The Journal of Australian Ceramics Vol 53 No 2 July 2014

Focus : Emerging
Ben Quilty in his studio working
on Conscript (Private Phil Butler)
Photo: Andre de Borde
Cl: I think that your characteristic expressive, gestural style is still evident in the ceramic works, and that
contrasts so strikingly with the refined, traditional decals and finish of the rest of the jugs. Is there any
meaning to this disparity?
BQ: I've suggested them for the Saatchi show in London, titled Straight White Males. The jugs
definitely have a meaning that relates to that title. Belonging to the group in society that holds the
highest privilege and power is something that I've always been keenly aware of and had a certain sense
of guilt about. The jugs work on multiple levels: they're reminiscent of Toby jugs, and so echo the fastliving,
hard-drinking culture that marks so much of the early life of Australian men, something that I've
explored a lot in my past work. They depict this almost sordid, disorientated state of masculinity while at
the same time, through their conversion into porcelain and fine art, they depict the dominance of this
social category.
Cl: What is best about using clay to realise your ideas?
BQ: Well I only used oil-based modelling clay, and it doesn't crack, it doesn't dry out, so it's the most
amazing material for playing with, and there was no other way I could have made these works without
62 THE JOURNAL OF AUSTRALIAN CERAMI CS JULY 2014