The Journal of Australian Ceramics Vol 53 No 3 November 2014

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WALKER<br />

~<br />

Feeneys<br />

Clay<br />

Cesca<br />

Glazes & Colours<br />

Proudly<br />

Manufacturing in<br />

Australia<br />

leigh·Ann Roden - Wunder Colours - Opaque Underglazes<br />

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

clays and all colours are available for purchase,<br />

with all proceeds donated equally between<br />

CanTeen and Breast Cancer.<br />

61 6322<br />

.UDL 529<br />



Contents<br />



5 Margaret Tuckson by Mary Faith<br />


14 SHARDS<br />


17 Being Consumed by Adele Sliuzas<br />

23 Cicada Waterfall: A still moving collaboration<br />

between Louise Boscacci and Elisabeth Cummings<br />

26 Broken Chimneys<br />

Georgia Weaver shares a story about Cheryl Lucas'<br />

replication project in Christchurch<br />

28 Fantasticology Tokyo: Faults, Flesh and Flowers by Karen Weiss<br />

31 Eagle Junction State School Community Collaboration<br />

Stephanie Out ridge Field writes about a mosaic project in Brisbane<br />

34 A Recipe for Success<br />

Ilona Topolcsanyi works 'from paddock to plate'<br />

35 Mend<br />

Bree Claffey and Kate Hill team up for a unique project<br />

38 Emerging into landscapes<br />

Karen Farrell and Amanda Hale talk about moving on from TAFE<br />

40 Pia Murphy + Rhys lee<br />

Alicia Sciberras introduces their story <strong>of</strong> collaboration<br />

42 terraluca<br />

43 Prism a<br />

A collaboration between Maria Chatzinikolaki and Jorge Criollo-Carrillo<br />

44 Tero and Berganza<br />

46 Ngapartji Ngapartji<br />

Ben Carter tells a short story about his time at Ernabella Arts<br />


49 Gaya Ceramic Arts Center: 2015 Calendar and Resident Artist Program<br />

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

<strong>Vol</strong> <strong>53</strong> <strong>No</strong> 3 <strong>No</strong>vember <strong>2014</strong> S16<br />

Cover<br />

Gerry Wedd. <strong>The</strong> Way <strong>of</strong> C<strong>of</strong>fee<br />

<strong>2014</strong>, terracotta; vanous dimensions<br />

Photo Grant Hancock<br />

This page : Jill Symes. <strong>2014</strong><br />

Publication dates<br />

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

Publisher<br />

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

PO Box 274 Waverley NSW 2024<br />

T: 1300 720 124<br />

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

mall@austrahanceramics com<br />

WNW.austrafianceramics.com<br />

ABN 14001 <strong>53</strong>5 502<br />

ISSN 1449-275X<br />

Editor<br />

Vicki Gnma<br />

'NW'N.VICkignma com.au<br />

Marketing and Promotions<br />

Carol Fraaek<br />

Design<br />

Astnd Wehling<br />

www.astridwehling.com .au<br />


Contents<br />


<strong>53</strong> VIEW 1: A Review <strong>of</strong> <strong>The</strong> Course <strong>of</strong> Objects by Jan Guy<br />

56 VIEW 2: A Dialogue about Tableware<br />

Megan Patey reports on a recent exhibition at Sturt Gallery<br />

59 VIEW 3: Here&<strong>No</strong>w14: Lawrence Wilson Art Gallery<br />

A review by Laetitia Wilson<br />

62 VIEW 4: A World in Itself<br />

Caterina Leone visits Linda Seiffert's Undulatus exhibition<br />

66 SPACES AND PLACES: Sticks and Stoneware<br />

Cone 11 's constantly evolving studio at Abbotsford Convent<br />

68 SPACES AND PLACES: Blinded by the Light?<br />

69 WEDGE: <strong>The</strong> Bowl That Does <strong>No</strong>t Smile by Pru Morrison<br />

70 POCKET PhD: <strong>The</strong> Haptic Dimension <strong>of</strong> lived Experience: Ways <strong>of</strong> Knowing<br />

Alana McVeigh shares her PhD research<br />

72 EDUCATION: Glazed and Confused<br />

Lynda Draper reports on a new resident artist program at the Ceramic Design Studio Gymea<br />

74 STUDIO: Inside the Studio <strong>of</strong> Georgia Harvey<br />

Vicki Grima interviews Georgia Harvey about her ceram ics practice<br />

78 TRADE: Thrown: New Products from JamFactory <strong>Ceramics</strong> Studio<br />



84 ARTIST IN RESIDENCE: <strong>The</strong> Penland Experience<br />

Jackie Gasson reports on two magical weeks<br />

86 COMMUNITY: Through the Porthole<br />

Renton Bishopric coordinates a creative community project in Yeppoon<br />

89 ASSOCIATION: <strong>Australian</strong> <strong>Ceramics</strong> Open Studios <strong>2014</strong> by Shannon Garson<br />

93 GATHERINGS 1: <strong>The</strong> Rise and Rise <strong>of</strong> Queensland Indigenous <strong>Ceramics</strong><br />

Katrina Chapman takes a look at recent developments after attending the Cairns Indigenous Art Fair<br />

97 GATHERINGS 2: Encore!<br />

Jane Annois prepares for the return <strong>of</strong> the French potters<br />


102 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> 3 <strong>No</strong>vember <strong>2014</strong> $16<br />

Subscriptions Ma nager<br />

Rachael Hegh<br />

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

Suzanne Dean<br />

Editorial Assistant<br />

Caterina leone<br />

Australia Wide Reports<br />

ACT: Sue Hewat<br />

NSW: Candice Anderson<br />

QLD: Emma MacGregor<br />

SA: Sophia Phillips<br />

l AS: Zsolt Faludi<br />

VIC. Robyn Phelan<br />

WA: Elaine Bradley<br />

Printed by<br />

NE.'WStyle Printing Co Pty l td<br />

41 Manchester St. Mile End SA 503 1<br />

CertifIed to ASlNZS ISO 14001:2004<br />

Environmental Management<br />

Systems. Printed on Titan Satin<br />

using 100% vegetable-based<br />

process Inks.<br />


Editorial<br />

Claire Atkins, Sue McGuinn and Vicki Grima on roster at the wood kiln<br />

Right: one <strong>of</strong> Vicki's pots from the firing<br />

Working alone in my studio is my preferred way <strong>of</strong> making, although it's a rare treat these days.<br />

More recently though, I spent time in Bali at Gaya <strong>Ceramics</strong> Art Center where I was participating<br />

in a woodfiring workshop with a group <strong>of</strong> <strong>Australian</strong> potters. It was a busy two weeks - five days<br />

making, two days packing, two days firing, three days having fun while the kiln cooled, then two<br />

days to unpack, clean, display for evaluation and admiration, and then pack the work to return home.<br />

My understanding <strong>of</strong> the collaborative effort it took to achieve that woodfiring has come to the fore<br />

as I prepared this issue. <strong>The</strong> sharing <strong>of</strong> skills and ideas, the discussion <strong>of</strong> possibilities and limits, the<br />

team rosters for firing and the sheer energy needed to bring that kiln to temperature was an amazing<br />

collaboration, something I could never have achieved had I been working alone. <strong>The</strong> combined energy,<br />

skills and determination <strong>of</strong> the group made many things possible for the individuals involved.<br />

This issue is full <strong>of</strong> wonderful collaborations - ceram icists working together and with others outside<br />

the ceramics field who bring a broad range <strong>of</strong> specialised skills to the table. Being open to the range <strong>of</strong><br />

possibilities enables big ideas, shared resources and innovative solutions to happen. Whilst it's not for<br />

everyone, this way <strong>of</strong> working will expand our options for the future development <strong>of</strong> our already rich<br />

ceramics community.<br />

<strong>The</strong>se pages also share the story <strong>of</strong> our 201 4 <strong>Australian</strong> <strong>Ceramics</strong> Open Studios in August - an<br />

event that illustrated how the strength and momentum <strong>of</strong> working together can bring rich and diverse<br />

benefits to the individual studio potter, to community groups, and to our broader public pr<strong>of</strong>ile.<br />

And finally I ask you, dear readers, to support this unique print publication by<br />

buying a gift subscription for someone who shares your love <strong>of</strong> ceramics. ~<br />

May the pages <strong>of</strong> this journal add to the enjoyment <strong>of</strong> your<br />

(,; t, J'<br />

summer holidays. ~<br />


Contributors<br />

Ben Carter is a ceramics pr<strong>of</strong>essional based in<br />

Santa Cruz, CA. He maintains a studio practice,<br />

teaches workshops and exhibits nationally.<br />

He is the creator and host <strong>of</strong> the blog and<br />

podcast www.tales<strong>of</strong>aredclayrambler.com.<br />

You can see an online portfolio <strong>of</strong> his work at<br />

www.carterpottery.com.<br />

I<br />

I<br />

Katrina Chapman is a freelance arts writer and<br />

researcher based in Far <strong>No</strong>rth Queensland. After<br />

many years working in arts management she<br />

now writes about contemporary Indigenous art<br />

specialising in the work <strong>of</strong> Queensland artists,<br />

and reviews <strong>Australian</strong> art publications. Katrina<br />

contributes regularly to national arts magazines<br />

and catalogues. Photo: Creative Cowboy Films<br />

M: 0427 903 649; E: katrinachapman8@gmail.com.<br />

Alicia Sciberras is a Sydney-based writer and<br />

part-time potter. She travels the world to visit<br />

international pottery studios, most recently<br />

visiting Shino Takeda in New York. With a<br />

background in Fine Arts after graduating from<br />

Sydney College <strong>of</strong> the Arts, her interest in<br />

clay forms stems from her formal training in<br />

sculpture. "Claywork is a form <strong>of</strong> meditation for<br />

me," says Alicia.<br />

E: alicia.scib@gmail.com; T: 0437 603 356<br />

I<br />

I<br />

Georgia Weaver has just finished a Graduate<br />

Diploma in <strong>Journal</strong>ism at the University <strong>of</strong><br />

Canterbury in New Zealand where she was able<br />

to write about her passions - arts and heritage.<br />

Growing up in a small town on the South Islands<br />

West Coast she was involved in the arts because<br />

her father is a ceramicist.<br />

E: georgia.l,weaver@gmail.com.<br />


Tribute: Margaret Tuckson<br />

Margaret Tuckson<br />

2013, at her home<br />

Photo: Chris Donaldson<br />

Margaret Tuckson 1921-<strong>2014</strong><br />

In March <strong>2014</strong> Mary Faith. Director <strong>of</strong> the Grace Cossington Smith Gallery at Abbotsleigh,<br />

was fortunate to collaborate with Margaret Tuckson to present Living with Art, selected art<br />

and acquisitions by Margaret and Tony Tuckson. Th is is an abridged version <strong>of</strong> the exhibition<br />

catalogue essay<br />

Margaret Tuckson - her life and love, a potted history<br />

Visiting Margaret Tuckson revealed the extent that art can be embedded into a person's very<br />

existence. She surrounded herself with her own earthenware pottery, her husband Tony's impressive<br />


Tribute: Margaret Tuckson<br />

Margaret Tuckson, Plate<br />

undated, eanhenware<br />

woodfired. diam.23cm<br />

Photo: courtesy Grace<br />

(oss,"gton Smith Gallery<br />

abstract expressionist artworks. and many much-admired. pots. paintings. drawings. sculptures. and<br />

photographs.<br />

Dorothea Margaret Bisset was born in 1921 . shortly after her parents arrived from England. She lived<br />

in Warrawee and attended Abbotsleigh from 1935-1938. Margaret fondly recalled her school time and<br />

her life-long friendships .<br />

Margaret became a talented potter and teacher. She had memories from childhood <strong>of</strong> her mother<br />

creating interesting flower arra ngements in pots that had been collected in Cairo. during her parents'<br />

sea voyage from England to Australia. <strong>The</strong>se beautiful. earthy-looking pots inspired the young Margaret<br />

Below: Margaret Tuci

Tribu te: Margaret Tuckson<br />

to appreciate pottery and decide, quite early on, that she would like to know how to make them.<br />

In 1939, as soon as school finished, Margaret commenced at the East Sydney Technical College at<br />

Darlinghurst, hoping to be a potter. Before she could elect pottery as a subject Margaret was required to<br />

complete two years <strong>of</strong> Introductory Art, part <strong>of</strong> which was Design with teacher Phyllis Shillito. However,<br />

the escalating war meant that Margaret was unable to continue her art study as she joined the home<br />

front war effort, commencing work in a Turramurra munitions factory.<br />

During the war Margaret met English serviceman Tony Tuckson and there was an instant connection<br />

because they both studied and shared great enthusiasm for art. In 1943 they married. After the war<br />

Margaret resumed her study at East Sydney Tech, eventually learning pottery from Mollie Douglas and<br />

Peter Rushforth.<br />

From 1949 Margaret and Tony lived at Gordon with their son Michael, and Tony soon commenced<br />

work at the Art Gallery <strong>of</strong> NSW where he became Assistant to and then Deputy Director. <strong>The</strong> architect<br />

Russell Jack designed a beautiful house for Margaret and Tony in the Wahroonga bush in 1962. This<br />

Wahroonga house is the home in which Margaret spent most <strong>of</strong> her years and where she had a studio<br />

in which she created her own work and taught pottery. Margaret collected pieces by potters whose<br />

works she greatly admired, including Aboriginal potter Thancoupie, Bernard Sahm, Peter Rushforth,<br />

Janet Mansfield and Pam Morse. She stayed with Gwyn Hanssen Pigott in France and had a very close<br />

friendship with Malina Monks and her family.<br />

At the Art Gallery <strong>of</strong> NSW Tony organised comprehensive exhibitions <strong>of</strong> <strong>Australian</strong> Aboriginal and<br />

Melanesian art. <strong>The</strong> trips with Tony to Papua New Guinea alerted Margaret to the incredible diversity<br />

<strong>of</strong> ceramic art and she realised that the creation and use <strong>of</strong> pots in Papua New Guinea villages should<br />

be documented before this art disappeared. Tony employed Patricia Mayas assistant curator at the art<br />

gallery. Margaret and Patricia discovered they shared great interest in pottery and planned field trips to<br />

Papua New Guinea to build research for a book.<br />

After Tony's too early death in 1973 Margaret became a positive force in ensuring he was recogn ised<br />

for his unique contribution to abstraction in Australia and for his leadership at the Art Gallery <strong>of</strong><br />

NSW. Margaret also continued to pursue her research, completing many trips to Papua New Guinea.<br />

Sometimes she travelled with Patricia May, sometimes on her own, mostly self-funded but occasionally<br />

with a much-appreciated grant. <strong>The</strong>ir visits included isolated regions and nearby islands. Margaret<br />

described an occasion in which she was travelling by canoe and could hear a hollow pounding sound<br />

Below: A photo from Margaret Tuckson's archive<br />

Below right: Margaret in her Wahroonga home with her New Guinea pot collection, 2012; photo: Karen Weiss

Tribute: Margaret Tuckson<br />

Margaret Tuckson, Large Bowl. c.2004, earthenware. borax glaze developed by Margaret Tuckson<br />

diam.20cm, h.9cm; photo; courtesy Grace (ossington Smith Gallery<br />

and she knew, even before they sighted the village, that there were potters at work. In 1982 Bay Books<br />

published <strong>The</strong> Traditional Pottery <strong>of</strong> Papua New Guinea, collaboratively authored by Margaret<br />

Tuckson and Patricia May. <strong>The</strong>ir detailed research and beautiful photographs created what is possibly the<br />

pre-eminent scholarly text on the field.<br />

In 2004 Margaret was awarded the Member <strong>of</strong> the Order <strong>of</strong> Australia for 'her service to the arts<br />

through the promotion <strong>of</strong> abstract expressionist art and through research into and collection <strong>of</strong><br />

indigenous art, including the ceramic art <strong>of</strong> Papua New Gu inea.'<br />

Her life was so active and so involved in the arts that it was with great pleasure that the Grace<br />

(ossington Smith Gallery at Abbotsleigh honoured her work and her involvement with the school.<br />

Margaret Tuckson passed away Saturday 16 August <strong>2014</strong>.<br />


Vipoo Srivilasa, Battle <strong>of</strong> Old and New Power, 2012, porcelain<br />

Photo: courtesy artist and Edwina Corlette Gallery, Brisbane<br />


Gallery<br />

Delinquent Angel:<br />

John Perceval's Ceramic Angels<br />

Friday 29 August <strong>2014</strong> -<br />

Sunday 23 <strong>No</strong>vember <strong>2014</strong><br />

Shepparton Art Museum<br />

(SAM), Shepparton, VIC 3632<br />

For more information and<br />

interviews, go to<br />

http://percevalsangels.com<br />


Shards<br />


I would like to apologise for an<br />

omission in the last issue <strong>of</strong> <strong>The</strong><br />

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

<strong>Vol</strong> <strong>53</strong> <strong>No</strong> 2, July <strong>2014</strong>. <strong>The</strong> beautiful<br />

images <strong>of</strong> Belinda Winkler's work on<br />

page 89 were by Peter Whyte. We<br />

are forever grateful to the creative<br />

people who contribute to our journal<br />

and I am sorry to have missed this<br />

acknowledgement <strong>of</strong> Peter.<br />

I<br />

I<br />


by Benedict Brierley<br />

Published by Bloomsbury<br />

Academic, August <strong>2014</strong><br />

128 pages, paperback<br />

ISBN: 9781408185247<br />

Bloomsbury Visual Arts Series:<br />

New <strong>Ceramics</strong><br />

RRP: $39.99<br />

www.bloomsbury.com!au!<br />

firing-kilns-9781408185247!<br />

I<br />

I<br />

I<br />

Love this blog called Past<br />

Imperfect! It's all about inventive<br />

repairs. Once regarded merely<br />

as damaged goods by antiques<br />

dealers and collectors alike,<br />

antiques with inventive repairs are<br />

justly receiving the respect they<br />

deserve.<br />

http://andrewbaseman.com/<br />

blog!<br />

Peter Whyte is an international<br />

award-winning, commercial and fine<br />

art photographer based in Hobart,<br />

Tasmania . He has particular expertise<br />

in architectural, food, editorial,<br />

portrait. studio product, art and<br />

designed objects photography.<br />

T: +61362310440<br />

M: +61 (0)41831 9117<br />

E: peter@peterwhytephotography.com<br />

www.peterwhytephotography.com<br />

Editor, Vicki Grima<br />

like to hear more about the<br />

exhibition Here&<strong>No</strong>w 14<br />

featured on page 58 <strong>of</strong> this<br />

issue? Doug Spencer considers<br />

how contemporary WA artists have<br />

escaped 'fortress ceramica' in his<br />

conversation with the exhibition's<br />

curator Emma Mahany Bitmead<br />

and two <strong>of</strong> its artists, Andrea<br />

Vinkovic and Andrew Nicholls.<br />

www.abc.net.au/<br />

radionationallprogramsl<br />

booksandartsdaily! here-26-<br />

now-143a-contemporary-waceramics!5728498<br />

In Firing Kilns, woodfire potter<br />

Benedict Brierley demystifies the<br />

firing process, explaining key<br />

methods and effects in simple,<br />

straightforward language.<br />

I Beginning with the basic<br />

principles, including heatwork,<br />

firing schedules and cones,<br />

the book goes on to cover the<br />

various types <strong>of</strong> kilns and kiln<br />

packing, oxidation and reduction<br />

firing, and then special firing<br />

I methods such as salt, soda,<br />

I wood, pit, smoke and raku .<br />

I Finally, it covers common firing<br />

faults and how these can be<br />

avoided to achieve consistent,<br />

successful results. Firing Kilns is<br />

a comprehensive handbook for<br />

anyone new to firing their work<br />

or for established ceramicist5<br />

WIShing to experiment with<br />

different firing effects.<br />

I Fancy a trip to Providence,<br />

I Rhode Island?<br />

NCECA 2015 will be held 25- 28<br />

March 2015 at Rhode Island<br />

Convention Centre. Founded<br />

in 1966, the National Council<br />

on Education for the Ceramic<br />

Arts (NC ECA) is a non-pr<strong>of</strong>it<br />

organisalion that fosters global<br />

education and appreciation for the<br />

ceramIC arts.<br />

I http://nceca.net 09eQQ<br />

'0"" ",. el"""'" .unl<br />

I<br />

Here is Summer, part <strong>of</strong><br />

Monte Lupo Art's entry to<br />

the Swell Sculpture Festival at<br />

Currumbin, OLD in September<br />

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

See Emma MacGregor's<br />

full report on<br />

http://australianceramics.<br />

wordpress.com!20 14! 10!29!<br />

monte-Iupo-arts-swelll<br />


In Odober <strong>2014</strong>. Ben Carter <strong>of</strong> Tales <strong>of</strong> a Red Clay<br />

Rambler Podeast fame. featured an hour-long interview<br />

with <strong>Journal</strong> editor Vicki Grima . In the interview Ben and<br />

Vicki talk about what makes a successful magazine in the<br />

digital age. the responsibility <strong>of</strong> documenting <strong>Australian</strong><br />

ceramic history. and how TACA gives practical support to<br />

studio artists. To listen go to:<br />

http://carterpottery.blogspot.com.au/ <strong>2014</strong>/ 10/<br />

vicki-grimma-on-tales-<strong>of</strong>-red-clay.html or<br />

https:llitunes.apple.com/us/podcastltales-red-clayrambler-podeast/id523651655<br />

Recommend us!<br />

Your recommendation to friends and<br />

colleagues is very valuable.<br />

Share your back ISSUes. give a gift<br />

subscription. post on your blog and<br />

like us on Facebook.<br />

Thank you!<br />

Increasingly. chefs and ceramicists<br />

are working together and the results<br />

look good enough to eat .<br />

Read '<strong>The</strong> Maker's Mark' by Rebecca<br />

Slater. published via broadsheet on<br />

15 September <strong>2014</strong>.<br />

www.broadsheet.eom.au/sydneyl<br />

art-and-design/article/makersmark<br />

I<br />

I<br />

In September <strong>2014</strong>, Anna Maas held the third (in a series <strong>of</strong> three)<br />

exhibitions <strong>of</strong> <strong>Australian</strong> ceramics.<br />

For each exhibition she has published a beautiful catalogue featuring<br />

essays, pr<strong>of</strong>iles on the artists and images <strong>of</strong> their work. <strong>The</strong> catalogues<br />

are available for purchase for $25 each plus $8 postage within Australia.<br />

Purchases can be made from either Montsalvat or Skepsi.<br />

E: montsalvat@montsalvat.com.au T 03 94397712<br />

E: skepsi@iprimus.com.au; Anna T: 0416 085 002<br />

-----<br />


A 12 minute interview with Stewart Scambler about his<br />

recent exhibition in WA, Parched: Australia is a Dry Land, was<br />

featured on ABC Radio National. All works in his exhibition used<br />

local clays and were fired in his own very large kiln near York.<br />

about 90 minutes east <strong>of</strong> Perth. Stewart's kiln consumes only<br />

indigenous wood from trees which he grows from seed.<br />

Listen here:<br />

www.abe.net.au/radionationallprograms/<br />

booksandartsdaily/stewart-seambler27s-27parched3aaustralia-is-a-dry-land271<br />

