney. One <strong>of</strong> our main objectives is to create a<br />

comfortable and inviting space that bridges the<br />

gap between the audience and the artist's work.<br />

<strong>The</strong> domestic context is an ideal backdrop for<br />

exhibiting ceramics. We show ceramics in two<br />

bespoke cabinets and throughout the gallery.<br />

Our motivation is to show engaging work from<br />

artists, in particular ceramic artists who <strong>of</strong>ten<br />

don't have as many opportunities to exhibit as<br />

practitioners from other disciplines. This seems to<br />

be especially true in group exhibitions with artists<br />

from other disciplines.<br />

<strong>Ceramics</strong> are <strong>of</strong>ten shown in galleries<br />

dedicated to ceramics, whereas Home@735<br />

exhibits ceramics in context with other art<br />

forms. By exhibiting ceramics in this way we<br />

hope to extend the audience's understanding <strong>of</strong><br />

ceramics by including installation and conceptual<br />

practices as well as sculptural forms and painted<br />

surfaces.<br />

We hope to build ongoing relationships with<br />

the artists we have shown and continue to<br />

exhibit ceramics that are challenging. We have<br />

some exciting exhibitions planned for the near<br />

future, including, in September <strong>2014</strong> as part <strong>of</strong><br />

the Sydney Fringe Festival, a solo installation and<br />

interactive artwork by Dan Elborne, an emerging<br />

Queensland ceramic artist.<br />

www.homeat735.com.au<br />

, Anne-Marie Jackson<br />

2 Sarah O'Sullivan<br />

3 Georgina Bonner<br />


Focus: Emerging<br />

PROFILE: Jacob Ogden Smith<br />

www.jacobogdensmith.com<br />


Focus: Emerging<br />

PROFILE:<br />

Thomas Quayle<br />

My work seeks to delve into human experience<br />

and emotion and examine not only what it<br />

means to be human but also how we see the<br />

humanity <strong>of</strong> others. I <strong>of</strong>ten explore the idea <strong>of</strong><br />

the human as an objed, an idea that is best<br />

suited to three-dimensional work. Utilising the<br />

gaze, I attempt to play on the empathy <strong>of</strong> the<br />

audience by reconstructing scenarios, <strong>of</strong>ten<br />

violent or sad, to evoke an emotional response<br />

for the human-looking object. <strong>The</strong> reason<br />

for this is to create feelings <strong>of</strong> concern and a<br />

need for adion that contrast with a feeling <strong>of</strong><br />

powerlessness and an inability to ad.<br />

Inspiration for my work stems from my<br />

experiences as an openly homosexual teen . My<br />

work represents my experiences <strong>of</strong> ostracism,<br />

confusion, depression and fear. I use my art to<br />

conned to the audience not only through the<br />

familiarity <strong>of</strong> the human form but also through<br />

the common emotional experience. Although<br />

my works are not cheerful renditions <strong>of</strong> happy<br />

figures, they are made to stand as a comforting<br />

reminder that we are all connected through the<br />

pain <strong>of</strong> feeling alone.<br />

www.thomasquayle.com<br />

Thomas Quayle, In Desperate Need, 20 14<br />

h.80cm, w.35cm, d.26cm; photo: courtesy artist<br />


Focus: Emerging<br />

PROFILE: Tessa Wallis<br />

<strong>The</strong> triptych Human Hands in Reproduction, Adaptation and Evolution illustrates my concern<br />

with scientific developments that could cause the demise <strong>of</strong> human health and the environment. It<br />

was influenced by the surrealistic paintings <strong>of</strong> Max Ernst and the ceramics <strong>of</strong> Janet Beckhouse.<br />

<strong>The</strong> contraceptive pill, plastics and chemicals have introduced so much oestrogen into the<br />

environment that there have been negative effects on sperm counts and cancer rates. We may<br />

eventually revere the toad and the rat for their reproductive powers!<br />

<strong>The</strong> highly adapted cane toad has decimated native <strong>Australian</strong> fauna and is spreading quickly. Crows<br />

have learnt to avoid their poison sacks by attacking the underbelly! Reptiles and amphibians represent<br />

evolutionary links with humans and are included in all three works.<br />

Nuclear meltdowns are spreading radioactivity around the world, causing toxicity, mutations and the<br />

possibility <strong>of</strong> the evolution <strong>of</strong> strange new forms. Imaginary mutations are included in the triptych as<br />

well as a dominant 'machine' monster that gobbles up all in its path. Humans look on, horrified at the<br />

havoc caused by scientific 'developments'.<br />

<strong>The</strong> lure <strong>of</strong> ceramics for me is taking a tiny chunk <strong>of</strong> planet earth, re-shaping it and firing it hard so<br />

it could last for centuries.<br />

Tessa Wallis,<br />

Human Hands in<br />

Reproduction,<br />

Adaptation and<br />

Evolution, <strong>2014</strong><br />

ceramic triptych,<br />

earthenware with<br />

underglaze. oxide<br />

tallest, h.50cm<br />

Photo: Ric Wallis

Focus: Emerging<br />

From Paint to Clay<br />

Caterina Leone talks with Ben Quilty about his recen t cerami c work<br />

Caterina Leone: Why did you choose to work in ceram ics?<br />

Ben Ouilty: Clay and paint are probably the first mediums you play around with as a child; clay is a<br />

fundamental medium for an artist. I've always mucked around w ith clay though I've never actually fired<br />

anything. Well, that's not entirely true, as I have used clay to then cast and pour bronze moulds. <strong>The</strong><br />

Encouragement Award (bronze, 2010) was made from oil-based modelling clay and cast in bronze, so<br />

this project was an extension <strong>of</strong> that. Obviously, the finished artwork has come about through other's<br />

expertise, not mine, but I knew that I wanted the object to be in porcelain rather than bronze, to mimic<br />

the original object.<br />

CL: So it seems as though these works could only have been realised in clay ...<br />

SO: <strong>The</strong> material is integral to the original object and idea. It is a very material-specific project and<br />

working in ceramics, with porcelain, was the only way that the idea could have even been formed, let<br />

alone realised . <strong>The</strong> original objects weren 't porcelain; they were quite cheap, stoneware I think, so I<br />

wanted to actually make them more culturally important, more refined, more expensive, but actually<br />

destroy the functionality <strong>of</strong> the object at the same time, turning them into art. That raises a funny,<br />

fundamental question about the nature <strong>of</strong> art - you actually have to destroy the functionality <strong>of</strong><br />

something and use more expensive materials to make it and then it becomes art. But I think that's the<br />

thing ... it still does have a function; its function is as a messenger, a storyteller; so it really has a far<br />

more important function than it had before.<br />

CL: Your work then really makes that functional/non-functional idea ...<br />

BO: Dumb!<br />

CL: Well it certainly eliminates it.<br />

SO: It's not true at all. <strong>The</strong> function is to inform and create debate, and these works, I hope, do exactly<br />

that.<br />

CL: Is it strange to work with so many other people and processes not entirely in your control? That<br />

must be different to painting.<br />

BO: Good question. Alexandra (Alex) Standen really facilitated the whole thing, as well as being an<br />

inspiration . Seeing and appreciating her work prompted me to start thinking <strong>of</strong> a project I could do that<br />

involved porcelain. <strong>The</strong> way she uses porcelain, in a way treats it with such irreverence, giving it a whole<br />

new life ... made me think, " I want to use porcelain " . And so then Alex said that she wanted to be<br />

involved, and from there it got out <strong>of</strong> control! That amazing Somchai Charoen got involved, the most<br />

humble and clever man, to make the moulds and then finally Louise Martiensen ended up doing the<br />

final firings and decals. So it was certa inly a big group effort, a real collaboration. My idea was the start<br />

<strong>of</strong> the project, then all I really did was model the first object with modelling clay, and then it was swept<br />

out <strong>of</strong> my hands and those very clever people basically remade the original object into what it is now.<br />

CL: How is working in clay different to painting?<br />

SO: I very much knew what they were going to look like as completed works, and I started with an<br />


Ben Quilty, Scream after Leonardo, <strong>2014</strong>, porcelain, slipeasl, h.18cm, w.20cm, d.17cm; photo: Andre de Borde<br />


Focus: Emerging<br />

original object. With a painting, quite <strong>of</strong>ten what happens is it takes so many different directions, and<br />

<strong>of</strong>ten the ones that work the best - the image that you have in your head in the beginning - is how it<br />

finishes. <strong>The</strong> ones that go <strong>of</strong>f in different directions usually don't work, but are still really important to<br />

making a good painting, whereas with the ceramics, I knew exactly what I was making. I knew what I<br />

wanted, and what the final product would be like.<br />

Cl: What are the works about?<br />

BQ: <strong>The</strong>y were inspired by Leonardo da Vinci drawings <strong>of</strong> these grotesque, over-the-top historical<br />

figures. <strong>The</strong> subjects <strong>of</strong> these drawings almost seem more than human, characterisations <strong>of</strong> humanity, <strong>of</strong><br />

human traits. I wanted to play with that, with the fact that they were based on drawings <strong>of</strong> very absurd<br />

looking real people, and therefore, I don't know, explore our humanity, explore the crazy boundaries <strong>of</strong><br />

what humans are, what appearances can convey.<br />

That is how the portrait <strong>of</strong> Phi l Butler fits into the body <strong>of</strong> work. He is a da Vinci subject. He 's such an<br />

extraordinary figure; he's got a huge block <strong>of</strong> a head and he has a lifestyle and life story like none I've<br />

ever heard before. He served in Vietnam, conscripted as a 20-year-old kid. He was basically threatened<br />

that if he didn't go to war he would spend the rest <strong>of</strong> the war period in Long Bay prison. He lost so<br />

many <strong>of</strong> his mates in the war. I was born the year after the Vietnam War finished so I'm interested in<br />

that history, in his story. As well as that, he's this really extraordinarily out-there-Iooking human being;<br />

he's a big, solid, very friendly, s<strong>of</strong>tly spoken human being.<br />

Cl: Did you know that you were going to use him as a subject when you started?<br />

BQ: Yes, that's actually where it started. I made the painting, the portrait <strong>of</strong> Phil, and the first jug came<br />

directly from that, and really the painting just acted as a vehicle to explore the ideas that I then wanted<br />

to turn into clay. And then, it went from there, and I started finding more and more images, and when<br />

I'm looking for things like that, they just seem to come up before me. My seven-year-old son opened a<br />

da Vinci book and said, " Dad, turn that - this incredible drawing - into porcelain ." I said, "Joe, you're a<br />

genius!" So the collaboration's just getting broader and broader! <strong>The</strong> da Vinci drawings crystallised the<br />

ideas we've already discussed, that began with Phil Butler.<br />

Cl: Will the painting be exhibited alongside his porcelain jug7<br />

BQ: It will eventually, but not in Hong Kong.<br />

Cl: Has working with clay taught you anything?<br />

BQ: Look, it's about form, real form; you're dealing with a 3D object. Part <strong>of</strong> my practice as a painter<br />

is being influenced by visual things, but then making up a lot <strong>of</strong> the material so that it becomes, in a<br />

way, a collaboration between imagination and truth. And with ceramics, with what I've done with these<br />

works, it's a 2D image and I'm giving it 3D form, so I've had to make up more than half <strong>of</strong> the object,<br />

so it's now an even greater collaboration, between imagination, truth, sculpture, form. And then there's<br />

the magic <strong>of</strong> actually using your hands to create an object, that immediacy and physicality, leaving your<br />

fingerprints!<br />

Cl: Do you think there is a connection between what these works look like and your paintings?<br />

BQ: I don't know, you'll have to tell me that l Look, they're a beautiful, shiny, smooth, blended form<br />

<strong>of</strong> what my paintings are. And if you look at that one <strong>of</strong> Phil Butler, it's directly from the original idea<br />

explored in the painting, and I just gave that form. I gave the idea form, so in a way the painting is just<br />

a work in progress, and the final ceramic object is the artwork.<br />


Focus : Emerging<br />

Ben Quilty in his studio working<br />

on Conscript (Private Phil Butler)<br />

Photo: Andre de Borde<br />

Cl: I think that your characteristic expressive, gestural style is still evident in the ceramic works, and that<br />

contrasts so strikingly with the refined, traditional decals and finish <strong>of</strong> the rest <strong>of</strong> the jugs. Is there any<br />

meaning to this disparity?<br />

BQ: I've suggested them for the Saatchi show in London, titled Straight White Males. <strong>The</strong> jugs<br />

definitely have a meaning that relates to that title. Belonging to the group in society that holds the<br />

highest privilege and power is something that I've always been keenly aware <strong>of</strong> and had a certain sense<br />

