Pottery In Australia Vol 38 No 3 September 1999

classic form 

& surface

WALKER 

~ 

EARTHENWARE & STONEWARE 

Melbourne (03) 9725 7255 Sydney (02) 9451 5855 Canberra (02) 6280 5700

DATE DUE 

~-~ THIS ITEM MUST BE RETURNED ON OR 

BEFORE THE LAST DATE STAMPED 

BELOW. 

Suvan Mudcha. Works by Vipoo Srivilasa 

Rites of Tea 

Kim Peng Pang and the ceremonies of tea. 

Article by Michael Connor 

:RNATIONAL UPDATE 

Vert de Bien Hoa. A classic glaze from 

Vietnam. Article by Boi Tran Huynh 

Junko Kiritani v1s1ts the Cairns Potters 

Group of North Queensland 

~UC ART 

River Reflections 

A community arts project for lnnisfail, 

Queensland. Article by Bonnie English 

The Punjab. Peter Wilson visits Pakistan 

:AT GLAZES 

Em 

m 

m 

m 

m 

ce1aaon ana Jun reapms ana oow1s 

Clayx4 

Jeff Oestreich reflects on an exhibition of 

woodfinng by Sandy Lockwood, Neil 

Hoffmann, Dennis & Malina Monks. 

Article by Sue Buckle 

Ellipsis 

A group exhibition at Craftwest Gallery. 

Article by Edward Arrowsmith 

Qdos Woofire Conference, Lorne. 

Article by Robert Knighton 

Broaching the Subject 

An exhibition of brooches at Back to Back 

Gallery, Newcastle. Jan Downes 

Potters Showcase 

An exhibition by members of the Victorian 

Ceramic Group. Glenn England 

lmJ 

rmJ 

Guan but not Forgotten. 

Steve Harrison researches a classic glaze 

A dry glaze journey by Winnie Webber 

Glaze ingredients explained by Mike Kusnik 

TRA\IEI I IPD;H I 

m South Africa 

tlJ Conference Report 

TECHNICAL UPDATE 

m Teapots by Glenn England 

ml 

HANDS ON Product Update 

m Q & A: Glaze questions 

m Letters 

m WELL READ Book Reviews 

m AUSTRALIA WIDE 

Reports by State representatives 

fm 

Summer workshop with Jane Crick 

m News 

ISSUE 38/3 SEPTEMBER 1999 + POTTERY IN AUSTRALIA 1

Ta a a 

Bernadine Alting 

(03) 6395 1270 

Leanne Vanderslink 

(03) 6327 1513 

f .ALJstral a 

So NJ a 

Maggie Smith Pia &:m 9854 

II East meets West 

Christopher Sanders researches questions · 

posed by melding traditional oriental glazes 

with a modernist aesthetic 

II Helen Stephens 

'Domestic pieces of utility can have a value 

lfJ 

Im 

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E!J 

Em 

fE 

beyond their original purpose'. Article by Peta 

Landman 

'It's not on any map, but true places never 

are' 

RE Jir..'"'S 

&!J 

Em 

Louise Boscacci 

Slumped at the Wheel 

Working collaboratively, Andrew Stewart and 

Deb Cocks 

Alistair Whyte 

Aesthetics and techniques learnt in Japan, 

influenced by an Australian lifetyle 

Kissed by Fire 

Crystal Glazes by Peter Wilson 

"From a Point of Singularity to a Position 

of Sharing" 

Ian Cume writes of Steve Harrison's guan, 

celadon and jun teapots and bowls 

Clayx4 

Jeff Oestreich reflects on an exhibition of 

woodfiring by Sandy Lockwood, Nell 

Hoffmann, Dennis & Malina Monks. 

Article by Sue Buckle 

Ellipsis 

A group exhibition at Craftwest Gallery. 

Article by Edward Arrowsmith 

Qdos Woofire Conference, Lorne. 

Article by Robert Knighton 

m Broaching the Subject 

An exhibition of brooches at Back to Back 

E!J 

Gallery, Newcastle. Jan Downes 

Potters Showcase 

An exhibition by members of the Victorian 

Ceramic Group. Glenn England 

11,0R.VSBY CU!Pl'S LIBRARY 

THN SYD.VEY INSTITUTE OF TAFE 

OS PACIFIC HWY 

HORNSBY NSW 2077 

PROFILES 

DJ 

Suvan Mudcha. Works by Vipoo Srivilasa 

Im Rites of Tea 

Kim Peng Pang and the ceremonies of tea. 

Article by Michael Connor 

INTERNATIONAL UPDATE 

Em Vert de Bien Hoa. A classic glaze from 

1ml 

Vietnam. Article by Boi Tran Huynh 

Junko Kiritani visits the Cairns Potters 

Group of North Queensland 

PUBLIC ART 


mD 

pr)C:~t:ll'.l' 

f?I 

A community arts project for lnnisfail, 

Queensland. Article by Bonnie English 

The Punjab. Peter Wilson visits Pakistan 

GREAT GLAZES 

IJ Guan but not Forgotten . 

lmJ 

lmJ 

Steve Harrison researches a classic glaze 

A dry glaze Journey by Winnie Webber 

Glaze ingredients explained by Mike Kusnik 

TRf.\!EL I PDA fE 

mJ 

mJ 

South Africa 

Conference Report 

TECHNICAL UPDATE 

tfJ Teapots by Glenn England 

IE HANDS ON Product Update 

fa Q & A: Glaze questions 

fm Letters 

fZI WELL READ Book Reviews 

fm AUSTRALIA WIDE 

DJ 

fm 

Reports by State representatives 

Summer workshop with Jane Crick 

News 

ISSUE 38/3 SEPTEMBER 1999 + POTTERY IN AUSTRALIA 1

The 9th National Ceramic Conference in Perth was a 

huge success with attendances well exceeding 

organisers expectations. It was obvious all who 

helped with both the planning and the day to day 

running had done their jobs thoroughly and with the 

exception of the usual spate of technical hiccups, 

everything went according to plan. Excitement built over 

the week as keynote speakers, demonstrators, presenters 

and delegates all added their own energy to the mix. The 

Keynote speakers, Janet Mansfield (Aus), Paul Mathieu 

(Canada), Edmund du Waal (UK) and Stephen Goldate 

(Aus) started each day's proceedings with a plethora of 

ideas. Sharing their wealth of experience and knowledge, 

they challenged, they provoked, they tantalised - a perfect 

start to the day's proceedings. After presentations and 

debates on all aspect of ceramic practice each day ended 

with a seemingly endless round of openings and social 

events that kept the pace, and the talk, up till the small 

hours. And finally there was the Clay Olympics - a great 

way to let off steam after all the talk and an hilarious 

spectacle for both contestants and spectators. 

It was a very friendly Conference and a great chance to 

meet the ceramists of WA and see their work. It is 

obvious that there is a strong tradition of ceramic practice 

in WA with all the diversity and vitality we have come to 

expect from Australian ceramic art. It was exciting to 

speak to artists about their work and influences, to see 

them demonstrating and to visit individual studios. The 42 

exhibitions covered work from all States of Australia as 

well as work by international presenters and 

demonstrators. Such a feast for all tastes. And all this at a 

time when we seem to need to reaffirm our committment 

to ceramic practice in the face of economic and cultural 

change. More than ever we need to actively create our 

place. Awareness of being part of a community can give 

us the kind of reassurance and energy we need for that. 

