The Journal of Australian Ceramics Vol 54 No 1 April 2015

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The Function of Art. The Art of Function another conversation. It may be as simple as choosing a favourite mug, or it may start with the visual orchestration of form, texture and colour that complements the warmth and laughter of a gathering of friends for an informal banquet. In contrast there is also the art of choosing and using pots within a very formal setting such as a Japanese tea ceremony. The function and surroundings of the pieces are quite particular; however there is still the telling of a new story, of enjoyment each time they are carefully selected from the library and used. Discussion of the maker and making of pieces used is an integral part of the tea ceremony. Using tableware can be seen as analogous to a jazz performance. The event may be spontaneous and ephemeral in nature but leave a lasting impression - it can provoke an emotional response that lingers in the memory. As with jazz, making pots and preparing and serving food can have a variety of styles, genres, tempos, rhythms, tones, colours and improvisations. The venue and audience can vary from time to time and each event is unique, an opportunity to create a new piece of performance art. It may be the soothing lyric of a quiet breakfast amid the bustle of a busy life that is enhanced by a favourite mug for tea and a special plate for toast, or it may be the choice of bowls for a rambunctious and up-tempo meal of pasta and red wine with friends. Now more than ever it seems vitally important to emphasise human values that include caring for each other and our environment, creativity, compassion, conviviality, humour, art, contemplation, and making of ceremonies. In this context the experience of using pots every day is life enhancing . From breakfast to dinner there is a chance to engage with the hand, the eye, the skin, the heart, memories, others, and the self, without which we would be diminished. What I hope people get from using my pots is some connection with the story of the making - a connection with the energy and movement of the making process, a tactile experience that draws one closer to the real world of textures and undulations, to feel the hand of the maker when using the pieces, and to spend time being drawn into the colour, texture and variation of woodfiring and salt glazing. Like jazz, one can talk about it, but it is the direct experience that really makes the impact. www.sandylockwood.(om.au OPPOSIte page: Ceramics by Sandy lockwood 1 Tray, 2014, handbuilt, woodfired and saltglazed stoneware to 1300·C h.4
The Function of Art. The Art of Function THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2015 49
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
Page 24 and 25: The Fu nction of Art, The Art of Fu
Page 26: The Function of Art, The Art of Fun
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Page 36 and 37: 32 THE JOURNAL OF AUSTRALIAN CERAMI
Page 38 and 39: Mel Robson. Suzi lyon and members o
Page 40 and 41: period of a month it grew and evolv
Page 43 and 44: The Function of Art, The Art of Fun
Page 47 and 48: Kelly Austin, Monster Small Dishes,
Page 51: ~-- -- -------- ~~-------------- Th
Page 61 and 62: The Function of Art. The Art of Fu
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
Page 82 and 83: Linda Seiffert, Cascade Artist Stud
Page 84 and 85: Gatherings Baptism of Fire The rebi
Page 86 and 87: Gatherings --------- Preparation of
Page 88 and 89: Community Touch This Earth Lightly:
Page 90 and 91: THE TRUDIE ALFRED BEQUEST CERAMIC S
Page 92 and 93: Asso ci ation The Trudie Alfred Beq
Page 94 and 95: Asso cia tion Kylie Rose McLean Adv
Page 96 and 97: Asso ciation Left: Ingo Svendsen, I
Page 98 and 99: Ceramic Shots Equal second: above,
Page 100 and 101: 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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Classifieds CERAMIC SUPPLIES ~~~~ B
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Clay Extruder -all stainless steel
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SYDNEY POTTERY SUp~~0> OUTLET V . C
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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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