5671822<br />



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

Focus: Collaboration<br />

Being Consumed<br />

By Adele Sliuzas<br />

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

"Earlier Ihis year I was invited by then emerging curator Adele Sliuzas 10 be pari oj a collaborations project<br />

incorporating cm/tspeople and Jood and wine producers <strong>of</strong> the Barosl"O Valley in SOIJ/h Australia. <strong>The</strong> makers were<br />

given Ihe choice <strong>of</strong> partner from a list <strong>of</strong> producers. Being a long-lime c<strong>of</strong>fee addict J chose Ihe 801'ossa C<strong>of</strong>fee<br />

Roasters, a small/amity bus iness based around small baJches a/single source c<strong>of</strong>fee beans and Q sustainable ethos.<br />

It was an in/eresting (Ind slightly la:ring project. It was hard 10 pinpoint what 'col/aboration' meant and 10 reconcile<br />

perceived notions <strong>of</strong> what each parlner was bringing /0 the project. In the end the work produced came auf <strong>of</strong> (I<br />

collaboration <strong>of</strong> ideas, philosophies and methodologies. <strong>The</strong> finished works are the ideas made concrete and are still<br />

real(v in fhe development stage." Gerry Wedd<br />

Be Consumed: Creative Collaborations from the Barossa is a project centred on collaborations<br />

between craftspeople, artists, designers and producers based in the Barossa Region. <strong>The</strong> history <strong>of</strong> the<br />

region joins its vitality <strong>of</strong> production, and narratives and traditions meet to form its distinct sense <strong>of</strong><br />

place ~ Focusing on the strong ties between food, wine, art and design, this project is an exploration <strong>of</strong><br />

Barossa culture.<br />

<strong>The</strong> relationship between food, wine, craft and design is thousands <strong>of</strong> years old. It is an intimate<br />

connection that relates to tradition and the ad <strong>of</strong> bringing people together. Within this exhibition, craft,<br />

design, and visual arts-based practices have been employed to investigate their relationship to produce.<br />

Food, wine and the experience <strong>of</strong> appreciating them have been explored in a way that considers the<br />

whole picture ~ W ith functional as well as poetic and conceptual outcomes, celebrating the produce is at<br />

the heart <strong>of</strong> each collaboration.<br />

Susan Frost, Piece Montee. <strong>2014</strong>, installation detail, wheelthrown porcelain, var ious dimensions; photo: Brad Bonar

Focus: Collaboration<br />

Right: Victoria McClurg and<br />

Honor Freeman<br />

Photo: Brad Bonar<br />

Below: Honor Freeman,<br />

Fromage Homage I, <strong>2014</strong><br />

slipcast, handbuilt porcelain<br />

h.15cm, w.52cm, d.30cm<br />

Photo: Grant HancocK<br />

<strong>The</strong> collaborative project has allowed each <strong>of</strong> the six ceramic artists to spend time with the producers<br />

and get to the core <strong>of</strong> what they do. <strong>The</strong> producers have welcomed each artist into their workspace<br />

to give a sense <strong>of</strong> what it is they do, and also why they do it. Sharing ideas over a cup <strong>of</strong> freshly made<br />

c<strong>of</strong>fee or a meal, the relationships developed through mutual generosity. <strong>The</strong> artists have responded to<br />

the processes, traditions, stories and philosophies which playa role in their producer's business.<br />

Focusing on the textures and processes <strong>of</strong> cheese making, ceramicist Honor Freeman worked w ith<br />

Victoria McClurg <strong>of</strong> the Barossa Valley Cheese Company. <strong>The</strong> collaboration explores some <strong>of</strong> the<br />

interesting similarities between cheese making and ceramics, through a poetic tableau.<br />

Freeman's slipcast and handbuilt porcelain forms mimic the fresh, s<strong>of</strong>t cheeses produced by McClurg,<br />

down to the last oozing detail. S<strong>of</strong>t matte glazes replicate white mould, while silky, glossy, glazes<br />

reference the movement and ooze <strong>of</strong> rich, ripe cheese. <strong>The</strong> tableau is luxurious and indulgent, and<br />

speaks about McClurg's passion for her product.<br />


Susan Frost and Claire Wood<br />

Photo: Brad Bonar<br />

Susan Frost, P;ece montee, <strong>2014</strong>, wheelth rown porcelain,<br />

various dimensions; photo: Grant Hancock<br />

Ceramicist Susan Frost immediately connected with Careme for the pastel colours used on their art<br />

deco-styled packaging. Similar to the range <strong>of</strong> hues that she uses in her own work, the sweet pastel<br />

colours linked the collaborators. Frost responded to Claire and William Wood's business through<br />

exploring the making processes, and the layer upon layer <strong>of</strong> rich butter used within the pastry.<br />

Taking inspiration from a book about Careme's namesake, master chef and patissier Antonin Careme,<br />

Frost's work references the decadence <strong>of</strong> post-revolutionary France and the birth <strong>of</strong> the modern patissier.<br />

Arrangements <strong>of</strong> ceramic pieces within the work highlight the relationship and the subtle differences<br />

between each piece. <strong>The</strong> collaboration has allowed a level <strong>of</strong> reflection, both on the processes and<br />

practices at Careme and on Frost's practice as a ceramicist.<br />

It is the repurposing and reusing ethos <strong>of</strong> Jan Angas's business at Hutton Vale Farm that attraded<br />

Stephanie James-Manttan. Working in ceramics as well as resin, James-Manttan began developing<br />

the work by casting a number <strong>of</strong> Jan Angas's treasured items. Designing a tableau containing both<br />

fundional and sculptural objects, James-Manttan sought to explore the relationship between form<br />

and function within objects that are given second, or even third lives. Here, eledrical insulators are<br />

repurposed as vessels, and twisted and rusted w ire become spoon handles.<br />

Stephanie James Manttan, A Glut <strong>of</strong> Insulator Cups, <strong>2014</strong>,<br />

porcelain and resin, various dimensions; photo: Grant Hancock<br />

Stephanie James Manttan and<br />

Jan Angas; photo: Brad Bonar

Focus : Collaboration<br />

Wayne Meara, Porcelain Triptych,<br />

Fennel, <strong>2014</strong>, underglaze colour and<br />

embroidery thread on porcela in tile<br />

each tile. h.25.5cm, w. 18.5cm, d.OAcm<br />

Photo: Grant Hancock<br />

Right: Ryan Edwards and Wayne Meara<br />

Photo: Brad Bonar<br />

Masterful use <strong>of</strong> materials is at the heart <strong>of</strong> the collaboration between Barossa restaurant Appellation<br />

at the Louise, and ceramicist Wayne Meara. Appellation's executive chef Ryan Edwards shared his<br />

knowledge and skills with Meara, speaking about the relationships he has developed with local farmers<br />

and the ethos behind the experiences they create in the restaurant.<br />

Meara is a trained chef, so the collaboration with Edwards was a perfed fit. Working with porcelain,<br />

he has been inspired by the rhythm <strong>of</strong> the seasons and a sense <strong>of</strong> connedion between the landscape<br />

and the food and wine served in the restaurant. In Meara's distind style, the works are refined and<br />

considered, mirroring Edward's skills as a chef.<br />

Drawing on the history <strong>of</strong> the Seppeltsfield estate, ceram ic artist Prue Venables created a series <strong>of</strong><br />

functional pots that represent the daily activities <strong>of</strong> the time. <strong>The</strong> Seppelts family, as well as many <strong>of</strong><br />

their workers, fled religiOUS persecution in Silesia (a region <strong>of</strong> Central Europe now located mostly in<br />

Poland) in the mid-19th century, coming to the Barossa to start a new life. Venables uses the motif <strong>of</strong><br />


Focus: Collaboration<br />

Prue Venables, Avenue <strong>of</strong> Hopes and<br />

Dreams, Jugs 1 & 2,<strong>2014</strong>, Bennetts<br />

terracotta, white slip and tin glaze,<br />

thrown and altered, modelled handles<br />

various dimensions<br />

Photo: Grant Hancock<br />

Below: Prue Venables with Nicole<br />

Hodgson, Tourism and Events Manager<br />

at Seppeltsfield Wines<br />

Photo: Brad Bonar<br />

the palm tree to make reference to the Avenue <strong>of</strong> Hopes and Dreams, an iconic section <strong>of</strong> Seppeltsfield<br />

Road lined with date palms. Working a decorative palm frond design into the handles <strong>of</strong> the dishes and<br />

jugs, Venables seeks to celebrate the story <strong>of</strong> how the palms were planted, a story <strong>of</strong> people coming<br />

together through adversity.<br />

Paul and Janelle Amos, who are Barossa C<strong>of</strong>fee Roasters, have been working with ceramicist Gerry<br />

Wedd to produce a line <strong>of</strong> earthenware c<strong>of</strong>fee cups. Interested in the ceremony <strong>of</strong> drinking c<strong>of</strong>fee,<br />

Wedd created a c<strong>of</strong>fee set that allows the drinker to slow down and appreciate the product. Taking<br />

influence from Indian chai vendors, who serve chai in a throwaway clay cup, Wedd produced a c<strong>of</strong>fee<br />

cup with a low-fired clay body from Bennett's terracotta, a clay body sourced from the region.<br />

When you've finished drinking your c<strong>of</strong>fee, the cup is essentially 'disposable' and can be smashed on<br />

the ground, breaking into small pieces and eventually returning to the earth. This process fits perfectly<br />

with Janelle and Paul's ethos <strong>of</strong> 'people and planet friendly' and small batch production.<br />


Focus: Collaboration<br />

Gerry Wedd (right) with<br />

Paul and Janelle Amos at<br />

Barossa C<strong>of</strong>fee Roasters<br />

Photo: Brad Bonar<br />

Below: Gerry Wedd. Blend<br />

(700 cups). <strong>2014</strong>. terracotta<br />

various dimensions<br />

Photo: Grant Hancock<br />

Extending beyond their normal areas <strong>of</strong> research, influence and inspiration. the collaborative process<br />

allowed the artists to examine the point at which their practice can intersect with something different.<br />

In working with these differences, they were made aware <strong>of</strong> the strong parallels with the processes <strong>of</strong><br />

production and also within the inherent creativity and complexity <strong>of</strong> running a business.<br />

<strong>The</strong> objects and ideas that have formed out <strong>of</strong> the project connect to the collaborative relationships<br />

and the ethos behind the producers businesses. <strong>The</strong> works in the exhibition respond to histories, stories<br />

and characters that are unique to the region and welcome creative investigation.<br />

Be Consumed: Creative Collaborations from the Barossa<br />

19 July - 17 September <strong>2014</strong> at Jam Factory Seppeltsfield; 26 September - 29 <strong>No</strong>vember <strong>2014</strong><br />

at Jam Factory. Adelaide<br />

To watch the series <strong>of</strong> six short videos in which the collaborators discuss the project,<br />

go to: https:/Iwww.youtube.com/userlJamFactoryAUlvideos<br />


Cicada Waterfall<br />

A still moving co llaboration between<br />

Louise Boscacci and Elisabeth Cummings<br />

Louise Boscacci and<br />

Elisabeth Cummings<br />

Cicada Waterfall series<br />

<strong>2014</strong>, translucent porcelain<br />

diam. , 6-35cm<br />

Photo: louise Boscacci<br />

I began this collaboration in translucent porcelain with<br />

painter Elisabeth Cummings AO in September 2012. I had<br />

reached a stage in ceramics practice <strong>of</strong> inviting 'other hands<br />

and eyes' to synergistically explore what this wonderful and<br />

tricky material might become in an austral context - what<br />

the possibilities <strong>of</strong> <strong>Australian</strong> porcelain might be, beyond<br />

imitation or imported tropes from its long cultural traditions<br />

and innovations in China, Korea and Japan, and its later<br />

trajectories in continental Europe and Britain. Porcelain<br />

has again become the stuff <strong>of</strong> contemporary artists and<br />

designers excited by its expressive possibilities. But what<br />

might contemporary <strong>Australian</strong> porcelain - forms and voices<br />

invoked by this place and encounters <strong>of</strong> this place - become?<br />

I have been seduced by the medium for more than a<br />

decade after moving to set up a studio in the crisp clear light<br />


Focus: Collaboration<br />

<strong>of</strong> the New South Wales Southern Highlands in 2003, and have since composed multiple exhibition<br />

series carrying and exploring porcelain's cloudy translucence. Five years ago this evolved to exhibiting<br />

works with light itself - bespoke illumination to backlight or infuse them - and I continue on this (rather<br />

addictive) enchantment and its possibilities as a vocabulary in making.<br />

As an alumnus and contributor to the ceramic plate auction fundraiser organised most years by the<br />

Friends <strong>of</strong> the National Art School (FONAS), I decided to take the plunge and invite Elisabeth, fellow<br />

alumnus and revered <strong>Australian</strong> painter, to collaborate on making a work to donate. She said yes. This<br />

is where it started. I threw four simple forms on the wheel and she responded to them with brushwork<br />

using a purposely-restricted palette <strong>of</strong> oxides and terra sigillata from my practice. We were both pleased<br />

by the results, and decided after the auction to continue on this path and collaborate on a larger series.<br />

<strong>The</strong> simple, flat 'pans' formed on the potter's wheel come from the circular salt-encrusted clay pans<br />

that dot the coastal areas <strong>of</strong> the dry tropics <strong>of</strong> northern Queensland - in this case from remnant country<br />

I had been revisiting on the edge <strong>of</strong> the city <strong>of</strong> Townsville. In the dry months, they glisten as silver-white<br />

circles on an umber clay base, ringed by ground mats <strong>of</strong> red samphire. In the Wet, they fill with water<br />

and are reclaimed to the wetland mosaic to which they belong. I am most invested in distilling ceramic<br />

forms from encounters in certain affective places and living grounds <strong>of</strong> this continent, so the pans are<br />

one recent, unfolding rendition. I wondered how Elisabeth, a powerful translator <strong>of</strong> space, light and<br />

rhythmic place, might respond to these white circular 'canvases'- where the circle, rather than the usual<br />

square or rectangle <strong>of</strong> paper and painting frame, might lead her mind's eye and brush.<br />

I threw and first-fired a series <strong>of</strong> porcelain pans over the summer months <strong>of</strong> 2012- 13. When I<br />

collected the final batch <strong>of</strong> works from Elisabeth in late <strong>No</strong>vember 2013, the cicadas in the forest at<br />

her Wedderburn studio were in full aural force. <strong>The</strong>y had claimed the scribbly gum trunks around her<br />

home and filled the air with a palpable, pummelling pulse. Sitting inside, drinking tea and talking about<br />

the pots and other things, the constant surround-wall <strong>of</strong> cicada sound evoked visceral recall <strong>of</strong> being in<br />

the presence <strong>of</strong> a wet-season waterfall in the tropics. Elisabeth was speaking about the cicadas, naming<br />

'black princes', 'green grocers' and 'floury bakers', so the porcelain series that finally emerged, and<br />

which returns me to that day and Elisabeth 's calm but pulsing creative space, ultimately named itself:<br />

Cicada Waterfall.<br />

louise Boscacci and<br />

Elisabeth Cummings<br />

Cicada Waterfall series. <strong>2014</strong><br />

translucent porcelain<br />

diam.16- 35cm<br />

Photos: louise Boscacci

Focus : Collaboration<br />

<strong>The</strong> Cicada Waterfall series was exhibited in Elisabeth Cummings: a Still Life. <strong>2014</strong><br />

King Street Gallery on William, Sydney, Australia, 8 July - 2 August <strong>2014</strong>.<br />

An extract from: 80scacci l, <strong>2014</strong>, Cicada Waterfall: notes on a collaboration in porcelain<br />

with Elisabeth Cummings, Artist text, 1 March <strong>2014</strong>; Elisabeth Cummings: a Still Life, <strong>2014</strong><br />

King Street Gallery on William, Sydney, Australia.<br />



Focus: Collaboration<br />

Broken Chimneys<br />

Georgia Weaver shares a story about Cheryl Lucas' replication<br />

project in Christchurch<br />

Following a devastating 6.3 earthquake in Christchurch, the home town <strong>of</strong> ceramicist Cheryl Lucas, the<br />

now familiar sight <strong>of</strong> damaged and broken chimneys emerged. As the city began to pick up the pieces,<br />

Lucas was asked to play her unique part in the rebuild. Better known for her larger pieces <strong>of</strong> work,<br />

she was approached to replicate a number <strong>of</strong> chimney pots, tiles, bricks and a chapel finial that was<br />

damaged in the rumbles.<br />

<strong>The</strong> process for making the replicas was intense; at times Lucas only had architect's drawings or<br />

an original shard to work <strong>of</strong>f. For some <strong>of</strong> the chimney pots she had to test a lot <strong>of</strong> glazes to get the<br />

correct colour and sheen to match the surviving originals. She replaced the original lead glazes and saltfiring<br />

processes with colouring oxides and clear glazes, and then fired in an electric kiln.<br />

<strong>The</strong> pots, each weighing up to 55kg, took a long time to dry before firing. Allowance for a 10-12%<br />

shrinkage from wet to the fired state had to be carefully considered. Getting the diameter measurement<br />

accurate was otten critical. Taking into account the modern stainless steel flues and gas cowls meant<br />

there was <strong>of</strong>ten less than a centimetre <strong>of</strong> space for the difference between it fitting or not on the new<br />

chimney stacks. Amazingly, she estimated the size perfectly every time.<br />

Lucas said the time and effort she put into making the pots gave her much admiration for those who<br />

made them originally, but, worried by a certain sense <strong>of</strong> pretense and phoniness, she initially struggled<br />

with the idea <strong>of</strong> replicating what used to be.<br />

"To replicme ij' kind a/weird, bUllhen people want il back as it was. I suppose the whole rebuild thing is abolll .<br />

getting flew things to happen, reJoining some remnants <strong>of</strong> the old and being suslainable. We are now very conscious<br />

nOI only <strong>of</strong> the earthquake risks, but also oj burning cleaner fuels; both these factors prove a challenge when<br />

re-making things. And there:\' that other section which is historic. People want those link" with the pas/, and so I<br />

suppose Ihal s where I 'm coming in - helping 10 put il back.·' Cheryl Lucas<br />

Lucas has dated all 36 works made so far in the rebuild. "If they come down again, at least people do<br />

know they're replicas, and we're not trying to pretend they're anything else."<br />

Lucas also made 16 large relief tiles for another building. <strong>The</strong> tiles were press-moulded and made<br />

from paperclay making them thinner and lighter tor sitting atop the building.<br />

Although Lucas has enjoyed the challenge <strong>of</strong> making these pieces, as a solo practitioner who usually<br />

works for exhibitions she is ready for a bit <strong>of</strong> normality. " I certainly wouldn't want to do it every day, but<br />

it was a satisfying challenge to be able to contribute to the re-build, " she said.<br />


1 Dyslexia House; photo: Peter Rough<br />

2 Cheryl Lucas outside Riccarton<br />

House; photo: Grace Cochrane<br />

3 RICcarlon House pot in the kiln<br />

Photo: Cheryl lucas<br />


Focus: Collaboration<br />

Fantasticology Tokyo:<br />

Faults, Flesh and Flowers<br />

By Karen Weiss<br />

Alex Kershaw, Muscles and Pea rs. 2011. from Fantasticology Tokyo: Faults, Flesh, and Flowers, 2011-13<br />

production still. HO video and sound, 25:06 min; photo: courtesy artist<br />

To work collaboratively is to work with what Ian Mills calls 'the in-between' and Alex Kershaw names as<br />

'social energy'. It is the energy living between us, the dark matter that occupies the space between the<br />

planets <strong>of</strong> ourselves and others. Because its nature is change, our real ity changes with it. <strong>The</strong> success or<br />

failure <strong>of</strong> the collaborative projed rests on whether we choose to resist these changes, or evolve.<br />

In his recent collaborative installation at the Art Gallery <strong>of</strong> NSW (AGNSW), Fantasticology Tokyo:<br />

Faults, Flesh and Flowers, Kershaw, an <strong>Australian</strong> video artist, brought together the disparate elements<br />

<strong>of</strong> ikebana, clay and bodies. Filmed while Kershaw was on a residency in Tokyo in 2011, the narrative<br />

video sequences are the result <strong>of</strong> active collaborations with several ikebana artists, a bodybuilder, an<br />

actor and a ceramic artist. After a series <strong>of</strong> conversations w ith the participants, Kershaw's ideas began<br />

to cohere around issues <strong>of</strong> imperfedion and perfedability, beauty and impermanence - a transmission<br />

without words.<br />


Focus: Collaboration<br />

Alex Kershaw with<br />

Barbara Campbell-Allen<br />

Fantasticology Tokyo: Faults<br />

Flesh and Flowers, 2013<br />

In'laliation delall at AGNSW<br />

Photo: courtesy Alex Kershaw<br />


Focus : Collaboration<br />

During filming, the unexpected happened. Japan experienced a severe earthquake and tsunami,<br />

Although not directly affected by the event himself, it had an immediate impact upon his Japanese<br />

collaborators, It created shifts and different resonances in the project, some images acquiring a deeper<br />

poignancy as a result. An ikebana arrangement originally intended to be cherry blossom, became<br />

peonies, white, the Japanese colour <strong>of</strong> mourning. <strong>The</strong> ikebana artist strokes the flowers, coaxing petals<br />

to fall. In a hospital room, a vase <strong>of</strong> scarlet and yellow tulips revives, droops, revives, like the rise and fall<br />

<strong>of</strong> a ribcage, On a ro<strong>of</strong>top in Tokyo, a young woman throws pots on a wheel, and near her, a yorishiro<br />

tree extends its twig antennae to the gods,<br />

Kershaw wanted to couple the video sequences with an expression <strong>of</strong> raw nature manifested in some<br />

form <strong>of</strong> material presence, For this, he contacted Barbara Campbell-Allen, a Sydney artist well-known<br />

for her woodfired work,<br />

<strong>The</strong> first brief. to make a slop pile <strong>of</strong> thrown pots, with an embedded video projector, was abandoned<br />

after the original venue closed down, Twelve months later. the invitation from the Art Gallery <strong>of</strong> New<br />

South Wales (AGNSW) came, with the use <strong>of</strong> a larger space. Together they dug up solid chunks <strong>of</strong> raw<br />

clay which Campbell-Allen Slowly dried and fired,<br />

<strong>The</strong>y debated the concept <strong>of</strong> form and<br />

formlessness, settling on the need for a<br />

form, Via Skype, there was a to-and-fro<br />

over the form and how the rocks would<br />

be used, Campbell-Allen handbuilt two<br />

large jars. fired and unfired, as generic<br />

forms rather than art objects, one jar to<br />

be penetrated by the rocks with a scatter<br />

<strong>of</strong> shards, a tacit violence, Together they<br />

worked on the final placement <strong>of</strong> the<br />

elements <strong>of</strong> the installation,<br />

Of their collaboration, Campbell-Allen says, "It took me out <strong>of</strong> that ceramic enclave into a bigger<br />

sculptural arena ," Kershaw says, " I was really excited by Barbara's work " , [Collaboration] enables you<br />

to experiment in other mediums ,,, A certain shift happens in the work that would only be possible by<br />

working with other people,"<br />

References:<br />

Kershaw, Alex. Interview with K. Weiss<br />

Campbell-Allen, Barbara. Interview with K. Weiss<br />

Mills, Ian. Shibli's Dog, Spinoza and the Dyaks. Spirituality Leadership and<br />