The 'Clay 

Olympics' 

just before we 

got hit by a wall 

of clay slip from 

the previous 

runners in the 

relay! 

Congratulations to the Perth organising Committee and 

all their helpers who can now relax and think about 

enjoying the next Conference which will be in Melbourne 

in 2002. 

I spent much of my time during the days at the 

Conference on our trade stand. It was wonderful to talk 

to so many people who have supported the magazine for 

many years. I love the feedback and ideas I get and it's 

always great to put a face to a name. We are thrilled with 

the number of new subscribers who signed up at the 

Conference and thank you for your support. We value all 

our readers but ultimately it is the buyers who provide 

the funds for us to develop the quality and content of the 

magazine. 

This issue we showcase works that have a quietness 

and stillness in form and surface. These are pieces that 

truly engage the viewer, that take you to a quiet place 

and hold your attention. Each artist profiled expresses a 

deep committment to this style of creative expression, 

each has a strength that comes from a considered and 

very individual approach. The works show confidence 

and integrity whilst often retaining a playfullness that 

goes beyond any particualr tradition of form or surface. 

Hopefully you can find a quiet 

moment and enjoy this issue. 

Pottery in Australia is 

·. published quarterly by the 

,:Potters; Society of 

·- Australia. 

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·Autralian ceramics are welcome. 

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2 POTTERY IN AUSTRALIA+ 38/3 SEPTEMBER 1999

Top left: Mathew Blakely, 

Bowl. Faceted porcelain 

oxidised. 10 x 15cm. 

Above left: Phil Elson, 

Blue chun, pink shino 

bowls. 

Photo Terence Bogue 

Approx. h 16 x 35cm. 

Above: Ray Rogers, silver 

lustre jar. Earthenware in 

glaze lustre. 56cm. 

Left: R. Mackenzie, 

stoneware and raku table 

setting. Joint winner of 

the Potters' Society of 

Australia Award of 

Excellence. 

'Ripped' Student 

Exhibition, Perth '99. 

Photo Ray Delamare. 

38/3 SEP~EMBE'R 1999 + Po Ttt{f II\J A USTRAL A 3

Left: Greg Crowe. Long 

wood fired vessel. h60cm 

Photo V. France 

Below: Bob Connery, 

bowl. Trailed gold lustre, 

earthenware reduced 

lustre. 

Bottom: Tony Nankervis, 

Vase 1999. Long wood 

fired, multiple fired, ash 

glazes. h24cm 

38/3 SEPTEMBER 1999 + POTTERY IN A USTRALIA 4

East Meets West 

CHRISTOPHER SANDERS researches questions posed by melding traditional oriental glazes 

with a modernist aesthetic.

Lidded jars, 

green and red 

with gunmetal 

black lid. 

Green: titanium 

and copper. 

Red: copper red 

h22 X d14 X W18. 

Previous: Detail 

of lidded jar. 

M 

y most recent body of work was produced for my 

Masters by Research degree at RMIT. The project 

posed the question whether or not the 

orientalising traditions of nine selected classic glazes 

could be melded to shapes derived from a twentieth 

century modernist aesthetic. While the 'classic' chun and 

copper glazes are redolent of their Chinese sources, a key 

assumption in the project was the recognition of my own 

inherent Westerness, and the wish to explore this in 

tandem with my appreciation of the material aesthetics of 

high temperature reduction glazes. This body of work 

was subsequently exhibited at Distelfink Gallery. I have 

adapted the documentation for this article, and some of 

the works are illustrated. 

After acceptance onto the Masters by Research 

programme and during the first six months, the higher 

degree committee drove myself and most other 

candidates to complete numerous amended drafts of our 

project aims, honing in on the core theme, before 

establishing a final project framework. While I began the 

project with the advantage of a broad technical 

knowledge, this sometimes led me into new and 

interesting areas which were not so relevant. Yet it was 

here that I realised the value of the 'blueprint' project 

programme, which kept me from straying too far from 

the core themes. Once I had realised that the body of 

work which I produced would be judged according to 

this document, it became much easier to focus on day to 

day work. 

My initial research explored the unornamented 

aesthetic of so called 'machine age' architecture and mass 

produced goods, stimulated originally from early Bauhaus 

design, and expanded by the new breed American 

designers during the thirties. Research sources for 

ceramics in particular are fairly slim in this field, and 

monographs on specific designers, or designer-makers 

are few and far between. Reference books and exhibition 

catalogues in this field also tend to reflect a broad focus. 

Karen McCready's 'Art Deco and Modernist Ceramics', 

and Anne Lajoix' 'La Ceramique en France' were useful 

early references. 

I also looked at works from other media concerned 

with structure and mass, including the paintings of Leger 

and the sculptures of Barbara Hepworth, in an attempt to 

better understand formal spatial relationships. The 

development of new ideas and their translation into new 

forms was therefore drawn from a multiplicity of sources. 

These ranged from French studio designs and American 

consumer ceramics and goods, through to Swedish 

studio-factory designs. 

Where in my pre Masters work I had concentrated on 

larger vessels, vases, and lidded jars of an orientalising 

aesthetic, I chose to work on domestically scaled 

functional ceramics for the project. It is a challenge to 

give presence to smaller scaled wares compared with that 

which is in part already won by larger scale pieces. I 

became interested in developing the inherent sculptural 

qualities of functional wares by paying closer attention to 

mass, line and proportion, and to the relationship 

between repeated and similar shapes in a group or pair. 

6 POTTERY IN AUSTRALIA + 38/3 SEPTEMBER 1999

Pair of gourd 

shaped jars, 

textured surfaces, 

gunmetal black 

lids, copper red 

glaze. 

h21 cm, h25cm. 

Detailing of ancillaries, glaze election and surface 

texture were chosen in terms of creating unity. 

My fir t designs had a fairly close affinity to early 

Bauhaus ceramici ts such as those unornamented 

geometrically shaped wares based on peasant archetypes 

wares made by Otto Lindig in the early twenties. While I 

wa intere ted in Lindig' use of structure, I also preferred 

a more sophisticated and sleeker finish than the prosaic 

earthenwares used at this time, and hence the attempt to 

meld the hardness and beauty of orientalising reduction 

glazes with these We tern ourced forms. 

The making process became cyclical, involving the 

development of an idea, then constructing, firing and 

a e ing the finished object. As the project progressed 

and new directions became e tablished, I largely 

abandoned new research, concentrating on specific 

problem solving around core theme . 

The cycle would then move back to research (personal 

journals, selected books and journals), to attempt to 

refine previous work. 

ome of my early research had concentrated on postwar 

modernist consumer objects, influenced by Jean 

Arp's sculpture, with their purely formal concerns of mass 

in pace, line , proportion and positive and negative 

space. Looking for a more fluid form, I developed a 

gourd shape which became a second major thematic 

hape (see picture above). This shape took well to sleek 

glazing and surface finishing , and formed a stable 

platform for functional jars, teapots and other items, 

depending on its proportions. As I worked on this shape, 

I again began to feel that the symmetricality of throwing 

was skewering the fluidity of the gourd form. Somehow, 

the finished objects seemed to lack sufficient joy or levity. 

