Pottery In Australia Vol 35 No 1 Autumn 1996

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Showcase a Recent exhibition work Focus: The Art of Function a The Art of Function The work of Steve Davies & Catherine Lane - a strong affinity with process and material. II m Fergus Stewart From Clay to Kiln. Article by Kathy Kituai. Bill Samuels An article about pots by Bill Samuels. The Passion of Earthenware A reply to Ian Jones by Megan Patey. Out of the Ordinary Jenny Orchard's unique exploration of everyday rituals. Cameron Williams Exploring the limitless range of possibilities with clay. 'Being with Objects', an exhibition by Patsy Hely, Susan Ostling and Toni Warburton Papers from the forum held in conjunction with the exhibition. By curator Helen Stephens, Diana Wood Conroy and Virginia Hollister. The Meaning of Function Janet deBoos investigates the truths of function. Dining Out in Style Designers and chefs combine talents in a project for the Crafts Council of SA Article by Bridgette Minuzzo. Art of Sucessful Collaboration Tableware designed and made by Ivan Gluch and Janna Ferris. Article by Patricia R. McDonald. Chequered Clay Stephanie Outridge-Field and Jane Hawthoorn work collaboratively. IFJ Function by Design, Design by Fire 'Pyro Designs' has been established as an alternative marketing vehicle. Article by Rick Wood. Reviews & Profiles m 'Works from the West' Exhibition of work by Jenny Dawson in collaboration with Ian MacRae & Jan Jensen. Review by Stephanie Outridge Field. Beyond the Surface A profile of vessel maker Merran Esson's latest work. Neville French First solo exhibition at Distelfink Gallery. Review by Kim Homby. Tamasin Pepper Graduate in residence at the Crafts Council, Northern Territory. Article by Andrea Raddatz. Musical Abstractions Vivian Cohen combines a passion for musical instruments and clay. Review by Cherry Jacobsen. Albie Herbert Thi~ artist plays a part in highlighting environmental issues . 'Why do Australian Barbeques Need Teriyaki Sauce.' Installation by Won Seok Kim. Article by Sue Buckle. Burning Journeys An exhibition of work by students from Outer Eastern College of TAFE. Review by Kim Martin-Harrell. Studio Practice ma A practical look at Glebe Pottery Studio- Ruth Carter, Barry Blight, Bernadette Magee. Article by Sue Buckle. Marketing 1ml John Eagle addresses more aspects of marketing. Technical Update m The Essential Aspects of T erasigillata by Vivian Cohan. ma The Glaze Page Starting Points for glaze research by Greg Daly. Deflocculated Slip - Article by Ivor Lewis. Clay Adhesive Karen Wei3s researches electric kilns. Postcard ti Gondar Part 2 of Geoff Crispin's work with potters in Ethiopia. Book Reviews Travel Update fS Vietnam Christine Pearson reports. Turkey Ken Osetroff reports. Australia Wide Reports from State Representatives Letters Reponses to the article 'Is This the End' discussing the future of ceramics at ESTC. News ISSUE 35/ 1 AUTUMN 1996 + POTTERY IN AUSTRALJA 1
Editorial =he longer I work with functional form, the more I realise its potential as a vehicle for artistic expression. Every jug carries with it the whole history of jugs and their usage, every teapot relates to the facts of human relationships and daily life. As we move away from these functional realities, there is an increase in status for the work in that it is more readily perceived as being artistic in intent. What we have to ask is what is the corresponding loss' - Janet DeBoos, (Catalogue from the exhibition 'Process and Obsession', 1995). The artists approached to write for this issue all have extensive experience working with functional forms and have written with great feeling on the subject. You will find their articles very challenging. I am sure many of you have at some time felt the great satisfaction of making objects for your own or others use - I know I have. Now in my job as editor, as you can imagine, I see alot of ceramic work and meet many artists/ potters. One of the great joys for me has been buying pieces that become part of our family life. The beauty of hand made objects is that each time you reach for them they are imbued with memories of a person , a time, a place and they continue to collect these memories and associations with use. You respond to them according to your needs or feelings at a point in time and they add something extra to everyday experience. I grew up in a home where domestic vessels were well considered, but generally industrially made. Even here I remember the effect when the 'good' dinner service was brought out of the china cabinet to celebrate a special occassion or the special cake plate came out for a particular visitor.( Not least of all when my sister's boyfriend came to dinner to ask Dad for permission to many her (everyone else already knew!), chickened out somewhere between main course and dessert, and we had to do it all over again the next weekend!) And, of course, the old heavily stained, battered teapot was central to sharing many wonderful (and sometimes confronting) conversations and experiences. These are the objects of ritual that lie at the heart of our existence. They are particularly valuable because they are accessible to everyone. However, each of us has a very personal response which exists because of our own experience and may or may not relate to the original intention of the artist maker. This makes the functional object a very dynamic work of art - and a very powerful and enduring one. This is going to be an exciting year for the Potters' Society of Australia. We are looking forward to being at the National Ceramics Conference, Canberra, in July. I particularly enjoy catching up with all the friends of the magazine - how nice to see a face instead of just using a telephone! As part of the Conference the Society will also be curating an exhibition at Solander Gallery, Deakin, showcasing the work of seven contemporary ceramists and we hope to see many of you there. Launching the 1996 Potters Directory - the first full colour Directory produced for many years in Australia will be another exciting event. This is going to be a spectacular publication with a limited production so make sure you don't miss out on your copy, available first at the Conference. You may be aware of the world crisis regarding the shortage of paper. This unfortunately has led to a considerable price rise for paper which has forced us to increase the cover price of the magazine. We regret this, but we will continue to bring s you the best quality magazine we can possibly produce which will give you plenty of inspiration and practical help. So, choose a special mug or cup for your tea or coffee and relax for a minute with us. D ~ it2g~;~ 1 hiir;1r~p~b1i'shed rciuarterly;qY,th.e_,R9hfrs'· Society t of Australia.
Page 1 and 2: POTTERYin AUSTRA~ Vol 5 Number 1
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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
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Page 46 and 47: "Crescent Vessel", 1995. Stoneware/
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
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Right: "Figure Dancer I" Fleur McAr
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Glebe Pottery Studio Setting up a s
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NO. OF CONTROL CuSTOM SPARE WARRANl
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A ROUNDUP OF LOCAL NEWS AND EVENTS
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are mds Has rom f us )rd. l to size
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sts am ing •• POTTERY IN AUSTRA
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Subscription Order Issue 35/1 Autum
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Traditional and Contemporary Pa ·
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Could these be the best electric ki
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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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ARTS &. CRAFT.I" MARKET, ~OLD COAST
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Pottery In Australia Vol 35 No 1 Autumn 1996

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