The Journal of Australian Ceramics Vol 53 No 2 July 2014

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I' Above: Leah Jackson, Spotted Range. plates, 2014, porcelain, largest. diam.16cm; photo: Jeremy Dillon AK; How do you use social media to connect with people? U; Social media is almost essential today. It is a fantastic way to connect with like-minded individuals and an easy way to publicise what is happening in the studio, an otherwise private space. I love Instagram for its immediacy and ease. AK: What do you aspire to in the future? U : I have worked very Singularly to date, but look forward to joining forces with other artists and makers to collaborate on projects and products. This takes time, but what comes from two minds joining forces is exciting and a great way for work to develop. More broadly I am looking forward to being completely dedicated to my practice and building a sustainable business for the future. www.leahjackson.blogspot.com.au www.instagram.com/jackson_leah www.leahjackson.net (website under development) Currently Northcote Pottery Supplies has seven resident artists and has just launched its 2014 Guest Artist in Residence Program. This year two ceramic artists will be selected for a three-month residency. This includes being allocated a private studio space. rent-free, in which to develop and produce work, experiment, or tackle a new project. With this initiative Northcote Pottery Supplies aims to support emerging and established ceramic artists and work with these artists to create unique workshop opportunities for the NPS community. The applications for 2015 will open later this year. For more details on the Guest Artist in Residence Program or how to become a resident artist, visit www. northcotepotterysupplies.com.au. Northcote Pottery Supplies, 142-144 Weston Street, Brunswick East, VIC 86 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2014
Of Layer Cakes and Hokey-Pokey It's all in the Cooking by Moyra Elliott Do I smell an adjustment around ceramic process and its place in communicating ideas? This particular component of the transaction is heat - that necessary constituent that actually turns clay into ceramic, while taking the process right to the margins of viability. Speculating upon this shift, one answer might be that with increasing interest by artists with other backgrounds and training, it's the passion and drama of fire and heat that engages. Generally outside the realm of 'the visitor', it requires technical knowledge, kiln understanding and control. It's opposite to simply requiring the kiln to 'fix' the elaborated surface and runs contrary to the coolly conceptual. It also demands a measure of fire in the belly. Work evidencing this shift is clearly made in such a way that preliminary processes, meaning and thinking are both revealed and enhanced by that final firing. It's deliberate, but utterly reliant upon the transformational forces of heat, yet looks cavalier and nonchalant, with results serendipitous. Far from it. I recently encountered work from Spain's Gregorio Peno, presenting masterly control in the face of extreme kiln conditions. His stylishly simple, elongated porcelain boxes were packed with earthenware clay, sealed, then fired to blazes resulting in the volcanically bubbling dark earthenware expanding and wreaking pressure from within to its container. The result offered a distorted, yet still elegant, smoky brown container spilling with what looked like chocolate hokey pokey ... a simple but effective idea that flawlessly manifests and communicates only on ceramic process. Another Spaniard who combines clays and allows movement and response under extreme heat conditions is Rafa Perez. like Peno he plays with different clays' characteristics by cutting, slicing and layering white porcelain and black earthenware to make simply configured but manifestly complex works that clarify, under heat stress, ceramic processes. As it is for Peno, it's the earthenware that effervesces and erupts while the porcelain resists, and through this tension the clay layers shift and open - some expand, and the work twists and transfigures. Again, while the final appearance of each work cannot be predicted, or closely repeated, experiment and experience offer loose boundaries with which to proceed before committing a work to the unpredictable transformational forces applied through firing. Occasionally Perez will colour some intermediary layer with stain or emphasise a melt with gold lustre, but his palette stays restricted and results resemble, at most, volcanic landscapes, but more simply and usually, abstractions around ceramic process. While both artists manipulate the potential, when the kiln is opened results differ and surprise, but it is clay and what can happen with heat that is the central, material component. Looking around there is ample evidence, beyond my offered examples, that a shift in interest is being engaged, away from the cerebral and the conceptual towards highly tuned processes that can only be learned over time, building on understanding clay's unique properties, probably with many failures on the way. Or maybe it's just being Spanish?
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WALKER ~ Feeneys Clay Cesco Glazes
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Contents 52 Profile: Leah Fraser 53
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Contributors Stephen Bird is a Sydn
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MAJOR REPORT ON CRAFT A new report,
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Focus: Emerging Opposite page: Alan
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Focus: Emerging The Secret to Alana
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Alana Wilson, (of/age on Andre; Dav
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Charlotte le Brocque, Shaun, The Ov
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Charlotte Le Brocque, Say Wha t? 20
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Dog in the Trees The three of us, s
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Fo cus: Emerging Some advice from t
Page 38 and 39: Focus: Emerging OWEN RYE I have a p
Page 40 and 41: This is about you> The future. The
Page 42 and 43: Ruth Ju-Shih Li Crystall ine glaze
Page 44 and 45: HUGO MUECKE The exhibition was like
Page 46 and 47: Left: Pippin Drysdale, Lone Rock -
Page 48: Focus: Em erging Above and opposite
Page 51 and 52: Focus: Em erging readers become ver
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Page 55 and 56: Focus: Eme rging 21 Reasons to Repe
Page 57 and 58: Focus: Eme rging PROFILE: Home@735
Page 59 and 60: Focus: Emerging PROFILE: Thomas Qua
Page 61 and 62: Focus: Emerging From Paint to Clay
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Page 65 and 66: Ben Quilty, from left to right, Scr
Page 67 and 68: National Education Pictorial Survey
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Page 73 and 74: SUNSHINE COAST INSTITUTE, QLD http:
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Page 79 and 80: Promotion In 1985 Gail Nichols Won
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Page 83 and 84: View 2 Round the Mountain Merrie Ha
Page 85 and 86: Spaces and Places ------- Late Nigh
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Page 92 and 93: St udio An Overflow of Creativity C
Page 94 and 95: Potters Marks 6 1 Christine Sail 2
Page 96 and 97: Ceramic Shots 2 Photographer: Kimie
Page 98 and 99: Artist in Residence Time Out julie
Page 100 and 101: Gatherings On the Edge of the Shelf
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Page 104 and 105: Australian Ceram ics Triennale 2015
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Page 108 and 109: Exhibition Roundup lyndall Bensley
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Page 112 and 113: The porcelain biomorphic forms of C
Page 114 and 115: Stockists ACT canberra potters soci
Page 116 and 117: Become a member The AUSTRALIAN CERA
Page 118 and 119: Classifieds CERAMIC SUPPLIES BLACKW
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The Journal of Australian Ceramics Vol 53 No 2 July 2014

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