At the same time I developed a series of jar forms 

based on a reverse curve, which when assembled 

suggested a bamboo-like form. I developed a technique 

of sectioning a trimmed dish to the top of the cylindrical 

form, cutting a lid-opening and gallery to take a lid. This 

harmonised with the theme of the reverse curve, while 

enabling construction of a form otherwise impossible to 

throw on the wheel. 

Yet both forms , what I referred to as the 'gourd' form, 

and the 'reverse curve' form, again seemed overly stiff. 

Two developments alleviated this problem. The first was 

to flare the reverse curve, so that the jar was wider at the 

top, rather than assuming a rather rigid bamboo-like 

form . This led to a period of experimentation with 

proportions of height and width, while sorting out the 

relative depth of the dished top section of the jar form. 

The second, while a mere detail, was more difficult, 

and evolved over time. I had found that the centralised 

shape of a thrown knob acted as a 'pin' which killed any 

sense of dynamism within the shape. As a counter, I 

began to roll and taper knobs, and to subtly bend them. 

At first they were too large, too clumsy, too thick, or too 

exaggeratedly thick/thin. Over a number of firing cycles I 

learnt to make them more subtly, and found that the 

lean, the taper, and curve were critical to the finished 

look. The end result was a knob which seemed light, 

elegant, and offering itself for use. Importantly, and 


particularly in relation to colour combinations, it also 

added the levity, the little bit of theatricality which I had 

been looking for (see picture below). 

At the time I also began to investigate the works of the 

contemporary designers from the Alessi group and 

Phillipe Starck. I was impressed by their indifferent 

attitudes to questions of 'high' or 'low 'art' and their 

concerns rather with communicating with an audience 

within familiar idioms. I was particularly impressed with 

Starck's designs, his ability to make a building or a 

toothbrush equally interesting objects, and I could see 

that same concern for elemental spatial relationships that 

Brancusi and Arp understood. I returned frequently to his 

Asahi building, with its tilted 'flame ' sculpture poised 

weightlessly on its black roof, and attempted to 

infuse some of this dramatic element into 

my later jars (see pictures on pages 5 

and 6). 

In settling on two core shapes, 

I attempted to fulfil my core aim 

of producing an interrelated 

body of work, regardless of the 

function ·of individual elements. 

This concept, from British Keith 

Murray at Wedgwood in the thirties, to 

American Russell Wright in the forties 

and fifties , used the notion of 

'matching' to entice consumers to buy 

further items. I have adopted Murray's 

simple device of lines and proportions, 

and Wright's use of internal and external 

colour to 'mix and match' items. Colour and 

glaze development have been a critical 

element of exploration in the project. 

The Masters of Fine Art by research project was a 

challenging and rewarding focus leading to a new body 

of work. It proved interesting seeing my traditional 

chuns, copper reds on new forms. 

The project led me to invent new ways of construction, 

often cutting and reassembling, or using multiple pieces. 

I wanted to avoid an overly forced or contrived look and 

for the functional forms to have an unassuming 

simplicity, yet hopefully a sense of engagement. The 

success or failure of my aim to assimilate traditional 

reduction glazes with a more overt Western based form 

rests with the final pieces. oo 

Copper green 

glaze with black 

and yellow lid. 

W16 X 25h. 


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PROFILE 

38/3 SEPTEMBER 1999 + POTTERY IN AUSTRALIA 9

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s Helen Stephens handles her latest work, pared 

down, utilitarian shapes, predominantly white 

with the merest touches of orange where the 

glaze breaks, she talks of their simplicity, "This is what 

I find myself striving for most of the time - this 

simplicity and purity. I love throwing and I like to 

throw loosely. You can only do that with simple 

uncomplicated shapes ... I am in anguish when I find 

myself fussing over a pot." But this talk of simplicity is 

deceptive. Behind Helen's work is an intellectual 

enquiry which finds satisfaction in the constant 

interaction of her many activities, from writing, 

lecturing, curating, to a position on the Board of the 

Centre for Contemporary Craft and always the thread 

of her own work providing a practical avenue for 

intellectual experimentation. 

Born in Sydney's southern suburbs and coming of 

age there, it was no straight 

Top right: Helen with forward progression to 

'Freddie'. 

ceramics. Inspired by her 

mother's skills in dressmaking, 

Below: 'Basics' . Helen's first inclination was to 

Oxidation Shino dish study fashion design at East 

(centre) 5.5 x 24cm. Sydney Tech, but family 

pressure forced her to take up 

Previous: Large oval a job in a bank. It took 30 

serving dish '99. years for her to finally enter 

Oxidation Shino. the Tech's sandstone 

h12 x L32cm. 

enclosure. After banking, she 

took a journalist position at 

Opposite: Two 'Pillow' Australian Associated Press 

dishes '99. Stamped (AAP) and for the next ten 

stoneware. Largest dish years writing engaged her, 

d20cm 

with stints at the finance desk 

of AAP, at ABC Radio news and with her partner, Eric 

at his magazine, Retail World. In the mid-1970s after 

returning to school to finish her HSC she studied 

political science at the University of SW. 

Through all these career changes, an underlying 

interest in the arts had never completely left her, and 

in the mid-1980s Helen began preliminary studies for a 

BA in Fine Arts at Sydney University which included 

practical experience in ceramics at the Tin Sheds. This 

was a very political, feminist, funky period in ceramics 

and an honours thesis on Australian ceramics exposed 

her to artists such as Lorraine Jenyns and Margaret 

Dodd. This exposure only served to clarify that 

sculptural work was not her interest. When looking 

around in 1990 for a school to further her ceramics 

study she rejected the Sydney College of the Arts for 

the more artisan-oriented East Sydney Technical 

College. 

By her third year Helen, curiously, had come back 

to her first interest, making tall, hand-built vessels 

from rolled out clay: pieces of clay were torn off and 

wrapped back together with uneven edges. These 

containers were construcred not unlike some of 

today's fashions. 

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10 POTTERY IN AUSTRALIA + 38/3 SEPTEMBER I 999

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"Wanting to push the idea 

that domestic pieces of utility 

can have a value beyond their 

original purpose" and wanting 

to take control of the 

presentation of ceramics, it 

was a logical progression to 

move into exhibition curating. 

'Being with Objects' was her 

first curatorial experience. This 

exhibition, which toured 

regional galleries in SW, 

Victoria and Queensland, 

featured the work of Toni 

Warburton, Patsy Hely and 

Susan Ostling . 

Helen has always been 

drawn to objects which are to 

be handled and enjoyed, not 

unlike the pleasure obtained 

from preparing and sharing a 

meal with friends. She, in fact, 

teaches vegetarian cooking and enjoys serving each part 

of the meal in individual serving dishes, choosing colours 

and shapes to match the food. "I also like to buy in bulk. 

I can't resist buying a tray of vine-ripened tomatoes, or 

pears, or lemons and lining a large white flat bottom dish 

with straight sides with the fruit and placing them on 

display on the sideboard." 

The intimacy of her work is matched by the pocketsized 

studio she has created in one of the storerooms 

below her Bondi flat. It has a cool and isolated quality, 

but her wheel is situated with glimpses into the garden 

with its pots of culinary herbs. Shelves of dishes, bowls, 

casseroles and mugs in mid-tone, olive greens and yellow 

stripes contrast with her current monochromatic work. 

Little sketches and inspirations such as the 19th century 

drawings of serving bowls which she came across at 

Elizabeth Bay House decorate the walls. There is room 

for only a test kiln, with shelves 330 mm square. " I like 

having a small kiln, I am too impatient to make a whole 

lot of work, I pref er to experiment as I go along and see 

how each batch goes before continuing," says Helen. 

