The Journal of Australian Ceramics Vol 53 No 2 July 2014

Ben Quilty, from left to right, Scream after Leonardo, Jug (nose), Conscript (Private Phil Butler), Jug (Lloydy) and
Jug (Leonardo), 2014, porcelain, slipcast, tallest h.26cm; photo: Andre de Borde
clay. Clay was central to the idea. I've always felt that there's this really amazing thing about using
porcelain. Light travels through it. It's been around for such a long time and has a history of being the
exclusive finery of wealthy people, but I'm sort of subverting that and using it to mimic the original,
cheap object. That subversion has allowed me to create the meanings we've discussed in relation to the
Saatchi show.
CL: Are you happy with them?
BQ: Yes!
CL: Will you continue to work in ceramics?
BQ: Yes, definitely. When I first did bronze, I continued to work in bronze. I've made three or four or
them, and I'm sure I'll do the same with ceramics. I have really enjoyed it. I've enjoyed the collaborative
aspect, and I'm intrigued by ceramics: how they do it is still completely abstract to me, that they can
take my piece of work and essentially destroy it and then remake it. It's a lovely process to be involved
in.
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2014 6}