Management Conference 1999. University <strong>of</strong> Sydney.<br />

@ K. Weiss <strong>2014</strong><br />

www.alexkershaw.com.au<br />

www.barbara-campbell-allen.com.au<br />


Students <strong>of</strong> Eagle Junction State School, Eagle Junction State School Memor;aJ Garden Mosaic, 2013. 35sqm <strong>of</strong><br />

handmade stoneware tiles; photo: Rozenn Leard Photography<br />

Eagle Junction State School<br />

Community Collaboration<br />

Stephanie ~utridge Field writes about a mosaic project in Brisbane<br />

Collaboration is more than the sum <strong>of</strong> the parts. A true collaboration generates energy, momentum,<br />

exchange, a supportive work atmosphere and sometimes even reclaims a space and creates a place,<br />

both in people's hearts as well as in the real world.<br />

Over 850 students from Prep through to Grade 7, along with all the teaching and ancillary staff<br />

supported by a band <strong>of</strong> committed parent glazers, turned tonnes <strong>of</strong> clay slabs into more than 35 square<br />

metres <strong>of</strong> handmade in-ground tiles (that met <strong>Australian</strong> Slip Standards) for the refurbishment <strong>of</strong> Eagle<br />

Junction State School's Memorial Garden and forecourt.<br />

<strong>The</strong> project began in late 2012 as part <strong>of</strong> the plan to rebui ld the oldest buildings <strong>of</strong> the school and<br />

the forecourt area after they had been badly damaged by fire in late 201 1. It had taken a year to<br />

re-build the 1895 tongue and groove Administration Block and several classrooms to their former glory.<br />

<strong>The</strong> forecourt area with its 1 OO-year-old camphor laurel tree had been a place students had loved and<br />

frequented. <strong>The</strong> vision was to create a new space - a place they would go to regularly and a place that<br />

they could call their own.<br />

In March 2013, Stephanie Outridge Field and the school principal introduced the project to the Year<br />

7 cohort <strong>of</strong> 75 students w ho were then charged with the overarching design for a mosaic within the<br />

re-designed forecourt.<br />


Fo cus: Collaboration<br />

left: Students working on tiles, 2013; right mosaic detail showing handmade stoneware tiles. underglaze and partially dear<br />

glaze, various dimensions; photo: Rozenn Leard Photography<br />

After three weeks <strong>of</strong> brainstorming, research and image development, consensus was reached . Three<br />

main themes were seleded: the history <strong>of</strong> the school from 1895 to 2013; the relationship <strong>of</strong> the school<br />

to its military service history (the forecourt was bordered on one side by the World War One Memorial<br />

Gates and on the other side by the world War Two Memorial Library with its restored stain glass<br />

windows and doors) and the relationship <strong>of</strong> the school and its community to the local area . Each <strong>of</strong><br />

three Year 7 classes were allocated one major theme to research, develop and design.<br />

As the projed developed within the school it grew to include every student and gained momentum<br />

within the broader school community. <strong>The</strong> following is an excerpt written by one <strong>of</strong> the students, Lydia<br />

Connelly, for the school newsletter.<br />

"Mosaic mania has come to EJ! Ifyoll have lripped over the uneven concrete around fhe sundial in/rom o/the schon!<br />

and wondered why iI was built Ihat li/Oy. you are nOl alone! <strong>The</strong> Year 7 sfudenlj' are leading the charge 10 change this.<br />

Our mosaic projecI has become our Art and Technology units <strong>of</strong> study and we are rransforming the area life by file.<br />

But this is not simply a Year 7 initiative; the whole school is contributing.<br />

We have all learn/ lhe real process <strong>of</strong> creating an amazing arhvork and now we are going 10 share il wilh you so Ihol<br />

you might come in and lend a hand Without the help a/Stephanie Ourr;c/ge Field and Miss (Vanessa) Wallace our<br />

teacher. we wouldJJ 't have gO flen lhis /01: ..<br />

<strong>The</strong> whole school community embraced the mosaic. Each student is able to lind their own special<br />

tile to show <strong>of</strong>f and it is 'the place' to meet. Eyes are drawn down to check out the brocade <strong>of</strong> tiles<br />

and there are always positive comments by both regular as well as special visitors to the school who are<br />

surprised and delighted by reading the story within the tiles. <strong>The</strong> timeline lists large and small events,<br />

such as the fi rst school ball in 1929 and the fancy dress outfits paraded, the date the lirst computer was<br />

installed, and the name <strong>of</strong> the lirst student.<br />

This handmade tile mosaic is more than the tiles; it is more than the sum <strong>of</strong> the parts. It is a time<br />

capsule, a record and a celebration . It is the way the Eagle Junction State School students and the<br />

community came together to build and re-build.<br />

https:llwww.facebook.com/stephanie.outridgefield<br />


Focus: Collabo ration<br />

Stephanie Outridge Field and students <strong>of</strong> Eagle Junction State School, Eagle j unction State School<br />

Memorial Garden Mosaic, detajl, 2013; photo: Rozenn Leard Photography<br />


Focus: Co llabora t ion<br />

A Recipe For Success<br />

Ilona Topolcsanyi works 'from paddock to plate'<br />

When Josh Lopez, head chef <strong>of</strong> Queensland Art Gallery/Gallery <strong>of</strong> Modern Art (QAGOMA), approached<br />

me two years ago to create a bespoke tableware range for the gallery's restaurant, I had no idea it<br />

would lead to a string <strong>of</strong> opportunities to work closely with some <strong>of</strong> Australia's finest chefs.<br />

With each new commission I take a considerable amount <strong>of</strong> time to absorb and understand exactly<br />

what each chef is trying to achieve, what makes their menu unique, and how I can celebrate and<br />

enhance this through ceramics. In turn I seek to give an appreciation <strong>of</strong> the ceramic process so that<br />

together we optimise both the functionality and beauty <strong>of</strong> the finished pieces.<br />

In this way the range that ultimately appears on the restaurant table is the result <strong>of</strong> a direct<br />

collaboration in which the food and the personality <strong>of</strong> the chef not only influences the tableware, but<br />

the ceramic forms and surfaces developed frequently give rise to new plating and menu formats. It has<br />

been a fascinating journey learning how very subtle changes in form and surface can alter the degree to<br />

which a sauce will pool on a plate, for example, and how critical this can be to the overall success <strong>of</strong> the<br />

dining experience.<br />

My most recent commission came from Dan Hunter who has created his highly acclaimed restaurant<br />

'B rae' at Birregurra in southern Victoria. <strong>The</strong> cuisine there celebrates Dan's intimate connection with the<br />

property with many <strong>of</strong> the menu's ingredients being grown on site. I will be developing and enhancing<br />

this idea by employing local clays and minerals, and ash collected from their woodfired oven, to create a<br />

regional range <strong>of</strong> surfaces directly linked to Dan, his food and the property.<br />

<strong>The</strong>re is a richness that arises from these collaborations that I always look forward to - especially<br />

when it results in being treated to an exquisitely prepared three course meal, on the house<br />

Ilona Topolcsanyi + Colin Hopkins = Cone 11 <strong>Ceramics</strong>; www.cone11 .com.au<br />

From Harvest: Art, Food and Film, <strong>2014</strong>. Gallery <strong>of</strong> Modern Art, Brisbane © QAGOMA. photographer Shane Holzberger<br />

and stylist Jaime Reyes; photo: Brenda Fawdon

Focu s: Collaboration<br />

Mend<br />

John Papworth bowl with repa irs by Kate Hill and Bree Claffey<br />

In a recent gallery show at Mr Kitly, curator Bree Claffey and artist Kate Hill worked together on the<br />

project Mend, an exhibition <strong>of</strong> pottery repaired using the Japanese method <strong>of</strong> Kintsugi.<br />

This method <strong>of</strong> 'gold repair' dates back to the tea masters <strong>of</strong> Japan in the 16th century where stories<br />

were first recorded <strong>of</strong> tea bowls being regarded more beautiful for having been broken then mended.<br />

<strong>The</strong> Japanese cultural and aesthetic idea <strong>of</strong> mono no aware (lit. 'the pathos <strong>of</strong> things') is encapsulated<br />

beautifully in the practice <strong>of</strong> kintsugi. It is an awareness <strong>of</strong> the transience <strong>of</strong> things, the realisation<br />

that all th ings are impermanent. and with that realisation an appreciation <strong>of</strong> their beauty is heightened.<br />

<strong>The</strong> deep appreciation <strong>of</strong> the ephemeral spring blossoms in Japan is another example <strong>of</strong> th is uniquely<br />

Japanese aesthetic. *<br />

W ith Kate Hill having learnt to repair pottery in Japan, and being a ceramicist involved with Mr Kitly<br />

for the past few years, her coming together with Bree Claffey for Mend made penect sense. Both<br />

women share an appreciation for clay not only as a medium, but <strong>of</strong> Japanese culture, aesthetics, and the<br />

richness <strong>of</strong> working with other people for a deeper conversation .<br />

Having agreed to collaborate across all aspects <strong>of</strong> the work, the two teamed up to collate broken<br />

or chipped pottery from their personal collections and also gathered from friends and fam ily. Along<br />

with the physical pieces, they collected an anthology <strong>of</strong> personal stories which spoke <strong>of</strong> individual<br />


-----_.---'<br />


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

Focus: Collaboration<br />

relationships to the objects, whether that be how they came to find the piece, or how it broke. <strong>The</strong>se<br />

37 stories were compiled into a catalogue that accompanied the exhibition.<br />

Working with old rather than new, Kate Hill spent hours in her studio learning the material history<br />

<strong>of</strong> each piece <strong>of</strong> worn pottery, noting the inside parts <strong>of</strong> clay unexposed to glaze or the firing process,<br />

and the way that cracks re-join. She spent time with each piece, tracing fine lines and bringing parts<br />

together and watched as old things reformed to become a new whole.<br />

Along with this practical interaction with the pieces, Bree and Kate held conversations with artists<br />

and pottery owners about their making <strong>of</strong> the piece or the relationship to the piece, and were therefore<br />

able to consider the social history <strong>of</strong> each. <strong>The</strong> project became a myriad <strong>of</strong> conversations and sentiments<br />

from people surrounding the objects. In the same way that the pottery pieces were brought together, so<br />

were the people involved in this project. In a rare experience, artist and collector entered into the same<br />

conversation and exhibited on the same platform. By sharing the stories between maker and collector,<br />

this exhibition <strong>of</strong>fers a melding <strong>of</strong> these <strong>of</strong>ten separate worlds.<br />

'Please see the essay 'A Tearoom View <strong>of</strong> Mended <strong>Ceramics</strong>' by Christy Bartlett for further reading on<br />

the Tearoom aesthetics <strong>of</strong> kintsugi.<br />

http://mrkitly.com.au<br />

http://en.wikipedia.org/wiki/Kintsugi:<br />

Kintsugi (Japanese: golden joinery) or Kintsukuroi (Japanese: golden repair) is the Japanese<br />

art <strong>of</strong> fixing broken pottery with lacquer resin dusted or mixed with powdered gold, silver, or<br />

platinum, a method similar to the maki-e technique. As a philosophy it speaks to breakage and<br />

repair becoming part <strong>of</strong> the history <strong>of</strong> an object, rather than something to disguise.<br />


Amanda Hale and Karen Farrell, M eeting Place, installation, <strong>2014</strong>, eucalyptus branches sanded back and white washed,<br />

ceramic and wire, various dimension s; photo: courtesy artists. Above right detail<br />

Emerging into Landscapes<br />

Karen Farrell and Amanda Hale talk about moving on from TAFE<br />

Our friendship was forged at Hornsby TAFE in the early 2000s through eight years <strong>of</strong> shared classes<br />

in Hand-Building, Certificate 4, Diploma and Advanced Diploma. We had amazing teachers who were<br />

willing to share their knowledge and passion yet ensured that we were grounded in practical knowledge<br />

and good technique.<br />

After TAFE we continued to work in our own studios and kept in touch over regular c<strong>of</strong>fees, but<br />

it was never the same as sharing the camaraderie <strong>of</strong> the studio space . So, at the beginning <strong>of</strong> 2013,<br />

Karen suggested that we should collaborate. Immediately we locked in one day a week in our diaries<br />

to work together. Between the two <strong>of</strong> us working in various jobs part-time, Wednesday became "our"<br />

workday. We also researched the competitions coming up and found Harbour Sculpture at Woolwich<br />

(the inaugural year) and set <strong>of</strong>f to do some research . Visiting the site was a must, wandering slowly and<br />

brainstorming ideas, as well as taking lots <strong>of</strong> photos to help w ith concepts later.<br />

Ideas were thrown about - the good, the bad and the ugly - but we reminded ourselves <strong>of</strong> what we<br />

are good at, what we liked, and what we could do . .. and the idea for an installation sculpture finally<br />

came in a 'Eu reka' moment! it evolved from a couple <strong>of</strong> thoughts into a confident, definite idea w e<br />

quickly began work on ... drawings, researching materials, firing and glazing, and photo-shopping our<br />


Amand a Hale and Karen Farrell, Many Being One and One Being Many, detail and installation, 2013, various dimensions<br />

Photo: courtesy artists<br />

ideas into a document. <strong>The</strong> first proposal was entered. We followed this with proposals for another<br />

three competitions and waited.<br />

We were thrilled to be accepted into two competitions, Harbour Sculpture 2013 and the Willoughby<br />

Sculpture Prize 2013. This ensured we had deadlines giving us time to make the work and troubleshoot<br />

any problems. It went remarkably smoothly.<br />

We seemed to time-manage well ... if we felt that more time was needed we would meet at the<br />

weekend as well as our Wednesday to give some breathing space. <strong>The</strong> making <strong>of</strong> the work was just like<br />

TAFE days, full <strong>of</strong> ridiculous conversations, silly songs and lots <strong>of</strong> laughter.<br />

We knew that we would need more than one day to install our sculpture, but in fact it took two<br />

<strong>of</strong> us three full days on our hands and knees to set the work up. We only questioned ourselves at the<br />

end <strong>of</strong> the first day after watching many sculptures come in on the back <strong>of</strong> a truck and set up within<br />

an hour. After three days we felt that we had also become a part <strong>of</strong> the site along with our sculpture!<br />

Performance installation sculpture?<br />

Since the two installations in 2013 (winning the people's choice award in both) we have also been in<br />

the UWS Sculpture Prize <strong>2014</strong> and Harbour Sculpture <strong>2014</strong> (where we won the people's choice again).<br />

Our collaboration will continue as we are still brimming with enthusiasm and ideas, and it's so rewarding<br />

to work together, sharing ideas, successes and laughter.<br />

www.harboursculpture.com.au<br />

www.amandahale.com.au<br />

https:/ I www.facebook.com/karen. farrell. 7127<br />


Focus: Collaboration<br />

Pia Murphy + Rhys Lee<br />

Alicia Sciberras tells their story <strong>of</strong> collaboration<br />

Pia Murphy first encountered clay like most <strong>Australian</strong> children, as a young child in the classroom,<br />

recalling a particular interest in sculpting ashtrays and animals.<br />

She continued working with clay well into her teens, which sparked her interest in enrolling at the<br />

Victorian College <strong>of</strong> Arts, and it was here that the artist was seduced by the printmaking studio. After<br />

graduating, Pia went on to work as a master printer.<br />

In 2009 Pia rekindled her passion for ceramics and bought a block <strong>of</strong> clay. Her first sculpture was<br />

inspired by images in an issue <strong>of</strong> National Geographic. This work <strong>of</strong> a mummified baboon was soon<br />

followed by an investigation into primates, hybrid animal forms and figures, which led to her first body<br />

<strong>of</strong> work, the Primates and Hybrid Animals collection, and that proved to be the turning point for her<br />

taking on pottery as her full-time job. Clayworking was more accessible than printmaking.<br />

After showing a collection <strong>of</strong> figurative sculptures in 2010 at C3 Gallery in Melbourne, Pia was<br />

overwhelmed by the response. This praise gave her the confidence to channel her self-expression into<br />

the clayform. "<strong>The</strong> work had flowed out <strong>of</strong> me so calmly and naturally that it was then that I felt<br />

excited to continue with ceramics, " says Murphy.<br />

Having worked in ceramics for a year, Pia decided to move to a new shared studio in Melbourne<br />

with artist Rhys Lee. <strong>The</strong> creative duo went about their separate practices for months until a spark was<br />

ignited and so began a collaboration <strong>of</strong> life and studio practice.<br />

Rhys Lee is an <strong>Australian</strong> painter best known for his figurative works that evoke a sense <strong>of</strong> otherworldliness.<br />

Realising his two-dimensional paintings could be expressed in clay opened up new forms <strong>of</strong><br />

self-expression for Rhys and he began to collaborate with Pia whilst also making his own pieces.<br />

<strong>The</strong> creative collaboration kicked into full gear after Rhys decided to collate an entire exh ibition based<br />

on working in partnership with close artist friends including Rob McHaffie, Matt Hinkley and Heidi<br />

Yardley as well as Pia Murphy. Rhys had previously glazed some <strong>of</strong> Pia's ceramic pieces, but not with<br />

strict collaborative intention. This partnership between Rhys and Pia spurred future collaborations and<br />

the couple now reside and work out <strong>of</strong> their peaceful home with their son in Anglesea, an hour and a<br />

half from the Melbourne CBD .<br />

Recently the creative duo has been working more on solo projects but their work appears to be<br />

intuitively synced . For an upcoming show the couple are collaborating, but differently - Rhys is using<br />

vases handbuilt by Pia as the subjects for two <strong>of</strong> his paintings. This shift in process is interesting because<br />

suddenly the solo efforts have a meeting point, whereby one cannot be complete without the other.<br />

Follow both on Instagram: @piamurphy_ ; @rhyslee<br />

40 THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER <strong>2014</strong><br />

-.________________ __.______ __ __ _ ________________...1

Focus: Collaboration<br />

1 Rhys lee, Baboon, 201 1, gouache 3<br />

on paper, h.64cm, wASem<br />

2 Pia Murphy, Baboon, 2011<br />

earthenware with acrylic wash<br />

handbUlll, h.21cm, w.13.Scm, d.14cm<br />

3 Rhys lee, PM Red Dog, 201 1<br />

oil on paper, h.66cm, w.7Scm<br />

and Pia Murphy, Red Dog, 2011<br />

glazed earthenware, handbUllt<br />

h.30cm, w.1Scm, d.49cm<br />

Photos: Jeremy Dillon<br />


Focus: Co llaboration<br />

terraluca<br />

terraluca (earth and light) is a creative collaboration between Anna, a ceramicist,<br />

and Tahra, a w riter. Founded while catching up over another cup <strong>of</strong> tea, terraluca<br />

creates beautiful, functional and raw ceramics, each enriched with words that are<br />

simple and true. All terraluca pieces have at their core a commitment to warmth,<br />

honesty and simplicity.<br />

http://terraluca.com<br />

Right: Anna Kaineder and Tahra BaUlch, Sharing Bowl, <strong>2014</strong><br />

wheelthrown stoneware, lustre, decal detail, h.ll .5cm w.2 1 em<br />

Below: Anna Kaineder and Tahra Baulch, Plenty Bowl<br />

Cuddle Cup and Salt Pinch Bowl, 20 14, wheelthrown<br />

stoneware with decal detail, vanous dimensions, tallest, h.9cm<br />

Photos: Larry Rindfleish<br />


Focus: Collaboration<br />

Maria Chatzinikolaki and Jorge (riollo-Carrillo, Pr;sma, <strong>2014</strong>, Walker's PBlO3 clay, WVG2S0 glaze and American Walnut<br />

Jigger-jollied by hand, fired to 1220"(, oxidation; photo: Anna Fenech Ham,<br />

Prisma<br />

A collaboration between Maria Chatzinikolaki and Jorge Criollo-Carrillo<br />

<strong>The</strong> best properties <strong>of</strong> porcelain and wood have come together to create a refined and crisp object to<br />

be used on a daily basis, Inspired by the concept <strong>of</strong> 'belonging' and 'collaboration', Prisma has been<br />

designed to exalt the cultural habit <strong>of</strong> drinking a cup <strong>of</strong> c<strong>of</strong>fee, in this case enhancing the interaction <strong>of</strong><br />

the user and the object through a more interesting and formal relationship than a cup and its saucer.<br />

Prisma is an espresso cup solution made up <strong>of</strong> two complementary components: each component<br />

needs the other in order to achieve their function, <strong>The</strong> design has two individual manufacturing<br />

processes, For the porcelain component, clay is pushed into moulds to form the shape <strong>of</strong> the diamond<br />

and then the dip (where the c<strong>of</strong>fee pools) is jigger-jollied, When dry, the object is bisqued to gOODe then<br />

sanded before being glazed and then fired again to 1220 0 (, For the timber component, solid wood is<br />

dressed to Smm thick, <strong>The</strong> radial saw is then set up to get a compound cut <strong>of</strong> identical and individual<br />

timber faces that will be assembled, sanded and carefully finished, <strong>The</strong> ceramic cup is inserted into the<br />

timber sleeve, creating an attractive interaction between the two diamond shaped elements, related by<br />

their sharp angles and crisp edges, evoking a precious gem,<br />

www_mariachatzinikolaki.com.au; http;//criollo-carrillo.blogspot.com.au<br />


A unique collaboration between ceramic artist Belen Berganza and sculptor Stephen Tero came about<br />

thanks to an introduction by a mutual friend.<br />

<strong>The</strong> surprise came from how freely ideas flowed and were respected and accepted. <strong>The</strong>re was much<br />

discussion but the dialogue seemed egoless and the ideas endless.<br />

Belen is a ceramic artist who lives and works in Fremantie, Western Australia. She studied ceramics for<br />

four years at the School <strong>of</strong> Arts, Francisco Alcantara, in Madrid.<br />

Stephen studied Design for Industry at Perth Central TAFE . He has exhibited works in Sculptures by<br />

the Sea in Perth and Sydney.<br />

Together the two have developed works that use the translucent qualities <strong>of</strong> porcelain, and the<br />

contrasting earthbound feelings <strong>of</strong> various recycled materials.<br />

<strong>The</strong> works are lit from within using LED lights. Stephen and Belen draw inspiration from their<br />

surroundings, with the coastal environment <strong>of</strong> Fremantie also reflected in their use <strong>of</strong> recycled materials.<br />