The invitation to be in a recent group exhibition, 

'White', at the Ceramic Art Gallery, Paddington, allowed a 

reconsideration of her use of colour. "I had been making 

simple, smaller serving dishes and decorating them with 

vertical lines of different widths using either oxides or 

on-glaze enamels, but I decided for the White exhibition 

to revive a stoneware glaze that I had made up years 

ago a Janet DeBoos glaze which she called 'oxidation 

shino'." The recipe has soda feldspar and to get the shino 

effect the clay body needs to have at least 3 percent iron. 

The incidental colour and 

loose throwing are the only 

overt decoration on the pots. 

Helen continues with her 

exploration of 'oxidation shino' 

in deep dishes for wet food, 

somewhere between a pasta 

bowl and a dinner plate. A 

shape that suits her style of 

cuisine, as she explains, "we 

eat a lot of braised dishes 

where moisture plays a role". 

Another area of exploration is 

in what Helen calls her 'pillow 

dishes', which as the name 

suggests are clay pillow forms 

with just enough indentation in 

the surface to rest a few olives 

or nuts. There is no opening, 

the top is placed after the piece 

is thrown on the wheel and 

distorted. A small pinprick in 

the side allows the release of air so the top sinks down to 

form a shallow dish. This means the stamped decorative 

surface is more exposed. They are then glazed with the 

'oxidation shino' and the surface pattern becomes picked 

out in orange. 

In a recent paper she gave at the Shepparton 

International Ceramic Conference, Helen spoke on what 

she perceives as a developing Australian aesthetic towards 

simplicity, colour and traces of narrative evident in 

ceramists such as Gwyn Hanssen Pigott, Prue Venables 

and eville French among others. She could in fact be 

describing her own work, "they are functional , or 

essentially functional forms ; the form itself is simple, 

pared back, to an essential shape, there are few additional 

elements; they have the clear cut lines of industriallyproduced 

ceramics, yet they have a softness from being 

made by hand, generally wheel-thrown and altered, and 

their colours are distinctively, recognisably modern." 

When asked if she saw herself as fitting into this 

group, she replied that "for a start, these artists are much 

more dedicated, it is their whole life , but I like that 

simplicity". She recognises that for herself, "I've always 

been full of contradictions, I enjoy that purity, but I also 

have to have a little bit that tacks onto it, even if the 

decoration is only a texture or a mark. " Perhaps, in 

concocting the complex recipe of her life , it is in 

balancing the ingredients of simplicity with contrast and 

change that Helen finds her inspiration. oo 

Peta Landman, Arts consultant, writer (ariel@netspace.net.au) 

Helen Stephens Tel 02 9365 2382 


It's not on any map, true places 

never are 

Lived in landscape becomes local place. The 'view' comes from the inside, 

as much visceral as visual. The work of LOUISE BOSCACCI. 

I used to make field journals filled with pressed plants, snatches of local comment, species lists and dirt-track logs, 

naming stories and traces of what was before or thought to have been. Hard data, soft data to some. 

Search and research that a science worker does daily. Often in the remote and arid, the 'mudmap' was the only 

travelling guide. Mudmaps are those jottings of tracks taken, directions headed, 

land features of personal meaning. Hand-sketched markers that trace passage in body and mind. In notebooks later, 

they appear as simplified drawings of line and text, still true to their origins but carrying new association of 

autobiography and abstracted depiction of place. 

POEMS FOR LAND AND BODY (1997) 

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, Growing-up' in a landscape is perhaps more a 

growing of land into the body. Land is then 

known viscerally as lived rhythm, as much as 

mental image and story. Once embedded in body, 

landplaces may be felt in recall as much as seen by 

minds-eye. What does one make of a place newly 

encountered yet uncannily familiar? What does one make 

with the cascade of sensory memory of formative 

homeplaces? 

"You can't go home again, it is said. 

Neither can you ever leave. The 

landscape of your childhood is 

ineradicable. For better or worse, it is 

apt to be the landscape against which 

all subsequent ones are measured. And 

in some remote place you turn a comer 

and are confronted with an 

approximation of that original 

landscape, the reflexive gasp is as 

physical as that caused by a blow to the 

chest. It is your 'double' that you have 

run into ... "1 

The desire to map and mark, in a 

non-literal personal route-taking, is 

coded deep by cultural memory and 

immigrant forebears. Mine were 

northern mountain people who traded 

the alpine cool of Lombardy for the wet and dry warmth 

of northern Queensland. ow, the north-eastern coast 

and its ribbon of coastal range pervades imaginatively 

wherever I go. Much fu1ther south, Birdwood (as it was 

named by early tree-fellers) marks a tiny rural community 

on the Forbes River, eastern New South Wales. With first 

encounter, this country compelled sensuous recall of 

those familiar homeplaces of the tropical north-east: 

insistent, unsettling in intensity, yet immensely intriguing. 

With time, I have gone back to 

aesthetically explore this encounter 

with a "double", and to learn local 

histories of person, plant, animal from 

within. 'Poems for Land and Body: the 

Birdwood Series' 2 , an assemblage of 

vessels, small ceramic wall panels and 

paintings on board, was elicited by this 

sustained association over recent years. 

The objects made of this meeting stand 

as holders of encounter in absence, 

personal place-settings of mountain, 

river, season, question and suggestion. 

They embody response rather than 

depict or emulate landscape, and 

attempt to distil in volume and surface 

those spatial and temporal layers of 

connection and recall triggered during 

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Opposite: '35 Days, Summer'. 

Ceramic panel, paperclay. 

30x20.5cm. 

Left: 'Winter Collection Pots'. 

Group of four earthenware vessels 

with 'Treefern Gully' wall, gouache, 

acrylic, ochre. 

Max. h38cm. 

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making itself. Embedded in 

their making from thought to 

touch is remembered rhythm 

and feel of - dimensions, 

I'd contend of the particular 

and the ineffable. 

My main ceramic response was minimal vessel: thinwalled 

reservoir with deep interior well and encircling 

outer surface open to personal mark and inscription. With 

this series, I came to a re-energised appreciation of possible 

language of vessel. Previous 'Reticulae' and 'Breath' series 

0996-7) explored ideas of flux between inner and outer, 

nature and culture via perforated sculptural objects and 

vessel forms.3 In recent years, several contemporary craft 

theorists have explored t:he conflation of 'vessel', human 

body (usually female) and fixed containment, and the 

limitations of this continued association for possibilities of 

both body and craft.4 I hold a different understanding of 

t:he vessel than t:hat derived from Euro-Christian body-asvessel 

and vessel-as-body analogies. A more relevant and 

feasible metaphor to my intents is a biological one, where 

the word vessel describes an active conduit - of 

respiratory oxygen, blood, water, plant sugars - in a 

network of life, of life support. A continuous corporeal 

thread between inner and outer that both contains and 

carries flow. Perhaps then, the empty ceramic vessel is 

already filled to brim with the dynamic e tity of air, 

encloses space shaped for contemplation and is active in 

evoking memory and association. If small, its physical 

portability makes it truly of t:he body - available to t:he 

hold of hand as well as eye. 

