The Journal of Australian Ceramics Vol 54 No 1 April 2015

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The Function of Art, The Art of Function Shino - Form and Beauty Angela Walfo rd shares her passion for the unpredictable I never imagined that studying film would lead me back to ceramics. While researching some documentary footage of a tribal village, scenes revealed the huts had brilliantly golden woven thatch and the film visually compared them to the hair weaves on the women's heads, rapidly cutting from different angles of view. The mise-en-scene was a stunningly beautiful way of seeing the simplicity and ritual in that way of life. I knew then that I needed to somehow explore the attraction that I felt to the art of texture in that native village and its natural beauty. I went back to study ceramics in 1999, learning about ki lns and glazes from John Coulter until I was replete! Since then I have grown to love the infinitely variable surface of shino glaze, experimenting with myriad additions to what was originally an American recipe. It is a hard taskmaster but I have learned to work together with it and enjoy the constant discovery. My glaze forms micro crystals of soda ash on the surface pre firing and red clay additions give the warmest surface. I've observed the difference that thickness of application of glaze makes, and the surface lustre created by gas and wood under heavy reduction can be stunning, often mistaken for wood fired . With additions of red gum chips during the firing, it's now a truly Aussie glaze! Shared workspaces can inspire me, but I usually work and fire alone in my back garden studio. Surrounded by quarries and brickworks in the Adelaide foothills, clay sits right on the surface of the roadside. Tests have provided great results and blends with commercial clay bodies have been promising. My functional forms, large and small bowls and mega serving bowls, are inspired by Asian ceramics, and subtle curves are influenced from my college days and my UK heritage. I take several weeks glazing and loading to prepare for firing. From lighting the gas pilots onwards, focus is needed to listen to the kiln and feed the fire as the temperature and atmosphere grow in intensity. In the early hours, when it's cold outside and the gas tanks are frozen, comes my time for painting with fire. I enjoy this intense time, contributing to but never completely controlling what happens inside the kiln; serendipity and providence are the masters of this fiery beast. What precedes the firing allows the atmosphere inside to do its work. Results can be disappointing sometimes, but I never cared for predictability! The slow food movement has affected the handmade market place and local potters are feeling the benefit of people growing their own food again . We make artful implements that complement the notion of making everything from scratch. Dishes of beauty, plates and cups that fit your hand and suit the handmade meal, and all made here in Adelaide. 50 THE IOURNAL OF AUSTRALIAN CERAMICS APRIL 2015
The Function of Art. The Art of Function Opposite page: Angela Walford; photo: Derek McClure Ceramics by Angela Walford 1 Water Vessel. 2014, stoneware, cone 10, h.l6cm, w.26cm 2 Tapas, 2014, stoneware, cone 10, h.4em, w.22cm 3 Cup, 2014, stoneware, cone 10, h.7cm, w.9cm Photos: artist THE JOURNAL OF AUSTRALIAN CERAMICS APRil 201S S I
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WALKER ~ Feeneys Clay Cesca Glazes
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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 38 and 39: Mel Robson. Suzi lyon and members o
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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
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,
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Page 102 and 103: 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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