<strong>The</strong> pitted surface <strong>of</strong> steel becomes a rough sea. A billow <strong>of</strong> porcelain cutting through the steel is the<br />

sailcloth <strong>of</strong> a square rigger.<br />


Focus: Collaboration<br />

Ideas were shared through<br />

conversation, research, sketches<br />

and photographs, along with<br />

computer-generated and<br />

handbuilt models. and trial setups<br />

were made to test their ideas.<br />

<strong>The</strong> process was intensive but<br />

inspiring and built a depth <strong>of</strong><br />

understanding that goes beyond<br />

the visual presence <strong>of</strong> an object.<br />

www.bigbamboojewellery.com<br />

http://stephentero.com<br />

Opposite page:<br />

Stephen Tero and Belen Berganza with<br />

Clinch , <strong>2014</strong>, slipcast porcelain with<br />

crystal glaze. , 280"(. recycled aluminium<br />

charred jarrah wood and recycled mild<br />

steel with LED lights, h.120cm. w.30cm<br />

d.20cm<br />

Above left: HelEm Berganza and<br />

Stephen Tero. Walker. <strong>2014</strong>, hand·<br />

carved porcelain, 12800(. recycled mIld<br />

steel and a (ailway tie down plate with<br />

LED lights. h.66cm. w.31 cm, d. 1 Scm<br />

left: Belen Berganza and Stephe n<br />

Tero. Flower <strong>of</strong> Life. <strong>2014</strong>. hand-carved<br />

porcelain, 12800(, recycled mild steel and<br />

jarrah planks with LED lights. h.2scm.<br />

w.13cm. d.6scm<br />

Photos: Alan McDonald<br />



Focus: Collaboration<br />

Ngapartji Ngapartji<br />

Ben Carter tells about his time spent at Ernabella Arts<br />

"Ben:r way a/working was palya [good) - he underslOod ngapartji ngapartji {I do something/or YO II, YOli do<br />

somelhingjor me] and Ihar (here was an exchange happening here. He gOllO be in our heautiful COlllllry and he<br />

raised his own money using Kickslarler /0 pay his way." Milyika Carroll<br />

I first came to Ernabella Arts in 2012 full <strong>of</strong> energy, excitement and expectations. My goal was to learn<br />

about Anangu story (Tjurkupa) while also teaching ceramics. One <strong>of</strong> my primary research interests is<br />

storytelling, and I thought this would be a fantastic opportunity to learn from a culture very different<br />

from my own. I wanted to photograph the symbols used in Anangu Tjurkupa so I could document the<br />

narrative arcs for my blog.<br />

After settling in I began to make pots for the artists to decorate. Th is allowed me to assess their<br />

preferences, style and skill level while also learning which forms I should teach them to make. As they<br />

worked I noticed the tendency for Anangu to fill every available surface with mark making. <strong>The</strong> designs<br />

were compulsive, fresh and remarkably intuitive. <strong>No</strong> one sketched before they started on a pot, but<br />

their final drawings were cohesive and unified in their composition. We worked side-by-side, mostly in<br />

silence, with occasional questions from me about their traditions. <strong>The</strong>ir responses were pleasant, but<br />

short and <strong>of</strong>ten not related to my questions. Confused, I chalked it up to the language barrier.<br />

My trip flew by and soon I returned to my job in Shanghai, China. I excitedly told my friends about<br />

the experience: being in the landscape, eating bush tucker, and most <strong>of</strong> all my observations about<br />

Anangu art. What I couldn't tell them was any Anangu story. In four weeks I hadn't heard any stories.<br />

<strong>The</strong> trip was life changing but the journalist inside me came away unsatisfied.<br />

Fast-forvvard two and a half years and I'm on my third return trip. I now chat at length with the very<br />

same people I thought didn't speak English . <strong>The</strong> language barrier I perceived was actually an expectation<br />

barrier. <strong>The</strong> more I questioned and pressed for answers the more the artists retreated . I have come to<br />

understand that Anangu stories are sacred and only to be shared with outsiders on rare occasions. If I<br />

do hear a story I understand I have been given a special gift, that <strong>of</strong> knowing my Anangu friends and<br />

their Tjurkupa .<br />

Over successive trips I developed intimacy with the artists, not by asking questions but by working<br />

towards the common goal <strong>of</strong> making art. We developed what in China is called guanxi (relationships),<br />

a concept it also took me a while to understand while living in Shanghai. In Pitjantjatjara it's called<br />

ngapartji ngapartji (I do something for you, you do something for me). It's not collaboration per se,<br />

but it <strong>of</strong>ten looks like it from the outside.<br />

OppoSite page:<br />

Above: Pepal Jangala Carroll working; photo: courtesy artist. Below: Alison Milyika Carroll; photo: courtesy artist<br />


Focus: Collaboration<br />


Focus: Collaboration<br />

I have come to see my role in Ernabella as one<br />

<strong>of</strong> service. I <strong>of</strong>fer my skills to help other artists<br />

produce the art they want to make. I continue<br />

to make pots for the older artists to decorate<br />

and I teach younger artists how to make their<br />

own forms. With every visit, and every pot, my<br />

relationship with the artists gets stronger and our<br />

work together grows more ambitious.<br />

Ben Carter is a ceramics pr<strong>of</strong>essional based<br />

in Santa Cruz, CA, He maintains a studio,<br />

teaches workshops and exhibits nationally.<br />

He is the creator and host <strong>of</strong> the 'Tales <strong>of</strong> a<br />

Red Clay Rambler' blog and podcast. You can<br />

see an online portfolio <strong>of</strong> his work at<br />

www.carterpottery.com.<br />

www.ernabellaarts.com.au<br />

Above right: Alison Milyika Carroll, Ngayuku Walka<br />

Below: Ben Carter and Paul Tja Tjuna Andy<br />

Below right: Work by Pep.; J. ng.l. carroll<br />

Photos: courtesy artists<br />


GAYA CERAMIC ARTS CENTER "Where clay and culture come together .... ..<br />

A team <strong>of</strong> maste rfu l ce ram icists. designers. and production artists in a setting <strong>of</strong> unsurpassed<br />

trop ical beau ty. and exquisite cultu ral craft sma nship: Gaya CAC is a place to ex pand horizons.<br />

to share inspirati on and techn iques. to exper im ent. to grow and to dream.<br />

Specialized workshops throughout the year. Continuous classes on a weekly basis. and a vibrant<br />

Resident Artist program all fill our calendar with exceptional international instructors. students<br />

and artists alike.<br />

Why come half way arou nd the wo rld to l ea rn th rowing skills, or to fire a kiln? In our view.<br />

setting is everything. Our annual calendar <strong>of</strong> workshops reflects this: approaching clay not only<br />

from the standpoint <strong>of</strong> a skill-build ing experience. but also as a creati ve explorati on. tapping<br />

stim uli from landscape , architecture, cuisi ne and cu lture that cannot be found anywhere<br />

but here in Bali.<br />

Gaya CAC coordinates every detail so that participants can focus on the experience at hand<br />

-and that experience is indelible : Bali <strong>of</strong>fers fecundi ty at every juncture<br />

-the creative interpretations are endless.


WEAVING IN CLAY & SMOKE: Exploring Surface in Raku<br />


Februarrl6-Z8.2015<br />

Drawing upon tile InImIasufabIe breadlll <strong>of</strong> exguisite textile tradition and Intricate<br />

aafts work to be found In Bali. this WlIlkshop will weave together inspiration and<br />

t~ in a focus on surface possibilities In clay. After visiting a wide range <strong>of</strong> the<br />

finest craft experts- f ~4¥ers to ikat weavers. wood carvers to silver smiths.<br />

and more-;- ~t nts wiUW", ~!l! direct response to the vast<br />

DEMYSTIFYING FORM: Clay Play and the Teapot<br />

with FONG CHOO<br />

May 24 - June 6, 2015<br />

<strong>The</strong> s\IJ~ <strong>of</strong> form has always b~n a tore interest in Fang Choo's career as a studi~<br />

potte(. For nearly 20 yeals he has focused - consciously ana meticulously - on a single<br />

form: the teapot. At this workshop each participant will focus on their own personal<br />

study <strong>of</strong> form. Participants will develop a perspective on proportions from large to<br />

small. while the nature <strong>of</strong> "play" will always be, in the foreground. Throughout the<br />

workshop there will be demos on types <strong>of</strong> bowls. mugs. lidded forms. vessels. etc ...<br />

.. ___ ....,.~ and then how each facet <strong>of</strong> the piece is formed. along with discussions on how the<br />

e aggregated into an aesthetically pleasing whole.<br />

EAST MEETS WEST: My Approach to Clay<br />

with MITSUO SHOJI<br />

August 9 - 22, 2015<br />

After 8 years <strong>of</strong> experience working as a ceramic artist in bot/) Japan and Australia. .<br />

Mistuo Shoji truly repre~ents a master' technique. concep . arid understanding Of the<br />

dynamic confluenct Of eastern an Tn per~eclives in clay. Revllafing his<br />

s)lllth~s <strong>of</strong> culttJre$. 'M-sensei WI e his personal CO!III~' method~ in<br />

hend'-lI'ujlding and slflli.-treftmenl n' Iso demonstratin h!§ cOmprehensiVe<br />

knowledtJe <strong>of</strong> traditionatJ.Jpanese-stvle slab-building and w eel-t/lrowl!.!ll.. brush<br />

work. s.ltp, ~rJt and color iAlay. Parflcipants \'till be tutored in silJl_e'lW!u Kiln<br />

cillls!Iuetion. as well as ~ence a tradifional:.Japanese, black-firing technique to Obtain a beautiful dense black color<br />

burnished surface <strong>of</strong> clay.


_lMEJ DEBOOS<br />

()tbiIJer, -17. 2015<br />

Join renowned ceramicist and educator. Janet DeBoos. in this two week exploration <strong>of</strong><br />

the surface <strong>of</strong> simple forms. Working at all stages <strong>of</strong> making from wet clay. through<br />

leather-hard and dry clay. to bisque and over-glaze techniques including decal use.<br />

china painting and enamels. De Boos will lead participants to focus on how to 'see'<br />

where to place decorations and how to plan and utilize different surface treatments on<br />

a single piece. Decoration will require partiCipants to explore the imagery and<br />

iconography <strong>of</strong> their own places and cultures as well as local material gathered during<br />

the workshop. <strong>The</strong>re will be discussion <strong>of</strong> pattern development and how judicious use <strong>of</strong> decoration can enhance formal aspects.<br />

as well as create the plot. the crescendo and the conclUSIOn <strong>of</strong> the "story" <strong>of</strong> each piece.<br />

CUUNARvnAY. f'od & DEign<br />


<strong>No</strong>vember 1 -14.2015<br />

Returning for it's third incarnation. this is a remarkable workshop. for any clay-lover<br />

with a specific interest in the intimate relationship between fooil and tnIl NeSsel in<br />

which it IS presented. Formal design considerations <strong>of</strong> shape. texture. color and scale<br />

will !be explored in direct relation fa specific unusual gastronomiC selections.<br />

Participants will work closely with ceramic instructor and visiting culinary expert.<br />

creating utilitarian pieces as well as sampling and'PreJ!aring the exquisite recipes that<br />

will be served upon them. <strong>The</strong> two-week worKshop Will cufminate. appropriately. in a<br />

feast <strong>of</strong> the senses.

GAYA.CAC Rlsident Artist Program "Sharing this contagious passion for clay. .. ..<br />

CAC as we continue the growth <strong>of</strong> an artistic oasis, ~ pr<strong>of</strong>essional<br />

from all over the globe for periods <strong>of</strong> intense .. fIIa.¥d growth and<br />

creativi!;y.<br />

For two-month stints, we invite carefully-selected artists to bring ~:t<br />

exchange creatiVe energy,<br />

ideas, contacts, concepts, t~es, and<br />

general enthusiasm for<br />

burgeoning community <strong>of</strong> artiltl. _esigners,<br />

students and patrons,<br />

CANDIDATES: open to any mature artist working in clay who is interested in focus and<br />

exchange,<br />

and exposure.<br />

annually lIIItil<br />

for the following year.

View 1<br />

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

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

A review by Jan Guy<br />

It is always a delight to see a shift in the way art is presented to its faithful audience. So <strong>of</strong>ten the stock<br />

standard exhibition view we are given is the obligatory line, grid and plinth. And on most occasions, for<br />

ceramic objects, it is difficult to change this familiar format unless the works are large and freestanding.<br />

At times this can be very unfortunate when one stands across the road from a gallery and the view<br />

is a sea <strong>of</strong> plinths, leaving the artworks appearing as floundering afterthoughts. <strong>The</strong>refore it was a<br />

pleasure to see that for <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association biennial exhibition for <strong>2014</strong>, <strong>The</strong> Course<br />

<strong>of</strong> Objects: the fine lines <strong>of</strong> inquiry, invited curator Susan Ostling had abandoned not only the<br />

traditional white box plinth, but the need to present artworks in isolation.<br />

I wonder though about the rationale <strong>of</strong> Ostling's deliberate pairings <strong>of</strong> artists' work and<br />

simultaneously wonder whether the artists shown felt their artistic visionftrajectory was tainted or<br />

enhanced by her curatorial decisions. As artists we can be fragile in terms <strong>of</strong> what we think we are<br />

communicating, however sometimes we are blind to aspects <strong>of</strong> our own practice while others see them<br />

with clarity. This interventionist strategy <strong>of</strong> the curator is not new to contemporary art and in fact now<br />

<strong>of</strong>ten operates at a much deeper level, surprisingly from the conception <strong>of</strong> the artwork. <strong>The</strong> curator<br />

becomes a co-creator, a generator <strong>of</strong> unseen ideas for the artist. <strong>The</strong> roles are blurred, and not everyone<br />

is comfortable with this.<br />

Kate Dorrough, 2012-<strong>2014</strong>, stoneware, handbuilt, tallest h.SScm; photo: Vicki Grima<br />



View 1<br />

In terms <strong>of</strong> the strength <strong>of</strong> Ostl ing's decisions, the outcomes were varied (which may not be a bad<br />

thing). Some pairings, such as that <strong>of</strong> Lynda Draper's Henry and Julie Pennington's Untitled 1, were a<br />

subtle act <strong>of</strong> near genius. While the catalogue had Pennington's work echo the lush, visceral surfaces <strong>of</strong><br />

Simone Fraser's Contained Impressions series, in the exhibition space Pennington's ceramic 'drawings'<br />

seemed to almost resemble an imagined internal skeletal structure <strong>of</strong> Draper's sentimental ruminations<br />

on the sad absurdities and joyfulness <strong>of</strong> childhood from the parent's viewpoint.<br />

Alternatively, Dianne Peach's A Sentence <strong>of</strong> Teapots was made grammatically incorrect by the<br />

establishment <strong>of</strong> a very intimate and tumultuous relationship with the precise forms and surfaces <strong>of</strong><br />

Tania Rollond. It is difficult to decide whether the clashing <strong>of</strong> this weave added dynamism to the overall<br />

energy <strong>of</strong> the exhibition or if it was a claustrophobic jumble where the subtleties <strong>of</strong> both artists' work<br />

were lost. Similarities, in this case the echoes <strong>of</strong> geometry, like familiarity, can breed contempt.<br />

<strong>The</strong> proximity <strong>of</strong> the works <strong>of</strong> Prue Venables and Toni Warburton paradoxically created a wonderful<br />

synergy that highlighted the idiosyncratic strengths <strong>of</strong> the individual works <strong>of</strong> these artists. <strong>The</strong> hybrid<br />

domestic forms <strong>of</strong> Venables that so <strong>of</strong>ten reveal a search for sterile perfection in the handmade,<br />

alongside Warburton's borrowed vistas, cloud dish series exposed the gentle stutter, the signature<br />

<strong>of</strong> Venable's loving act <strong>of</strong> creative assemblage. Her pale watery glazes seemed to be the result <strong>of</strong><br />

Warburton's cloud 'form-ations' opening up. <strong>The</strong> stillness <strong>of</strong> Venable 's objects, in turn, sign posted the<br />

rugged, process-driven scapes <strong>of</strong> borrowed vistas. Together and apart these artists drive home the<br />

fecundity <strong>of</strong> experience to be found in constructed and wild natures.<br />

Julie Pennington, 20 14, Southern Ice, handbuilt, tallest h.28cm, and right, lynda Draper, <strong>2014</strong>, earthenware, handbuijt,<br />

tallest h.95cm; photo: Vicki Gri ma<br />


View 1<br />

Throughout the exhibition the trestle tables used as display units allowed a greater sense <strong>of</strong> presence<br />

for the majority <strong>of</strong> works when compared to the usual fare <strong>of</strong> oversized plinths. However, the success<br />

<strong>of</strong> each coupling varied because the tables were standardised. This created some very awkward<br />

relationships and resulted in the heavyset, primal vessels <strong>of</strong> Kate Dorrough appearing like quarantined<br />

Neanderthal bowling balls perched to crash to the floor. As with the Peach/Rollond coupling, the<br />

strange presence <strong>of</strong> Dorrough's work possibly generated an oasis <strong>of</strong> dense energy across the exhibition<br />

generally that allowed delicate and quiet work such as that <strong>of</strong> Shannon Garson and Susan Frost to find<br />

consideration.<br />

<strong>The</strong> title <strong>of</strong> this exh ibition revealed itself to be fitting. Susan Ostling, through her own astute selection<br />

<strong>of</strong> and engagement with the objects exhibited, truly presented the viewer with a 'fine line <strong>of</strong> inquiry'. It<br />

is rare today to encounter an exhibition that still has the power to make one think and feel, that opens<br />

the artists' eccentric approaches to us, and through the interplay <strong>of</strong> artworks establishes a space for<br />

potential new narratives surrounding each artist's work for both audience and artist.<br />

To view images from the exhibition go to the <strong>Australian</strong> <strong>Ceramics</strong> Flickr folder:<br />

https:/lflic.krls/aHsjXUw1P6<br />

Jan Guy is an artist and writer who maintains a broad practice and interest in ceramics with a<br />

specific focus on sculptural and installed works. She is a lecturer in ceramics in the Sculpture<br />

Studio at Sydney College <strong>of</strong> the Arts, University <strong>of</strong> Sydney.<br />

Front table, left: Prue Venables, 2013-<strong>2014</strong>, Jingdezhen porcelain; front table, right: Toni Warburton; Rear table, left:<br />

Simone Fraser, 2013-<strong>2014</strong>, tallest, h.66cm; rear table, right: Fiona Fell, 201 3-<strong>2014</strong>, stoneware; photo: Vicki Grima<br />


View 2<br />

A Dialogue about Tableware<br />

Megan Patey reports on a recent exhibition at Sturt Gallery<br />

Tableware was the theme <strong>of</strong> an exhibition called Back to the Table held recently at Sturt Gallery,<br />

Mittagong. Curator Vicki Grima presented thirteen emerging ceramic artists to "explore the role<br />

handmade ceramic tableware plays in our everyday lives, to present us with ceramic pro<strong>of</strong> <strong>of</strong> their<br />

thoughts and give us a reason to ditch the mass-produced imported tableware that floods our<br />

homemaker stores, and to open up a dialogue."<br />

On a perfect spring day in the Southern Highlands <strong>of</strong> NSW, I visited Sturt Gallery to see the exhibition<br />

and learn more. <strong>The</strong> effect when you entered the gallery was strong. Constraint dominated the<br />

room. <strong>The</strong> palette was minimal - repeated use <strong>of</strong> blue and white, dark oxide on light body, and s<strong>of</strong>t<br />

woodfiring colours echoed around the walls. One hundred and sixty-five pots were placed on dark<br />

timber tables, laminated tables, trestle tables, wooden chests and wooden planks. Wall spaces were<br />

used as well for display. Most <strong>of</strong> the work was small in scale, but the space was unified by distinct<br />

groupings <strong>of</strong> thirteen artists' works with the clever use <strong>of</strong> the tables providing the visual continuity<br />

uniting this exhibition.<br />

Ashley Fiona McHutchison's beautifully resolved work dominated one corner. Using line, she<br />

paints traditionally shaped teapots, c<strong>of</strong>fee pots and cups and saucers onto her pieces. This imagery<br />

generously fills the space <strong>of</strong> the handmade plates, bowls and cups giving an effect that is exuberant<br />

and welcoming. Sarah O'Sullivan also plays with a sense <strong>of</strong> the traditional turned into a contemporary<br />

idiom. She combined found metal objects with finely decorated thrown ceramic pieces to create a series<br />

<strong>of</strong> table settings and tea parties. Janetta Kerr-Grant painted thick lines <strong>of</strong> iron oxide slip onto porcelain<br />

bowls, vases and dishes to create a dramatic patterned graphic tempered by the effects <strong>of</strong> the high<br />

temperature firing.<br />

back to the table<br />

~·IIt.....,....,tto ....... -

s<br />

~--<br />

,~ ,<br />

~<br />

4<br />

1 Zak Chalmers<br />

2 Hayden Youlley<br />

3 Alexandra Standen<br />

4 Dawn Vachon<br />

5 Ashley Fiona McHutchison<br />

Photos: Vicki Grima<br />

Three <strong>of</strong> the artists in the show chose to work with woodfiring, producing the subtle colours and<br />

s<strong>of</strong>t forms typical <strong>of</strong> this medium. Zak Chalmers, Joey Burns and Alexandra Standen produced pieces<br />

which complement food beautifully. Unadorned surfaces continued in the small geometric shapes made<br />

by Hayden Youlley and the black and white minimally shaped pots <strong>of</strong> Andrew Widdis. Dawn Vachon<br />

remembered her past in her childlike forms using raku clay and pale pastel colouring, and Andrei<br />

David<strong>of</strong>f was fascinated by lettering. Diverging from these themes were the two large colourful pieces<br />

by Rachel McCallum in which she used heavily applied colourful glazes to drip with colour, texture<br />



View 2<br />

1 At the opening <strong>of</strong> Back to the Table on 14 September <strong>2014</strong><br />

Back row (L to R): Hayden Youlley. Joey Burns. Ashley Fiona<br />

McHutchison, Sarah O'Sul livan, Janetta Kerr·Gran t. Serena Rosevear<br />

and Vicki Grima. Front row: Oawn Vachon and Rachael McCallum<br />

2 Kate Jones<br />

3 Sarah O'Sullivan and Serena Rosevear<br />

4 Janetta Kerr-Grant<br />

Photos: VicKI Grima<br />

and presence . Kate Jones made a selection <strong>of</strong> intriguing light sets from terra cotta clay. whilst Serena<br />

Rosevear thoughtfully used low wooden boxes to complement her glazed porcelain bowls.<br />

This exhibition was beautifully placed w ithin the calm ing atmosphere <strong>of</strong> SlUrt Gallery. It is always<br />

challenging to create a unified exhibition w ith group shows. and Vicki Grima succeeded. I left the room<br />

realising that contemporary ceramic tableware was indeed well and truly alive.<br />

Megan Patey is past Director <strong>of</strong> Sturt Contemporary Craft Centre.<br />

She makes tableware in her studio at Colo Vale in the Southern Highlands <strong>of</strong> NSW.<br />

www.sturt.nsw.edu.au<br />


View 3<br />

Lawrence Wilson Art Gallery<br />

A review by Laetitia Wilson<br />

Reprinted with permission from <strong>The</strong> West <strong>Australian</strong>, 12 August <strong>2014</strong><br />

I write this from a conflicted point <strong>of</strong> interest. This is not a review so much as what could be called an<br />

inview - or intimate review. In my role as curator <strong>of</strong> academic programs at the Lawrence Wilson Art<br />

