Pottery In Australia Vol 35 No 1 Autumn 1996

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"Crescent Vessel", 1995. Stoneware/engobes and clear glaze, 1280°C. 28h, 42w, 11 d (cm) ot at d r. or ts e d r er t. g I t, . d transformation". One of the major influences of Spain is still present in Tamasin's work, a surface treatment (engobes), which enables her to describe the dry, dusty colours of Spain. This surface is also descriptive of the Australian landscape. The opportunity to develop work over a year towards a solo show with full use of facilities, lured Tamasin to the Top End of Australia to take up a Graduate Residency at the Crafts Council of the NT in Darwin. "I enjoy working in new environments and being able to express the shock of strangeness and displacement into my work" Tamasin was enticed by the beauty and colour of the coastline and the idea of living in the tropics was too good to resist. "There is a process of osmosis in adjusting to a new place which pushes work in a new direction in order to accommodate it." The upcoming exhibition 'Locus' sees the influence of the coastline, the chalky, vibrant colours of the rocks, shells and earth as well as the fragmentary forms and surfaces which have an ancient, unearthly quality. "Also shutters, boat stays and keyholes are referenced in these pieces as a means of obscuring or concealing partially what is on the inside. Some also play on the traditional vase form with their 'feet' and 'hole' (which is not always very practical or even at the top of the vessel). With the new pieces being created for the upcoming exhibition, Tamasin has started clear glazing the inside of some of the pieces which contrasts with the textured engobes on their exterior. The colour range truly reflects a lifestyle along a tropical coastline; white/cream with crystals of yellow to blue-grey breaking to oranges and rusts. In essence Tamasin has started breaking new ground with her own works and is not afraid to experiment with new techniques, whilst at the same time perfecting those she has been working with for some time. oo 'Locus' opens on March 29 until April 29 at the Crafts Council of the NT Exhibition Gallery, Conacher Street, Fannie Bay. ISSUE 35/1 AUTUMN 1996 + POTTERY IN AUSTRALIA 41
Function by Design, Design by Fire "Pyro Designs" has been established to create an alternative marketing vehicle for 20 and 30 artists. Article by founding member RICK PRICE Left: Jane Annois, raku vessel. 30h (cm). Centre: Rick Price, vase. 60h (cm). Right: Hedley Potts, large vessel with detail of engobe decoration. 50cmw x 45cmh (cm). I n most instances the individual artist, or crafts person, may follow a series of 'ergonomic' guidelines or references when making a functional vessel or form. 1brough simple design concepts, the object at hand can be broken down into a series of interactive elements or components which may then be manipulated or abstracted to produce a wide range of work reflecting a common theme, or variation there of. It is interesting, however, to apply this formula to the humble 'Tea bowl', a functional form steeped in tradition and ritual. When one examines it's far reaching influences, the cultural and philosophical ramifications of such a simple form extend from one side of the globe to the other. This, in turn, may manifest itself in a wide variety of concepts, designs, philosophies or forms. In short, a group of individuals, working in clay, may interpret the concept of 'function' in any number of ways ... and do. Pyro Designs is a 'design' based collective of artists that occupies a shop front in Brighton, Melbourne. Artists within the group work predominantly in clay but also explore areas such as 2D art, photography, mixed media, sculpture, furniture, murals and individual or collective commissions. This diverse group of artists pays homage to the wide variety of approaches to clay, it's function and the exploration of clay as a vehicle for expression. Pieces range from fine espresso cups and saucers, to lustres, raku bowls and large coiled and thrown vessels. The concept of 'function' in this context, is quite subjective and although a piece may have an ergonomic 'function', its aesthetic considerations will still fulfil the historical references to the 'function' of adornment, be it classical or conceptual. Pyro Designs was established in December 1995 by 1 founding member Rick Price and is run as a collective, (or co op in philosophy). Featured are the works of members: Jane Annois, Nina Bursian, Sara Curtain, Kathy Griffiths, Tony Huchison, Rosie Laught, Lynley Northcott, Veronica Petelin, Hedley Potts and Rick Price. It is also important to consider the individuals 'function' within a group such as this. As a collective each individual's role is imperative to a philosophical and physical existence. All duties are shared throughout the group, with most members involved in working in the shop twice a month, or once a month with extra administrative responsibilities. The collective offers a large resource of experience and abilities to draw from whilst increasing it's networks and potential. To highlight this point one only need look at Rosie Laught's 'function' within "Pyro Designs". Rosie Laught is a photographer working in artistic and corporate fields, with a very strong sense of composition. Re th, Tr th, etc fili or $3 ce St< glc pr W; to us vi, re pr ce p;: 42 POTTERY IN AUSTRALIA+ ISSUE 35/ I AUTUMN 1996
Page 1 and 2: POTTERYin AUSTRA~ Vol 5 Number 1
Page 3 and 4: • I C s b ll '\ V s [ ll C fr C l
Page 6 and 7: Showcase a Recent exhibition work F
Page 8 and 9: ul ) s. t . e o S e n t s t I e a o
Page 10 and 11: SHOWCASE Above: Cheryl Sobott-Tom.
