The Journal of Australian Ceramics Vol 54 No 1 April 2015

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The Function of Art, The Art of Function The Integrity of Function John Dermer defines his stance as a craftsman The issue of integrity towards an objective can be viewed from several different aspects. There are three that are significant with respect to potters and pots. Firstly, the code of artistic principles embodied within tradition . There were four major potters who influenced me as a student of ceramics, and they remain as positive role models and a constant source of inspiration to this day. The first of these, Bernard Leach, wrote A Potters Book (1940) which became my most valuable resource. I would read it and reread it in order to develop the skills necessary to produce a functional pot that had integrity. Bernard Leach was very influential in the movement to legitimise good quality handmade pots during a period in history when industrially produced ceramics were taking hold of the market. In 1971 I was privileged to spend an afternoon with this wonderful elderly gentleman. At the time I was working as a production potter for his son, Michael. Bernard Leach's flat had a large window that overlooked St Ives beach and I sat there quietly observing both him and his surroundings as he busily organised some tea and cake. He asked me to move a manuscript off a small table to accommodate the tray. Tea was poured from a simple, cut-sided teapot into St Ives cups and saucers. He gestured towards the manuscript and explained that it was a final task he had to complete. He had spent ten years interpreting and translating Soetsu Yanagi's work, only to be informed, just prior to printing, that he was seeing Yanagi's writings through western eyes. The translation was to start again the following week, this time with the help of a Japanese girl who had been raised in the west. The resultant book The Unknown Craftsman was published within the year. Bernard Leach had spent many years studying the Japanese philosophy and traditions associated with their pottery. He understood their reverence for both the pots they used, each for a specific purpose, and the potters who made them. Through his pots he was able to bring his interpretation of this, to a western audience who, at the time, were becoming increasingly dependent upon massproduced items. My afternoon with this man I so revered was full of questions, answers, admiration and apprehension. Bernard Leach sensed my earnestness and my youthful need to understand. He stood up, walked over to his desk and, from a shelf above it, selected a simple jug. It was tall and waisted, with a generous pulled handle sprung from near the neck and joined near the foot with Simple but deft finger movements. The foot was a series of thumb depressions which formed a splayed skirt - even the thumbprints were still visible on the rich terracotta. A small yet functional pouring lip completed the pot. His words of advice, as he held this pot for my inspection, still resonate with me to this day. "This is 14th century. You see, it's all been done before. Just be honest to the process and be honest to the materials." Simple words from a wise and inspirational man - a treasured and pivotal experience in my early life as a potter. Opposite page: Ceramics by John Dermer Above: Bowl, 2014, h.19cm, w.12cm, porcelain, wheelthrown, saltglazed Below: Beakers, 2014, h.10cm. w.Scm, porcelain, wheel thrown. saltglazed Photos: artist S4 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2015
The Function of Art, The Art of Function The other three people who have influenced my work and my aspirations as a potter were also gentle, generous men whose work refleded t heir dedication, integrity and resped for traditions whilst pursuing their own directions: Harold Hughan and Reg Preston, who were treasured friends and mentors to me, and Peter Rushforth, who still is. Their contribution to Australian ceramics has been immensely significant. Peter Rushforth, especially, set the standards for education at East Sydney Tech, where skill-based training was paramount. This enabled the students to develop a st rong understanding THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2015 55
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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
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
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
Page 102 and 103: AUSTRALIAN CERAMICS TRIENNALE 2015
Page 104 and 105: Australian Ceram ics Triennale 2 01
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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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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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