<strong>of</strong> guilt about. <strong>The</strong> jugs work on multiple levels: they're reminiscent <strong>of</strong> Toby jugs, and so echo the fastliving,<br />

hard-drinking culture that marks so much <strong>of</strong> the early life <strong>of</strong> <strong>Australian</strong> men, something that I've<br />

explored a lot in my past work. <strong>The</strong>y depict this almost sordid, disorientated state <strong>of</strong> masculinity while at<br />

the same time, through their conversion into porcelain and fine art, they depict the dominance <strong>of</strong> this<br />

social category.<br />

Cl: What is best about using clay to realise your ideas?<br />

BQ: Well I only used oil-based modelling clay, and it doesn't crack, it doesn't dry out, so it's the most<br />

amazing material for playing with, and there was no other way I could have made these works without<br />


Ben Quilty, from left to right, Scream after Leonardo, Jug (nose), Conscript (Private Phil Butler), Jug (Lloydy) and<br />

Jug (Leonardo), <strong>2014</strong>, porcelain, slipcast, tallest h.26cm; photo: Andre de Borde<br />

clay. Clay was central to the idea. I've always felt that there's this really amazing thing about using<br />

porcelain. Light travels through it. It's been around for such a long time and has a history <strong>of</strong> being the<br />

exclusive finery <strong>of</strong> wealthy people, but I'm sort <strong>of</strong> subverting that and using it to mimic the original,<br />

cheap object. That subversion has allowed me to create the meanings we've discussed in relation to the<br />

Saatchi show.<br />

CL: Are you happy with them?<br />

BQ: Yes!<br />

CL: Will you continue to work in ceramics?<br />

BQ: Yes, definitely. When I first did bronze, I continued to work in bronze. I've made three or four or<br />

them, and I'm sure I'll do the same with ceramics. I have really enjoyed it. I've enjoyed the collaborative<br />

aspect, and I'm intrigued by ceramics: how they do it is still completely abstract to me, that they can<br />

take my piece <strong>of</strong> work and essentially destroy it and then remake it. It's a lovely process to be involved<br />

in.<br />


Focus: Emerging<br />

Ben Quilty, Conscript (Private Phi/Butler), <strong>2014</strong>, porcelain slipcast, h.26cm, w.19cm, d.27cm; photo: Andre de Borde<br />

Ben Quilty was declared the overall winner <strong>of</strong> the inaugural Prudential Eye Award for<br />

Contemporary Art in Singapore in January <strong>2014</strong>. As a result <strong>of</strong> winning his category <strong>of</strong><br />

painting, from more than 500 nominees, Ben will stage an exhibition at the Saatchi Gallery<br />

london in <strong>July</strong> <strong>2014</strong>. <strong>The</strong> award celebrates and supports emerging artistic talent across greater<br />

Asia. Ben's exciting first london exhibition will showcase his works from predominantly public<br />

galleries in Australia and precedes an extended painting residency in Paris in <strong>2014</strong>.<br />

www.benquilty.com<br />


National Education<br />

Pictorial Survey <strong>2014</strong><br />

<strong>No</strong>te: Due to a lack <strong>of</strong> space.<br />

full captioning <strong>of</strong> Images is not<br />

pos~ble . Please contact the<br />

editor if you would hke more<br />

information on any Image<br />

featured In this survey.<br />



www.tafesa .edu.au/<br />

adelaide-college-<strong>of</strong>-the-arts<br />

1 David Moseley<br />

2 Wakana Takahashi<br />

2<br />




http://soa.anu.edu.au<br />

1 Shaun Hayes<br />

2 Fran Romano<br />

3 Jenny Harris<br />

4 David Leake<br />

5 Verney Nurness<br />

6 Julie Barnett

National Education: Pictorial Survey <strong>2014</strong><br />



PERTH, WA<br />

www.central .wa.edu.au<br />

1 Marian Giles<br />

2 Holly Courtney<br />

3 Karen Millar<br />



http://chisholm.edu.au<br />

1 Irris Szoeke<br />

2 Heather King<br />

3 Sharyn Dingeldei

National Education: Pictorial Survey <strong>2014</strong><br />


http://federation.edu.au<br />

Work by Alexandra McKim<br />

2<br />


wwvv.holmesglen.edu.au<br />

1 Michal Anela<br />

2 Karen Steenbergen<br />

3 Susannah Larritt<br />

3<br />


National Education: Pictorial Survey <strong>2014</strong><br />



www.nas.edu.au<br />

1 Zachary Harold<br />

2 Ruth Ju-Shih Li<br />

3 Joseph Purtle<br />

4 Gaye Stevens<br />

1 Natalie Levy<br />

2 Peter Coles<br />

3 Cathe Stack<br />

4 Judy Lane<br />

5 Margaret Paradysz<br />

3<br />



www.nsi.tafensw.edu.au<br />


National Education: Pictorial Survey <strong>2014</strong><br />

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



www.nsi .tafensw.edu.au<br />

1 Clare Unger<br />

2 Jann Craw<br />

3 Kit Fong Wong<br />

4 Kylie Rose Mclean<br />

5 Izette Felthun<br />

6 Hilary Jones<br />

7 Kimie Kitamura<br />

7<br />



VIC<br />

www.rmit.edu.au<br />

1 Varuni<br />

Kanagasundara<br />

2 Wen Shobrook<br />

3 Kate Jones<br />

.....<br />

.. ,<br />

,,:..-~ ...<br />

.<br />

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

2<br />

3<br />


National Education: Pictorial Survey <strong>2014</strong><br />

---<br />

1 Kayleen Kerr<br />

2 Briony Law<br />

3 Helle Cook<br />

4 Kathy Mack<br />

5 Tully Boundry­<br />

Collis<br />

-- 5 ~<br />

- ---<br />



http://tafebrisbane.edu.au<br />

• - I<br />



http://scu.edu.au<br />

Work by Sharon Thompson<br />

70 THE 10URNAl OF AUSTRALIAN CERAMICS JULY <strong>2014</strong>



http://tafeeastcoast.edu.au<br />

1 Maree Heard<br />

2 Pam Taylor<br />

3 Lisa Brummel<br />

3<br />



http://sydneytafe.edu.au<br />

1 Susan Smith<br />

2 Robert Jeffers<br />

3 Nicky Parras<br />

4 Frances Wilson<br />

5 Kerrie Watson<br />

6 Terry Mitchell<br />


National Education: Pictorial Survey <strong>2014</strong><br />


www.newcastle.edu.au<br />

1 Vicki Hamilton<br />

2 Gabriella Sharp<br />


www.c<strong>of</strong>a .unsw.edu.au<br />

1 Alice Couttoupes<br />

2 Min Shin Song<br />

3 Milly Dent<br />

4 Ramesh Mario Nithiyendran<br />

5 Ion Fukazawa<br />

72 THE 10URNAl OF AUSTRALIAN CERAMICS JULY <strong>2014</strong>



DESIGN<br />

www.unisa.edu.au<br />

1 Emily Clinton<br />

2 Sophia Nuske<br />

2<br />

1 Dan Elborne<br />

2 Aleesha Degan<br />

3 Lynette Larson<br />

4 Jess Hennan<br />

3<br />




National Education: Pictorial Survey <strong>2014</strong><br />

1 Cecilia Castro<br />

2 Clarissa Regan<br />

3 Sarah Humphrey<br />

4 Nicola Coady<br />



http://sydney.edu.aulsca<br />

1 Jessica Roach<br />

2 Shelly-Rae Haines<br />

3 Erica Greenhill<br />



htlp:/lwsi. tafensw. edu .au<br />

3<br />


Promotion<br />

Three Experiences <strong>of</strong> our<br />

National Pottery Competition<br />

<strong>The</strong>re are many reasons to enter competitions - to win a prize, to enhance your CV or to expose your<br />

work to the public and gallery owners. All can provide a great boost to your career.<br />

In <strong>2014</strong>, the Port Hacking Potters Group is <strong>of</strong>fering this opportunity to emerging artists and, for<br />

the first time, to Aboriginal and Torres Strait Islanders. We are excited about our Inaugural Indigenous<br />

Encouragement Award and encourage potters to submit entries. <strong>The</strong> submitted works will be shown in<br />

the prestigious Hazelhurst Regional Gallery and Arts Centre in Gymea NSW, with Patsy Hely as the judge.<br />

Below we share experiences <strong>of</strong> three past winners.<br />

In 2012 Kathryn Mitchell won the Open Wheel-Thrown Section.<br />

Judge: Greg Daly<br />

It was an honour fo have my work assessed by the esteemed judge, Greg Daly, let alone 10<br />

be awarded first prize for the whee/thrown section. <strong>The</strong> award was a great privilege for<br />

a young polley like me. To have support and recognition from established l:eramicisls in<br />

my fledging career is precious. <strong>The</strong> bonus <strong>of</strong> a financial prize was Significantly helpful. I<br />

was barely two years inlo my studio practice and passionate about my work but unsure <strong>of</strong><br />

direction. Winning this award boosted my confidence and provided some financial relief<br />

aI/owing me fa focus creatively on my first solo show<br />

Kathryn Mitchell<br />

Miro Feather, 2012<br />

Detail (one <strong>of</strong> three<br />

bowls)<br />


Promotion<br />

In 2001 Amanda Shelsher won the HandbuiltlSculpture Section.<br />

Judge: Mitsuo Shoji<br />

Amanda Shelsher<br />

lioyager. 2001<br />

Photo: Bewley Shaylor<br />

In my early years as an emerging artisl! really enjoyed entering competitions. J was so<br />

appreciative <strong>of</strong> the opportunity to show my work to a wider audience outside Penh. <strong>The</strong> Port<br />

Hacking Pollers Award was one <strong>of</strong> these jantastic opportunities.<br />

Submitting an entry then looking forward to the results kepI me going as an artist. Working<br />

in isolation I needed to sel goals. juggle to keep up with orders, and find lime to make pieces<br />

for award shows. It was hard work and long hours. bill it payed <strong>of</strong>f.<br />

It must be a huge job for 'he organisers <strong>of</strong> these art awards and so encouraging that<br />

they cominue to raise the awareness <strong>of</strong> the jantastic ceramic works thai are produced in<br />

Australia.<br />

My 200 I Port Hacking Award was a great acknowledgement and a huge corifidence boost<br />

for me.[rom the other side <strong>of</strong> Australia. It helped me grow my pr<strong>of</strong>ile on a national level.<br />

Awards like this encourage us 10 do our best. We all need lillIe affirmations Ihroughout life<br />

and moments where we can sit, enjoy, breathe and know we are on the righi/rack!<br />


Promotion<br />

In 1985 Gail Nichols Won the Student Wheel-Thrown section.<br />

Gail Nichols<br />

Bowl. 1985. salt glaze<br />

diam.39cm; student at St George<br />

TAFE<br />

Looking back on my ceramic student days at St George TAFE in Kogarah NSW (J983-fJ5),<br />

I recall Ihe PorI Hacking Potters Competition as an integral parI <strong>of</strong> the academic year.<br />

and in 1985 I was awarded lSI in the Student Wheel Thrown section/or a large salt glaze<br />

bowl. In subsequent years I received awards for my pr<strong>of</strong>essional soda-glazed work: 2nd in<br />

Open Wheel Thrown and Decorative Techniques (1992), Winning Entry in <strong>The</strong>me Section-­<br />

Colours <strong>of</strong> Australia (1997), Winning Entry in Open Wheel Thrown and the CESCO Award<br />

(2001). <strong>The</strong>se formed the beginning <strong>of</strong> the Awards section in early versions <strong>of</strong> my CV That<br />

list has grown over the years, expanding 10 other national and international compe/ilions,<br />

however the Port Hacking POllers prizes appear at the start, and continue to hold a special<br />

place in my memory.<br />

In 2006 I was invited /0 judge the competition. This was an honour and an<br />

acknowledgement <strong>of</strong> my career development. It was a pleasure and a challenge to view the<br />

works and to select the winners. I 'd like to think I gave encouragement, especially to the<br />

student enlries, as I had received 21 years before. [ 'm grateful to the dedicated volunteers<br />

in the Pori Hacking Pollers Group who cOnlinue 10 nm a biennial nali<strong>of</strong>fal competition<br />

and exhibition, promote ceramics in their communi/y, and encourage the endeavours <strong>of</strong><br />

emerging artists.<br />

Whether you are a student, an emerging artist, or already experienced If' your<br />

craft, there IS much to be gained by partiCipating in thiS competition.<br />

Entry forms are available by emalling pottersgroup@hotmail.com or call<br />

0407 229 151 . See images <strong>of</strong> Ihe 2012 COmpeliTlon on our blog,<br />

www.porthackingpotters.blogspot.com.au/ or follow us on Facebook at<br />

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

*<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@hotmail.com<br />

Entry forms due 8 September <strong>2014</strong>

Vi ew 1<br />

HERE&NOW14:<br />

<strong>The</strong> state <strong>of</strong> ceramics in WA<br />

Curator Emma Mahanay Bitmead introduces this upcoming exhibition<br />

HERE&NOW is an annual exhibition, initiated in 2012 by the Lawrence Wilson Art Gallery at the<br />