Gallery, I sense the fuss around installing new exhibitions as background buzz which suddenly clears to<br />

reveal galleries full and gleaming like fresh honey pots.<br />

Here&<strong>No</strong>w l4 is especially so, with striking lighting bouncing <strong>of</strong>f the textures and sheen <strong>of</strong> new<br />

works <strong>of</strong> contemporary ceramicists. It is the third iteration <strong>of</strong> the annual Here&<strong>No</strong>w formula, where an<br />

emerging curator is given the opportunity to showcase their skills in an A-class venue. This year's curator<br />

is Emma Mahanay Bitmead.<br />

<strong>The</strong> crucial point <strong>of</strong> departure <strong>of</strong> this show is a shift in the making <strong>of</strong> ceramics from an insular practice<br />

to an expanded field embedded within the visual arts paradigm. Modernist ideas <strong>of</strong> medium specificity<br />

have lost relevance in what has been called a post-medium condition - so say the theory pundits. In<br />

other words, considering art as based purely within disciplines is no longer relevant in an era in which<br />

different media collapse into one another and many artists take the concept as a starting point and then<br />

determine how best to manifest it materially.<br />

What we see in this exhibition is ceramics embodying traditiona l techniques in the age-old form <strong>of</strong><br />

the useful object, pushing expectations attached to the medium and collapsing it into the other art<br />

forms such as sculpture, ready-made, video and installation.<br />

WarrICk Palmateer's pots with a spectrum <strong>of</strong> Pippin Drysdale's ceramics in the background; photo: courtesy <strong>The</strong> West <strong>Australian</strong>

View 3<br />

<strong>The</strong> extreme <strong>of</strong> this is Jacob Ogden Smith's work, Video Edited<br />

in a Way as if to Imply Meaning. It is a crudely humorous work<br />

that no doubt gets under the skin <strong>of</strong> the more purist potters.<br />

YouTube videos <strong>of</strong> pottery tutorials are edited in slow motion,<br />

distorted and overlaid with Greek and Egyptian symbols, in front<br />

<strong>of</strong> which are displayed found pots with decals <strong>of</strong> the same symbols<br />

fired on to their surfaces -meaning, mythology and symbolism are<br />

tossed into a vessel <strong>of</strong> vacuousness.<br />

Broken Silence by Luke Aleksandrow is a video projected on<br />

to the ground which displays pottery smashing down. <strong>The</strong> sound<br />

<strong>of</strong> this pierces the rest <strong>of</strong> the gallery space, which, as you might<br />

imagine, is disconcerting considering the number <strong>of</strong> fragile objects<br />

in the room. It is another wry take on the traditions <strong>of</strong> ceramics<br />

reminiscent <strong>of</strong> Chinese artist Ai Weiwei's famous Dropping a Han<br />

Dynasty Urn.<br />

More in the direction <strong>of</strong> sculpture is a work such as Andrea<br />

Vinkovic's Shape <strong>of</strong> Thought. It looks like an organic, curvilinear<br />

geodesic dome springing out <strong>of</strong> a red earth base. It is luminescent<br />

from afar and intimacy with this work reveals a surface that has<br />

been carefully crafted to mimic the texture <strong>of</strong> ocean matter and the<br />

patterning effect <strong>of</strong> the movement <strong>of</strong> waves over time.<br />

Overall, there is close attention to the highly stylised display <strong>of</strong><br />

the works. Warrick Palmateer's bold, textured vessels rest proudly<br />

on a custom plinth that dramatically slashes through the centre<br />

<strong>of</strong> the gallery. In the background, Pippin Drysdale's assortment <strong>of</strong><br />

ceramics forms a sublime spectrum <strong>of</strong> colour from dawn to dusk<br />

along the length <strong>of</strong> one wall.<br />

In her catalogue essay, Mahanay Bitmead places a lot <strong>of</strong> emphasis<br />

on the above-mentioned argument <strong>of</strong> the breakdown <strong>of</strong> the<br />

Fortress Ceramica, as ceramics move into the broader visual arts.<br />

This is at the expense <strong>of</strong> teasing out the voice <strong>of</strong> ceramics today<br />

and focusing on what makes the selected artworks relevant in the<br />

here and now. Fortunately, however, the exhibition speaks for itself<br />

with artworks that are delicate, audacious, poignant and humorous.<br />

Here&<strong>No</strong>w14 ran from 25 July - 27 September <strong>2014</strong><br />

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

www.lwgallery.uwa.edu.au/exhibitions/han14<br />

1 Andrew Nicholls<br />

2 Ian Dowling (foreground) and Greg Crowe (background)<br />

3 Warrick Palmateer (foreground). Stephanie Hammill (left back.ground)<br />

and Pippin Dry,dale (right background)<br />

4 Andrea Vinkovic (foreground). Ian Dowling (left background) and<br />

Greg Crowe (right background); photos: courtesy <strong>The</strong> West <strong>Australian</strong><br />



View 4<br />

A World in Itself<br />

Caterina Leone visits Linda Seiffert's Undulatus exhibition<br />

Glaciers move in tides.<br />

So do mountains.<br />

So do olilhings.<br />

John Muir. Letters from Alaska<br />

Linda Seiffert's recent solo exhibition, Undulatus,<br />

from the Latin meaning 'wave', was a storm surge<br />

<strong>of</strong> passion and creativity. Seiffert was a winner <strong>of</strong> the<br />

Expose Program run by the Blue Mountains Cultural<br />

Centre, which promotes a selection <strong>of</strong> emerging local<br />

artists. Her work is strongly influenced by the natural<br />

surroundings <strong>of</strong> her home and studio yet Seiffert is<br />

not interested in reproduction. <strong>The</strong> sculptural forms<br />

transformed the gallery space into a psychedelic<br />

playground where nature, its geometry and processes,<br />

and all its varying forms cavort like participants in a shamanic ceremony to which the viewer was invited.<br />

<strong>The</strong> first work emerged from <strong>of</strong> the wall like the patterns <strong>of</strong> the tide, increasing in size Fibonaccistyle.<br />

This same ambiguous formation was recreated on the floor <strong>of</strong> the gallery, where two such forms<br />

mimicked each other, arising from gravel, a primordial water creature surfacing, the spine <strong>of</strong> a mountain<br />

range, moonlight on waves. <strong>The</strong>se sizeable forms were constructed from large snaking coils, pinched<br />

and then left to dry before being broken up to allow them to fit in the kiln for firing. Afterwards, they<br />

were glued together again. Seiffert came to see this physically demanding process as a metaphor for<br />

the human experience <strong>of</strong> being whole, being fractured, and then finding wholeness again : a wave-like<br />

process beautifully linking purpose with form and meaning with making.<br />

<strong>The</strong> works compelled the viewer yet simultaneously disconcerted with their size, their strangeness<br />

and the incongruity with their surrounds in the white cube gallery. This tension was felt throughout the<br />

exhibition. <strong>The</strong> artist asserts that her works aim to question "the alternating experience <strong>of</strong> belonging<br />

and separation" . <strong>The</strong> result was a feeling <strong>of</strong> communion stemming from the organic forms, that<br />

awakens that <strong>of</strong>t-hidden, primeval part <strong>of</strong> us that is nature and animal, that is pulled by the tides. Yet<br />

the fantasticality <strong>of</strong> Seiffert's forms - half-remembered fragments from dreams, from the collective<br />

unconscious - shames us into the knowledge that this aspect <strong>of</strong> our psyche is largely dormant. Seiffert<br />

wakes us up to our disconnection whilst making us crave connection. Similarly, the works seemed out<br />

<strong>of</strong> place and yet somehow completely belonging in the space, completed by being there, by being<br />

Above: linda Seiffert with Undulatus (detail), <strong>2014</strong>, ceramic, river stones, h.55cm, w.500cm, d.280cm; photo: Ona Janzen<br />

OpPOSite page:<br />

Foreground: Linda Seiffert, UnduJatus, <strong>2014</strong>, ceramic, river stones, h.S5cm. w.1100cm. d.280cm<br />

Background: Linda Seiffert, Unseen and Hidden, <strong>2014</strong>, ceramic, various dimensions; photo: Ona Janzen<br />


-<br />

Top: linda Seiffert, Sanctum, <strong>2014</strong>, ceramic, sand, dead vegetation, various dimensions; photo: Dna Janzen<br />

Above Left: linda Seiffert, Unseen and Hidden, <strong>2014</strong>, ceramic; Enduring Matter, 201 4, ceramic. sand, Spanish Moss<br />

(Tillandsia usneoides), various dimensions; photo: Ona Janzen<br />

Above right, foreground: linda Seiffert, Primordial Hunch, <strong>2014</strong>, ceramic, glue, various dimensions<br />

Mid-ground: linda Seiffert, Propagation Series, <strong>2014</strong>, ceramiC, sand, various dimensions<br />

Background: linda Seiffert, Unseen and Hidden, <strong>2014</strong>, ceramic; photo: Camille Walsh Photography<br />

viewed. <strong>The</strong> glimpses <strong>of</strong> one's reflection in the occasional lustre surfaces were a reminder <strong>of</strong> one's<br />

physical presence and added a further level <strong>of</strong> interaction, further heightened by Seiffert's choice to take<br />

the works '<strong>of</strong>f the plinth' to allow them to co-exist organically with the space.<br />

Gauging by visitor reactions, one work seemed to be the favourite <strong>of</strong> most - Sanctum. Cloud-like<br />

on the white wall, blue yet earthy, the bases were reminiscent <strong>of</strong> icebergs, layers <strong>of</strong> rock and earth,<br />

stalactites, plants pulled whole from the earth, things usually hidden. Confident in their exposure, they<br />


View 4<br />

Visitor in front <strong>of</strong><br />

linda Seiffert's Sa nctum<br />

left: installation view <strong>of</strong><br />

Undulatus<br />

Photos: Ona Janzen<br />

drifted serenely, carrying their cargo <strong>of</strong> soil and trees, an imaginary landscape influenced by Japanese<br />

Zen gardens, bonsai and a passion for Hayao Miyazaki's films. <strong>The</strong> influence <strong>of</strong> the latter was palpable<br />

throughout the exhibition - Seiffert shares with Miyazaki a confidence in the surreal and theatrical as<br />

messengers <strong>of</strong> truth more potent than reality or the imitation <strong>of</strong> it. Both are unafraid to be playful, to<br />

be joyous in the act <strong>of</strong> creation, which is essentially an act <strong>of</strong> play. Speaking to viewers in the gallery,<br />

Seiffert asserted, "You can't copy nature. It is the epitome <strong>of</strong> beauty." If nature is the epitome <strong>of</strong><br />

beauty, then art is the epitome <strong>of</strong> beauty possible by humankind. Seiffert has given nature a human<br />

sou l and bared her own in the process, vulnerably <strong>of</strong>fering up her work to the audience, and it is deeply<br />

appreciated. An elderly woman who came back to see the show twice in one day, gushed: "I can't look<br />

away. I'll be forever grateful for seeing it. That woman and her work is a great gift to mankind."<br />

http://lindaseiffert.weebly.com<br />


Cone 11 Design + <strong>Ceramics</strong> Studio; photo; Mat Butler<br />

Sticks and Stoneware<br />

Cone 11'S constantly evolving studio at the Abbotsford Convent<br />

When we were first shown a vacant, unrenovated studio space in the Mercator Building at the<br />

Abbotsford Convent, it was a dark, slightly eerie room where the windows had been uncaringly boarded<br />

up, the ceiling was rotting and the floor was composed <strong>of</strong> large bluestone slates, many <strong>of</strong> which were<br />

'floating' suspiciously.<br />

Today it is the home <strong>of</strong> Cone 11 <strong>Ceramics</strong>, the sun-filled space we knew it would become once the<br />

timber 'blinkers' were removed from the windows, the ceiling was renewed and the walls given a fresh<br />

coat <strong>of</strong> paint.<br />

Of course we worked for months after it was handed over to create the space that it is now with our<br />

much admired 'works in progress' wall (that also conveniently hides a spaghetti-like confusion <strong>of</strong> service<br />

pipes), a small shop, and a kiln room that disappears behind three generously scaled sliding doors. Our<br />

wheels are arranged on a timber floor that hovers above the flagstones we were unable to tame, and<br />

this also functions to define a type <strong>of</strong> performance area when visitors drop in to see us at work.<br />

Just when we thought we'd created the perfect studio, the convent kindly agreed to increase our<br />

leasehold by almost double! So we're back on the drop saws and drills again. Who knows, we may even<br />

get to throw a pot sometime soon<br />

Ilona Topolcsanyi + Colin Hopkins = Cone 11 <strong>Ceramics</strong><br />

www.cone11.com.au<br />


Spaces and Places<br />

Colin Hopkins throwing in the studio at Cone 11 <strong>Ceramics</strong>; photo: Amy Woodward<br />

Ilona Topolcsanyi in the studio at Cone 11 <strong>Ceramics</strong>; photo: Jorge de Araujo<br />


Colin Hopkins, Bongo Pendant. <strong>2014</strong>, translucent porcelain. glazed stoneware, h.llcrn. d.13cm; photo: Gina Milida<br />

Blinded by the Light?<br />

Colin Hopkins' handthrown ceramic luminaires are among the finest 10 emerge in the clirrelJl shift towards handcrafted<br />

lighting and are in keeping with hi~i architectural leanings. being minimalis/ie, SClilplural and concerned<br />

wil" Ihe object s role in the visual whole <strong>of</strong> an environment. Gillian Serisiel; <strong>Australian</strong> Design Review, FehrllatJ, <strong>2014</strong><br />

In an era where we are increasingly confronted with the unadorned and apparently fashionable 'bare<br />

bulb' as a lighting solution, I am reassured by Tennessee Williams who nearly 70 years ago in A Street<br />

Car Named Desire gave Blanche DuBois permission to boldly state, "I can't stand a naked light bulb,<br />

any more than I can stand a rude remark or a vulgar action ... "<br />

As both an archited and a lighting designer I have always been deeply concerned with the influence<br />

natural and artificial lighting can have on the emotional quality <strong>of</strong> any space or place. A key feature<br />

<strong>of</strong> our shared archetypal vision <strong>of</strong> paradise is, after all, filtered light - the leafy shadows dancing lazily<br />

between a perfectly clear blue sky and a pure white beach. Unfiltered light, on the other hand, is the<br />

psychological equivalent <strong>of</strong> being lost in the desert - heat, glare, discomfort ... the naked light bulb.<br />

When designing any light I am first and foremost searching for an abstraction <strong>of</strong> that deeply desired<br />

leafy filter. Even though the inspiration for my Dancing Light range was an inverted and up-scaled<br />

version <strong>of</strong> my favourite chawan, it was not so much the shape but the complexity <strong>of</strong> the surface in<br />

which I saw the greatest potential for developing a shade. I continue to take inspiration from the raw<br />

immediacy <strong>of</strong> the many and varied hand and tool gestures found in traditional Japanese and Korean tea<br />

bowls, and apply this to my abstraded porcelain surfaces.<br />

<strong>The</strong> combination <strong>of</strong> translucency and the irregularities created by the surface treatment has produced<br />

the light filtering that I seek, promoting qua lities <strong>of</strong> s<strong>of</strong>t diffusion and a quiet, layered movement - in<br />

essence, always the tree's shady canopy hanging between sun and sand.<br />

www.porcelume.com.au<br />


<strong>The</strong> Bowl That Does <strong>No</strong>t Smile<br />

by Pru Morrison<br />

This story has no beginning or end, so, for the record, and according to the rules <strong>of</strong> my craft, I'll<br />

begin from the moment I walk into the studio.<br />

A small ham-fisted bowl is whistling a tune that's mildly familiar in an <strong>of</strong>f-putting way. Flat and<br />

out <strong>of</strong> sync. <strong>The</strong> National Anthem, I wonder. <strong>The</strong> tune wavers and goes out.<br />

"Don't sit on your ass wasting time," the bowl screams when I flop into the armchair. A smirk<br />

passes over its form. "It's a long time since we've seen you and I've been compiling a shit list <strong>of</strong><br />

critics, curators and colledors, oh and makers, you're number three on that list."<br />

"Oh," I sigh.<br />

It continues with gusto .. "<strong>No</strong>w I'm a plain bowl without pretensions to style and I don't<br />

wish any unpleasantness but all that colouring in is so monotonous and crude. <strong>The</strong>re's no good<br />

in me speaking delicately, you're an 'artist' and unless I put things plainly you'll take pleasure in<br />

misunderstanding me."<br />

I turn away and begin to pour a mould. Harmless little bowl, I think.<br />

It persists, "You inflict upon us (I think I can speak for all the bowls present) a deliberate act <strong>of</strong><br />

material and visual stereotype. To start with, we don't give a damn for sitting on a staid and boring<br />

plinth. <strong>The</strong> plinth is pompous; it doesn't ennoble and elevate us towards excellence and respect,<br />

rather it leaves us bleating faintly like weak sculptures. We're artworks, but artworks <strong>of</strong> the<br />

everyday and the plinth does no more than signify a removal from the everyday to f* **k knows<br />

what."<br />

I am irritated now. I get up from my moulding bench and walk over to the bowl and study it.<br />

What an ugly bowl it is - a short body with no lift, but it has a splendid appearance <strong>of</strong> power. I<br />

want to tell it, "You're wrong", to provide an effective defence, but I know I have no argument<br />

strong enough.<br />

Weakly I reply, "You live out <strong>of</strong> the world. It's not that simple; anyway I made you. I'll put you<br />

where I bloody well please ."<br />

" Humph, " replies the bowl with disgust. "What a lame-ass! Next you'll be telling me that craft<br />

foreplay = art climax."<br />

<strong>The</strong> other bowls snigger.<br />

"Look bowl, I know this much. To be an artist you have to be a good technician first. You have<br />

to learn your craft and you have to train. This takes time and is a very thorough and disciplined<br />

part <strong>of</strong> the ongoing learning process. If you have a talent, then the technique takes it somewhere<br />

... somewhere further. "<br />

<strong>The</strong> bowl yawns in my face, "Well, you're really busting some funky moves there little lady, but<br />

your words are polluting my atmosphere."<br />

<strong>The</strong> bowl then pronounces, "Let it be known 'artist', that henceforth we've voted to claim our<br />

liberty by holding our breath in the kiln with the objective to self destruct; we'll f* *kin' blow. It'll<br />

signify our emancipation."<br />

I head towards the door.<br />

"Wait, you're not to go yet!" shrieks the bowl.<br />

Switch. I turn out the light and set <strong>of</strong>f for the pub.<br />

"Bloody bowls," I mutter. "(rafty buggers with a capital c."

Pocket PhD<br />

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

<strong>The</strong> Haptic Dimension <strong>of</strong> Lived<br />

Experience: Ways <strong>of</strong> Knowing<br />

Alana McVeigh shares her PhD research<br />

Alana McVeigh, Helix, <strong>2014</strong>, Southern Ice porcelain<br />

Photo: Kevin Gordon<br />

Alana McVeigh, Osmosis. 2010, Southern Ice porcelain<br />

Photo: Acorn<br />

Aristotle proposed that information gained by our external senses informs our internal senses through<br />

the simple action <strong>of</strong> touch. (Stewart, S in Howes, D (ed). 2005)<br />

Our feelings, acknowledged through sensory understanding, are at the core <strong>of</strong> artistic experience.<br />

<strong>The</strong> artist's creative responses are primarily driven by seeing, feeling and touch. Indeed, how we operate<br />

within the world is driven by our sense organs and through these, the phenomenon that is our world<br />

becomes real through our experiences. As author John Dewey maintained. " Life occurs through the<br />

sense organs." (John Dewey 1939)<br />

<strong>The</strong> sense <strong>of</strong> touch is particularly relevant for artists working with clay. Through the delicacy <strong>of</strong> touch,<br />

essential information informs the brain and cognitive processing begins. For the ceramicist, cognition<br />

and sensory information co-exist and operate in unity throughout the time <strong>of</strong> creative production.<br />

My interest in this realm <strong>of</strong> knowledge was initiated through my own attempts to develop ceramic<br />

skills. Touch became paramount, and the dominant sense activated. when creating wheelthrown<br />


Pocket PhD<br />

able to feel the exact proportions and weight. It<br />

was then that the sensation <strong>of</strong> touch and sight<br />

became instinctive, and the understanding <strong>of</strong><br />

knowing became apparent.<br />

As I began to learn this skill, I became aware<br />

that there is a knowing or understanding that is<br />

learnt by doing and making, and that language<br />

fails to articulate the same level <strong>of</strong> response.This<br />

understanding is developed through the senses,<br />

in particular the sense <strong>of</strong> touch, allowing touch<br />

to guide more readily than sight.<br />

Alana M cVeigh, Medicine Ha t, 2012<br />

Plainsman's porcelain; photo: artist<br />

forms. I became aware <strong>of</strong> how the sensitivity<br />

and delicacy <strong>of</strong> touch (when handling the clay)<br />

began to instinctively inform me when the walls<br />

<strong>of</strong> each form were at their peak. At this stage<br />

they were fine enough to achieve my aim to<br />

allow light to penetrate the form, making it<br />

translucent. I also began to understand that<br />

touch also enabled me to sense the exact<br />

amount <strong>of</strong> clay to leave when forming the base<br />

so it was slightly weighted without being visually<br />

evident, a necessary consideration to give each<br />

piece stability and balance. <strong>The</strong> constant sensory<br />

information became heightened when the<br />

streams <strong>of</strong> connections were flowing, ie. touch,<br />

sight and mental state were connected so I was<br />

<strong>The</strong> premise for my PhD examines how this<br />

specific hybrid <strong>of</strong> knowledge (sensory, implicit<br />

and tacit knowing gained through practical<br />

experience), has evolved and influenced<br />

<strong>Australian</strong> contemporary ceramic studio<br />

practice. Further outcomes <strong>of</strong> the research<br />

<strong>of</strong>fer an awareness <strong>of</strong> how <strong>Australian</strong> artists<br />

have responded and reacted to this knowledge<br />

through the emergence <strong>of</strong> a conscious art form<br />

that challenges and blurs the historical division<br />

between art and craft.<br />

E: alanamcveigh@live.com.au<br />

Alana is represented by Emerge Art Space<br />

wwvv.emerge-art.com.au<br />

References:<br />

Dewey, John. 1939. Intelligence In <strong>The</strong><br />

Modern World: John Dewey's Philosophy.<br />

New York: Random House, Inc.<br />

Stewart, Susan. 2005. Empire <strong>of</strong> <strong>The</strong> Senses:<br />

<strong>The</strong> Sensual Culture Reader.<br />

Edited by David Howes. New York: Berg.<br />


Education<br />

Glazed and Confused<br />

Lynda Draper reports on a new resident artist program at the<br />

Ceramic Design Studio Gymea, TAFE NSW Sydney<br />

Out <strong>of</strong> the chaos <strong>of</strong> the decimation <strong>of</strong> the art school<br />

in TAFE (as a result <strong>of</strong> defunding, restructuring and<br />

educational 'reform'), a phoenix is rising. <strong>The</strong> past few<br />

years have been challenging within the Arts education<br />

sector. How to create and maintain an educational<br />

environment that is sustainable, stimulating and different<br />

from other providers was a question that needed an<br />

urgent response.<br />

My reaction was to im plement an experiment -<br />

a ceramic residency program involving invited artists,<br />

curators and writers who mostly had little or no ceramics<br />

background .<br />

<strong>The</strong> aim <strong>of</strong> the program at Ceramic Design Studio Gymea is to foster a diverse contemporary dialogue<br />

between both established and emerging artists and ceramics students and to cultivate a broader<br />

engagement between the studio and the arts industry. I chose to invite artists and industry specialists<br />

who have an established practice and reputation to foster a varied conceptual and methodological<br />

approach to the clay medium and, by extension, to the Ceramic Design Studio.<br />