Page 12 and 13: ISSUE 35/1 AUTUMN 1996 + POTTERY IN
Page 14 and 15: tic to re ar to at ts a. e o , d t
Page 16 and 17: Tea pot. Salt glaze. 15h (cm). d .r
Page 18 and 19: Wood Fired Shino Dish. d45cm lS n l
Page 20 and 21: s y s r Out of the Ordinary JENNY O
Page 22 and 23: the ard ted ure ng be ve or s I the
Page 24 and 25: ! large as ld ln en CD CD 0 I ~ >
Page 26 and 27: of fal of ts, lly of ed sm ith t a
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Page 34 and 35: St e th to e se a in d e ft Austral
Page 36 and 37: s e. ly ct to e e e e ?''. ff as ly
Page 38 and 39: H ave you heard the old adage 'two
Page 40 and 41: he to >US tly 1e, Ne of to as in ls
Page 42 and 43: the r to ous and to and ing s to nd
Page 44 and 45: md : to )Ur 1 a 1ed as 1ce an h's l
Page 48 and 49: e 3tS, l Above: Lynley Northcott, c
Page 50 and 51: Musical Abstractions Vivian Cohen h
Page 52 and 53: ~ring Iden rood ::r to my ,nse, : t
Page 54 and 55: e er ue so n n ul as been adopted f
Page 56 and 57: d ion a act the As to ep ing for ic
Page 58 and 59: Right: "Figure Dancer I" Fleur McAr
Page 60 and 61: Glebe Pottery Studio Setting up a s
Page 62 and 63: to d? to he ) it ns g ey er s is is
Page 64 and 65: 1les ed On vas he be aS he a he he
Page 66 and 67: on t of ire eg uel he lOt at ly at
Page 68 and 69: 1le lly :ct he nd . a ce to :d. ut
Page 70 and 71: ly re er ip d y 6 in es d s, 8 d h
Page 72 and 73: T tO just ln is and ;ize, ious sed
Page 74 and 75: NO. OF CONTROL CuSTOM SPARE WARRANl
Page 76 and 77: md 1ite e it to lgh gh of a ty, of
Page 78 and 79: y e at t t , it Left: Nguyen Thi Do
Page 80 and 81: op a e ck de It n !, d a e is a of
Page 82 and 83: A ROUNDUP OF LOCAL NEWS AND EVENTS
Page 84 and 85: are mds Has rom f us )rd. l to size
Page 86 and 87: sts am ing •• POTTERY IN AUSTRA
Page 89 and 90: Subscription Order Issue 35/1 Autum
Page 91 and 92: Traditional and Contemporary Pa ·
Page 93 and 94: Could these be the best electric ki
Page 95 and 96: INTERNATIONAL WORKSHOPS 8th Nationa
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CAST IRON BANDING WHEELS E13/A E13/
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CLAYWORKS FINE FILTERPRESSED STONEW
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( (/ Sydney College of the Arts } T
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VIDEO Wo1lKSHOPS POll PoTTEllS Form
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VENCO DE AIRING PUG MILLS all stain
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HTH MAUH - l~TH ArRlt t9r~~ IU~f{J
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ARTS &. CRAFT.I" MARKET, ~OLD COAST
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Pottery In Australia Vol 35 No 1 Autumn 1996

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