The eleven vessels of this series were thrown and 

altered towards subtle asymmetry and lean. Most were 

tall base-tapering forms that assumed the stances of 

vertical boles of blue gum and rainforest species on t:he 

mountain crest. There, a sense of stilled movement often 

exists as satin-skinned January gums 

line up at rainforest edge, cradling 

pencil cedar and sorrel. 'Summer 

Gums Pot', for example, came as a 

circling script of gum silhouettes on 

white hot days, a scroll map of the 

spatial rhythm of pale trunks at a mountain's distance, 

and a minds-eye image, distant in time and geography, of 

the thin band of rose gums edging rainforest in the 

tropical north. 'Black Treefern Pot', precarious and purple 

black, carried a double ring of inlaid drawings abstracted 

from studies of Cyathea australis , elegant, haunting and 

ancient, encountered suddenly in dark closed forest or 

standing resilient in open hot clearings. 

Others chart walking transit and thought. 'Cutting 

across dead tree hill', a burnt orange cylinder, recast 

regular mid-summer crossings of a hill paddock spiked 

with stumps of original forest: a succinct microhistory 

of local nature and one cultural response, laid out and 

visually compelling as a rolling pattern of forms cut by 

hand. 

Exhibited in relationship wit:h the vessels was a group 

of paintings and drawings in gouache, acrylics, mountain 

ochre and shellac. Most were completed as studies in the 

Birdwood region and directly influenced vessel surfaces 

in the studio later (eg. 'House of Rose Robin, House of 

White Cedar'). Others were resolved after taking a vessel 

from the kiln - a two-way conversation between pot 

and painting where one informed the resolution of t:he 

other. Ceramic wall panels - page-sized paperclay slabs 

- carried quickly drafted inlays of line and impressings 

of local plant species. As clay drawings using both the 

plasticity of wet clay and the inscribable surface of the 

hardened slab, they connected vessels to paintings. As 

increasingly distilled and abstracted pages, they carry 

mostly unanswered questions left to hang. 


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LEAF, SHADOW, ASH, WATER (1998) 

A 

the meeting of land and body is the intake and 

elease of breath: the essential and the sublime. 

eyond associative memory and feel, being north 

again in body prompted the vessel installation 'leaf, 

shadow, ash, water'.5 Winter in Townsville is dry, crisp, 

light-filled, family-dense. As familiar, are granite orange 

hills ('O range Hinterland Group', 'Ridgelines'), cool 

coastal creeks ('Creek Leaf Series'), dry season leaf fall 

('Leaf eries'). 

Leaves, I'd suggest, are eloquent markers of the 

particular and flux of place. Displaced from source on 

page or pot, they ask not just what, but where from, 

when and whom? As powerful to layered recall as 

photographs dropping from collected albums. each day 

in rainfore t, a path is laid out ahead and behind in new 

leaf fall. One walks on soft beds of 2O-like forms turning 

to sweet rot, a mesmerising contrast with my other home 

footpath of inner Sydney. In this series, local leaf 

impre ions came to rest encircling vessel interiors, 

shallow embossing highlighted to stark black and white 

portraits. 

Vessel forms ranged from minimal bowl (creek 

forms) to vertical reservoir (coastal range forms). Most 

were hand-cuppable for skimming creek water, 

scooping river, collecting leaf fall. Or the thought of 

doing so. White, like black, assumed some prominence. 

The white of northern light and reflection of all visible 

colours, not bleached absence. The black of deep 

shadow, the unlit of photograph, of histories hidden. 

Inlaid line, elaborated into dense hatching or vertical 

bands, continued to develop as a satisfying dialect for 

places and personal past reconnected with by my 

walking body ('Hill Hatch'). Linear glaze inlay 

(resonant, in after-sight, of quartz seams on orangepink 

granites) began as a new experimental direction, 

adding the texture of vitreous melt to the personal 

cartography of the line ('Orange Hinterland Group', 

'Creeklines'). 

"Landscape's most crucial condition is considered to be 

space, but its deepest theme is time .. '.6 To shape, mark 

and inscribe is to map places of personal meaning and 

value with physical and psychological dimensions. 

Making with clay renders materially-solid (if still 

ephemeral) the space of the intangible and nuance in the 

encounter of body and land. Such places, and the 

experiences carried from them, are never static in time 

nor memory, and continue to be fluid wells of self and 

spirit wherever I reside in a multicentred existence. They 

also oblige one, with the approach of century turn, to 

critically reflect on the making of cultural and natural 

histories of land on this continent. oo 

Louise Boscacci, Ph 02 9251 1'±41 

BSc(Hons), James Cook Univer ity, Townsville; Dip Art (Ceramics), 

Ce1t Art Phot., East Sydney. 

FOOTNOTES 

1. Lash, Kenneth. 1996. ores on Living with Landscape. 

2. TAP Galle1y, ydney, 1997; Manly Art Galle1y and Museum, 1998. 

3. 'Touch', Cell Block Theatre, East Sydney, 1996; Word of Mouth 7, 

1997; Pottery in Australia 1997, 36, 3, p5. 

4. Rowley, Sue. 1997. 'The Body and the vessel: good and bad 

objects' in : The Somatic Object. University of_ ew South Wales. 

5. Mura Clay Gallery, Sydney, 1998. 

6. Rebecca Solnit in Lippard, Lucy. 1997. Lure of the Local. ; "It's not 

on any map ... " is from Herman Melville, ibid. 

Left: 'Creek Leaf Series' w18 x d35cm. 

Opposite: 'Coastal Range Group' h33 x w40 x d20cm 


Slumped at the Wheel 

After a decade of collaborating with glass artist Deb Cocks, ANDREW STEWART reflects on the way 

they combine clay and glass in their workshop in northern NSW. 

tl 

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Brays Creek is a farming locality, cows and pigs 

around us, forests nearby. Over a few hills is the 

local metropolis, Tyalgum village. There Deb and I 

are a mum and a dad - Gracie is in her first year at the 

school. We do pottery. Or is it glass? In our workshop, 

for visitors, we are a team, each talking up the other. In 

fact, a lot of the time we work fairly independently. Most 

of our collaboration is sequential, doing the next step; or 

parallel, sharing tasks. Sounds like looking after a kid. 

Glass and pottery making proceed sequentially in a 

syncopated rhythm. 

When we made our first forays into combining our 

skills, nearly ten years ago, Deb had a workshop at 

Turkeyworks, an old artist-run factory building in 

Leichhardt, and I was at Stokers Siding Pottery. After 

many trips in both directions Deb moved up at the 

beginning of my last year at Stokers, 1991. We did some 

work together there on pots and got the glass slumping 

kiln going. The following year we moved here to Brays 

Creek where bit by bit we have established our 

workshop and kilns. 

We produce wood-fired and gas-fired pots, mostly 

stoneware, and cast and slumped and enamelled glass. 

Deb makes the glass, I make the pots, but we are closely 

involved with each other's work. Quite a few of the pots 

are decorated by Deb and she does some hand-building 

and a lot of modelling in clay as the precursor to casting 

in glass. My contribution to the glass is mainly kiln 

building and maintenance and other technical assistance, 

although I have an influence on the forms through the 

moulds I have made. Naturally, we discuss, design, 

comment, criticise (and stay silent). Then there is all the 

photography, bits of writing, paperwork, packaging and 

freighting. Deb fires the glass and I fire the pots but we 

can each step in, and firing the wood kiln is a combined 

effort one way or another. 