<strong>The</strong> project has brought to the learning environment a cross-pollination <strong>of</strong> industry knowledge,<br />

concepts, media and processes. Resident artists have presented a series <strong>of</strong> inspiring workshops which<br />

have fostered a stimulating educational environment and opened up opportunities for students to<br />

exhibit work in exciting new ways.<br />

<strong>The</strong> residency has provided a unique opportunity for undergraduate students to network with<br />

established artists and the opportunity for artists to experiment with the clay medium and have access<br />

to the technical knowledge <strong>of</strong> the staff and students as well as specialised equipment and purpose-built<br />

studios.<br />

<strong>The</strong> work produced during the residency has been exhibited widely including Leahlani Johnston's<br />

solo exhibition at Paris CONCRET in France, David Capra, Jodie Whalen and Leahlani Johnson's 5010<br />

exhibitions at Artereal Galley, Sarah Contos works at Roslyn Oxley9 and Spring 1883 Melbourne, Chris<br />

Dolman and Paul Williams' SAFARI collaboration at Alaska Projects, Paul Williams' solo exhibition at<br />

Gallery 9, Connie Anthes' and Justin Cooper's collaborative work at Archive Space, Harriet Body's<br />

exhibition at MOp, and Emily Hunt who is exhibiting her ceramic works from the residency in Primavera<br />

<strong>2014</strong> at the MCA.<br />

Above: Emily Hunt, Floating Sorcerer's Foot, <strong>2014</strong>, glazed stoneware, h.14cm. w.2S.Scm. d.8.Scm<br />

Photo: S<strong>of</strong>ia Freeman<br />


Madeleine Preston, Tanagras Archive - Objects, installation detail. <strong>2014</strong>, ceramics, found glassware<br />

various dimensions; photo: courtesy lynda Draper<br />

I would like to thank the artists involved in the residency program at the Ceramic Design Studio. <strong>The</strong>ir<br />

amazing energy and enthusiasm has reinvigorated the educational program and aided the development<br />

<strong>of</strong> a new student base from diverse arts backgrounds.<br />

In December <strong>2014</strong> there will be an exhibition Glazed & Confused at Hazelhurst Reg ional Gallery and<br />

Arts Centre, 13 December <strong>2014</strong> to 1 February 2015, a celebration <strong>of</strong> the residency outcomes.<br />

Long live the phoenix ... until next time.<br />

Artists include: David Capra, Emily Hunt, Joan Ross, Chris Dolman, Mikala Dwyer, Connie Anthes and<br />

Justin Cooper, Harriet Body, Leahlani Johnson, Paul Williams, Peter Sharp, Sarah Contos, Madeleine<br />

Preston, Jodie Whalen, Glenn Barkley and NOT, Josie Cavallaro, Karen Black, Frank <strong>No</strong>wlan, Marc<br />

Etherington, Rosie Deacon and Giselle Stanborough, and Tom Polo.<br />

Ceramic Design Studio Gymea, TAFE NSW Sydney <strong>of</strong>fers specialist ceramics courses<br />

for beginners and pr<strong>of</strong>essionals.<br />

http://sydneytafe,edu,au/showcase/ceramics-sutherland-gymea#1<br />

https:llwww.facebook.com/ceramicdesignstudio<br />

Lynda Draper is a visual artist and educator who teaches at the Ceramic Design Studio<br />

Gymea TAFE NSW Sydney.<br />


Stud io<br />

Inside the Studio <strong>of</strong><br />

Georgia Harvey<br />

Vicki Grima interviews Georgia Harvey about her ceramics practice<br />

Vicki Grima: When did you first use clay and what did you make?<br />

Georgia Harvey: A few years ago I became attracted to the burnished clay figures and bowls in the<br />

Pre-Columbian Collection at the National Gallery <strong>of</strong> Victoria, which I had surveyed as part <strong>of</strong> my role as<br />

objects conservator. My initial forays into clay involved a lot <strong>of</strong> time playing, with no specific intention or<br />

direction, just feeling my way. <strong>The</strong> first piece I fired was a small burnished dome with two round lizardlike<br />

eyes. It was just something that fitted nicely into the hand and felt nice to touch.<br />

VG: Where is your current studio?<br />

GH: I'm one <strong>of</strong> about 50 artists in a warehouse on the banks <strong>of</strong> the Maribyrnong River in West<br />

Melbourne. It's close to home, well maintained, and affordable. But excitingly I'm making plans to bu ild<br />

a studio in my backyard. Most <strong>of</strong> my studio time is at night, after my young kids are in bed . It can be a<br />

pain to drag myself to the warehouse if it's cold or I'm feeling lazy! And it's even worse to drag myself<br />

away again when I'm totally immersed in something in the middle <strong>of</strong> the night. I fire at home so I have<br />

to transport all my work when it's green - I'm looking forvvard to removing that risk from the process.<br />

VG: What is the most satisfying part <strong>of</strong> your work?<br />

GH: Each firing tells me something new about the materials and sends me <strong>of</strong>f on a new tangent.<br />

<strong>The</strong> sparking <strong>of</strong> ideas seems endless.<br />


Georgia Harvey, work in progress for her upcoming exhibition Magic Mountain. <strong>2014</strong>, earthenware, glazes, oxides,<br />

underglazes, various dimensions; photo: courtesy artist<br />

VG: Why is clay your chosen medium?<br />

GH: I studied painting at art school, but gave it up years ago; I'd lost the impetus to paint. I'd never<br />

been interested in ceramics previously. I think I associated it with brown stoneware and kooky teapots,<br />

but through my work as a conservator, studying materials in depth and seeing amazing ceramics from<br />

around the world, the scales fell from my eyes. <strong>The</strong> clay is responsive to my hands, but the firing process<br />

provides a contribution that is beyond my direct control (although, based on my prior experiences, I<br />

choose how to fire): it's like a collaboration w ith an unknown part <strong>of</strong> me.<br />

VG: What type <strong>of</strong> clay do you use)<br />

GH: I'm still exploring, but I was instantly besotted by the handling properties <strong>of</strong> Feeneys SRT. If only<br />

the 'T' was optionaJi<br />

VG: Type <strong>of</strong> glaze?<br />

GH: Anything with some frit 41 10 and light magnesium carbonate added.<br />

VG: Type <strong>of</strong> kiln/firing?<br />

GH: I have a friend's tiny electric Ward kiln on long-term loan. It dates from the dawn <strong>of</strong> time but still<br />

fires marvellously. It's fully manual with no controller, so if I start a firing late I can still be up at 3am<br />

adjusting the temperature. For a while I was using it without a pyrometer, just checking for glaze<br />

maturity visually. That was an interesting education, but it's a bit more relaxing with a gauge! I mainly<br />

use the kiln for raku. I do most <strong>of</strong> my bisque and some earthenware firing at <strong>No</strong>rthcote Pottery Supplies,<br />

where I now work, which as well as being cost- and time-effective has allowed me to start making<br />

larger work. I've also recently participated in a couple <strong>of</strong> woodfirings with the Daylesford Clayspace<br />

Co-op. <strong>The</strong>y are a wonderful crew and it's a fun way to fire, though nothing yet has surpassed my utter<br />

addiction to raku.<br />


Studio<br />

Studio by night, <strong>2014</strong>; photo: courtesy artist<br />

VG: List three favourite things you listen to while working.<br />

GH: I have a dinky old radio that swivels between PBS, RRR and RN depending on the time and mood.<br />

I love the sound <strong>of</strong> a storm lashing over the warehouse, with the sawtooth skylights rattling over my<br />

head. Occasionally there will be a party in the events venue next door with loud music and hijinks in the<br />

car park; it's a pleasant peripheral soundtrack that makes me feel a bit more connected to the outside<br />

world while still in the 'zone'.<br />

VG: How do you sell your work?<br />

GH: I'm really focusing on exhibitions - not specifically with an eye on selling but in terms <strong>of</strong> what I<br />

want to produce. It was a relief when I realised that I don't have to shoehorn my work, which is usually<br />

non-functional, into a retail context. I had a solo show earlier this year and another is approaching, so<br />


Studio<br />

Georgia Harvey, Dragon (detail). <strong>2014</strong>, nak.ed raku, oxides, terra sigillata. underglaze, sequins. beads, Iycra, Dacron<br />

vanous dImensions w.63cm; photo: Kate Robertson<br />

Below: Georgia Harvey, pieces from the Dust into Husk exhibItion, <strong>2014</strong>, earthenware, raku, various dImensions<br />

Photo: courtesy artist<br />

that's where most <strong>of</strong> my efforts go. I do take on commissions occasionally, and sell pieces when people<br />

contact me directly through my website. I was very excited recently to have a favourite trio purchased by<br />

the City <strong>of</strong> Whitehorse for their art collection. <strong>The</strong>y are great supporters <strong>of</strong> contemporary ceramicists.<br />

VG : What is your favourite part <strong>of</strong> the ceramic process?<br />

GH: It's all my favourite: making ... experimenting ... hobnobbing with other clay obsessives .. . opening<br />

the kiln .. ' exh ibiting and finding that others enjoy what I make.<br />

VG: What is the dreaded job that never gets done?<br />

GH: <strong>No</strong>thing is dreaded ... I just don't have enough time to do everything I'd like to accomplish. <strong>The</strong>re<br />

are certainly tasks that get pushed to the backburner, but I have to operate within pretty defined limits.<br />

I think that this can actually be a positive thing in terms <strong>of</strong> creativity.<br />

VG: What are you fussy about?<br />

GH: Fussy isn't a term I'd associate with me. I tend to err on the side <strong>of</strong> sloppiness, if anything.<br />

It's a significant part <strong>of</strong> my aesthetic!<br />

VG : Which single piece <strong>of</strong> ceramics would you most like to own?<br />

GH: A turtle by Bernard Dejonghe.<br />

VG : How can people contact you?<br />

GH: Through my website, www.georgiaharvey.net.<br />

VG: What exhibitions do you have coming up?<br />

GH: I have a solo exhibition Magic Moun tain<br />

at Constance ARI, Hobart, Tasman ia,<br />

5 December <strong>2014</strong> - 3 January 2015.<br />


Tra de<br />

Thrown<br />

New products from JamFactory<br />

<strong>Ceramics</strong> Studio<br />

<strong>The</strong> JamFactory ceramics studio is active in many areas, making commissions for restaurants, running<br />

classes and workshops, <strong>of</strong>fering studio access for tenants, and providing a unique approach to training<br />

through its two-year Associate program that bridges the gap between formal study and pr<strong>of</strong>essional<br />

practice.<br />

Central to all these activities is JamFactory<br />

'Product', branded ware sold by the three<br />

JamFactory retail outlets as well as online and<br />

through stockists throughout the country. It<br />

generates income, provides 'real world' training<br />

opportunities for Associates and employment for<br />

those working in the ceramics sector.<br />


Trade<br />

Right and oppoSIte page: Thrown ,<br />

201 4, Bennett's Magill clay body<br />

Photos: Tom Roschi<br />

Style shots <strong>of</strong> the new Thrown range<br />

Photos: Andrew Castellucci<br />

Designed and manufactured in-house, the Thrown range is, as its name suggests, mostly handthrown,<br />

w ith larger items being made using the Jam Factory jigger and jolly equipment. <strong>The</strong> small<br />

rectangular dish, used as an inset in a timber serving board, is ram-pressed on site. <strong>The</strong> clay is a special<br />

blend <strong>of</strong> South <strong>Australian</strong> clays manufactured to JamFad ory specifications by Bennett's Magill Pottery,<br />

with glazes in 'white' and 'sand' colours formulated and mixed by the JamFadory <strong>Ceramics</strong> Stud io. In<br />

addition to the normal volume <strong>of</strong> produdion, one thousand items based on the Thrown range were<br />

recently delivered to Fino restaurant at Seppeltsfield winery in the Barossa Valley.<br />

<strong>The</strong> Thrown range again demonstrates the viability <strong>of</strong> locally designed and manufadured ceramics<br />

meeting the needs <strong>of</strong> a market looking for objects <strong>of</strong> pradical beauty - ceramics that bear the marks <strong>of</strong><br />

a maker's hand, yet, with the largest items retail ing at under $100, are not out <strong>of</strong> reach <strong>of</strong> the ordinary<br />

consumer.<br />


Potters Marks<br />

louise Boscacci<br />

Georgia Harvey<br />

Colin Hopkins<br />

lmda Seiffert<br />

Catherine Tate<br />

Dawn Oakford<br />

Mark Thompson<br />

Ilona Topolcsanyi<br />


Ceramic Shots<br />

WINNER<br />

Photographer and potter: Annemieke Mulders<br />

Esperance, WA, March <strong>2014</strong><br />

<strong>The</strong> challenge was to take a photo <strong>of</strong> one (or more) <strong>of</strong> your ceramic<br />

creations and play with the scale. Make it look BJG! Make it look small .<br />

Whatever your idea, there must be a ceramic link.<br />

<strong>The</strong> competition was judged by eight members <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association committee.<br />


1 Photographer: Jane Howie<br />

Potter: Mandy Smith<br />

Windsor, Brisbane. OLD<br />

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

2 Photographer and potter:<br />

Sue McCormick<br />

Research, VIC<br />

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

3 Photographer:<br />

Peter Mahoney<br />

Potter: Katherine Mahoney<br />

5t Ives, N5W<br />

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


Ceram ic Shots<br />

4 Photographer: Nicci Parry-Jones<br />

Armidale, NSW; July <strong>2014</strong><br />

5 Photographer: Edward Hsaio<br />

Potter: Imp Hung, Kentlng Taiwan<br />

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

6 Photographer and potter:<br />

Robyn Phelan, <strong>No</strong>rth Melbourne, VIC<br />

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


Artist in Residence<br />

<strong>The</strong> Penland Experience<br />

Jackie Gasson reports on two magical weeks<br />

Inspirational, educational, exciting and magical! Two weeks, 1500 pots and complete and utter focus -<br />

sheer indulgence in ceramics.<br />

American ceramic artist Lana Wilson attended Spring Fever 2013 and planted the idea <strong>of</strong> me applying<br />

to the Penland School <strong>of</strong> Crafts in <strong>No</strong>rth Carolina to attend a two-week summer school with the tutor <strong>of</strong><br />

my choice. Whilst there, I could also liaise with the administrative staff about the possibility <strong>of</strong> Suncoast<br />

Clayworkers establishing an annual fellowship with the school.<br />

I applied and was fortunate to receive the Horn Scholarship for the July Summer School and, with the<br />

assistance <strong>of</strong> the Sunshine Coast Regional Council and in particular Councillor Jenny McKay, my adventure<br />

became possible. <strong>The</strong> Summer Workshop Program is very detailed and covers many crafts. My choice was<br />

Painting with Fire with tutor Nick Schwarz. As the ceramic studios are open 24 hours a day it allows for a<br />

large body <strong>of</strong> work to be produced. Jetlag was no excuse!<br />

Even though the self-imposed workload was huge, the biggest distraction was this magical place itself<br />

- 400 acres <strong>of</strong> rolling hills, magnificent trees, incredible views and numerous buildings that were full <strong>of</strong><br />

character and fitted snugly into the atmospheric landscape. <strong>The</strong> food was great with a good deal <strong>of</strong> the<br />

produce coming from Penland's own gardens. <strong>The</strong> accommodation was very clean and comfortable and<br />

everybody socialised well even though we were doing different courses.<br />

It was definitely potters heaven as there were many kilns to fire, including a 400 cubic foot woodfired<br />

kiln, and the studios themselves were well equipped. <strong>The</strong>re were open verandahs on each building where<br />

a little socialising occurred at the end <strong>of</strong> each day. Every firing was like Christmas - anagama, wood,<br />

wood/salt, gas/salt, gas/soda, low salt and a reduction firing! <strong>The</strong> three-chamber kiln took three days to<br />

fire and three days to cool, needing a big team and plenty <strong>of</strong> gloves. During this time the other kilns were<br />

being loaded, fired and unloaded.<br />

Penland provided two small buses for the class to travel through the mountains to meet other potters,<br />

visit studios and galleries. During this time I was fortunate enough to meet Paulus Berensohn, the author <strong>of</strong><br />

Finding One's Way With Clay. He is a delightful elderly man with fond memories <strong>of</strong> his time in Australia.<br />

After being involved in ceramics for nearly forty years I did not think it was possible to feel as excited<br />

and exhilarated as I did at the end <strong>of</strong> my course, and still do today. It has given me the motivation to share<br />

this information and experience, and to build another new kiln.<br />

Prior to leaving Penland I had a meeting with the director Jean McLaughlin who indicated their<br />

enthusiasm to build on the interaction between Suncoast Clayworkers and the Penland School. I was<br />

made to feel very welcome and totally at home with my peers. I would heartily recommend this amazing<br />

experience to anyone wishing to learn. Penland is the place to go!<br />

Jackie Gasson is President <strong>of</strong> Suncoast Clayworkers Association Inc.<br />


Artist in Residen ce<br />

1 Jackie Gasson helping to fire the three-chambered woodfire kIln at Penland; photo: Sarah Winfield<br />

2 One <strong>of</strong> the many historic bUildings at the school used for the various crafts; photo: Jackie Gassen<br />

3 NICK. Schwartz <strong>of</strong> Flynn Creek Pottery, California, sitting Inside one <strong>of</strong> the kiln chambers; photo: Jackie Gassen<br />

4 <strong>The</strong> results from the three-chambered woodfired kiln - over 1500 pieces produced by 15 people in 13 days<br />

Photo: Jackie Gassen<br />

5 <strong>The</strong> Upper Clay and lower Clay ceramics studios at Penland; photo: Jackie Gassen<br />


Community<br />

Through the Porthole<br />

Renton Bishopric coordinates a creative community project in Yeppoon<br />

Recently I took a coordinator role in Animating Spaces,<br />

Yeppoon, part <strong>of</strong> a statewide, multi-arts initiative aimed<br />

at revitalising and celebrating spaces within regional<br />

Queensland through locally driven arts activities and<br />

events. <strong>The</strong> Yeppoon project involved three artist<br />

coordinators who each worked w ith their own team<br />

in various mediums to create a weekend arts event. I<br />

named the project I was coordinating Through <strong>The</strong><br />

Porthole and worked in collaboration with Indigenous<br />

painter Kim Warcon, graphic artist Clare Botfield, nine<br />

local photographers and 40 high school art students.<br />

Together we produced a series <strong>of</strong> 50 ceramic snapshots<br />

depicting a journey by boat along the picturesque<br />

Capricorn Coast. <strong>The</strong> finished pieces were framed as<br />

portholes and exhibited as an outdoor installation in the<br />

Town Centre.<br />

<strong>The</strong> project saw my own ideas and concepts transformed and brought together through the eyes<br />

<strong>of</strong> these artists and students. <strong>The</strong>y each produced individual ceramic pieces that I fired and framed<br />

and then curated as a coherent body <strong>of</strong> work. <strong>The</strong> influence on my art practice from the team was<br />

invaluable; my viewpoint was stretched from the detailed beauty captured through photography to the<br />

whimsical stories in Kim's work and the graphic edits Clare put together. It was humbling to see just<br />

how far the techniques could be taken, with all <strong>of</strong> this being woven into one body <strong>of</strong> work. <strong>The</strong> final<br />

exhibition far exceeded my expectations.<br />

As with all community projects there were unexpected surprises. I found it especially rewarding<br />

to work with students who weren't familiar with the ceramic process as they were happy to explore<br />

what would best be described as 'unconventional techniques', yet still achieved amazing results . <strong>The</strong>se<br />

techniques were duly noted and incorporated into my own practice. I think as ceramicists we have<br />

this intrigue around our practice that lends itself to collaborations, because people are so keen to try<br />

a medium that would otherwise be inaccessible due to all the equipment and technical knowledge<br />

required . It's a real opportunity.<br />

Through <strong>The</strong> Porthole highlighted to me the importance <strong>of</strong> collaborative projects that bring<br />

together artists from different backgrounds within a community. It's not just about sharing ideas and<br />

knowledge; it's generating exposure and appreciation for new areas <strong>of</strong> the community by tapping into<br />

each other's networks and forcing people to step out <strong>of</strong> their comfort zone. This is especially relevant<br />

where students are involved as they bring families and friends to events that they might not otherwise<br />

Above: Kim Warton and Renton Bishopric discuss the<br />

development <strong>of</strong> Kim's pieces for the projed; photo: Clare Botfield<br />


Community<br />

attend. As an artist I don't want to be 'one man on an island'; I really value having a like-minded peer<br />

support group with whom I can bounce ideas around, as well as build a strong local culture for the arts.<br />

Working on this project was a fulfilling and rewarding experience and I would encourage every artist<br />

to get involved in similar programs. <strong>The</strong> inspiration gained from sharing ideas and skills, finding ongoing<br />

networks to tap into, and support and encouragement, as well as building an enriching culture <strong>of</strong><br />

cooperation rather than competition, are just some <strong>of</strong> the benefits gained from collaboration.<br />

Animating Spaces is a three-year project funded by the Australia Council for t he Arts, Arts<br />

Queensland, Regional Arts Australia and the five participating local councils each year, <strong>The</strong><br />

projects are facilitated by Artslink Queensland. Detailed information can be found on the links<br />

below.<br />

www.rentonbishopric.com/through-the-porthole<br />

http://artslinkqld,com.au/regional-arts/ animatingspaces/yeppoon<br />

Animating Spaces Yeppoon was documented by a dedicated team who captured the process<br />

and event. Link to the short video: https:llvimeo.com/ 103498948a<br />

1 Kim Wareon at the opening with one <strong>of</strong> his Porthole works, Keppel Bay Dreaming, <strong>2014</strong><br />

2 Students working on their ceramic pieces for the exhibition during a workshop with Renton<br />

3 Renton Bishopric, <strong>No</strong>isy Miner, <strong>2014</strong><br />

4 Through <strong>The</strong> Porthole art trail in Yeppoon's CSO with Renton Bishopric explaining the works to a school group<br />

Photos: Allan Reinikka Photography<br />


Association<br />

<strong>Australian</strong> <strong>Ceramics</strong><br />

Open Studios <strong>2014</strong><br />

A report by Shannon Garson<br />

One <strong>of</strong> the most exciting events <strong>of</strong> the year for me was the <strong>Australian</strong> <strong>Ceramics</strong> Open Studios<br />

(ACOS) held in August <strong>2014</strong>. This event is organised by <strong>The</strong> <strong>Australian</strong> Ceamics Association but run<br />

locally by the potters and artists who open their studios to the public. What an incredible display <strong>of</strong><br />

community and creativity across Australia it was! All over the country, potters were featured in their<br />

local newspapers and magazines and they gave inteNiews on local radio stations. Fran Kelly on Radio<br />