University <strong>of</strong> Western Australia, with the aim to provide opportunities for emerging artists and showcase<br />

the most exciting and innovative new work being produced in Western Australia. This year the theme<br />

is 'Contemporary <strong>Ceramics</strong>', with work from both emerging and established Western <strong>Australian</strong><br />

artists, encompassing materials and techniques ranging from fine porcelain forms and rustic stoneware<br />

installations through to large-scale sculptural work. <strong>The</strong> exhibition is open from 25 <strong>July</strong> to 27 September<br />

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

Selected artists include Luke Aleksandrow, Sandra Black, Greg Crowe, Ian Dowling, Pippin Drysdale,<br />

Stephanie Hammill, Graham Hay, Andrew Nicholls, Jacob Ogden Smith, Warrick Palmateer, Bevan<br />

Thompson and Andrea Vinkovic. Each has been challenged to produce new work, extending their<br />

artistic practice by experimenting with innovative technical and conceptual approaches.<br />

Sourcing 'emerging' ceramic artists was one <strong>of</strong> the challenges faced in curating this exhibition. It<br />

became apparent that due to the closure <strong>of</strong> tertiary ceramic courses in WA, emerging ceramicists have<br />

been forced to seek alternative pathways to acquire the skills, training and intellectual development<br />

required but no longer on <strong>of</strong>fer through dedicated specialist courses.<br />

I became interested in exploring how the selected emerging artists have come to work with clay and<br />

the challenges they have faced to further their careers. Some visual arts graduates have naturally paired<br />

Below: Sandra Black and Andrew Nicholls. Wrap. <strong>2014</strong>, porcelain, clear glaze. black decal, h.1Scm<br />

Below right: Andrea Vinkovic. Shape <strong>of</strong> Thought, detail. <strong>2014</strong>, stoneware, porcelain. metal; photos: Kevin Gordon<br />


Above: Warrick Palmateer, Form I, <strong>2014</strong>, h.1SOcm<br />

Above right: Stephanie Hammill, Drift Line, <strong>2014</strong>, porcelain, h.1Ocm; photos: Kevin Gordon<br />

up with highly experienced ceramicists, forging informal mentorships that enable them to learn the<br />

physical and technical skills not taught in academic visual arts courses.<br />

Jacob Ogden Smith is one such example. He graduated with First Class Honours in Fine Arts from<br />

Curtin University after completing an Advanced Diploma <strong>of</strong> Fine Arts at the WA School <strong>of</strong> Art and<br />

Design. In 2011 Jacob began working informally with Greg Crowe, mostly focusing on kiln building<br />

and woodfiring. Jacob's conceptual exhibition work incorporates found ceramic objects and video<br />

installation, in part the result <strong>of</strong> his lack <strong>of</strong> access to studio facilities. Greg, who teaches at his pottery<br />

studio in Hovea in the Perth Hills, also has work in the exhibition.<br />

Others, including Stephanie Hammill, have pursued short practical courses <strong>of</strong>fered through institutions<br />

such as the Fremantle Arts Centre and SODA Studios Clay House. Despite postgraduate qualifications in<br />

anthropology, Stephanie faced incredible obstacles when attempting to enroll in a Diploma at Central<br />

TAFE, due to a lack <strong>of</strong> previous fine art qualifications and the absence <strong>of</strong> any formal structure to<br />

recognise prior learning and experience. With the support and encouragement <strong>of</strong> the ceramic tutors,<br />

she was able to enroll and attend classes without the option to complete an academic certificate. She<br />

was immensely inspired by the breadth <strong>of</strong> knowledge, skills and guidance provided by Andrea Vinkovic,<br />

who is also exhibiting work.<br />

Luke Aleksandrow is another emerging artist, though he has pursued a purely academic pathway<br />

to exploring ceramic practice involving digital installations based on ceramics. After completing a<br />

Bachelor <strong>of</strong> Arts (Design & Art) with First Class Honours and Master <strong>of</strong> Applied Design and Art at Curtin<br />

University <strong>of</strong> Technology under the tutelage <strong>of</strong> John Teschendorff, Luke is currently undertaking a sevenmonth<br />

residency at the Fremantle Arts Centre. He next intends to undertake his PHD at Curtin while<br />

continuing to pursue his ceramics practice.<br />

It is the first time in a decade that a public institution in Western Australia has dedicated an exhibition<br />

to the under-represented practice <strong>of</strong> ceramics. Given the current collaborative landscape, it seems<br />

timely to provide an opportunity for emerging ceramic artists to exhibit their work alongside their more<br />

established and internationally recognised counterparts. HERE&NOWI4 will provide a snapshot <strong>of</strong> the<br />

diverse, exciting and innovative developments in the contemporary world <strong>of</strong> ceramic practice in Western<br />

Australia.<br />

80 THE 10URNAL OF AUSTRALIAN CERAMICS JULY <strong>2014</strong>

View 2<br />

Round the Mountain<br />

Merrie Hamilton reviews Gai l Nichols' recent exhibition at Sabbia Gallery<br />

I made it to Gail Nichols' Sabbia Show in <strong>July</strong> 2013 on the second last day. Despite the plethora <strong>of</strong> red<br />

stickers, three women huddled in discussion - deciding on a purchase.<br />

I know Nichols' work (we live in the same community), but have never been in a big room full <strong>of</strong> her<br />

pots. <strong>The</strong>re are thirty-five and it's quite an experience. I am unexpectedly gobsmacked. <strong>The</strong>y look more<br />

colourful than I remember and there is definitely a new wow factor - they sparkle.<br />

<strong>The</strong> Sabbia Gallery girls are masters <strong>of</strong> display. <strong>The</strong>ir podia seem to float, the natural light is gorgeous<br />

(huge windows allow you to actually see the show as you drive past) and their artificial lighting is precise<br />

and flattering. And so to the pots themselves ... many are very large and there are several different<br />

forms. Most stand quietly, modestly, swelling gently from tapered bases into elegant open bowls,<br />

cylinders and shouldered pot forms. <strong>No</strong>t all are vertical. <strong>The</strong>re are also rhythmically undulating horizontal<br />

works, reminiscent <strong>of</strong> stingrays (which Nichols calls Wave Plates) and solid 'rocks' reminding me <strong>of</strong><br />

Aboriginal grinding stones.<br />

<strong>The</strong> surfaces are intoxicating. I resist the urge to put my tongue to them but cannot resist some<br />

fondling <strong>of</strong> the baby skin smoothness. What might appear to be bubbling or pocking or foaming is<br />

cool and sensual to the (illegal) touch . You know that what you are looking at is hand-wrought and<br />

contrived, but you could be amongst natural forms from our local landscape. Surfaces appear to reflect<br />

the mineral content <strong>of</strong> boulders swathed in mist. <strong>The</strong> feel is ancient and yet, oh so contemporary.<br />

All work by Gail Nichols; photos: Michel Brauet<br />

Below left: Flame Round the Mountain, 2012. stoneware, soda-vapour glaze, h.36cm, w.43cm<br />

Below middle: Spring Rain, 2012, stoneware, soda-vapour glaze, h.27ern, w.18cm, d.16cm<br />

Below right: Days <strong>of</strong> Deluge, 2013, stoneware, soda-vapour glaze, h.23cm, w.38cm, d.35cm<br />

,<br />

r_ .... ' • _ ~.. ~:!. • .. . ' .<br />


View 2<br />

"It's my decorating day", Nichols laughingly says <strong>of</strong> her kiln packing. She gives herself lots <strong>of</strong> time<br />

and no pressure to accomplish this painstaking task, crawling around on her haunches inside the kiln .<br />

<strong>The</strong> only glaze applied to the wares is inside the forms. All other effects are gained by the manipulation<br />

<strong>of</strong> the kiln atmosphere and the pack. large things perch on their sides, <strong>of</strong>ten on oyster shells (providing<br />

both stability and a subtle fossil-like imprinted focal pOint) - all the better to receive the soda vapour as<br />

it winds through the corridors <strong>of</strong> space between pots towards the chimney at the back. Small bowls and<br />

cups litter the shelves as fillers. <strong>The</strong> whole thing might appear haphazard. It is anything but.<br />

Nichols has been experimenting with soda glaze firing since the 1990s and has gradually refined her<br />

practice so that she can now express things other than technique. Although she builds her own kilns,<br />

formulates her own clay bodies, throws big pots and raw fires ever so carefully with both gas and wood,<br />

Nichols' work shows an artistic maturity that is internationally acclaimed and highly sought after.<br />

I can't help wondering if she chose her bush locale and proximity to Mount Budawang (with its<br />

spectacular foggy micro climate) to complement her pots or if the work has gradually morphed into<br />

its environment. As with any art form, the trick is to appear effortless - the hours and decades <strong>of</strong> hard<br />

work becoming second nature - so that what the audience receives is seamless, easy; a story told or a<br />

feeling given solidity. This Nichols certainly achieves but she has had to be 'driven' to get there. Only<br />

when she talks about her volunteer fire fighting does she light up in the same way as she does when<br />

discussing the work. What is it about this woman and fire?<br />

http://sabbiagallery.com/artists/gail-nichols/<br />

Below: Gail Nichols. Flowing Mist, 2013, stoneware. soda·vapour glaze. h.llern. w.42cm; photo: Michel Brooet<br />


Spaces and Places<br />

-------<br />

Late Nights and Dusty Clothes<br />

Amy Kennedy interviews Leah Jackson, Resident Artist at<br />

<strong>No</strong>rthcote Pottery Supplies in Melbourne<br />

Amy Kennedy: When and how did you start ceramics?<br />

Leah Jackson: During high school I had a very supportive ceramics teacher who I had great rapport<br />

with. She would organise field trips to various potter's studios so that we could experiment with firing<br />

techniques. <strong>The</strong> school at the time was science and sports focused but the previous principal had<br />

supported the art department, so fortunately we had great facilities to use.<br />

AK: Do you consider yourself an emerging artist? If so, why?<br />

U : Although I graduated in 2003 I didn't really take up my practice outside <strong>of</strong> an institution until around<br />

2008. Having gone straight to university from high school meant that I was pretty starved for some<br />

greater life experience, so I took the opportunity to relocate a couple <strong>of</strong> times, travel, and work in the<br />

arts during the intervening years. I consider myself an emerging artist until I am focused on my practice<br />

full time. At present I still work part time a couple <strong>of</strong> days in an unrelated field. I tend to embrace and<br />

enjoy the challenge <strong>of</strong> learning and developing, which makes me constantly feel like a novice, so it will<br />

probably only be in retrospect that I see myself as 'emerged' as opposed to 'emerging'.<br />

AK: What is your educational background?<br />

U: I completed a Bachelor <strong>of</strong> Arts Visual (Honours) with a major in ceramics at the National Institute<br />

<strong>of</strong> the Arts (ANU). We had access to exciting artists from around the world thanks to the International<br />

Artist Program. I came to study at ANU via a flyer that was left on my desk by the aforementioned<br />

ceramics teacher - a person can have a pr<strong>of</strong>ound effect on one's life! Otherwise, I would most likely<br />

have studied closer to home in Melbourne, and my work might look completely different today, for<br />

better or worse.<br />

AK: What sort <strong>of</strong> work do you do? What inspires it?<br />

U: My work is predominantly functional. <strong>The</strong> use <strong>of</strong> the object inspires it, as does material, touch and<br />

colour. Film and television sets are particularly interesting to me, as the objects used in set dressing<br />

create a more rounded narrative or character description. Taking in the surrounds <strong>of</strong> a character fills in<br />

the blanks for our brains. I am fascinated by this, and <strong>of</strong>ten return to it as a reference. My inspiration<br />

folders are littered with screen grabs from these moments.<br />

AK: How did you come to be a Resident Artist at <strong>No</strong>rthcote Pottery Supplies?<br />

U: Previously I had been working from home, in my apartment, packing up every evening into a<br />

cupboard that I had set aside for ceramics. Although it taught me how to use space very efficiently,<br />

after a particularly busy year including a solo exhibition and several group exhibitions, on top <strong>of</strong> trying<br />

to sustain the more commercial side, I'd had enough and just couldn't stomach making at home any<br />

longer. I had been using the firing service and coming to the shop at NPS for years (you can 't fire in an<br />

apartment!) so I took the leap and put my name down for a studiO space. Luckily one became ava ilable<br />

reasonably quickly.<br />


Places and Spaces<br />

Above: Leah Jackson in her <strong>No</strong>rthcote Pottery Supplies stud,o <strong>2014</strong><br />