0 

V. 

b 

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Above: The wood kiln showing 

extended throat. The thick white slabs 

which form its lid are made of 

castable. Gas kiln just visible in 

background. 

Right: Andrew Stewart. Spouted 

bowls. Shino glazes. approx 15cm. 

Opposite left: Andrew Stewart. Pod 

shaped jars. Shino and ash glazes. 

h57cm and 42cm. 

Opposite right: Andrew Stewart. 

Flower brick. Slab-built, fluted, shino 

glaze. approx w20cm. 

16 POTTERY IN A USTRALIA + 38/3 SEPTEMBER 1999

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The wood kiln has a Bourry firebox with an extended 

throat leading to a conventional main chamber. The throat 

is more another chamber than a tunnel. It is built on a 

slope, has a stepped floor and is taller at the front. In the 

hot zone immediately behind the fire box and around the 

ide-stoking holes quite rugged fire and ash effects can be 

achieved while the influence of the fuel in the main 

chamber is more subtle. Firings take about twenty hours 

with a steady fire being maintained in the Bourry box 

during side stoking. The fuel is mixed hardwoods and 

perhaps some camphor laurel, particularly for side 

stoking. Rather than seeing the wood-fired and gas-fired 

ware as conflicting or opposed styles I enjoy both ways of 

observing clay and glaze behaviour. I exchange pots 

between kilns and aim to make a proportion of work 

which can be fired either way. 

My pots tend to be reserved, vaguely in the anglooriental 

tradition, a lot of shino, celadon, even tenmoku, 

which some say is enjoying a small revival. I hope so 

because I have never been able to give it up. Recently I 

have been preoccupied again with the inexhaustible 

variety of shino, thick and thin over different clays an1 

slip and in different parts of the kiln and different types 

of firing - mysterious, elusive colours and lustrousness. 

A little of this variety in the shino glaze can be seen in 

the photograph of the spouted bowls. Bowls with these 

beak-like spouts let into the wall below the rim have 

been common in Karatsu ware from at least the 1600s. 

Whenever I looked through Sister Johanna Becker's 

wonderful book on Karatsul I was struck by the number 

of times they appeared. Clearly they were enduringly 

useful, so eventually I made a few and found that they 

felt very nice in the hand and were not only good in the 

kitchen but excellent at the table for . sauces and gravies. 

Larger ones can be used as serving bowls; the liquid left 

in the bottom is easily poured over everyone's helping. 

They pour better than the spout pulled in the rim of a 

normal mixing bowl. 

Because of their bird-like appearance I have taken to 

grouping the spouted bowls into haphazard "flotillas" 

whereupon they remind me of ducks on a lake. I have 

no wish, nor the talent, to make an elephant teapot or a 

swan shaped vase but I enjoy discovering accidental 

transmorphisms, some quality suggestive of a person, 

animal, landform or something built. The flower brick 

illustrated evokes a tree seen over a rusty, corrugated 

iron back fence although when I made it I was thinking 

about 18th century Delft flower bricks. They provide 

enormous flexibility for arranging flowers and cuttings 


ecause of the variety of hole sizes possible, allowing 

clumps, single stem and all sorts of asymmetrical 

arrangements. 

My primary inclination seems always to have been 

towards form, leaving its embellishment to another agency 

- the glaze; the making process; expressive firing methods 

like wood and salt; and now the decorator. Sometimes I 

make particular shapes we have discussed or else Deb 

will take anything from the shelves she is drawn to. We 

try to make the production ware work equally well 

decorated or undecorated so that it can be mixed and 

matched. Sometimes Deb apologises for ruining a 

perfectly good pot; other times I have to apologise for 

ruining a perfectly good decoration in the kiln. 

For some time Deb has been experimenting with 

engraving on fired pots, particularly celadons, and 

recently we have made some engraved mirror-black 

tenmokus. The technique differs from engraving on glass 

because on the pot all light is reflected whereas the glass 

allows light to pass through as well. The relatively thin 

glaze layer needs a delicate touch. From some angles the 

engraving on tenmoku looks like a fine, silver tracery 

floating on deep black glass, as if the whole vessel were 

glass, not just its skin. 

Having a good decorator to work with is stimulating, 

even luxurious. Decoration has never been my forte but 

Deb can decorate like I can throw - that is, fill empty 

space from nothing over and over. We made 

innumerable prototypes and a couple of ranges of 

decorated earthenware in the early period· here. The 

quickness and repetition of pot decoration was a 

refreshment after the exacting work on the enamelled 

glass bowls. It was like page after page of the sketch 

book: "Nudes mostly now - the voluptuous type. This has 

taught me how to deal with repetition (no two are the 

same - just alike), to work in series, to keep up a 

continuous production and to look at form, " Deb said at 

the time2. For my part, I have learned to look more 

appreciatively at decoration, to rework and refire more, 

to put more work into larger, individual pieces. 

The technologies of ceramics and glass are closely 

related but their forming processes are reversed: glass 

must be heated before shaping whereas clay is formed 

first and heated later. Nevertheless, a potter's workshop 

fits in well with kiln-forming glass - the reshaping or 

joining of solid glass by heating in a kiln until the 


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required degree of softening occurs to achieve slumping, 

fusing or casting. Kilns similar to potters' kilns may be 

used and the potter comes in handy for making moulds 

on the wheel. 

A large proportion of Deb's work is slumped bowls. 

They begin as discs of plate glass with polished edges, 

placed on fired clay rings propped to the desired height 

in a shallow, top-element electric kiln. Somewhere 

around 700°C the glass slumps through the centre of the 

ring , producing the bowl shape. The bowls are 

decorated with glass enamels, fired again and usually 

engraved as well. I have made a variety of rings for 

making bowls up to about 700mm diameter. The cast 

vessels, like the one illustrated, begin as thickly thrown 

clay pots from which moulds are made. The result is 

intriguing. My pot is still there, but utterly transformed, 

glowing, and very heavy. 

We thought the day to day interaction of pottery and 

glass in our workshop would lead to making things 

which used both clay and glass components but that is 

not what has happened thus far. Probably the best 

combination of clay and glass is a glaze on a pot. Indeed, 

I could argue that even though Deb uses a traditional 

glass technique when painting a glass bowl with glass 

enamels she is, in one sense, working in a more glasslike 

manner when she paints a pot. We use stains and 

oxides mixed with flux or a glaze, painted or trailed onto 

the raw glaze. othing unusual about that. But seeing 

how Deb was using little applications of flux to make 

areas of a matte base glaze go clear and create sparkling 

highlights made me think of decorating as drawing with 

coloured glass, laying down a line of glass paste to fuse 

into the molten, glassy surface of the glaze during the 

firing, rather like wrapping canes around a glass form. 

When this fusion is balanced the decoration and glaze 

surface are a unity in a way that low temperature 

enamels can never be. This is my high temperature bias, 

of course. There are other unities. Q9 

Andrew Stewart and Deb Cocks 

835 Brays Creek Rd, Tyalgum SW 2484 Ph 02 6679 3520 

FOOTNOTES 

Becker, ]., Karatsu Ware, a Tradition of Diversity, Kodansha, 

1986. 

2 Cocks, D., "Day to Day", Heart of Glass, Australian Association of 

Glass Artists, 1995. 

