The Journal of Australian Ceramics Vol 54 No 1 April 2015

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Ramesh Mario Nithiyendran Idol, 2014, red terracotta handbuilt, electric kiln, 1000·( h.89cm, w .60cm, d.46cm Photo: Simon Hewson; image courtesy of the artist and Gallery 9, Sydney
Stud io Ceramics by Ramesh Mario Nithiyendran 1 Pewter Dickhead, 2014, earthenware and glaze, handbuilt, multiple firings, hA9cm, w.16cm, d.1Scm 2 Blowhole 2, detail, 2014, red terracotta, glaze, ceramic undergJaze pencil. gold and platinum lust re, hand built multiple firings, h.64cm, w.48cm, d.45m 3 Leaning Dickhead, detail, 2014, earthenware, glaze and gold lustre, handbuilt, multiple firings, h.44cm, w.31cm, d.27cm Photos: Simon Hewson; image courtesy of the artist and Gallery 9, Sydney VG: What is your favourite part of the ceramic process? RMN : Opening the kiln door and seeing that my one metre tall beasts have been bisqued successfully without structural flaws, large cracks or moisture-related explosions always produces a slight euphoria. Though I never get too attached to the works, I try to be fluid and work practically with whatever the process throws at me. It seems that Post-Modernism, as well as my (anti) aesthetic really allows me to work with cracks and surprises. 3 VG: Which single piece of ceramics would you most like to own? RMN: Anything by Vipoo Srivilasa. His work has everything for me - heart, beauty, humour, joy and immense technical skill, as well as a deep and complex engagement with cultural heritage and Eastern ceramic and design traditions. His visibility and engagement with community also adds to my desire to acquire one of his works. VG: How do you identify your work? RMN: I don't have an identifying mark. Gallery 9, who I'm represented by in Sydney, are great as they document and archive my work as it is made. This means there will always be a digital record of my studio outputs. VG: Clay can so beautifully record the mark of the hand. Is this the reason you've moved into using clay? RMN: The shift towards new media in contemporary art and flippant declarations like 'painting is dead' creates a hierarchy between mediums, This means 'contemporary art' forms like ceramics, glass, printmaking and textiles are often placed at the bottom of the food chain. However, I'm a strong advocate for hand-based practices. Maybe I'm daggy and old fashioned, but I'm not a fan of dry art made with computers. I think clay is powerful as it really traces the humanity of the artist. THE JOU RNAL OF AUSTRALIAN CERAMICS APRil 2015 75
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WALKER ~ Feeneys Clay Cesca Glazes
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Contents REGULARS 60 VIEW 1: The Do
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Contributors Kelly Austin is a Cana
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Shards Entries now open VICTORIAN C
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Focus: The Function of Art. The Art
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The Function of Art. The Art of Fun
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The Fu nction of Art, The Art of Fu
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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 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 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
Page 106 and 107: Claypool is a communal ceramics fac
Page 108 and 109: Ever heard of a frog cake? For thos
Page 110 and 111: Farewell Ceramics Victoria 1969-201
Page 112 and 113: Stockists ACT canberra potters soci
Page 114 and 115: Connect. promote & engage with our
Page 116 and 117: Classifieds CERAMIC SUPPLIES ~~~~ B
Page 118 and 119: Clay Extruder -all stainless steel
Page 120 and 121: SYDNEY POTTERY SUp~~0> OUTLET V . C
Page 122 and 123: BUSINESS DEVELOPMENT with Ingrid Tu
Page 125 and 126: TURN TURN TURN THE STUDIO CERAMICS
Page 127 and 128: 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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