Opposite page: Leah Jackson, Spotted Range, <strong>2014</strong>, porcelain, tallest, h.l6cm; photo: Jeremy Dillon<br />

AK: What do you enjoy about having a studio here?<br />

U : It has made an enormous difference to my work. <strong>The</strong> freedom <strong>of</strong> being able to leave everything set<br />

up overnight, paired with a larger space has resulted in new products and larger, more ambitious pieces .<br />

It is also an absolute dream being able to fire on-site, particularly fragile pieces.<br />

AK: Where do you sell and exhibit your work?<br />

U: I am incredibly fortunate to have excellent stockists all around the country who are interested in my<br />

work and incredibly supportive and patient. It is an exciting time for craft, and the young 'bricks and<br />

mortar' shops that support it. In Melbourne I stock Craft Victoria, Mr Kitly, Quince and Edition X; High<br />

Swan Dive, a lovely new shop in Newcastle NSW; in Perth the wonderful Mr Sparrow; the National<br />

Portrait Gallery in Canberra; and a few more who are patiently awaiting orders! I have exhibited within<br />

Australia and internationally in both group and solo exhibitions.<br />

AK: What do you consider to be your greatest achievement to date?<br />

U : What drives me is seeing a friend using one <strong>of</strong> my pieces at home, or a picture on social media that<br />

a happy customer w ill post <strong>of</strong> my work in use. It is such a satisfying feeling to know my work is giving<br />

joy to someone. It makes the late nights, dusty clothes, and dry hands worthwhile!<br />

AK: What challenges do you face as an emerging artist?<br />

U : Finding the right balance between various commitments and learning how much can realistically be<br />

completed each day.<br />


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Above: Leah Jackson, Spotted Range. plates, <strong>2014</strong>, porcelain, largest. diam.16cm; photo: Jeremy Dillon<br />

AK; How do you use social media to connect with people?<br />

U; Social media is almost essential today. It is a fantastic way to connect with like-minded individuals<br />

and an easy way to publicise what is happening in the studio, an otherwise private space. I love<br />

Instagram for its immediacy and ease.<br />

AK: What do you aspire to in the future?<br />

U : I have worked very Singularly to date, but look forward to joining forces with other artists and<br />

makers to collaborate on projects and products. This takes time, but what comes from two minds<br />

joining forces is exciting and a great way for work to develop. More broadly I am looking forward to<br />

being completely dedicated to my practice and building a sustainable business for the future.<br />

www.leahjackson.blogspot.com.au<br />

www.instagram.com/jackson_leah<br />

www.leahjackson.net (website under development)<br />

Currently <strong>No</strong>rthcote Pottery Supplies has seven resident artists and has just launched its <strong>2014</strong> Guest<br />

Artist in Residence Program. This year two ceramic artists will be selected for a three-month residency.<br />

This includes being allocated a private studio space. rent-free, in which to develop and produce work,<br />

experiment, or tackle a new project. With this initiative <strong>No</strong>rthcote Pottery Supplies aims to support<br />

emerging and established ceramic artists and work with these artists to create unique workshop<br />

opportunities for the NPS community. <strong>The</strong> applications for 2015 will open later this year. For more<br />

details on the Guest Artist in Residence Program or how to become a resident artist, visit www.<br />

northcotepotterysupplies.com.au.<br />

<strong>No</strong>rthcote Pottery Supplies, 142-144 Weston Street, Brunswick East, VIC<br />


Of Layer Cakes and Hokey-Pokey­<br />

It's all in the Cooking<br />

by Moyra Elliott<br />

Do I smell an adjustment around ceramic process and its place in communicating ideas? This<br />

particular component <strong>of</strong> the transaction is heat - that necessary constituent that actually turns clay<br />

into ceramic, while taking the process right to the margins <strong>of</strong> viability.<br />

Speculating upon this shift, one answer might be that with increasing interest by artists with other<br />

backgrounds and training, it's the passion and drama <strong>of</strong> fire and heat that engages. Generally<br />

outside the realm <strong>of</strong> 'the visitor', it requires technical knowledge, kiln understanding and control.<br />

It's opposite to simply requiring the kiln to 'fix' the elaborated surface and runs contrary to the<br />

coolly conceptual. It also demands a measure <strong>of</strong> fire in the belly.<br />

Work evidencing this shift is clearly made in such a way that preliminary processes, meaning and<br />

thinking are both revealed and enhanced by that final firing. It's deliberate, but utterly reliant upon the<br />

transformational forces <strong>of</strong> heat, yet looks cavalier and nonchalant, with results serendipitous. Far from it.<br />

I recently encountered work from Spain's Gregorio Peno, presenting masterly control in the face<br />

<strong>of</strong> extreme kiln conditions. His stylishly simple, elongated porcelain boxes were packed with<br />

earthenware clay, sealed, then fired to blazes resulting in the volcanically bubbling dark earthenware<br />

expanding and wreaking pressure from within to its container. <strong>The</strong> result <strong>of</strong>fered a distorted, yet still<br />

elegant, smoky brown container spilling with what looked like chocolate hokey pokey ... a simple<br />

but effective idea that flawlessly manifests and communicates only on ceramic process.<br />

Another Spaniard who combines clays and allows movement and response under extreme heat<br />

conditions is Rafa Perez. like Peno he plays with different clays' characteristics by cutting, slicing<br />

and layering white porcelain and black earthenware to make simply configured but manifestly<br />

complex works that clarify, under heat stress, ceramic processes. As it is for Peno, it's the<br />

earthenware that effervesces and erupts while the porcelain resists, and through this tension the<br />

clay layers shift and open - some expand, and the work twists and transfigures.<br />

Again, while the final appearance <strong>of</strong> each work cannot be predicted, or closely repeated, experiment<br />

and experience <strong>of</strong>fer loose boundaries with which to proceed before committing a work to the<br />

unpredictable transformational forces applied through firing. Occasionally Perez will colour some<br />

intermediary layer with stain or emphasise a melt with gold lustre, but his palette stays restricted and results<br />

resemble, at most, volcanic landscapes, but more simply and usually, abstractions around ceramic process.<br />

While both artists manipulate the potential, when the kiln is opened results differ and surprise,<br />

but it is clay and what can happen with heat that is the central, material component.<br />

Looking around there is ample evidence, beyond my <strong>of</strong>fered examples, that a shift in interest is<br />

being engaged, away from the cerebral and the conceptual towards highly tuned processes that can<br />

only be learned over time, building on understanding clay's unique properties, probably with many<br />

failures on the way. Or maybe it's just being Spanish?

Pocket Ph D<br />

Objects <strong>of</strong> Embodied Tension<br />

Beli nda Wi nkler shares her PhD research<br />

Warm, silky-smooth plaster ... S<strong>of</strong>t, dove-grey, dewy forms emerging from their moulds ... A maker by<br />

nature, j am happiest when covered in plaster and surrounded by an array <strong>of</strong> fresh warm casts, each<br />

imbued with the tension and pressure <strong>of</strong> its creation and loaded with potential. <strong>The</strong>re is an intrinsic<br />

delight in the act <strong>of</strong> making, <strong>of</strong> using hands and mind to create something that has not existed before,<br />

<strong>of</strong> bringing life to form. At once challenging and immensely satisfying, the pleasure j receive from the<br />

act <strong>of</strong> making was the constant motivation for my practice-based research.<br />

Through my PhD research I explored the potential that lies within material-based form-finding and<br />

the physical act <strong>of</strong> making, exploring the inherent connections <strong>of</strong> these processes to an embodied<br />

perception <strong>of</strong> the object. <strong>The</strong> path <strong>of</strong> my research was not one <strong>of</strong> theoretical extrapolation, but rather<br />

one <strong>of</strong> reflective, practice-based research undertaken through the making <strong>of</strong>, and reflecting upon,<br />

sculptural forms and designed objects, and contextualised within a broader community <strong>of</strong> practice<br />

that includes Gwyn Hanssen Pigott, Marie Torbensdatter Hermann, Leicester Cooper, Eva Zeisel and<br />

Les Blakebrough, to name but a few. <strong>The</strong> establishment <strong>of</strong>, and engagement with, the field <strong>of</strong> creative<br />

practitioners who form my community <strong>of</strong> practice has been integral to my research, as has the act <strong>of</strong><br />

reflective practice, bringing about a fundamental shift in understanding that my processes <strong>of</strong> thinking<br />

and making are not hierarchically separated - that research and practice are not separate activities but<br />

are intimately intertwined.<br />

Reflective practice-based research revealed that, for me, the physical, hands-on, embodied process<br />

<strong>of</strong> form-finding using ductile, responsive, elastic materials subjected to tension and compression,<br />

provides the experimental pathways that give life to form and the possibility <strong>of</strong> an object - an object<br />

<strong>of</strong> embodied tension. Having been generated through the use <strong>of</strong> tension, the forms j create become<br />

charged with that tension. <strong>The</strong>se charged objects, when placed in relation to one another, create a<br />

different kind <strong>of</strong> tension, one that exists within the space between. Here, where curve almost meets<br />

curve, nearly but not quite tOUChing, a spatial tension is created. We perceive this tension, as we are<br />

ourselves objects <strong>of</strong> embodied tension. Pressure and gravity, tension and compression, torsion and<br />

stretch, dimple and swell, we have direct, physical experience with these sensations and, as such, when<br />

we read them in an object they find resonance in our own bodies, in our muscles, our movements, our<br />

breathing, our memories. We have, within us, memories <strong>of</strong> moments <strong>of</strong> tension, <strong>of</strong> anticipation and<br />

longing, implicit sensual memories, haptic memories, brought to the fore in a moment <strong>of</strong> recognition.<br />

<strong>The</strong> outcomes <strong>of</strong> the research provide insights into the interconnected nature <strong>of</strong> physical and<br />

perceptual tensions and their role in the activation and apprehension <strong>of</strong> the object, and, importantly,<br />

provide insight into the nature <strong>of</strong> creative practice in the ceramic arts.<br />

www.belindawinkler.com.au<br />

Belinda's thesis link: http://researchbank.rmit.edu.aulview/rmit:160666<br />

Belinda's examination on Vim eo: http://vimeo.com/B6083312<br />


St udio<br />

An Overflow <strong>of</strong> Creativity<br />

Caterina Leone reports on Cascade Artists' Studios<br />

For many emerging ceramicists, the problem <strong>of</strong> finding or setting up a<br />

studio, especially after the luxuries <strong>of</strong> art school, is the first major challenge<br />

in their careers. To equip a space with enough <strong>of</strong> the necessities to produce<br />

work is difficult enough, but there is the added anxiety <strong>of</strong> losing the artistic<br />

community that comes with art school or shared studios. Of the latter, there<br />

are very few shared studios that have ceramics facilities.<br />

Jacqueline Spedding was faced with this problem after graduating from<br />

Sydney College <strong>of</strong> the Arts in 2011 with a Masters <strong>of</strong> fine Arts. Based in the<br />

beautiful Blue Mountains in NSW, Spedding was keen to continue working<br />

in a shared studio as she had in the inner city. Yet the nearest was at least an<br />

hour away, prompting her to start her own instead. After locating a warehouse<br />

overlooking the bush in the Lawson Industrial Estate, Spedding placed an ad in the local paper seeking<br />

'like-minded artists to share the space'. Furniture designer Michael H<strong>of</strong>fman was drawn by the prospect<br />

<strong>of</strong> creative company, and within three months the pair had repurposed recycled materials into internal<br />

walls and furniture, cost-effectively transforming the industrial shed into a creative work space. Local<br />

artists Mandy Schoene-Salter and Linda Seiffert also signed up, together creating Cascade Artists'<br />

Studios.<br />

<strong>The</strong> studio is also keen to host artists-in-residence, as well as workshops and events. From January<br />

to February <strong>2014</strong>, Cascade Artists' Studios hosted their first visiting artist, Eun Young Lee from South<br />

Korea. Eun Young, a ceramic artist studying at Hongik University, spent two weeks working in the studio<br />

and exploring the local landscape. A second artist, Caitlin Hughes, will be in residence in June.<br />

Cascade Studios are equipped with three electric kilns - a 13 cubic foot Hildav, a Tetlow K6 test<br />

kiln, and a Ward SA. All required significant servicing and new elements, and were also fitted with<br />

