The Journal of Australian Ceramics Vol 53 No 3 November 2014

Tasmanian Fairytale
Studio practice can be a very solitary occupation. However, collaboration became a living presence in
my work and life when (quite serendipitously) I bumped into Nanna Bayer at a pub during the Gulgong
conference, Clay Energy, in 2010. We fell in love and the rest. as they say, is history.
Nanna relocated from Finland to Tasmania in 2011 and almost immediately we embarked upon joint
projects, the most crucial remains the building of our 'dream studio'. Unfortunately, dream studios are
notorious for getting out of hand: our project is overly ambitious, both in scale and creative intention,
but no effort is spared in incorporating as many luscious ceramic elements as possible into the building.
Further opportunity to work as a team has been provided by Hobart's Museum of Old and New Art
(MONA) involving several large commissions from architectural works to simple bowls and cups. In
addition, we were very pleased to produce part of the dinner service (see Fertility Bowls below) for the
wedding of (MONA founder) David Walsh and Kirsha Kaechele. It is a privilege to work for MONA, and
the 'creative chaos' its projects generate, sweep up everybody involved and results in works we are all
proud of.
Beyond such tangible instances, our life together can very usefully be described as a collaboration.
Most of our days are spent in each other's close company, and inevitably even the tiniest pot I make in
the studio has a little bit of Nanna in it - and I presume the same is true the other way around.
A story of collaboration by Zsolt Faludi
www.nannabayer.com
Nanna Bayer, Fertlity Bowls
Nanna Bayer, Fertlity Bowls in action
106 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2014