National Breakfast also inteNiewed me about the event.<br />

This second year <strong>of</strong> ACOS saw increased participation, promotion opportunities and community<br />

involvement. I visited seven studios on my local Sunshine Coast pottery trail and was surprised and<br />

inspired by the diversity and strength <strong>of</strong> our community. This was a wonderful event for makers to sell<br />

1 Christine Mammana at Cooked Earth, Clifton Hill, VIC; photo: Vicki Grima<br />

2 Beatrice Prost at Tinbeerwah, QLD; photo: Shannon Garson<br />

3 Kerry Nicholas at Moorleigh Ceramic Co-op. Melbourne. VIC; photo: Vicki Grima<br />


Association<br />

1 Muddy Girl Studio, Mount Dandenong, VIC<br />

2 Claire Johnson at Muddy Girl Studio<br />

Photos: Vicki Grima<br />

work and introduce the joys <strong>of</strong> ceramics to their local towns. <strong>The</strong> artists involved filled in a survey after<br />

the weekend and the results were very heartening. Most potters sold over $100 worth <strong>of</strong> work with<br />

32% selling more than $1000. <strong>The</strong> momentum <strong>of</strong> this event will ensure greater financial rewards in the<br />

future. Vicki Grima and Rachael Hegh put in a tireless effort to organise this event with credit going to<br />

Vicki for her determination and ability to track down the right people within Radio National in order to<br />

get us the spot on Fran Kelly's program.<br />

As a studio potter I can see that people love the connection and insight into a different life they can<br />

get from visiting an artist's studio. This creates an opening for handmade work to filter into the local<br />

community. <strong>The</strong>re is a sense <strong>of</strong> pride and belonging engendered by using a local artist's work. This<br />

connection works both ways. Local artist s become an integral part <strong>of</strong> their community, both giving and<br />

receiving emotional sustenance by opening their studio doors to neighbours, friends and the public.<br />

Follow our blog, http://australianceramics.wordpress.com, for details on the 2015 ACOS event.<br />

Shannon Garson is President <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association.<br />

Opposite page:<br />

1 Entrance to Jill Symes studio<br />

2 Adriana 's welcome sign<br />

3 Adriana Christianson's studio<br />

4 Adriana and Vicki<br />

5 Adriana's display in a suitcase<br />

6 Slow Clay owner, Jane SaWfer<br />

7 Slow Clay welcome sign<br />

8 Gary Healey, 8alwyn<br />

9 Gary Healey's studio in 8alwyn<br />

Photos: Vicki Grima<br />

All studios are in Melbourne, VIC .<br />


.A~~<br />

OPEN<br />

~<br />

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

16&17 AUGUST<br />


Associat ion<br />

Examples <strong>of</strong> publicity<br />

and promotion material<br />

from <strong>Australian</strong><br />

<strong>Ceramics</strong> Open<br />

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

MASTER<br />

~ . ''::C:T<br />

Sky high alert<br />

~u.w"f'Ul'Ol' '''''''''!h¥~

Gatherings 1<br />

<strong>The</strong> Rise and Rise <strong>of</strong><br />

Queensland Indigenous<br />

<strong>Ceramics</strong><br />

Katrina Chapman takes a look at recent developments after attending the<br />

Ca irns Indigenous Art Fair <strong>2014</strong><br />

Technical mastery, humour and sophisticated rendering <strong>of</strong> concept into clay has seen works by<br />

Queensland Indigenous artists take a major place on the stage <strong>of</strong> <strong>Australian</strong> ceramics practice in<br />

recent years. Both independent practitioners and artists working with art centres have worked hard<br />

to raise their pr<strong>of</strong>iles, creating bodies <strong>of</strong> work that challenge preconceptions about Indigenous<br />

creative endeavour. A growing appreciation for the novelty and clear articulation <strong>of</strong> cultural and social<br />

imperatives in their art has resulted in many pieces entering public collections, national awards and<br />

exhibitions, and attracting critical attention.<br />

Queensland has long held the honour <strong>of</strong> claiming the country's foremost Indigenous ceramicist in<br />

the person <strong>of</strong> Dr Gloria Thanakupi Fletcher from Napranum on Cape York Peninsula. In terms <strong>of</strong> living<br />

artists, this role is being amply filled by another independent female ceramicist, Janet Fieldhouse from<br />

the Torres Strait. Like Thanakupi, Fieldhouse has totally committed herself to the study and practice <strong>of</strong><br />

her art, developing a highly distinctive style. Recently returning to her birthplace <strong>of</strong> Cairns after a period<br />

<strong>of</strong> study and research in Canberra, Fieldhouse's homecoming was heralded by Mark and Memory,<br />

an exhibition at the Cairns Regional Gallery. Described as 'the most impressive body <strong>of</strong> work'l in the<br />

<strong>2014</strong> Cairns Indigenous Art Fair (CIAF). Fieldhouse has combined a number <strong>of</strong> styles to depict Torres<br />

Strait material culture and body markings. Baskets and women's dancing decoration are rendered in<br />

Below: Janet Fieldhouse, Mark and Memory 1. <strong>2014</strong>, red raku with white charcoal, h.64cm, w.27cm, d.27cm<br />

Photo: Fany Saumure. Below right: Shenane Jago, Crocodile Skull #3, <strong>2014</strong>, white earthenware with underglaze<br />

glazed terracotta, h.18cm, w.39cm; photo: courtesy artist, Bynoe Art Centre, QLD and Alcaston Gallery. Melbourne. VIC<br />


Gatherings 1<br />

white porcelain, which becomes transparent when lit allowing the viewer to discover how the baskets<br />

are intricately woven. <strong>The</strong>se sublimely delicate, fluid works have earned Fieldhouse a reputation as 'one<br />

<strong>of</strong> Australia's leading young ceramic artists'.2 Tattooing and body scarification are recreated in chunky<br />

earthenware to materialise 'unseen marking, so that the next generation will know that scarification was<br />

once a strong part <strong>of</strong> our heritage' . 3<br />

<strong>The</strong> Indigenous <strong>Ceramics</strong> Art Award (lCM), held biannually by the Shepparton Art Museum, has been<br />

integral to Fieldhouse raising her national pr<strong>of</strong>ile. She was awarded first prize in 2007 at the inaugural<br />

ICM for her entry Woven Armbands. This set <strong>of</strong> traditional Torres Strait women's dancing decorations<br />

crafted from vitreous porcelain was praised by the award's judges as 'inspirational, accomplished and<br />

inventive'4 <strong>The</strong> 2009 ICM was won by Queensland artist Danie Mellor with Fieldhouse taking the<br />

honour again in 201 1. This year eight out <strong>of</strong> the 22 short-listed artists were from Queensland.<br />

Yarrabah artist Edna Ambryn was among the Queensland finalists in the <strong>2014</strong> ICM with a striking<br />


Gatheri ngs 1<br />

Opposite page:<br />

Freda Gilbert, Two Face Hunter - Large, <strong>2014</strong><br />

terr3cotta raku. underglaze and glazes, h.29cm<br />

w.22cm. d.21cm; photo: courtesy artist, Bynoe Art<br />

Centre, OLD and Aleaston Gallery, Melbourne<br />

Above: Edn. Ambryn, 8a/. Deejay, <strong>2014</strong><br />

ceramic, h.40cm, w.37cm, d.22cm<br />

Photo: cou rtesy Shepparton Art Museum<br />

Left: Eileen Tep. John Murray, Nephi Denham<br />

Charlotte Beeron. Augustina Denham<br />

Emily Murray, Sally Murray, 8agu, 2013<br />

Photo: Girringun Aboriginal Art Centre<br />

bust <strong>of</strong> a young man titled Bala Deejay. <strong>The</strong> boy's dark black skin and his brightly coloured tropical<br />

singlet immediately convey a sense <strong>of</strong> the heat and vibrancy <strong>of</strong> Far <strong>No</strong>rth Queensland. Yarrabah artists<br />

have been working with ceramics since the establishment <strong>of</strong> the art centre in 1972. Recent marketing<br />

and promotion has started to serve the artist's considerable talents with an increased presence at<br />

the <strong>2014</strong> CIAF during which their work was exhibited at their art fair stand and in the <strong>of</strong>ficial CIAF<br />

exhibition Solid! Queensland Indigenous Contemporary Sculpture. A group <strong>of</strong> pots by Michelle<br />

Yeatman was a highlight <strong>of</strong> the exhibition. <strong>The</strong> exquisite handbuilt pots stand tall and impressive at<br />

28cm high. Yeatman's work was also selected for exhibition in the 2013 National Indigenous and Torres<br />

Strait Island Art Award.<br />

<strong>Ceramics</strong> have formed an exciting component <strong>of</strong> CIAF since it began in 2009. <strong>The</strong> Bagu and<br />

Jiman (fire spirit and firesticKs) created by artists from the Girringun Aboriginal Art Centre (GAAC) in<br />

Cardwell were the toast <strong>of</strong> the event. described as 'a new class <strong>of</strong> Indigenous object for the market' S<br />

Bagu continue to be keenly collected and have travelled to Brisbane for Across Country: 5 Years <strong>of</strong><br />


Gatherings 1<br />

Michelle Yeatman, Kootchum (Oysters), <strong>2014</strong>, white raku coil pots with oxide. h.28cm<br />

Photo: Vanessa Gillen; Solid! Queensland Indigenous Contemporary Sculpture, June-July <strong>2014</strong>, QAGOMA<br />

Right: lawrence Omeenyo, erac Man Bowl 2, <strong>2014</strong>, glazed raku; photo: Lockhart River Arts Indigenous Corporation<br />

Indigenous <strong>Australian</strong> Art at the Gallery <strong>of</strong> Modern Art. Fifteen life-size Bagu installed on the beach<br />

for the 2013 Townsville Strand Ephemera earned the group an Award for Artistic Excellence and images<br />

<strong>of</strong> Bagu grace two Tilt Trains which traverse the Queensland coast between Cairns and Brisbane.<br />

<strong>The</strong>re was no shortage <strong>of</strong> ceramics at the <strong>2014</strong> CIAF and it was pleasing to note many artists with<br />

national pr<strong>of</strong>iles. <strong>The</strong> Lockhart River Art Centre exh ibited Croc Man vessels, clam bowls and animal<br />

figures by the late Lawrence Omeenyo whose work was selected for the prestigious Western <strong>Australian</strong><br />

Indigenous Art Awards in 2013. Alcaston Gallery exhibited refreshingly energetic work from the Bynoe<br />

Art Centre in <strong>No</strong>rmanton on the Gulf <strong>of</strong> Carpentaria. Freda Gilbert's Two Face Hunter vessels are<br />

compositionally strong and demonstrate an imaginative interpretation <strong>of</strong> customary lore. Gilbert's<br />

Sugarbag People, handbuilt in beautifully textured earthenware, are contemporary in design but<br />

eerily wise and ancient in demeanour. Palm Cockatoos with outstretched crest and crimson cheeks<br />

were executed in a touchingly simple, graphic style by Marie Burns to depict her personal totem.<br />

Representing the importance <strong>of</strong> the cattle industry to the Gulf, especially to the Kurt jar people who own<br />

and manage Delta Downs station, Shenane Jago has created a series <strong>of</strong> cattle skulls. <strong>The</strong> skulls attracted<br />

considerable attention with one being acquired for the National Gallery <strong>of</strong> Victoria collection during<br />

CIAF and another selected for the <strong>2014</strong> ICAA, This group had their first major exhibition at Alcaston<br />

Gallery in 2013 drawing an audience keen to view art from the remote Gulf region. Three works were<br />

purchased by the National Gallery <strong>of</strong> Victoria, the first contemporary ceramics by Kurt jar people to enter<br />

a national collection.<br />

All <strong>of</strong> these artists represent important aspects <strong>of</strong> contemporary life in remote, rural, urban and<br />

metropolitan areas <strong>of</strong> Queensland. <strong>The</strong> landscape <strong>of</strong> <strong>Australian</strong> ceramics is richer for their participation<br />

and their generous sharing <strong>of</strong> the many Indigenous traditions found in geographically and culturally<br />

diverse Queensland.<br />

1 Nicolas Rothwell, 'Preserving the old ways in a fresh young idiom', <strong>The</strong> <strong>Australian</strong>, 29 July 201-4, p.14.<br />

2 VoJWIN.calrnsregionalgallery.com.aulexhlbition20S.pdf<br />

3 W'AoW.cairnsregionalgallery.com.aulexhibition20S .pdf<br />

4 2007 Indigenous Ceramic Art Award (catalogue), Shepparton Art Gallery- , 2007 , p.6<br />

5 Nicolas Rothwell, 'Contemporary works alive with the rhythms <strong>of</strong> the past', <strong>The</strong> <strong>Australian</strong>, 23 August 2010, p.2l.<br />

·When the leM began in 2007 the Shepparton Art Museum was called the Shepparton Art Gallery.<br />


Gatherings 2<br />

Encore!<br />

Jane Annois prepares fo r the ret urn <strong>of</strong> the French potters<br />

Warrandyte is preparing for a French flurry in February 2015, continuing the French <strong>Australian</strong> ceramic<br />

exchange which has been underway since 2004. With each adventure the exchange has grown and<br />

developed to include new French and <strong>Australian</strong> artists. <strong>The</strong> inspirations stemming from these foreign<br />

encounters will become tangible in an exhibition at Manningham City Gallery MC2 in February 2015.<br />

<strong>The</strong>se artists participated in the biannual potters market at Dieulefit back in May 2013, and now in<br />

2015 it's our turn to host the French, repay their hospitality, share our workshops and homes and enjoy<br />

a reunion <strong>of</strong> ceramic artists. A soiree will be held at MC2 on Thursday 19 February where they will ta lk<br />

about their work and show images <strong>of</strong> their home studios and environment.<br />

While in Australia, the French will also be running workshops for young ceramic artists at Art Play<br />

at Birrarung Marr, participating in Pottery Expo at Warrandyte and then heading north to Tanja on the<br />

south NSW coast for their exhibition at Narek Gallery.<br />

French potters exhibiting at Me2 and<br />

the Warrandyte Pottery Expo:<br />

Yves Gaget Padou De Seve Davy, Brigitte<br />

Long, Christian Fail/at Jean Marc Plan tier,<br />

Vincent Tournebize, Laurence Girard,<br />

Maryse Tavernier.<br />

<strong>Australian</strong> potters exhibiting:<br />

Jane Annois, Robert Barron, Bridget<br />

Bodenham, Angela Nagel, Ric and<br />

Judy Pierce, Mary Lou and Chris Pittard.<br />

Exhibit ion opening Wednesday 11 February 2015 at 6pm: Encore, MC2, Manningham City Council<br />

Doncaster; continues to 14 March; French Soiree at MC2, 19 February, 6--8pm<br />

14 and 15 February 2015: Workshops at ArtPlay, Birrarung Marr, Federation Square, Melbourne<br />

21 and 22 February 2015: Pottery Expo at Warrandyte, Melbourne, VIC<br />

27 February - 23 March : Exhibition at Narek Gallery, Tanja NSW<br />

For more details see www,potteryexpo.com or email Jane.jannois@bigpond.com<br />


Joanne Searle, Soundscapes, series detail, 2013. laminated porcelain, stains<br />

terra sigillata, glaze, various dimensions; photo: Art Atelier Photography<br />

... to welcome you to the <strong>Australian</strong> <strong>Ceramics</strong> Trienna le in July 2 0 15.<br />

Artists from the region will present master classes and feature as presenters and demonstrators at the<br />

event. <strong>The</strong>se local artists. many <strong>of</strong> whom have international pradices and reputations. will be joined by<br />

a stellar cast <strong>of</strong> artists from other cities and regions in Australia and overseas .<br />

Keynote speakers <strong>of</strong> world standing have been invited and we are delighted to confirm Mike<br />

Goldmark from the UK has agreed to lead the third day <strong>of</strong> the conference by speaking to the theme<br />

Stepping up - to Making Money. Mike Goldmark is the principal <strong>of</strong> the eponymous Goldmark<br />

Gallery in Uppington. Rutland County. He has been described as a 'one man Arts Council' and certainly<br />

his selling style encompasses much education about his artists. Goldmark started <strong>of</strong>f as a second-hand<br />

book dealer and now makes videos and publishes monographs featuring the artists he represents as<br />

the owner <strong>of</strong> one <strong>of</strong> the most successful galleries in the UK; www.goldmarkart.comlceramics.html.<br />

Proudly describing himself as a 'shopkeeper', he is egalitarian in his search for clientele. As open<br />

to bus tours as he is to the colledor whose 'chauffeur drops (you) <strong>of</strong>f at the door', he feels that<br />


<strong>Australian</strong> <strong>Ceramics</strong> Triennale 2015<br />

visiting the gallery should be a welcoming experience and <strong>of</strong>fer lots <strong>of</strong> variety so there is bound to be<br />

something for everyone.<br />

Mike Goldmark will talk about what he feels is involved in selling ceramics, opening up the discussion<br />

for other presenters who will talk about new ways <strong>of</strong> reaching niche markets around the world that are<br />

unable to visit galleries such as Goldmark.<br />

<strong>The</strong> Triennale is not only about talking, but will also have a rich and diverse program <strong>of</strong> masterclasses<br />

and demonstrations.<br />

Juz Kitson, 2013. porcelain and<br />

mixed media. various dimenSIons<br />

Photos: courtesy artist<br />

Juz Kitson. an Honours graduate <strong>of</strong> the National Art School in Sydney five years ago, has started<br />

on a career trajectory many others only dream <strong>of</strong>. Represented by Greenaway Gallery, she has been<br />

included in primavera 2013 at the Museum <strong>of</strong> Contemporary Art in Sydney, as well as group<br />

exhibitions in Dubai, Beijing, Singapore and London, and her work is held in the collection <strong>of</strong> MONA,<br />

Tasmania. Her masterclass will draw on her experiences working between rural NSW and Jingdezhen<br />

in China and a continuing and forensic fascination for the world, as well as her modular approach to<br />

making large scale installation art works (www.greenaway.com.au/ArtistslJuz-Kitson .html).<br />

Fred Olsen, the American author <strong>of</strong> the seminal Th e Kiln Book, is not a newcomer to Australia,<br />

having been a presenter and kiln master at Janet Mansfield's Gulgong events as well as being<br />

responsible for the construction <strong>of</strong> the anagama style kiln at Strathnairn Arts in 1996 when it was<br />

decorated by artists from the Tiwi Islands. In a return event to be held before the Triennale. Olsen<br />

will refurbish that kiln and conduct a woodfiring masterclass which will see the faded kiln decoration<br />

renewed by the next generation <strong>of</strong> Aboriginal and Tiwi Island artists. This will be a once-in-a-decade<br />

opportunity to not only work with an acknowledged master, but to participate in restoring and firing<br />

what has become a part <strong>of</strong> ceramics history in the Canberra region.<br />

Janet OeBoos will lead a workshop based on wheel throwing in which the making <strong>of</strong> useful wares<br />

will be considered, along with how the act <strong>of</strong> making can lead to new ideas. Using a limited array <strong>of</strong><br />


<strong>Australian</strong> Ceram ics Triennale 2015<br />

throwing and decorating techniques, participants will be taken on a journey <strong>of</strong> creative self discovery<br />

(http://issuu .comlncecaldocsf2012journaI/128).<br />

And that's not all ...<br />

A large number <strong>of</strong> demonstrators will be strutting their stuff throughout the event, with the Canberra<br />

region well represented by the following ceram icists:<br />

Bev Hogg, who is known for her larger scale handbuilt works that address environmental and<br />

socio-political issues (www.craftact.org.aulportfoliosfartist.php?id=286).<br />

Gail Nichols, who needs no introduction as an artist specialising in soda glaze<br />

(www.craftact.org.au/portfoliosfartist.php ?id=2 98).<br />

Joanne Searle, who is a maker <strong>of</strong> fine monoprint porcelain sli p works that take drawing in clay<br />

beyond the usual notions <strong>of</strong> slip decoration (www.joannesearle.com).<br />

Cathy Franzi, who works in a unique way utilising a linocut decorating style based on research into<br />

printmaking techniques and work made during the 1920s. Com ing from a science background, she<br />

uses her insight from this perspective to ponder how we might imagine an environment both present<br />

and fu ture (www.craftact.org.au/portfoliosfartist.php ?id=37 1).<br />

And this is just the start .<br />

Keep watChing the website for additions to the lineup as confirmations come in, and we look forward<br />

to seeing you in Canberra!<br />

www.australianceramicstriennale.com.au<br />

1 Cathy Franzi, <strong>2014</strong><br />

Photo: Art Ateher Photography<br />

2 Bev Ho99, <strong>2014</strong><br />

Photo: courtesy artist<br />

3 Gail Nichols, 2013<br />

PhOTO: courtesy artIst<br />


nnTNGUP CERAMIcs<br />

ST<br />


u r 1 I TRIENNALE<br />

Announcing the Me<br />

for Australia's premier<br />

ceramics event:<br />

Janet DeBoos<br />

Janet has made, and is still making,<br />

a major impact on world contemporary<br />

ceramics. A member <strong>of</strong> the International<br />

Academy <strong>of</strong> <strong>Ceramics</strong>, Janet is an artist.<br />

advocate, widely published author, and<br />

renowned teacher. Formerly Head <strong>of</strong> the<br />

<strong>Ceramics</strong> Workshop, she is now Emeritus<br />

Fellow at the <strong>Australian</strong> National University.<br />

Janet DeBoos -Petl;'rsoma~ - Photo; At! Atelier<br />

Stepping Up will be held at the Canberra <strong>The</strong>atre Centre Playhouse, which<br />

<strong>of</strong>fers superb sight lines, while maintaining an intimate atmosphere. Additional<br />

demonstrations and events will be held at the <strong>Australian</strong> National University.<br />

Conference dates: Thursday 9 to Saturday 11 July 2015<br />

Master classes: Monday 6 to 8 July 2015<br />

Visit our Stepping Up website and subscribe to our mailing<br />

list for up-to-date Information and further details on<br />

conference themes, master classes and registration<br />

information. www.australianceramicstriennale.com<br />

Contact: Project Manager. Mel George<br />

Craft ACT: Craft and Design Centre<br />

projectlClcraftact.org.au Ph 02 62629333<br />

Stepping Up partners: Craft ACT: Crafl and Design Centre,<br />

<strong>The</strong> <strong>Australian</strong> National University, Canberra Potters' Society,<br />

Strathnairn Arts, Th e <strong>Australian</strong> <strong>Ceramics</strong> Association<br />


•<br />




•<br />

•<br />


Canberra Collaboration<br />

Chris Harford has been a successful studio potter for nearly thirty years. Since 1996 he has been the<br />

resident potter at the Canberra Potters' Society, as well as wearing the additional hats <strong>of</strong> workshop<br />

manager and sought-after teacher. Chris has always had a love for making beautiful tableware, skilfully<br />

marrying form and glaze to produce functional vessels that have won him acclaim and plenty <strong>of</strong> welldeserved<br />

awards.<br />

A recent project involved collaborative work with local restaurant Sage Dining Rooms who<br />

commissioned Chris to design a range <strong>of</strong> tableware. <strong>The</strong>y were unsure <strong>of</strong> the possibilities but Chris<br />

worked with the Sage team to come up with designs that look good on the table and work well for<br />

the wait staff. Each design element was carefully considered in regard to its functionality in the kitchen,<br />

including strength and practicalities to withstand constant use by both clientele and kitchen staff. Over<br />

a five-month period up to forty prototypes were made as the shapes, sizes and glazes were sorted out.<br />