Harco controllers which, Spedding points out, .. hurt financially at the time but was well worth the<br />

investment" . She has found that a good way to find cheaper equipment is from studios that are closing<br />

down, so far successfully purchasing a ball mill, industrial scales, a compressor, an electric wheel, work<br />

benches, drying shelves and more. <strong>The</strong> studio also has an area for plaster work and another for screen<br />

printing onto clay. <strong>The</strong>y are looking into obtaining a printing press and possibly a slab roller to expand<br />

the capabilities <strong>of</strong> the studio even further. <strong>The</strong>re is also a small installation area where work can be<br />

set up for exhibitions. Another benefit to establishing a shared studio space is the added skills and<br />

equipment that can be shared by artists in other disciplines. Spedding happily exclaims: "With Michael's<br />

woodworking machines and metal lathe to add to the list, we pretty much have most aspects <strong>of</strong> our<br />

practice covered! ..<br />

Cascade Artists' Studios, 23- 27 Cascade Street, Lawson NSW 2783; find them on Facebook<br />

Opposite page: 1 Linda Seiffert; photo: Jennifer leahy, Silversal! 2 Michael H<strong>of</strong>fman's workshop; photo: Mandy SchOne­<br />

Salter 3 Eun Young lee 4 Jacqueline Spedding in the studio, <strong>2014</strong>; photo: Mandy SchOne-Salter 5 Artists in the studio,<br />

2013; photo: Mandy Schone-Sa her 6 Jacqueline Spedding, Transcend. <strong>2014</strong>; photo: Keith Maxwell 7 Unda Seiffert.<br />

Undulating Form, 2013; photo: Keith Maxwell 8 Jacqueline Spedding. Passing Time (detail), <strong>2014</strong>; photo: Keith Maxwell<br />


Studio<br />


Potters Marks<br />

6<br />

1 Christine Sail<br />

2 leah Fraser<br />

3 leah Jackson<br />

4 Dan Garretson<br />

5 Alexandra Standen<br />

6 lindsey Wherrett<br />

7 Alana Wilson<br />

8 Belinda Winkler<br />


Ceramic Shots<br />

WINNER<br />

Photographer: Nicci Parry-Jones, Glen Innes, NSW, April <strong>2014</strong><br />

<strong>The</strong> challenge was to "make the word [clay] from clay, paint the word [clay] on a pot, drizzle<br />

[clay] slip on a surface, paint your body with [clay] ochre.<br />

whatever your idea, there must be a ceramic link".<br />

<strong>The</strong> competition was judged by the recipients <strong>of</strong> the <strong>2014</strong> Trudie Alfred Bequest<br />

Ceramic Scholarships - Sharyn Dingeldei, Ebony Heidenreich, Kylie Rose McLean<br />

Adriana Prasnicki and Inga Svendsen.<br />


Ceramic Shots<br />

2 Photographer:<br />

Kimie Kitamura<br />

Hokkaido, Japan<br />

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

3 Photographer:<br />

Ingrid Wens (Netherlands)<br />

<strong>Ceramics</strong> by Sonja Deckers<br />

(Belgium), Arendonk<br />

Belgium, April <strong>2014</strong><br />

Slipcast cubes on clay<br />

powder depicting the word<br />

'clay' in Braille<br />

4 Photographer: Goergin. Perkins, Prospect, TAS, April <strong>2014</strong><br />

5 Photographer: Ian Hodgson, Canberra, ACT, May <strong>2014</strong><br />


Ceramic Shots<br />

6 Photographer: Alycia Tannou5, ceramics by Tanya Bechara, Enfield, NSW, May <strong>2014</strong><br />

7 Photographer: c.anbora Bayraktar, Marsfield, NSW, April <strong>2014</strong><br />

8 Photographer: Annamieke Mulde", Perth, WA, May <strong>2014</strong><br />

9 Photographer: <strong>No</strong>la Taylor, Glen Innes, May <strong>2014</strong><br />

10 Photographer: Georgia Bell, Acacia Hills, TAS, March <strong>2014</strong><br />

11 Photographer: Michael Sanders, potters, Sadhana Peterson and Mara Sanders, Hazelbrook, NSW, April <strong>2014</strong><br />

12 Photographer: Claire Blake, Alfredton, VIC, May <strong>2014</strong><br />


Artist in Residence<br />

Time Out<br />

julie Pennington reports on her Spanish residency<br />

In 2013 I applied for an artist's residency at Can Serrat. situated within the National Park in the small<br />

town <strong>of</strong> EI Bruc near Barcelona. It was exciting to be accepted for a support stipend and in September<br />

2013 I set <strong>of</strong>f for a month in Spain! I had given careful thought to applying to Can Serrat as this<br />

residency was open to visual artists and writers and there were no specific facilities or kilns for ceramic<br />

work. So my intention for this residency was not about making a lot <strong>of</strong> pots.<br />

Can Serrat provide accommodation. meals and studio space in a 200-year-old farmhouse set in a<br />

rambling. somewhat whimsical garden. a short stroll from the village. This setting gave me a perfect<br />

opportunity to think about my arts practice and gain inspiration for new work. At home in the studio<br />

I <strong>of</strong>ten feel the need to be constantly producing work and I think it is useful at times to step back<br />

a little to think about new ideas and the direction you want to take. As well as ceramics. my work<br />

encompasses drawing and printmaking. so one <strong>of</strong> my aims during this residency was to develop this<br />

2D work further and consider how best to combine it with my ceramics. Transporting works on paper<br />

is easier than packing clay. so I was able to bring home many <strong>of</strong> these drawings and sketches for<br />

future reference. <strong>The</strong> residency also provided the opportunity to exchange ideas with artists from other<br />

disciplines and from other parts <strong>of</strong> the world.<br />

In terms <strong>of</strong> inspiration. Can Serrat seemed to <strong>of</strong>fer the best <strong>of</strong> both worlds: beautiful natural<br />

surroundings and the city <strong>of</strong> Barcelona only 45 km away. From the town <strong>of</strong> EI Bruc you can walk<br />

through the olive groves to other small villages. or for the more serious walkers. there are many hiking

1 Can Serrat studio space<br />

2 Can Serrat courtyard<br />

3 Julie Pennington<br />

Terraco tta Bowls<br />

installation. 2013, Can Serrat<br />

4 Casa Batllo, Barcelona<br />

Opposite page:<br />

local church, EI Bruc<br />

Photos: Julie Pennington<br />

trails through the National Park up to the Montserrat Mountains and the monastery. For the most<br />

amazing cultural fix, head to Barcelona, a truly gorgeous city with so much to <strong>of</strong>fer. Apart from the<br />

art and ceramics to be researched in the famous museums and galleries, the Gaudi and Modernista<br />

architecture in Eixample and the ancient Barri Gotic are magnificent, I really enjoyed having the beauty<br />

<strong>of</strong> the natural world at my doorstep as well as easy access to the w ealth <strong>of</strong> material to be found in the<br />

city. As you might imagine, I have many photos that continue to inspire me!<br />

For those <strong>of</strong> you who feel the need for a break from making and some time for thinking, I would<br />

definitely recommend immersing yourself in a new environment and allowing yourself some time for<br />

contemplation. I did come across some clay and had a little 'play'; however I found it helpful to turn my<br />

attention to things other than making pots, and ultimately I expect this experience will inform my work<br />

more and more over time.<br />

Before arriving in Spain I researched possible connections I could make with the ceramic community,<br />

in particular <strong>The</strong> Ceram ic Hub (www.eltornbarcelona .com). where I could produce andlor fire work if<br />

need be. Another useful contact was the Associacio de Ceramistes de Catalunya<br />

(www.ceramistescat.org) and the most amazing collection <strong>of</strong> Spanish ceramics at Museu de Ceramica<br />

(www.museudeldisseny.catJen).<br />

Be inspired; apply for a reSidency!<br />

www.julie-pennington.net; www.canserrat.org<br />


Gatherings<br />

On the Edge <strong>of</strong> the Shelf<br />

International Woodfire Festival<br />

Mystery Bay May <strong>2014</strong><br />


On the Edge <strong>of</strong> the Shelf International Wood fire Festival was a very successful 3-week event convened<br />

by Daniel Lafferty and a team <strong>of</strong> enthusiastic volunteers. <strong>The</strong> festival brought together ceramicists from<br />

seven nations with over 500 years <strong>of</strong> experience collectively - a world-class event for the south coast <strong>of</strong><br />

NSW.<br />

<strong>The</strong> festival provided an uninterrupted chance to focus on creating, making and firing work. <strong>The</strong><br />

participants were able to strengthen existing friendships, create new ones, and enjoy each other's<br />

company. It was inspirational to meet and learn from such renowned and respected artists who<br />

provided a platform for young students and experienced ceramicists to exchange ideas and interact.<br />

<strong>The</strong> passionate woodfirers were able to benefit from and continue to develop their knowledge <strong>of</strong> this<br />

traditional art form . Most potters were physically exhausted as well as emotionally rejuvenated by the<br />

event.<br />

Mystery Bay is so beautiful; the venue was superb, the weather was gorgeous with plenty <strong>of</strong><br />

swimming, surfing and successful fishing trips, and the food was to die for! <strong>The</strong> local galleries - Bega<br />

Valley Regional Gallery, Spiral Gallery, Narek Galleries and Ivy Hill - provided stimulating woodfired<br />

exhibitions during the festival and the local musicians kept the pottery crowd dancing into the night.<br />

Thank you so much to everyone who participated in On the Edge <strong>of</strong> the Shelf and made it what it<br />

was. Special thanks to our sponsor James Kasper for his generosity; what a wonderful gift he has given<br />

us all. Big thanks to all the volunteers and helpers who made it possible. We feel grateful and honoured<br />

to be a part <strong>of</strong> such an event and delighted it was such a great success. <strong>The</strong> collective memories <strong>of</strong> the<br />

past month will live on ...<br />

A report by Gabrielle Powell

Canberra has a secret ...<br />

<strong>No</strong>. not that irs the centre <strong>of</strong> government (we ALL know about that!). nor that irs the site <strong>of</strong> so many<br />

national cultural icons and institutions which are part <strong>of</strong> a beautiful planned city (MOST <strong>of</strong> us know<br />

about that!); and no, not that it's home to world ranking educational institutions (MANY <strong>of</strong> us know<br />

about that), nor even the fad that it is uniquely 'the bush capital ' with easy access to snowfields!<br />

wilderness!national parks (because SOME <strong>of</strong> us know about that). It is the fad that there has been<br />

a cultural rebirth <strong>of</strong> the city centre with new galleries, shops and cinemas (and not even everyone in<br />

Canberra knows about THAD. And that's where we are holding the <strong>Australian</strong> <strong>Ceramics</strong> Triennale (ACD<br />

party, to which YOU are invited!<br />

<strong>The</strong> Triennale w ill be held in Canberra from 9 <strong>July</strong> to 11 <strong>July</strong> 2015, with an associated public program<br />

commencing Monday 6 <strong>July</strong> 2015. It w ill host a three-day conference w ith keynote speakers and<br />

presenters, demonstrations, master classes (pre-conference), a market day, a trade fair, community<br />

events, film festival and pop-ups, and a huge exhibition program (more than thirty exhibitions booked<br />

in to date). This is the main event on the <strong>Australian</strong> <strong>Ceramics</strong> calendar and it promises to be an<br />

exciting, challenging and stimulating time. You cannot afford not to be involved and there are ample<br />

opportunities to get engaged.<br />


<strong>Australian</strong> <strong>Ceramics</strong> Triennale 2015<br />

<strong>The</strong> Triennale theme for 2015 is 'Stepping Up ...' reflecting the need for us all to take action on a<br />

number <strong>of</strong> fronts - to be active participants in our communities, our futures and our national conference<br />

as arts lovers, practitioners and educators. And the ideal city for this call to action is Canberra, because<br />

it is a city <strong>of</strong> action (even the public bus system is called Action).<br />

Canberra is the centre <strong>of</strong> action in national government (it's where the decisions that affect us all are<br />

actually made), and there is local action in the revitalising <strong>of</strong> a city through public policy that specifically<br />

targeted inner city areas for development as cultural and arts precincts (Braddon and New Acton), and<br />

town centres through the building <strong>of</strong> new Arts Centres (Bel conn en Town Centre).<br />

It is a place <strong>of</strong> action supporting local artists through newly refurbished centres (Watson Art Centre)<br />

and established residencies (Strathnairn Arts and the <strong>Australian</strong> National University), access studios and<br />

artist-run spaces (<strong>Australian</strong> National Capital Artists and Gorman House), and good, easy to access<br />

community arts organisations (Craft ACT, Craft and Design Centre, Canberra Potters' Society, <strong>Australian</strong><br />

National Capital Arts), and the list goes on ...<br />

And all this has happened in a city <strong>of</strong> under 400,000 people as a result <strong>of</strong> the Territory Government's<br />

strategic planning under the previous chief minister, Jon Stanhope and his successor Katy Gallagher,<br />

both <strong>of</strong> whom are great supporters <strong>of</strong> community and arts access.<br />

<strong>The</strong> venue for the main conference will be the Canberra <strong>The</strong>atre Centre (adjacent to Craft ACT and<br />