Left: Andrew Stewart and Deb Cocks. Engraved mirrorblack 

tenmoku bottle. h32cm. - 

Opposite left: Andrew Stewart and Deb Cocks. Left 

'Hand Puppet', right 'Clowning Around '. Dolomite glaze, 

modified commercial colours. h48.5cm and 37cm. 

Opposite right: Deb Cocks. 'Clear 1 '. Cast glass vessel , 

enamelled and engraved , original form thrown by 

Andrew Stewart. h1 0cm. 

Photographs by the author. 


J 


Aspiring to make pots of a high standard using techniques and aesthetics learnt overseas 

and influenced by the Australian lifestyle. 


n this article I wish to revisit where 

I have come from, influences on 

me, my development as an 

Australian artist potter and the 

aesthetic that I use in my work. 

As a boy in Victoria I had little 

interest in ceramics and was first 

introduced to it by a fellow student at 

secondary college. This work was all 

heavily potted in earthenware with bright colours, but it 

aroused my interest. I even designed a mug that I wanted 

and asked my friend to make it for me. I still have it 

somewhere. 

On finishing school I chose to study ceramics at 

Bendigo Institute of Technology, it seemed to offer a 

varied program of history, photography, life drawing, 

ceramic science and geology, professional practise, and 

practical side of ceramics. I enjoyed my studies but was 

not particularly outstanding. My best marks were always 

in photography, and I got a lot from the art history where 

our lecturer loved to show us slides of ceramic works 

from all over the world. The influence of Bernard Leach 

wa still strong and we were taught that the Sung pots 

were special. In my last year a visiting lecturer came from 

Japan (Shunichi Inoue). 

During my last year I began to explore the use of 

porcelain, making up bodies from recipes in books. 

Porcelain was just about impossible to get hold of in 

Australia at that time and my efforts to make some, while 

not very successful, made me more determined. Inoue 

encouraged me to consider studying in Japan. I was 

most impressed with his dedication to work and the 

stories he told of Japan. I began the long process of 

applying to the University of Art in Kyoto. It took two 

years and many letters that were not initially answered 

before I managed to gain acceptance. In the mean time I 

worked for a local potter who had spent some time 

working in England. This reinforced those English 

traditions of studio pottery - weighing up the clay and 

throwing off the wheel head on bats. 

At Bendigo I had learnt about the folk craft traditions 

in Japan and the work of Hamada and Kawai Kanjiro, 

however, my interest in Japan was not in the Mingei folk 

craft potters as much as the refined work in porcelain. In 

Japan I spent three years at the University of Art in Kyoto 

and a further year with a porcelain master as a disciple 

(deshi). I found that I had to unlearn most of the 'bad' 

habits I had been taught in Australia. The Japanese had 

little or no regard for what was being made in Australia, 

seeing us as raw beginners with little or no tradition in 

Above: Curved celadon bowl. Opposite: Porcelain beaker. 


inner shape of the pot. Work is usually thrown off the 

hump on fixed speed wheels that are slow for throwing 

and fast for turning and centering. Once you start to 

throw you usually don't stop the wheel till the clay is 

gone. Pieces are turned inverted on thrown and dried 

turning chucks. Great accuracy is required as pieces are 

turned very thin. For small pieces the final wet brush that 

eliminates the turning marks also renders them 

translucent while still in their raw state, i.e ., you can see 

light through them after the water has been applied until 

they dry again, that's how thinly they are turned. 

Over this period of working in Japan and especially as 

a result of the experience in the Masters workshop, I 

ceramics by comparison. I learnt to make tools to use in 

the involved porcelain techniques of Kyoto. I also 

travelled as widely as I could and discovered the many 

different ways of working in Japan, even among 

porcelain potters. I spent long months making setting 

pads for the glaze kilns for my master (a task usually 

given to apprentices). 

A typical day for me in the masters' workshop would 

be to ride my bicycle across Kyoto in the early morning 

rush (this was tough in winter), arriving about 8.30 to 

prepare for the days work. Good morning greetings were 

said upon arrival and often little more was said for the 

rest of the day. The master thrower (the shokunin san) 

had control over the radio so it was mainly classical 

music. On the odd occasion he was away the other deshi 

turned the channel to rock. 

Depending on my tasks for the day I either began 

wedging clay for throwing or uncovered work for 

turning. There was the kiln cycle to work for, throwing, 

turning, biscuit firing, decorating, glazing and glaze firing. 

The workshop tasks were split between makers and 

decorators, though as makers we also glazed and stacked 

the kilns. As a foreign student I was given time after 

hours to work on my own work which I also decorated. 

In this I was privileged. 

As new shapes were given to me to make I was 

provided with a ' set of tools. The Japanese wheel 

direction being clockwise and opposite to my normal 

direction of throwing meant that each time I had to sit 

down and copy those tools back the front. This was a 

great exercise for me as I learnt much about tool making. 

I also had the guidance of the shokunin san if needed. 

The Kyoto way of throwing porcelain entails making 

accurate wooden tools to assist in the throwing of the 

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same clay to support work in the glaze kiln and help 

prevent warpage. They are sometimes known as wasters 

as they are only used once. Porcelain shrinks up to 17% 

and there is also a little slumping- to account for, thus the 

need to use firing pads, especially when work is turned 

close to eggshell. 

I finally had to make the decision to either stay longer 

in Japan or return home and I chose Australia. I returned 

to where my mother lived (having a kiln and studio 

there) with my Japanese wife who at that time still had 

little English. My mother was a doctor in a small rural 

central Victorian town. It was at the tail end of a drought 

with no grass and frequent sand storms. I suffered 

terrible reverse culture shock and it can have been little 

better for my wife. None of the locals seemed to 

understand what I had experienced in Japan and 

showed little or no interest in what I began to make. The 

process of re-establishment was a hard, painful process. 

I had taken on a Japanese aesthetic and way of working 

that was not much understood or appreciated by other 

Australians. 

In fact, an understanding and appreciation of porcelain 

made the way I do is still a matter of constant education. 

Having been used to beautiful Japanese porcelain clay, 

nothing in Australia compared so I imported 

some clay and glaze material from Kyoto. I did 

not want to abandon all that I had learnt and 

valued by returning to stoneware. I had this 

dream of introducing fine hand made porcelain 

to Australia, but had no idea how difficult a task 

this would prove to be. Recently porcelain had 

come of age and many more potters are 

working in it. A range of materials are now 

available in Australia though I still like the 

results I obtain from ilie Japanese body . 

From time to time I wonder about the path I 

have followed (making porcelain wares in an 

oriental tradition). My designs and patterns are 

more and more my own, however, I have 

found Australia a difficult place from the 

viewpoint of people understanding the time, 

effort, materials, making process and the 

apparent limited market for iliis type of ware. 

I love simple shapes and quiet glazes. I also 

enjoy underglaze blue brushwork. My glaze 

range is wide and includes celadon, chun, 

tenmoku, copper red and clear. I have done my 

best to maintain a standard that I learnt in Japan 

and what I see as a good way of working. I 

have not been one to work to the fashion of 

the day but try to make pots that stand the test 

of time. 

I have considered teaching at tertiary level 

(though jobs are scarce) as I would love the opportunity 

to pass on what I have learnt of Japanese ceramics. I do 

workshops as often as I am able, however in these times 

of cut backs the opportunities are rare. Certainly the 

eastern way is not the only standard to hold dear and 

make precious, but it is a valid one and worthy of study, 

as the many Australian potters who have spent time there 

can attest to. There is much of value to learn. 