Chris has just recently completed a run <strong>of</strong> 300 main plates and is now producing smaller runs <strong>of</strong> three<br />

different types <strong>of</strong> dishes. <strong>The</strong> next part <strong>of</strong> the commission is to make shorter runs <strong>of</strong> specialty dishes<br />

and plates.<br />

Chris has also recently held a successful exhibition, Studio to Table in collaboration with fellow potter<br />

Rick Beviss at Watson Arts Centre in Canberra.<br />

A report by Sue Hewat<br />

www.sagerestaurant.net.au<br />

Chris Harford. Plate. diam.2Scm, h.4.5cm; photo: artist<br />

Johnon MacDonald, Southern blue fin tuna<br />

organic Japanese soy, wasabi panacotta and fned shallot<br />

Photo: Katherine Strand<br />


<strong>The</strong> Fortynine Studio and<br />

their new Mountain range<br />

Collaboration forms the foundation <strong>of</strong> <strong>The</strong> Fortynine Studio, a<br />

multidisciplinary design studio based in Sydney. Its five members<br />

- Lauren Austin, Ben Elbourne, Carly Vickers, Sarah Spackman<br />

and Harriet Watts - met while studying at University <strong>of</strong> NSW<br />

College <strong>of</strong> Fine Arts.<br />

<strong>The</strong>y formed <strong>The</strong> Fortynine Studio in 201 1 to produce<br />

ceramic tableware, lighting, textiles and paper works, and have<br />

maintained the same lineup since.<br />

"We all love and respect each other's work," says Harriet.<br />

"Because we studied together, we have a similar approach to<br />

design . We're vaguely going in the same diredion, which helps<br />

keep us together. "<br />

<strong>The</strong> group's latest ceramic <strong>of</strong>fering, the Mountain range,<br />

is a variation on the group's Flip Flop Slip series. Harriet used<br />

her textile background to develop mountain imagery through<br />

experimentation and play, applying cobalt directly to the clay<br />

surface.<br />

Fortynine Studio, Oval Platter<br />

MountaIn range, white raku slip<br />

pigment, clear glaze h.31cm<br />

Photo: Fortynille StudIO<br />

Each member has a different background, allowing individual skill sets to strengthen the overall<br />

collaborative effort. "I have a ceramics minor, whereas Ben teaches ceramics at COFA so he acts as our<br />

technical advisor," says Harriet. "Sarah's background is in production, which helps us run our studio<br />

efficiently. "<br />

If there are drawbacks to collaboration, Harriet accepts them as integral to the process. "In a way<br />

the strengths are the weaknesses. As an individual, it's easier to keep your ideas on track; in a group<br />

sometimes there's a lot <strong>of</strong> information to process." But those limitations are outweighed by the benefits.<br />

"It's a hothouse <strong>of</strong> original ideas. You can throw ideas around and get a reaction straight away and<br />

therefore reform the possibilities."<br />

<strong>The</strong> group is cu rrently collaborating with creatives outside the group, which will no doubt add another<br />

layer to their work. "I t's a pretty exciting time for us right now, " says Harriet.<br />

A report by Candice Anderson<br />

www.thefortynine.com.au<br />


Ceramic Arts Queensland<br />

Ceramic Arts Queensland (CAQ, formerly Fusions) has<br />

undergone a facelift with rebranding, along with a new<br />

website and workshop program. <strong>The</strong> change was inspired<br />

by a wish to represent our members in a manner that<br />

is current in the context <strong>of</strong> ceramic art practice in the<br />

Queensland and <strong>No</strong>rthern NSW region. We aim to facilitate<br />

connection within the ceramic arts community and to<br />

improve the availability <strong>of</strong> education in ceramic skills.<br />

Mltsuo Shoji at the Toolkit Workshop<br />

in August <strong>2014</strong><br />

We have observed that there are many active groups<br />

<strong>of</strong> potters operating independently throughout our<br />

region, and we <strong>of</strong>fer a platform for those groups to share<br />

information on events and happenings to the wider ceramic<br />

community. <strong>The</strong> CAQ website <strong>of</strong>fers a directory for users<br />

to locate and contact other regional groups and suppliers<br />

to the region, and for groups to advertise events and<br />

functions. We welcome contributions from all groups and<br />

businesses connected to our industry.<br />

In response to the continuing trend <strong>of</strong> closures <strong>of</strong> ceramic arts education facilities CAQ has<br />

developed the Toolkit Workshop Series, <strong>of</strong>fering a monthly opportunity to learn, share, meet artists and<br />

expand your skills repertoire in an affordable and friendly environment. Requests can also be made for<br />

future workshops to be included in our program.<br />

Our organisation has changed shape many times across its 45-year history but the central objective<br />

remains the same - to support and promote ceramic arts in the community. Please join us in this<br />

pursuit.<br />

A report by Emma MacGregor<br />

President <strong>of</strong> Ceramic Arts Queensland<br />

www.ceramicartsqld.org.au<br />

Ceramic<br />

Arts<br />

Queensland<br />


,<br />

•<br />

I •<br />

s<strong>of</strong>t penCiLs, 2013. handbuilt, stoneware, acrylic paint<br />

life size; photo: James Tylor<br />

First World Problems? Here's a BADAID, 2013<br />

Photo: courtesy artist<br />

Sophia Nuske<br />

Fresh out <strong>of</strong> Honours from the South <strong>Australian</strong> School <strong>of</strong> Art in 2013, Sophia Nuske is an emerging<br />

artist with a wry sense <strong>of</strong> humour. Thoughtful and whimsical in equal measure, her carefully conceived<br />

work uses slippage and tension as instruments <strong>of</strong> meaning. Much <strong>of</strong> Nuske's ceramics practice has<br />

involved replicating everyday objeC1s, ohen in painstakingly hand-wrought detail, creating a sense <strong>of</strong><br />

value in forgotten or overlooked small objects <strong>of</strong> the everyday. With a confidence that belies her age,<br />

Nuske rearranges meanings and interpretations, encouraging the literal and figurative to blur and<br />

mingle.<br />

Alongside linguistic devices that have been recrea ted and transformed through their physical<br />

manifestation, Nuske's work has a surrealist feel as she recreates mundane objects just real enough<br />

to blend in and just strange enough to provoke an internal double-take. 8y intentionally creating<br />

misunderstandings, Nuske highlights the strange quirks <strong>of</strong> language and semiotics that are so <strong>of</strong>ten<br />

taken for granted, lost without translation.<br />

Nuske's series entitled s<strong>of</strong>t penCiLs (which formed part <strong>of</strong> her Honours work) is a reinterpretation <strong>of</strong><br />

the grades <strong>of</strong> pencils from s<strong>of</strong>t to hard, gradually moving from stra ight replicas <strong>of</strong> lead pencils to the<br />

very bendy 68 pencil. Outside <strong>of</strong> the appeal <strong>of</strong> the everyday made impossible is the urge to get in on<br />

the joke, something that requires observation, a little snippet <strong>of</strong> time to grasp and enjoy. Outside <strong>of</strong> all<br />

the wry smiles, these objeC1s are reminders <strong>of</strong> how we take our environment and the way we interpret it<br />

for granted, forgetting to notice that we did not notice.<br />

A report by Sophia Phillips<br />

www.soph ianuske.com; http://instagram,com/sophnuske<br />



Tasmanian Fairytale<br />

Studio practice can be a very solitary occupation. However, collaboration became a living presence in<br />

my work and life when (quite serendipitously) I bumped into Nanna Bayer at a pub during the Gulgong<br />

conference, Clay Energy, in 2010. We fell in love and the rest. as they say, is history.<br />

Nanna relocated from Finland to Tasmania in 2011 and almost immediately we embarked upon joint<br />

projects, the most crucial remains the building <strong>of</strong> our 'dream studio'. Unfortunately, dream studios are<br />

notorious for getting out <strong>of</strong> hand: our project is overly ambitious, both in scale and creative intention,<br />

but no effort is spared in incorporating as many luscious ceramic elements as possible into the building.<br />

Further opportunity to work as a team has been provided by Hobart's Museum <strong>of</strong> Old and New Art<br />

(MONA) involving several large commissions from architectural works to simple bowls and cups. In<br />

addition, we were very pleased to produce part <strong>of</strong> the dinner service (see Fertility Bowls below) for the<br />

wedding <strong>of</strong> (MONA founder) David Walsh and Kirsha Kaechele. It is a privilege to work for MONA, and<br />

the 'creative chaos' its projects generate, sweep up everybody involved and results in works we are all<br />

proud <strong>of</strong>.<br />

Beyond such tangible instances, our life together can very usefully be described as a collaboration.<br />

Most <strong>of</strong> our days are spent in each other's close company, and inevitably even the tiniest pot I make in<br />

the studio has a little bit <strong>of</strong> Nanna in it - and I presume the same is true the other way around.<br />

A story <strong>of</strong> collaboration by Zsolt Faludi<br />

www.nannabayer.com<br />

Nanna Bayer, Fertlity Bowls<br />

Nanna Bayer, Fertlity Bowls in action<br />


A New Collective: Domestic Frontier<br />

Domestic Frontier is a collective <strong>of</strong> Melbourne-based craftspeople with a passionate charter to showcase<br />

contemporary wares <strong>of</strong> the highest quality for use in the home.<br />

<strong>The</strong>ir first public appearance was perfectly timed, as it was part <strong>of</strong> CRAFT's annual Craft Cubed<br />

Festival. Based on the group's vast selling experience, it was decided the event would be shorter than a<br />

Pop Up but longer than a market. <strong>The</strong> two weeks (20- 31 August <strong>2014</strong>) allowed a concise time frame<br />

for energy and eXCitement to build around the event, while being long enough to allow for word <strong>of</strong><br />

mouth to kick in and for return visits to occur.<br />

Pottery, furniture, basket weaving and textiles were artfully installed into a classic Victorian shop<br />

located at the 'frontier edge' <strong>of</strong> inner-city suburbs where local residents have an appreciation for<br />

alternative and Skillfully made objects. A clever early decision was the collaborative mix <strong>of</strong> differing<br />

complementary craft mediums. <strong>The</strong> resulting display was to be a retail experience with a strongly<br />

domestic and intimate ambiance.<br />

Planning meetings began early this year and it was quickly decided to establish a working relationship<br />

that was more than just the one-<strong>of</strong>f event. Another wise decision was to use social media to promote<br />

the event as many <strong>of</strong> the makers already had a significant Instagram presence. <strong>The</strong> combined clout <strong>of</strong><br />

eight avid Instagramers resulted in a huge opening night. A pleasing outcome was the bumper sales in<br />

the second week due to instagram posts bounced around the internet: evidence <strong>of</strong> the true power <strong>of</strong><br />

'word <strong>of</strong> mouth' (plus fabulous images!).<br />

A report by Robyn Phelan<br />

On Instagram: @domesticfrontier, @vic_pemberton, @sophiejanemoran, @sandrabowkett,<br />

@adrianachristianson, @joruchel, @greghatton, @bridgetbodenham, @Georgia Clark<br />

www.housemadestudio.com<br />

left to right: Domestic<br />

frontier dISplay, the<br />

opening crowd and<br />

three <strong>of</strong> the eight Of<br />

participants; Sandra<br />

Bowkett. Sophie<br />

Moran and Adriana<br />

ChrIstIanson<br />


A Different Rug<br />

I can't be accused <strong>of</strong> taking myself too seriously when my latest project resides in a public toilet.<br />

winced when approached by textile artist Angela Ferolla about printed clay floor tiles, considering the<br />

learning curve for her and the tight deadline she proposed. Angela had put in a bid to revamp the loos<br />

in Fremantle Markets. Having successfully screenprinted an enormous 'rug' on the floor <strong>of</strong> funky local<br />

eatery Bread In Common, she wanted to put her stamp on the Market 'Ladies'.<br />

We discussed making custom-made, printed tiles, set into a standard tiled floor to imitate an old rug .<br />

Once I had met Steve Hill, a skillful, enterprising tiler and a key player in the team, the idea grew on me.<br />

Durability and slippage hazards shaped our materials selection and clay; colours and testing were<br />

sorted. Using my vintage slab-roller, I rolled slabs from Keane's White Raku. To attain a textile-like finish,<br />

slabs were rolled under lengths <strong>of</strong> denim and then the tiles were individually cut with plenty <strong>of</strong> extras.<br />

<strong>The</strong>y were then dried for two weeks between sheets <strong>of</strong> plasterboard to wick out moisture and prevent<br />

warping.<br />

Angela derived a motif from the turreted pediment over the 1897 Markets entrance. I made Riso<br />

screens using this along w ith her image <strong>of</strong> an old rug fringe.<br />

I skipped the bisque. At Angela's studio we laid all tiles on her massive table to print using liquid red<br />

underglaze for the motif background, which bled into the textile impression. We embraced such gl itches<br />

as the history <strong>of</strong> the rug. Using a black ceramic ink I'd blended, we screenprinted the pediment diredly<br />

onto the tiles. <strong>The</strong> fringe tiles were simpler. We fired once to stoneware without glaze, then Steve<br />

worked his magic and installed them. We were pragmatic and eHicient and made a really good team .<br />

Woot Woot!<br />

A report by Elaine Bradley<br />

Elaine Bradley and Angela Ferolla, Ceramic Rug, 20 14, w.80cm, d.22Ocm<br />

Photos: Amanda Miller<br />


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(lassifieds<br />



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T: 0291811188;M:0411107744<br />

E: greg@gregpiper.com.au; www.gregpiper.com.au<br />



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art gallery <strong>of</strong> south australia<br />

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bamfurlong gallery<br />

main st hahndorf<br />

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Clay Extruder<br />

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for more details or your<br />

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Clay manufacturer & supplier <strong>of</strong> quality pottery supplies with over<br />

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Monday to Friday 8am - 5pm & Saturday 9am - 12pm<br />

Online store open 24 hours<br />

20 Stennett Road Ingleburn NSW 2565<br />

Phone (02) 9829 5555<br />

Check out our new website<br />

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Create Beauty in Clay<br />

Big Handrollers, BHR 6cm Ssl Stamps<br />

BHR-l0 S51-11 S51-16<br />

Finger Rollers, FR<br />

Roilers4Clay<br />

Waikato <strong>Ceramics</strong> (NZ)<br />

sales@potlerysupplies.co.nz<br />

078568890<br />

www.mkmpotterytoo/s.com<br />

Botany Pottery Studio (NZ) 001 (920) 205-2701<br />

botpots@ihug.co.nz<br />

09271 2626<br />

mkmtools l @gmail.com




<strong>No</strong>rthcote Pottery Supplies<br />

142 - 144 Weston Street, Brunswick East 3057<br />

(03) 93873911<br />

www.northcotepotterysupplies.com.au<br />



Come to our annual pre-Christmas POP UP shop I I-I" December I I am - 7pm<br />



learn to make<br />

porcelain jewellery!<br />

6 x Mondays starting<br />

28 JAN 2015<br />

6.30-9pm<br />



<strong>The</strong> theory and p'octice<br />

<strong>of</strong> glaze development<br />

6 x Saturdays starting<br />

31 JAN 2015<br />

Ilom-12.3Opm<br />



Push your wheel skills!<br />

Intermediote ~vel<br />

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'==<br />

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Guest Artist<br />

Work.shop<br />

6 x Saturdays starting I day<br />

31 JAN 2015<br />

2-4.30pm<br />

15 MARCH 2015<br />

lOom-4pm<br />

Book.ings available online<br />

www.slowclay.c om<br />

SLOW<br />

CLAY<br />

CENTRE<br />

Slow Cloy Centre<br />

13 Keele 51. Collingwood VIC<br />

Inro@slowcloy.com<br />

(03) 99437844<br />

c r eating with paper<br />

Tissue Transfer Papers<br />



We have extended our supply space to<br />

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raw materials, frits, tissue transfers.<br />

Check out our supplies and b e<br />

inspired by the work <strong>of</strong> over 100<br />

A ustralian ceramicists in the gallery.<br />

kerrie lowe gallery<br />

49 King SI. Newtown NSW 2042 I 02 9550 4433<br />

lowekerrie@gmail.com I www.kerrielowe.com<br />

Mon - Sat 10am - 5.30pm I Thurs until7pm<br />


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SHIMPO Precision Pottery Equipment<br />

To view our full range <strong>of</strong> equipment please visit our website<br />

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RoUer<br />

[IfijJ<br />



GROUP Inc.<br />

presents Claire locker at<br />

Dence Park, Epping NSW<br />

Sunday 15 February 2015<br />

M Ist-<br />

CIaJ/e Locker<br />

This will be a hands-on<br />

workshop with Claire<br />

demonstrating her fun slip and<br />

slab bowl forms. Partic ipants<br />

can then experiment with their<br />

ideas incorporating Claire's<br />

technique.<br />

Members enjoy monthly<br />

presentations by <strong>Australian</strong><br />

and overseas potters, a<br />

monthly newsletter, access to<br />

an updated library, DVDs, our<br />

woodfired kiln and networking<br />

with like-minded souls.<br />

For further information and<br />

bookings contact Christine<br />

Reynolds, T' 02 9630 6364<br />

E: potter0712@netspeed.com.au<br />

m u ceramics studio gallery<br />

headland park artist precinct, mosman nsw<br />

contact mulan gock 0411473 072<br />

studio 02 9960 1777<br />

studiomu.com.au<br />

CHINO C lOY<br />

A retail space for h andmade <strong>Australian</strong> ceramics<br />

40 Burnie 5L Clovclly NSW 2031<br />

Thurs -Fn l oam - 6pm / Sat- un JOam - 3pm<br />

By appointme nt ouuide these houl's<br />

042790440 7<br />

www.chinaclay .com.au<br />






We <strong>of</strong>fer a range <strong>of</strong> specialist ceramic studio courses.<br />

Qualifications: Diploma, Advanced Diploma & Certificates in <strong>Ceramics</strong><br />

VET FEE Help available for Diploma & Advanced Diploma<br />

Short Courses: 9 Week Wheel & Handbuilding Classes<br />

18 Week Advanced Wheel & Mould Making Classes<br />

Open Studio Access<br />

Marian.HoweIl2@det.nsw.edu.au<br />

<strong>The</strong> Kingsway & Hotham Road<br />

Gymea NSW 2227<br />

Tel: (02) 9710 5001<br />

Photography: Saraid Brock <strong>Ceramics</strong>: Sarah Collins

Student artwork: 'Idea Buds' by Jann Craw. Photography by Ughtplay.<br />

Specialist <strong>Ceramics</strong> Courses<br />

Train with the experts and access some <strong>of</strong><br />

the best ceramics training facilities in the<br />

country at the <strong>No</strong>rthern Sydney Institute.<br />

» diploma'<br />

» advanced diploma'<br />

Courses available at Hornsby<br />

and <strong>No</strong>rthern Beaches Campuses .<br />

• VET FEE HELP available<br />

}) short courses<br />

» open studio<br />

THE<br />

<strong>No</strong>rthern<br />

Sydney<br />

Institute<br />

Part <strong>of</strong> TAFE~

•• • 1001

paper sky<br />

nlharika hukku<br />

march 13 th - 28 th 2015<br />

paper boat press<br />

shop "'#,)J~ gallery ~ studio<br />

COLOURS Rockwood Pigments, Cesco,<br />

Walker <strong>Ceramics</strong>, Clayworks, Deco,<br />

Chrysanthos CLAYS<br />

Bendigo, Bennetts,<br />

Blackwattle, Clayworks, Feeneys, Keanes,<br />

<strong>No</strong>rthcote, Walkers EQUIPMENT extruders<br />

wheels, slab rollers,<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS<br />

and more GLAZES Powder and<br />

Clay tools, Kemper, Giffin Grip and<br />

NEW - Limited supply <strong>of</strong> Duncan<br />


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.<br />

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Contact TACA <strong>of</strong>fice to organise a gift subscription<br />

to <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>.<br />

1300 720 124<br />

mallOaustraUanceramics.com<br />



Belonging: embodied commentaries inspired by place<br />

This exhibition oets out to increooe <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association's ITACA) regional outreoch and strengthen<br />

porticipotian <strong>of</strong> artists by providing notional and international exposure. It also aims to harness clay as a repository<br />

<strong>of</strong> personal stories, as a medium to exchange ideas and explore complex interrelationships between the cultures <strong>of</strong><br />

this country. Importantly, this exhibition aspires to showcaoe the creotivity and diversity <strong>of</strong> contemporary <strong>Australian</strong><br />

ceramic practice.<br />

Fraught with contradictions and complexilies, the politics <strong>of</strong> idenlity in Australia is on histarical one. Asia in<br />

porticular - geographically neor but in other ways very distant - has been a key relational feoture <strong>of</strong> <strong>Australian</strong><br />

identity and, alongside the not yet reconciled Indigenous and seHler-Austraiian reality, continues to be <strong>of</strong> relevance<br />

within these highly globolising times.<br />

TACA invites your submission far on exhibition to be held during the <strong>Australian</strong> <strong>Ceramics</strong> Triennale 2015 in<br />

Canberra . It encourages you to shore your stories, affirm your identities and explore diversity by articulating your<br />

understanding and interpretation <strong>of</strong> what it meons to be <strong>Australian</strong>.<br />

This exhibition encourages you to draw inspiration and meaning from your surroundings, engage with notions <strong>of</strong><br />

'belonging' and explore changing aHitudes to our ever-evolving community. Warks can be sculptural, functional or<br />

conceptual.<br />

Throwers, hand-builders and thaoe experimenting with new technologies are encouraged to participote, however<br />

cloy must be the primory medium <strong>of</strong> expression. <strong>The</strong> size <strong>of</strong> each submission must not exceed 15cm in height,<br />

width or depth. Works need to be free standing with a stable bose as they will be exhibited on wal~mounted<br />

floating shelves.<br />

You are invited to complete on Expression <strong>of</strong> Interest (EOI) Form and submit it to <strong>The</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> Association no later than 15 December <strong>2014</strong>_<br />

For more information and on EOI form go to www.australianceramics.com and follow the links<br />

to the TACA Members' Exhibition 2015_<br />

Curator: Modhulika Ghosh<br />

Expression <strong>of</strong> Interest deadline:<br />

15 December 201 4<br />

Applicants notified: 15 January 2015<br />

Work due: 27 April 2015<br />

Exhibition dates: 27 June - 11 July 2015 ITBC)<br />

Exhibition location: ANU School <strong>of</strong> Art<br />

Foyer Gallery, Canberra AG<br />

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

PO Box 274 Waverley NSW 2024<br />

T: 1300 720124<br />

E: mail@austrolianceromics,com<br />


ShOjJ Leith keane onlil /() "<br />

Home About Us Contact<br />

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