Civic Square), with events also at the <strong>Australian</strong> National University and the new Nishi/New Acton<br />

complex. All these venues are within walking distance from each other so they physically represent<br />

the Triennale partnership between Craft ACT, the Territory Government and the ANU, with the walk<br />

between each dotted with pop-ups and other amusements (not to forget good c<strong>of</strong>fee!).<br />

<strong>The</strong> structure <strong>of</strong> the conference will be somewhat different from previous ACTs. Gone are the large<br />

(and frustrating) panels where no one has the time to expand in depth on their topic, and no one<br />

gets a chance to ask questions through time overruns. In their place will be a series <strong>of</strong> moderated<br />

conversations that will maximise audience involvement through Q&A sessions following short<br />

presentations.<br />

<strong>The</strong> sub-themes will canvas ways in which we deal with change, whether it be by way <strong>of</strong> new<br />

technologies, education, or economic world power shifts towards Asia . <strong>The</strong>y will also address ways in<br />


<strong>Australian</strong> Ceram ics Triennale 2015<br />

which various artists have become meaningfully engaged in social responsibility - particularly community<br />

and the environment. Pre-conference projects will have outcomes that illustrate some <strong>of</strong> these<br />

possibilities in action .<br />

And then there is the changing nature <strong>of</strong> studio practice - particularly its economic viability. <strong>The</strong><br />

elephant in the room - money - will be tackled head on through examination <strong>of</strong> the reduced reliance on<br />

government funding, the rise <strong>of</strong> crowd-funding possibilities, and the selling <strong>of</strong> work through websites<br />

and web-based activity, pop-up events and collaborations with industry.<br />

And that's not all.<br />

<strong>The</strong>re will be a program <strong>of</strong> satellite events from the welcome event at 5trathnairn Arts to the<br />

conference dinner and film festival, from hide-and-seek (ah, wait and see!) and master classes to<br />

poster presentations that will enable learning, mixing and networking throughout the time you are in<br />

Canberra.<br />

And, <strong>of</strong> course, there is still the Canberra that everyone 'knows' .. . the lakeside walk from National<br />

Library to National Gallery via the High Court, and 'up the hill' to Parliament House. <strong>The</strong> National<br />

Arboretum (a legacy <strong>of</strong> the Stanhope Government post 2003 bushfires, which destroyed over 500<br />

houses) is well worth a visit, as are the National Museum <strong>of</strong> Australia and the National Botanic Gardens,<br />

which are adjacent to the university campus. Many <strong>of</strong> these national sites will have ceramic-specific<br />

exhibitions on during the Triennale.<br />

So come - we are looking forward to welcoming you to our city, our community, and to YOUR<br />

Triennale.<br />

<strong>The</strong> ACT 2015 Committee<br />


STEPrDTNGuP r 1<br />

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 opportunity to push the boundaries and submit to be<br />

part <strong>of</strong> the pr ogram 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 fo r further details<br />

on the themes and the Expression <strong>of</strong> Interest<br />

package www.australianceramicstriennale.com<br />

Expressions <strong>of</strong> Interest etose : COB Friday 22 August <strong>2014</strong><br />

Contact: Project Manager. Mel George. Craft ACT: Craft and<br />

Design Centre projectfacraftact.org.au Ph 02 62629333<br />

Stepping Up partners: Craft ACT: Craft and Design Centre,<br />

<strong>The</strong> <strong>Australian</strong> National University. Canberra Potters' Society.<br />

Strathnairn Arts Association, <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />


- Stepping Up: <strong>The</strong> Changing World<br />

Stepping Up: Your Role in the Future<br />

Stepping Up : Making Money<br />

-<br />


<strong>The</strong> Source <strong>of</strong> Light<br />

Two post-graduate students from the <strong>Australian</strong><br />

National University <strong>Ceramics</strong> Workshop are<br />

focusing their studies on light.<br />

Above: Peng Qian (Fiona), <strong>The</strong> Light, h.18cm<br />

Photo: Peng Qian<br />

Below: Jo Victoria. Traces. h.35cm<br />

Photo: Kelly Austin<br />

PhD candidate Peng Qian (Fiona) is exploring<br />

how light can transfer through ceramics and<br />

create a poetic image to show the nature <strong>of</strong> the<br />

ceramic material. Her square forms are made <strong>of</strong><br />

fabric immersed in Dehua porcelain and fired to<br />

1280·C, <strong>The</strong> series is displayed in a group with<br />

no two pieces exactly the same. <strong>The</strong> firing <strong>of</strong><br />

the work distorts the cube to a more natural<br />

form. Peng Qian (Fiona) is now exploring other<br />

possibilities <strong>of</strong> fabric clay, working with light and<br />

shadow, and the special quality <strong>of</strong> fabric clay<br />

ceramic art.<br />

Jo Victoria is a Master <strong>of</strong> Visual Arts student<br />

whose recent art practice has focused on<br />

revealing hidden stories in landscapes. She is<br />

interested in exploring the qualities <strong>of</strong> a place,<br />

attempting to find an essence <strong>of</strong> the place in<br />

her work. Her stamping and carving into thin<br />

vessel walls <strong>of</strong> Southern Ice porcelain allow<br />

translucent images to come alive under a strong<br />

light source. <strong>The</strong>se images appear fossil-like<br />

within the body <strong>of</strong> the works. In this way, the<br />

light gives voice to silent histories that are<br />

embodied in a place and this creates a sense<br />

<strong>of</strong> drama and mystery. In this way even the<br />

smallest stories <strong>of</strong> place can become illuminated<br />

against the layers <strong>of</strong> deep time that have left<br />

their marks.<br />

A report by Sue Hewat<br />


Margo Lewers:<br />

Mosaics and Related<br />

Works<br />

A recent exhibition, in May <strong>2014</strong>, celebrated the<br />

work <strong>of</strong> one <strong>of</strong> Australia's most prominent abstract<br />

artists, Margo Lewers (1908-1978). It was held at<br />

Orange Regional Gallery and traced the evolution<br />

<strong>of</strong> her paintings and mosaics. Through a series<br />

<strong>of</strong> photographs, the exhibition also chronicled<br />

the preparation, installation and restoration <strong>of</strong><br />

Expansion, a mosaic installation commissioned for Canberra's Rex Hotel. Completed in 1960, it was<br />

one <strong>of</strong> the largest commissions <strong>of</strong>fered to an <strong>Australian</strong> artist in that period. <strong>The</strong> work functions as an<br />

exterior wall for the hotel and, measuring 12.3 metres long by 2.3 metres high, remains one <strong>of</strong> the<br />

largest examples <strong>of</strong> abstract expressionist public art in Australia.<br />

<strong>The</strong> hotel itself was the first large<br />

construction project in Canberra following<br />

World War II. Its commissioning architect,<br />

Alexander Kann, was looking for a lively<br />

artwork to juxtapose the hotel's 'cool<br />

international style'. He had seen Lewers'<br />

mosaics during a visit to her home (now<br />

Penrith Regional Gallery & Lewers Bequest).<br />

"<strong>The</strong> exhibition was a terrific insight into<br />

her life and work," said Brenda Gray, Assistant<br />

Director, Orange Regional Gallery. "<strong>The</strong>re's a<br />

terrific photo <strong>of</strong> Expansion being installed; it<br />

really conveys the monumental task at hand."<br />

Construction <strong>of</strong> Expansion, Rex Hotel<br />

Photo: courtesy Orange Regional Gallery<br />

Construction was at times difficult. <strong>The</strong> pincers used by Lewers and her assistant could not be used<br />

with gloves, regularly leaving the two with cut hands. Lewers also miscalculated the mural's size,<br />

however the developer agreed to extend the wall to ensure her composition was not compromised.<br />

Expansion is included on the ACT Heritage Register as an 'Object <strong>of</strong> Significance'. It played a<br />

significant role in a 2002 campaign to save the Rex Hotel from redevelopment.<br />

Lewers worked in disciplines including oils, textiles and sculpture, and from 1936 to 1939 she<br />

designed pottery to sell at her <strong>No</strong>tanda Gallery, Sydney.<br />

<strong>The</strong> Rex Hotel is located at 150 <strong>No</strong>rthbourne Avenue, Canberra.<br />

A report by Candice Anderson<br />


Exhibition Roundup<br />

lyndall Bensley resides on the Far <strong>No</strong>rth Coast <strong>of</strong> NSW, after taking up pottery in 2009. Self taught, she<br />

joined a local pottery group to have contact with like-minded artists, and exhibited her first work in their<br />

biannual 2010 exhibition. l yndall was invited by the director <strong>of</strong> the Ballina Art Gallery to exhibit with<br />

three other artists in 2013, testing the waters with her lifelike sculptures <strong>of</strong> underwater marine life.<br />

<strong>The</strong> recent solo exhibition at <strong>No</strong>osa Regional Gallery, Expressions <strong>of</strong> Love II, in which Kim<br />

Schoenberger exhibited her new work, will travel to Gallery 159, <strong>The</strong> Gap, Brisbane, from 14 to 28<br />

September 20 14. Using hundreds <strong>of</strong> recycled tea bags and artworks adorned with polished Southern<br />

Ice porcelain, Kim's exhibition explores the connection between mother and daughter, and grandmother<br />

and granddaughter, presenting a rationale <strong>of</strong> generational sisterhood forged through shared experience.<br />

Check out www.kimschoenberger.com to see more about her journey in mixed media.<br />

In May <strong>2014</strong>, 19KAREN contemporary artspace exhibited the work <strong>of</strong> 20 <strong>Australian</strong> and international<br />

artists at the S<strong>of</strong>itel Hotel, Broadbeach, Gold Coast, for the Tribute to Michael Jackson's 70 Best<br />

Film Clips. Terri lew, gallery director <strong>of</strong> 19KAREN, has embraced ceramics, inviting ceramicists<br />

Shirley Battrick, Michaela Kloeckner, leisa Russell, Midge Johansen and Megan Puis into her stable <strong>of</strong><br />

emerging <strong>Australian</strong> and International artists being displayed in her superior space on the Gold Coast;<br />

www.19karen.com.au.<br />

A report by Lyn Rogers<br />

Below left: Kim Schoenberger, Ladies Fan , Ladies Handkerchief and Evening Purse, 2013, Southern Ice, sewn and spun<br />

recycled tea bags, purse, h.20cm, w.30cm, d.5cm; photo: Tony Webdale<br />

Below right: Lyndall Bensley, Port Jackson, h.18cm, w.40crn, Stingray, h.12crn, w.6Ocm, BRS clay, handbuilt. 2013<br />

Photo: Neil Bensley<br />


<strong>The</strong> Work <strong>of</strong> Ulrica Trulsson<br />

Although Ulrica Trulsson was born in Sweden, lived for years in<br />

Scotland, and did her Diploma <strong>of</strong> Cera mics in Melbourne, Adelaide<br />

is the place that will claim her ... for now. After relocating to SA to<br />

take part in the two-year Associate program at JamFactory in 2012,<br />

Trulsson won the 2013 Emerging South <strong>Australian</strong> Designer Award,<br />

and this year received an Australia Council <strong>of</strong> the Arts ArtStart grant<br />

to kick-start her budding career in ceramics.<br />

Through her blending <strong>of</strong> wheelthrowing and handbuilding<br />

techniques, Trulsson creates vessels that range from flamboyantly<br />

curvy to distinctly and solidly linear. Carefully arranged in groupings,<br />

Trulsson's work has a kind <strong>of</strong> pared back organiCism to it, enhanced<br />

by her use <strong>of</strong> textured and coloured clays and richly variable glaze<br />

surfaces, usually achieved by gas firing in reduction. Although<br />

much <strong>of</strong> Trulsson's work is based on utilitarian vessels such as<br />

the jug, teapot, canister and cup, the forms are almost whimsical<br />

interpretations <strong>of</strong> these basic shapes and functions.<br />

I aim to visually and<br />

thematically make a connection<br />

10 forms I observe in the<br />

nalural world. By closely<br />

examining objects and details<br />

<strong>of</strong> the landocape I am able to<br />

absorb unique aspects <strong>of</strong> nature<br />

and express them in my work.<br />

I have a strong interest in bolh<br />

fonc/ional and non-functional<br />

objects and seek to explore the<br />

relationships be/ween them.<br />

Ulrica Trulson<br />

Trulsson creates a dynamic visual language <strong>of</strong> form, function<br />

and subtle metaphor that is thoughtful and restrained in its muted<br />

beauty.<br />

http://ulricatrulsson.com<br />

Report by Sophia Phillips<br />

Ulrica Trulsson. Patterns <strong>of</strong> Striae<br />


Virginia Perkins: emerging artist<br />

Virginia Perkins lives on the outskirts <strong>of</strong> Launceston in the north <strong>of</strong> Tasmania . When<br />

asked the most important thing learned during her time studying ceramics at TasTAFE,<br />

