The Journal of Australian Ceramics Vol 53 No 3 November 2014

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Focus: Collaboration Broken Chimneys Georgia Weaver shares a story about Cheryl Lucas' replication project in Christchurch Following a devastating 6.3 earthquake in Christchurch, the home town of ceramicist Cheryl Lucas, the now familiar sight of damaged and broken chimneys emerged. As the city began to pick up the pieces, Lucas was asked to play her unique part in the rebuild. Better known for her larger pieces of work, she was approached to replicate a number of chimney pots, tiles, bricks and a chapel finial that was damaged in the rumbles. The process for making the replicas was intense; at times Lucas only had architect's drawings or an original shard to work off. For some of the chimney pots she had to test a lot of glazes to get the correct colour and sheen to match the surviving originals. She replaced the original lead glazes and saltfiring processes with colouring oxides and clear glazes, and then fired in an electric kiln. The pots, each weighing up to 55kg, took a long time to dry before firing. Allowance for a 10-12% shrinkage from wet to the fired state had to be carefully considered. Getting the diameter measurement accurate was otten critical. Taking into account the modern stainless steel flues and gas cowls meant there was often less than a centimetre of space for the difference between it fitting or not on the new chimney stacks. Amazingly, she estimated the size perfectly every time. Lucas said the time and effort she put into making the pots gave her much admiration for those who made them originally, but, worried by a certain sense of pretense and phoniness, she initially struggled with the idea of replicating what used to be. "To replicme ij' kind a/weird, bUllhen people want il back as it was. I suppose the whole rebuild thing is abolll . getting flew things to happen, reJoining some remnants of the old and being suslainable. We are now very conscious nOI only of the earthquake risks, but also oj burning cleaner fuels; both these factors prove a challenge when re-making things. And there:\' that other section which is historic. People want those link" with the pas/, and so I suppose Ihal s where I 'm coming in - helping 10 put il back.·' Cheryl Lucas Lucas has dated all 36 works made so far in the rebuild. "If they come down again, at least people do know they're replicas, and we're not trying to pretend they're anything else." Lucas also made 16 large relief tiles for another building. The tiles were press-moulded and made from paperclay making them thinner and lighter tor sitting atop the building. Although Lucas has enjoyed the challenge of making these pieces, as a solo practitioner who usually works for exhibitions she is ready for a bit of normality. " I certainly wouldn't want to do it every day, but it was a satisfying challenge to be able to contribute to the re-build, " she said. 26 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2014
1 Dyslexia House; photo: Peter Rough 2 Cheryl Lucas outside Riccarton House; photo: Grace Cochrane 3 RICcarlon House pot in the kiln Photo: Cheryl lucas THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2014 27
Page 2 and 3: WALKER ~ Feeneys Clay Cesca Glazes
Page 4 and 5: Contents REGULARS 53 VIEW 1: A Revi
Page 6 and 7: Contributors Ben Carter is a cerami
Page 8 and 9: Tribute: Margaret Tuckson Margaret
Page 10 and 11: Tribute: Margaret Tuckson Margaret
Page 13: Gallery Delinquent Angel: John Perc
Page 17: In Odober 2014. Ben Carter of Tales
Page 20 and 21: Focus: Collaboration Right: Victori
Page 22 and 23: Focus : Collaboration Wayne Meara,
Page 24 and 25: Focus: Collaboration Gerry Wedd (ri
Page 26 and 27: Focus: Collaboration of the New Sou
Page 30 and 31: Focus: Collaboration Fantasticology
Page 32 and 33: Focus : Collaboration During filmin
Page 34 and 35: Fo cus: Collaboration left: Student
Page 36 and 37: Focus: Co llabora t ion A Recipe Fo
Page 38 and 39: -----_.---' 36 THE JOURNAL Of AUSTR
Page 40 and 41: Amanda Hale and Karen Farrell, M ee
Page 42 and 43: Focus: Collaboration Pia Murphy + R
Page 44 and 45: Focus: Co llaboration terraluca ter
Page 46 and 47: A unique collaboration between cera
Page 48 and 49: Focus: Collaboration Ngapartji Ngap
Page 50 and 51: Focus: Collaboration I have come to
Page 52 and 53: UPCOMING 2015 WORKSHOPS WEAVING IN
Page 54 and 55: GAYA.CAC Rlsident Artist Program "S
Page 56 and 57: View 1 In terms of the strength of
Page 58 and 59: View 2 A Dialogue about Tableware M
Page 60 and 61: View 2 1 At the opening of Back to
Page 62 and 63: View 3 The extreme of this is Jacob
Page 64: View 4 A World in Itself Caterina L
Page 67 and 68: View 4 Visitor in front of linda Se
Page 69 and 70: Spaces and Places Colin Hopkins thr
Page 71 and 72: The Bowl That Does Not Smile by Pru
Page 73 and 74: Pocket PhD able to feel the exact p
Page 75 and 76: Madeleine Preston, Tanagras Archive
Page 77 and 78: Georgia Harvey, work in progress fo
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Studio Georgia Harvey, Dragon (deta
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Trade Right and oppoSIte page: Thro
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Ceramic Shots WINNER Photographer a
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Ceram ic Shots 4 Photographer: Nicc
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Artist in Residen ce 1 Jackie Gasso
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Community attend. As an artist I do
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Association 1 Muddy Girl Studio, Mo
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Associat ion Examples of publicity
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Gatherings 1 white porcelain, which
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Gatherings 1 Michelle Yeatman, Koot
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Joanne Searle, Soundscapes, series
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Australian Ceram ics Triennale 2015
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Canberra Collaboration Chris Harfor
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Ceramic Arts Queensland Ceramic Art
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Tasmanian Fairytale Studio practice
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A Different Rug I can't be accused
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Become a member The AUSTRALIAN CERA
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(lassifieds CERAMIC SUPPLIES BLACKW
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Stockists ACT canberra potters soci
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Clay manufacturer & supplier of qua
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INTRODUCING THE RAINBOW RANGE OUR N
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[EAflmIH flUSTAflLIfl QUALITY WHEEL
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CLAYWORKS COLOURED PORCELAIN SLIPS
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Student artwork: 'Idea Buds' by Jan
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paper sky nlharika hukku march 13 t
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CALL FOR PROPOSALS Belonging: embod
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The Journal of Australian Ceramics Vol 53 No 3 November 2014

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