The Journal of Australian Ceramics Vol 54 No 1 April 2015

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The Function of Art, The Art of Function --- --------
The Function of Art. The Art of Function Warrick Palmateer, West Cape Passage, installation view, 2014 h.170cm, w .800cm. d.1SOcm Background: Pippin Drysdale, Solstice 2014; photo: Robert Frilh, Acorn Photo Here&NowI4, July- September 2014 lawrence W ilson Art Gallery, WA as well as providing the refractory properties necessary to withstand the kiln firing. The commercial paperclay enabled the textural surfaces to bond to the clay body. I created each piece by hand using a coil and throw technique and then applied a heavy, thick slip with sweeping hand gestures to create texture and a fluid movement on the surface of the form. After a biscuit firing the vessels were glazed with a mixture of barium, lithium, copper and iron to create a vivid turquoise colour that contrasted with the granite colour produced by the silicon carbide and the ochre tones provided courtesy of the local clay. The silicon carbide also created bubbling and unusual textures in the glaze surface giving the finished form the appearance of having been weathered by the elements. The vessels were all gas fired in a heavy reduction atmosphere to around 1250° C. My creative journey was a roller coaster ride of highs and lows. It was heartbreaking when vessels collapsed in the kiln or glazes failed to create the effect I wanted, but that was soon forgotten in the exhilaration I experienced when a vessel emerged from the kiln intact and resplendent in the colours and textures of the West Cape region . The sheer size of each vessel tested my physical strength and without the use of the equipment at the Central Institute of Technology in Perth, where I was the Artist in Residence, it would have been almost impossible for me to manoeuvre the vessels in and out of the kiln. I was also physically and emotionally taxed by a quest for perfection that drove me to create 'just one more vessel' in the belief that it would turn out to be superior to its counterparts. My last, and possibly best, piece came out of the kiln the day before the exhibition opened, and the vessel was st ill warm to the touch when I transported it to the gallery. I chose five pieces for the West Cape Passage series and they were set out on a long, gracefully curved plinth that swept through the centre of a large room in the gallery. I had achieved my goal of creating forms and textures inspired by the West Cape coastline and the opening of the HERE&NOWI4 exhibition completed an incredible creative journey best summed up by Bernard Leach. It seems reasonable to expect thai beauty will emerge from a fusion of the individual characler and cullure of Jhe pOller with (he nalltre a/his materials. Bernard Leach, A Poller's Book Opposite page: 1,4& 5: Warrick Palmateer, West Cape Passage, detail, 2014; Here&NowI4, July-September 2014 Lawrence Wilson Art Gallery, WA; photos; courtesy The West Australian 2 Warrick Palmateer throwing, 2014, Central Institute of Technology, Perth 3 Heavy reduction firing, 1250·C, 2014, Central Institute of Technology, Perth Photos 2 & 3: lynn Vroombout THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2015 29
Page 2 and 3: WALKER ~ Feeneys Clay Cesca Glazes
Page 4 and 5: Please complete using UPPER CASE wh
Page 6 and 7: Contents REGULARS 60 VIEW 1: The Do
Page 8: Contributors Kelly Austin is a Cana
Page 13: Shards Entries now open VICTORIAN C
Page 16: Focus: The Function of Art. The Art
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Page 21 and 22: The Function of Art. The Art of Fun
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Page 38 and 39: Mel Robson. Suzi lyon and members o
Page 40 and 41: period of a month it grew and evolv
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Page 47 and 48: Kelly Austin, Monster Small Dishes,
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Page 64 and 65: View I The Domestic Artist The art
Page 66 and 67: Melanie Jayne, Peppermint 2015, lum
Page 68 and 69: View 2 Ceramics by Stephen Bird 1 B
Page 70 and 71: Education Pathways to Practice Lou
Page 72 and 73: Sarah Ormonde, Sutton Grange: Fox C
Page 74 and 75: Pocket PhD Brett Smout Explores Low
Page 76 and 77: Studio Inside the Studio of Ramesh
Page 78 and 79: Ramesh Mario Nithiyendran Idol, 201
Page 80 and 81: Studio VG : Your work is described
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Linda Seiffert, Cascade Artist Stud
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Gatherings Baptism of Fire The rebi
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Gatherings --------- Preparation of
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Community Touch This Earth Lightly:
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THE TRUDIE ALFRED BEQUEST CERAMIC S
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Asso ci ation The Trudie Alfred Beq
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Asso cia tion Kylie Rose McLean Adv
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Asso ciation Left: Ingo Svendsen, I
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Ceramic Shots Equal second: above,
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Ceramic Shots 1 Photographer: Dave
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AUSTRALIAN CERAMICS TRIENNALE 2015
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Australian Ceram ics Triennale 2 01
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Claypool is a communal ceramics fac
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Ever heard of a frog cake? For thos
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Farewell Ceramics Victoria 1969-201
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Stockists ACT canberra potters soci
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Connect. promote & engage with our
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BUSINESS DEVELOPMENT with Ingrid Tu
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TURN TURN TURN THE STUDIO CERAMICS
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o CH I NO LOY A dedicated space for
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ceramic design studio www.facebook.
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Bruce Walford (NZ) Ted Secombe (VIC
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POTTERY SUPPLIES Convenient Central
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The Journal of Australian Ceramics Vol 54 No 1 April 2015

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