Virginia didn't hesitate ... "<strong>The</strong> beauty <strong>of</strong> imperfection - allow the material and form<br />

to inform the finished work; the changing <strong>of</strong> the seasons, dead trees, smooth stones;<br />

inspiration is everywhere."<br />

Virginia's Advanced Diploma Graduate Exhibition (18-25 October 2013) was well<br />

attended and the work was engaging, contemporary and unique (see images above).<br />

For many <strong>of</strong> us who work in clay, woodfired pieces have a special allure. <strong>The</strong> subtle<br />

influence <strong>of</strong> the flame and ash together with the actual process <strong>of</strong> firing was something<br />

that Virginia was keen to include in her exhibition work. In collaboration with Jilli<br />

Spencer, well known Tasmanian potter and basket maker <strong>of</strong> the Tin Shed in Launceston,<br />

Virginia fired some work at Jilli's home in Uffey. <strong>The</strong> woodfired pieces worked beautifully,<br />

swaddled in long s<strong>of</strong>t hangings <strong>of</strong> hemp as well as pierced with glowing copper - the<br />

perfect foil for the more delicate unglazed white clay pieces.<br />

Report by Jill Eastley<br />


Ann Ferguson<br />

Vesse/@doc.com, 2013<br />

This freighter is laden with<br />

metaphorical possibilities, from<br />

Australia's reliance on imported<br />

goods to the MV Tampa rescue<br />

<strong>of</strong> Hazara refugees in 2001<br />

Photo: courtesy Robyn Phelan<br />

<strong>Ceramics</strong> Victoria's annual<br />

exhibition on Herring Island<br />

Since 2006, <strong>Ceramics</strong> Victoria has participated in the Herring Island Summer Arts Festival with potter<br />

Robyn Becker championing the first exhibition. Becker rallied her fellow Box Hill TAFE ceramics students<br />

and, along with the encouragement <strong>of</strong> VCG President Sue McFarland, braved this unusual and unique<br />

venue, the old mud brick Scout Hall in the centre <strong>of</strong> the island.<br />

Access to Herring Island Environmental Sculpture Park is restricted to riverboats. A small pedestrian<br />

punt crosses the Yarra River for the general public and is the same 'vessel' by which all work, plinths<br />

and equipment arrives on the island. Located three kilometres from the Melbourne CBD, the island<br />

is covered in wild native gardens and is home to many permanent sculptures such as Cairn by Andy<br />

Goldsworthy. Visiting the exhibition takes on the feeling <strong>of</strong> a pilgrimage to a secret, secl uded event.<br />

This year, the aptly entitled exhibition Vessel contained work from thirty-six members and explored<br />

themes such as the tradition and function <strong>of</strong> the ceramic container, and also the metaphorical<br />

possibilities inherent in the vessel as a means <strong>of</strong> water travel.<br />

Judge Stephen Benwell said <strong>of</strong> winner Amanda Christian'S work, Treading Water, "It communicated<br />

something about the origins <strong>of</strong> vessels ... the artist alerted me to the fact that vessels began as not<br />

only things for use, but - from their very beginning - carried information and ideas between groups <strong>of</strong><br />

people. "<br />

A report by Robyn Phelan<br />

For more images <strong>of</strong> Vessel go to: www.lookingwiths<strong>of</strong>teyes.blogspot.com.au/<strong>2014</strong>/03/vesselceramics-victoria-exhibition.html<br />


<strong>The</strong> porcelain biomorphic forms <strong>of</strong> Cj Jilek<br />

In early 2013, I passed the former Perth Galleries building in <strong>No</strong>rth Fremantle daily, observing its<br />

transformation into <strong>The</strong> Clay House, Fleur Schell's new clay residency centre. In June 2013, two widely<br />

travelled, experienced US ceramic artists arrived to make it their temporary home - Cj Jilek as Program<br />

Coordinator, and Tony Wise as Permanent Resident Artist. Both artists soon endeared themselves to<br />

locals through their children's and adult's classes, and were welcomed into Perth's ceramic community.<br />

Adjusting to <strong>Australian</strong> materials was challenging but local support was generous.<br />

Tony evolved his distinctive retrolfunky thrown functional ware and, in addition to teaching clay skills<br />

at the school, taught at select Perth venues. His high-spirited, fun approach won over his students,<br />

especially the more junior ones. Cj studied our wondrous indigenous flora to inform her own plantoriented<br />

interpretations, culminating in a beautiful body <strong>of</strong> sculptural work recently exhibited along with<br />

Fleur's work at <strong>The</strong> Studio Gallery in Yallingup, WA. Chicago born Cj describes her sculpture as porcelain<br />

biomorphic forms fired in oxidation with mixed media elements. Her dogged exploration and resourceful<br />

experimentation strengthen her work through which she questions concepts <strong>of</strong> beauty, attraction,<br />

eroticism, adaptation and desire.<br />

<strong>No</strong> stone is unturned to find the perfect form, colour and sheen for her fantastic re-imagined<br />

emulation <strong>of</strong> nature's pods, seeds and parts. Slipcast, assembled, textured and painted from her<br />

authentic vision, Cj's sculptures are thrilling to both hold and behold. <strong>The</strong>re are sexy curves on curves,<br />

tactile surfaces, glowing colours, perfect quiet sheens, springy custom-died fishing line anthers, fluffy<br />

flocked, pollened tips; some pieces are even<br />

kinetic and springy - they hum with life. I learnt<br />

much about designing, slipcasting, joining and<br />

surfacing porcelain from Cj. <strong>The</strong>ir time here has<br />

ended and these artists are now <strong>of</strong>f to investigate<br />

new pastures.<br />

http://cjjilekartist,wordpress.com<br />

A report by Elaine Bradley<br />

Cj Jilek, Perianth<br />


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


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

16 & 17 AUGUST lOAM - 4PM<br />

ACT<br />

Maryke Henderson<br />

Hillgrove Pottery<br />

Mawson Gallery<br />

Spinning Gum Pottery<br />

<strong>The</strong> Blue Fence Studios<br />

NSW<br />

Elisa Bartels<br />

Margaret Brown<br />

Ursula Burgoyne<br />

Barbara Campbell-Allen<br />

Belmore ~ch : Somchai Charoen<br />

Cascade Artists Studio<br />

Central Coast Potters Society<br />

Clandulla Potter<br />

Ashley Fiona<br />

Hart <strong>Ceramics</strong><br />

Diana Harvey<br />

Christine Holland<br />

Hot Dot Designs<br />

Jeansart: Hartman & Weiss<br />

Kan Made <strong>Ceramics</strong> Studio<br />

Kara's Ceramic Haven<br />

Katherine Mahoney <strong>Ceramics</strong><br />

Jann Kesby<br />

Kokoro Studio: Karen Bell<br />

La Paloma Pottery<br />

Catherine Lane<br />

Legend Pottery<br />

Lilli Pilli Studio<br />

MacQuarie Hills Potters<br />

Made Local: Lou McCallum<br />

Mala Pots: MA Zahra-Newman<br />

Mango Lane Pottery<br />

Mark Warren <strong>Ceramics</strong> Studio<br />

Suvira McDonald<br />

Moonrise Studios<br />

Mu <strong>Ceramics</strong> Studio Gallery<br />

Mudslinger <strong>Ceramics</strong><br />

Murwillumbah Potters<br />

Natalie Velthuyzen Studio<br />

Newcastle Studio Potters<br />

Nicky Coady 5 tudio<br />

Niharika Hukku <strong>Ceramics</strong><br />

Jane <strong>No</strong>rthway<br />

Maggie Paradysz<br />

Pebuku Pottery<br />

Pinky & Maurice <strong>Ceramics</strong><br />

Port Hacking Potters Group<br />

Purple Ridge Pottery<br />

Red Door Studio Gallery<br />

Rosedale Street Gallery<br />

Tony Schlosser<br />

Simone's <strong>Ceramics</strong><br />

Jacqueline Spedding<br />

Jan Downes at Square I Studios<br />

St George Potters<br />

John Stewart <strong>Ceramics</strong><br />

Studio 91 Silver Lane<br />

Studio Boydell<br />

Studio Enti: Naomi Taplin<br />

Studio latitude 33<br />

Cathenne Tate <strong>Ceramics</strong><br />

Deb Taylor at Claypool<br />

Tooheys Mill Pottery<br />

Vicky Harrison <strong>Ceramics</strong><br />

Wheel Of Life Studios and Gallery<br />

Jenny Wiggins<br />

Steve Williams<br />

Zani McEnnal1y Art<br />

QlD<br />

Ellen Appleby<br />

Fiona Banner<br />

Beach Potters Association<br />

Bundarra Pottery<br />

Cairns POllers Club<br />

Clayschool: Ray Cavill<br />

Carol Forster<br />

Frantik Designs: Heather McCoy<br />

Gold Coast Potters Association<br />

Grakay Pottery: Kaye Stephens<br />

Jenny Mulcahy's Gustav Creek<br />

Studio<br />

Kim Wallace <strong>Ceramics</strong><br />

Kri Pottery: Ken Ison<br />

Penny MCintyre<br />

Meeki's Pottery Studio<br />

Mollie Bosworth <strong>Ceramics</strong> Studio<br />

Monte Lupo<br />

<strong>No</strong>rth Queensland Potters Assn<br />

Quixotica Art Space<br />

Stephanie Outridge Field<br />

Isaac Patmore<br />

Pattie Murray Studio<br />

Piccabeen Pottery<br />

Beatrice Prost<br />

Sam Keane<br />

Servant <strong>Ceramics</strong><br />

Kim Schoenberger<br />

Gabi Sturman<br />

<strong>The</strong> Nest: Sophy Blake<br />

Turning Earth <strong>Ceramics</strong><br />

Warwick Potters<br />

A~~<br />

OPEN<br />

~<br />

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

16 & 17 AUGUS T<br />

6 Hands Studio<br />

Adelaide POllers'Club<br />

Studio Tatty K: Tania Kunze<br />

Tea Tree Studio: Walford & Couper<br />

TAS<br />

Campo de Flori <strong>Ceramics</strong><br />

Studio Zona: Bayer & Faludi<br />

Tasmanian <strong>Ceramics</strong> Association<br />

VIC<br />

Adriana Christianson<br />

Bridget Foley <strong>Ceramics</strong><br />

Brixton Street POllery<br />

Cone I I <strong>Ceramics</strong> + Design Studio<br />

Cooked Earth: Christine Mammana<br />

Glenn England<br />

Fairweather Studios<br />

Ellen Hansa-Stanyer<br />

Gary Healey Pottery<br />

Jill Symes <strong>Ceramics</strong> StudiO<br />

Jack Latti<br />

Metro Art & Design: Lisa Hass<br />

Moorleigh Ceramic Co-operative<br />

Muddy Girl Studio: Claire Johnson<br />

Owen Rye<br />

Red Echidna Studios: Barry Wemyss<br />

Studio Artemis: Kristin Miller<br />

Slow Clay Centre<br />

Kim Tarpey<br />

<strong>The</strong> Treefern Potters<br />

Timothy White <strong>Ceramics</strong><br />

Alistair Whyte<br />

Juliet Widdows<br />

Yow Yow Studio: Tilley, McCormack,<br />

Edwards & Mackay<br />

WA<br />

Bigbamboo: Belen & J. Berganza<br />

Dilkes-H<strong>of</strong>fman <strong>Ceramics</strong><br />

Sandra Black Porcelain<br />

<strong>The</strong> Clay House: Shell &<br />

Wichtermann<br />

For a full listing <strong>of</strong> the open studios visit:<br />


Stockists<br />

ACT<br />

canberra potters society<br />

1 aspinal st watson<br />

national gallery <strong>of</strong> australia<br />

bookshop 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 />

chinaday<br />

40 burnie st dovelly<br />

the wharf locavore<br />

wharf rd tathra<br />

gaffa<br />

281 clarence st sydney cbd<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 dayworkers gallery<br />

enr st johns rd & darghan Sl glebe<br />

keane ceramics<br />

177 debenham rd south somersby<br />

kerrie lowe gallery<br />

49-51 king sl newtown<br />

lake macquarie art gallery<br />

1 a first st booragul<br />

mu ceramics studio gallery NEW<br />

headland park preCInct mosman<br />

museum <strong>of</strong> contemporary art<br />

140 george st sydney<br />

northern rivers pottery supplies<br />

54d terania st north lismore<br />

nsw pottery supplies<br />

41/159 arthur sl home bush<br />

nulladolla potters<br />

princes hwy milton<br />

planet<br />

11 4 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 />

museum and art gallery <strong>of</strong> the nt<br />

conacher sl fannie bay<br />

QLD<br />

artspace mackay<br />

61 gordon st mackay<br />

cairns regional gallery<br />

em abbott and shields sIS cairns<br />

gallery + cafe frit<br />

104 yabba rd imbil<br />

gold coast city gallery<br />

135 bundall rd surfers paradise<br />

pottery supplies<br />

51 eastlemaine st milton<br />

queensland art gallery<br />

stanley pi south bank<br />

the day shed<br />

2124 hi-tech dYe kunda park<br />

SA<br />

art gallery <strong>of</strong> south australia<br />

north terrace adelaide<br />

bamfurlong gallery<br />

main SI hahndorf<br />

the pug mill<br />

17a rose st mile end<br />

TAS<br />

burnie regional art gallery<br />

77-79wilmotst burnie<br />

derwent ceramic supplies<br />

16b sunderland st moonah<br />

devon port regional gallery<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 ki lda rd melbourne<br />

northcote pottery supplies<br />

142-144 weston st brunswick east<br />

potier<br />

29 mills st albert park<br />

potters equipment<br />

13/42 new st ringwood<br />

readings books<br />

309 Iygon st carlton<br />

readings books<br />

112 aeland st st kilda<br />

shepparton art gallery<br />

70 welsford st shepparton<br />

the brunswick street bookstore<br />

305 brunswick st fitzroy<br />

WA<br />

fremantle arts centre<br />

1 finnerty sl fremantle<br />

geraldton regional art gallery<br />

24 chapman rd geraldton<br />

graham hay<br />

robertson park artisls sludio<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 />

4181itirangi rd waitakere city<br />

south street gallery<br />

10 nile sl west nelson<br />


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A DVD about TACA"s <strong>2014</strong> biennial exhibition by filmmaker Carolyn<br />

Constantine includes interviews with curator, Susan Ostling and artists.<br />

Simone Fraser and Toni Warburton in their studios. <strong>The</strong> exhibition was<br />

held at Manly Art Gallery & Museum from 2 May to 8 June <strong>2014</strong>.<br />

Duration: 16:30 mins<br />

AU $15 (includes postage within Australia)<br />

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E: mail@australianceramics.com; www.australianceramics.com<br />

<strong>2014</strong>/2015 Focus<br />

Be Deadline Dates<br />

<strong>Vol</strong> <strong>53</strong> <strong>No</strong> 3<br />

Publication:<br />

20 <strong>No</strong>vember <strong>2014</strong><br />

Collaborations<br />

Deadline for copy:<br />

9 September <strong>2014</strong><br />

2015 Deadlines<br />

<strong>Vol</strong> 54 <strong>No</strong> 1<br />

Publication:<br />

1 April 2015<br />

Focus:<br />

Guest Editor TBA<br />

Deadline for copy:<br />

2 February 2015<br />

<strong>Vol</strong> 54 <strong>No</strong> 2<br />

Publication:<br />

8 <strong>July</strong> 2015<br />

Focus:<br />

AC Trienl'lale 2015<br />

Deadline for copy:<br />

8 May 2015

Classifieds<br />



Sydney-based pottery supply outlet selling clays from<br />

6lackwattle, 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 NSW 2565; T: 02 9829 5555; F: 02 9829 6055; E:<br />

blackwattlepotteryObigpond.com; www.blackwattle.net.au<br />


6y using state <strong>of</strong> the art digital printing technology, Decal<br />


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We encourage all with an interest in potterylceramic art to<br />

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room Cronulla School <strong>of</strong> Arts, Surf Road, Cronulla; members'<br />

kilns, library, workshops and market stalls.<br />

T: 0407 229 lSI; PO Box 71 Miranda NSW 1490<br />

E: pottersgroup@holmail.com<br />

www.porthackingpotters.bI09spot.com<br />



ceramic mass production and artworks. Ceramic design<br />

service also available. Contact Somchai, M : 0401 3S9126<br />

E: eatandclay@gmail.com<br />




We are a member-run cooperative gallery in Glebe NSW<br />

dedicated to contemporary ceramics. A part <strong>of</strong> the ceramic<br />

community for 32 years. we are currently looking for new<br />

members. Emerging artists are particularly encouraged to<br />

apply. Please send a resume with at least 4 images <strong>of</strong> recent<br />

ceramic work: to info@clayworkers.com.au .<br />

For more information email info@clayworkers.com.au.<br />

Cnr St Johns Rd & Darghan St, Glebe NSW 2037<br />

WNW.clayworkers.com.au.<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 photographic/multimedia<br />

unit at the Powerhouse Museum in<br />

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Affordable, designed for structural integrity, lightweight;<br />

also for hire; flat pack option now available.<br />

Roger Fenton, St Ives, Sydney, NSW<br />

T: 02 9488 B628; F: 02 94401212; M : 0417 443 414<br />



Slow Clay Centre <strong>of</strong>fers 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 far<br />

children and adults, from beginners to the more skilled.<br />

13 Keele St, Collingwood VIC 3066; T: 0418106039.<br />

E: info@Slowciay.cam; vvwwslowclay.com<br />



Sutherland College, Gymea 9 & 1 B week short courses plus<br />

Certificate, Diploma & Advanced Diploma qualifications in<br />

ceramics - full and parHime attendance; Cnr <strong>The</strong> Kingsway<br />

and Hotham Road, Gymea NSW; T: 02 9710 5001 :<br />

httpJ/sydneytafe.edu.aulshowcaseiceramics-sutheriandgymea;<br />

https:/IVVWW.1acebook,comiceramicdesignstudio<br />


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<br />

at Holmesglen is to prepare students for a career in the<br />

ceramic 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>; T: 03 9564 1602.<br />

E: kim.martin@holmesglen.edu.au; 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 pOllers 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 51, Clovelly NSW<br />

2031 ; T: 0427 904 407; www.chinaciay.com.au .<br />


Contemporary <strong>Australian</strong> ceramics and pottery supplies<br />

located in inner city Sydney. <strong>The</strong> gallery features functional<br />

ware, vessels, sculpture and jewellery by emerging and<br />

pr<strong>of</strong>essional ceramic artists; 49-51 King St, Newtown NSW<br />

2042; 02 95504433: www.kerrielowe.com.<br />


Upcoming exhibitions: 2-23 August <strong>2014</strong>: Progression by<br />

Kylie Rose McLean; 13 September - 4 October <strong>2014</strong>: Breaking<br />

the Mould by Izette Felthun.<br />

<strong>The</strong> Gardener's Cottage, Headland Park Artist Precinct<br />

8Illooa Middle Head Rd, Mosman NSW 20B8<br />

T: 02 99601777; E: mulan@studiomu.com.au<br />

"WWW.studiomu.com.au; Tues to Sat, lOam - Spm.<br />

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26 June - 2 August <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. lOam - 4pm, Sat, 12-4pm; T: 03 9262 6250<br />

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[EflAmlH AUSTflALIA<br />


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RoUer<br />

[I!i1J<br />


o<br />


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with SUSAN ROBEY<br />

Join this rare one-day wor1

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 />

Whilehorse<br />

pRTSPACE<br />

Image: Bany Si1gIetoo. Jar 2008<br />

1:1 <strong>The</strong>Misl Md Cetonlca_1nc.<br />

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





quality pottery supplies and services<br />

<strong>No</strong>rthcote Pottery Supplies pty Ltd<br />

142 - 144 Weston Street<br />

Brunswick East 3057<br />

(PH) 0393873911<br />

New web site:<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 />

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18 Week Advanced Wheel & Mould Making Classes<br />

Open Studio Access<br />

Marian.HoweI12@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



Bachelor <strong>of</strong> Fine Art<br />

Bachelor <strong>of</strong> Fine Art (Honours)<br />

Master <strong>of</strong> Fine Art<br />


Short Courses, Summer and Winter Schools<br />

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~A\IS'"'' ~ ~ www.nas.eu.au d<br />

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 />

MKM. fiNQERRoUERS4ClAy'·<br />

New bJ11ftIIJ91IllfB1ilO~<br />

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II 001 (910) 105·1701<br />

Wailcato C""amics (NZ)<br />

sales@potlerysupplies.co.nz<br />

078568890<br />

Botany Pottery Studio (NZ)<br />

bolpolS@;hug.co.nz<br />

092712626<br />

181 mkmtoo/.'~/.rom<br />

MI~M<br />

PO I II I?Y<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<br />

wheels, slab ro llers, pug<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS<br />

and more GLAZES Powder and<br />

Clay tools, Kemper, Giffin Grip and<br />

NEW - Li mited supply <strong>of</strong> Duncan nrn,n, ,,.,·<br />

~J Melting Pot <strong>2014</strong><br />

11th National Exhibition<br />

Cairns Regional<br />

Gallery<br />

17th Oct to 16th <strong>No</strong>v<br />

Entries Close 26th Sept<br />

Entry forms & information<br />

Cairns Potters Clu b Inc.<br />

P.O. Box 1470 Cairns Qld 4870<br />

E-mail: lone@tpg.com.au<br />

Ph: 0740<strong>53</strong>7508<br />

or www.cairnspottersclub.net<br />


Trudie Alfred (1922 -<br />

2010)* was a wellknown<br />

Sydney potter and teacher with a great<br />

passion for ceramics. She struggled<br />

financially to sustain a ceramic practice in<br />

her earLy years as a potter and so, to assist<br />

others in a similar position. she left a generous<br />

bequest to <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Association. Trudie specified that the funds be<br />

used to support the work <strong>of</strong> students<br />

preparing to embark on a career in the field<br />

<strong>of</strong> ceramics.<br />

Valued at up to $4000 + 1 year membership <strong>of</strong> TACA . open<br />

to students enrolled in their second or subsequent year <strong>of</strong> a<br />

ceramic program' selection panel <strong>of</strong> three <strong>Australian</strong> ceramic<br />

artists from different states' must be currently enrolled at time<br />

<strong>of</strong> scholarship award . open to <strong>Australian</strong> citizens or those<br />

with permanent residency selection c r iteria: academic<br />

achievement · quality <strong>of</strong> ceramic work , rationale for funding<br />

not previously received this scholarship written report<br />

required at end <strong>of</strong> scholarship period<br />

Successful applicants will be notified late <strong>No</strong>vember <strong>2014</strong>.<br />

'I:<br />

see the tribute to Trudie ALfred in <strong>The</strong> JournaL <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

<strong>Vol</strong> 49/ 3. <strong>No</strong>vember 2010. pages 10-11

~CeWHit&<br />

OPEN<br />

SW408<br />

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

16& 17 AUGUS T<br />


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

Saturday 16 & Sunday 17 August; lOam - 4pm<br />

Some <strong>of</strong> the world's most significant<br />

moments have included mud. from the<br />

biblical creation <strong>of</strong> Ada m to that f amous<br />

mind altering festival at Woodstock and<br />

although we find ourselves in an age <strong>of</strong><br />

ra pidly advancing technologies, this<br />

humble, sticky stuff, continues to inspire<br />

and obsess thousands <strong>of</strong> makers throughout<br />

the world who still call themselves<br />

·potters'.<br />

Th is August. hundreds <strong>of</strong> potters across<br />

Australia will open their studios to the<br />

public over a weekend that promise s to<br />

be a ce lebration <strong>of</strong> clay. creativity an d<br />

community. <strong>The</strong> event is hosted by <strong>The</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> Association (TACA).<br />

According to Shannon Garson, TACA<br />

President and an award winning full-time<br />

potter, the <strong>Australian</strong> <strong>Ceramics</strong> Open<br />

Studios is an exciting event that shines<br />

a spot light on <strong>Australian</strong> ceramics and<br />

<strong>Australian</strong> artists whose primary medium<br />

is clay.<br />

·<strong>The</strong> open studios weekend is an<br />

important event for both clay workers<br />

and the community. It's an event that<br />

fosters the development. appreciation<br />

and recognition <strong>of</strong> potters and pottery<br />

throughout Australia.·<br />

Over 130 ce ramics studios around the<br />

nation have registered for the <strong>Australian</strong><br />

<strong>Ceramics</strong> Open Studios - from well- known<br />

exhibiting artists to lesser known skilled<br />

artisans. from inner city studios to regional<br />

pottery groups - so connect w ith your loca l<br />

studio trail and plan your weekend <strong>of</strong> mud.<br />

Many artists will <strong>of</strong>fer practical<br />

demonstrations and you may even be asked<br />

to share a pot <strong>of</strong> tea from a handmade<br />

teapot. <strong>The</strong>re will also be opportunities<br />

galore to take home a handmade piece.<br />

direct from the maker.<br />

For a fuillisting <strong>of</strong> the open studios visit: http://tinyurl.com/openstudios<strong>2014</strong><br />

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

T: 1300720124, E: mail@australianceramics.com. www.australianceramics.com<br />


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