The ceramics boom period of the 6os, 70s and 80s 

seems to have passed, the 90s are difficult and the future 

uncertain. Many galleries have gone to the wall and 

potters are frequently doing other work to make ends 

meet. 

I aspire to keep making pots to a high standard using 

techniques and aesthetics I have learnt overseas, however, 

I will continue to explore new shapes and decorative 

treatments in my paili of ceramic discovery. oo 


80 Scotchmans Creek Road, Warburton 3799. Tel 059 665 292 

Opposite top: Porcelain plate made whilst in Japan. Blue 

underglaze. Opposite centre: Porcelain plate (post Japan) 

latex resist. Below: Vase, gold background. 


• 1 

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Kissed by Fire 

Crystalline glazes have been around for a long time with the first ones appearing in China as oil-spot 

glazes in the Sung Dynasty (AD 960-1279). The earliest specific studies in zinc crystals were 

conducted in France during the 1850s. Article by PETER WILSON 

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Crystalline glazes have been around for a long time 

with the first ones appearing in China as oil-spot 

glazes in the Sung Dynasty (AD 960-1279). Later 

they appeared in Chinese porcelains in the late Ming 

Dynasty around 1650. They then re-appeared in 

connection with the Art Nouveau movement in the late 

nineteenth century as an attempt to reproduce antique 

Chinese porcelains. 

The earliest specific studies in zinc crystals were 

conducted in France during the 1850s. The ceramic 

chemists working in the factories of the National 

Porcelain Factory in Sevres well understood that glazes 

with an excess of zinc silicate and titanium would 

produce crystals. They wrote papers and disseminated 

their findings, warning others of these glaze defects. It is 

ironic that what was considered then to be a defect, has 

been now been developed into a highly technical artf orm 

in itself. 

Despite the warnings, experimentation continued and 

the development of crystalline glazes happened 

throughout Europe. In the National Porcelain Facto1y at 

Sevres, whole ranges of wares were designed and made 

specifically for crystalline glazes. Similar developments 

occurred in Denmark, Germany and the US. 

It is in the United States that Adelaide Alsop Robineau 

made her significant contribution to the study of 

crystalline glazes and is largely responsible for bringing 

Crystal glazed bowls. 

Left: w40 x 36cm; Above w48 x h38cm 

them into the independent potter's studio. She began her 

work with crystals in 1904, documenting her extensive 

research until her death in 1929. From then until the 

1970s, there was little or no additional work in the area. 

Since then there has been a growing interest in crystalline 

glazes, especially in the US and Britain, where there are 

many devotees and collectors of crystal glazed pots. 

There are however, just as many detractors. 

I dislike large, flowery crystal-glazed pots. They are 

garish and ostentatious. My own interest in this topic 

began quite by accident whilst exploring the effects of 

zinc in glazes and I was surprised with the diversity of 

results attainable just by extending the soaking period 

during the firings. I am more concerned about the 

development of a softer surface which comprises 

elements of prima1y and secondary crystals, haloes and 

interesting colour formation. To this end, the addition of 

between five and ten parts of magnesium silicate creates 

interesting effects. There is a sense of unpredictability 

and uniqueness about these glazes which is very exciting 

- a pot kissed by the fire! 

A unique glaze however, does not in itself ensure 

aesthetic significance, and mastering crystalline glazes is 

only one aspect of the equation, the difficulty lies in 

finding some sort of aesthetic balance. Daniel Rhodes 

says in his book, Clay and Glazes for the Potter, ' ... the 

presence of spectacular crystals on the sides of pots, 

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interesting though such crystals are in themselves, 

has in most cases, contributed as little to the 

aesthetic significance of the piece as it has to the 

function.' Subtlety and crystalline glazed pots could 

be seen as contradictory. Herein lies the challenge. 

Technically the development of crystalline glazes 

depends on many variables, some of which 

include: 

colour and type of clay body: White firing, 

dense porcelaineous type bodies are more 

suited to crystalline glazes as darker bodies 

adversely effect the glaze colour. 

• The type of surface: Crystals develop differently 

on vertical and flat surfaces. Forms may need to 

be modified to suit to the glaze. 

• Fluid glazes: For crystal growth, the glazes need 

to be fluid with a viscosity which must 

encourage the growth of crystals. There is 

minimal alumina in these glazes and fluxes 

which promote crystal growth include zinc, 

odium, potassium, barium, magnesium and 

lithium. A fluid glaze is formed in which the 

oxides move freely. When cooling tarts, motion 

within the glaze slows down, and period bonds 

form as crystallites. These act as nuclei around 

which larger crystals may form. The slower the 

cooling rate the larger the crystals may be. Some 

oxide work better than others. Appropriate 

setting procedures are required for pots before 

all of your shelves are ruined with glazes that 

have run off the ware. A base-width collar and a 

saucer to catch glaze runoff can be useful. 

• Glaze application and thickness: Glazes can be 

brushed, dipped or sprayed, but spraying offers a more 

sub~:e way of varying the glaze thickness, especially 

towards the base of the pot. 

• Temperature and the length of the firing - I fire slowly 

up to full cone 10 in a neutral atmosphere, (60°C /hour 

from 1100°C to cone 10), and soak for around 10 

minutes to even out temperature differences within the 

kiln, then turn off the gas burners which are relit at 

1090°C. This temperature is then maintained for 3-4 

hours before it is shut off and closed up. The total 

firing time is around 15-16 hours. 

The temperature at which the kiln is held determines 

the shape of the crystals such that at 1140°C. needle 

GLAZES FOR CRYSTAL DEVELOPMENT- 

CONE9-10: 

1. Frit4110 46 Addition: 

Silica 21 Cobalt carbonate 0.5 

Zinc Oxide(Dense) 27 Copper carbonate 2 

Kaolin 1 

Titanium 4.5 

2. Pot Felspar 28 Addition: 

Barium Carb. 5 Cobalt carbonate 0.5 to 1% 

Dolomite 4 Iron Oxide 2-4% 

Zinc Oxide 20 

Titanium 3-7% 

Lithium Carb. 

7 

Kaolin 3 

Silica 33 

3. Frit 4110 47 Addition: 

Zinc oxide 25 Cobalt carbonate 0.25 

Silica 20 Manganese dioxide 1 

Titanium 6.5 

Kaolin 

Alumina hydrate 0.5 

Other possible colourants: 

Cu C03 1-3% light green 

FeO 2-8% red. 1 orange 

MnO 0.5-4% beige, irn1y 

like crystals form; at 1100°C, the c1ystals are battle-axe 

shaped and at 1050°C the crystals are round. I find the 

glazes benefit from a longer slower firing. 

• Colourant: The main colouring agents are red iron 

oxide, copper oxide and carbonate, cobalt carbonate, 

nickel oxide, manganese oxide, rutile, illmenite and 

vanadium. Often two or more can be used in 

combination. oo 

Peter Wilson who is a potter and lecturer at Charles Sturt University 

in Bathurst, SW. 

READI:'\G 

Rhodes, D. Clay and Glazes for the Potter 

Hopper, R. Ceramic Spectrum 

Creber, D. Crystalline Glazes 

Thanks to Peter Deck and Ted Secombe 


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One of the ironies for true 

potters is that their 

philosophical arch-enemy 

is someone whose holy grail is a 

potty containing a good job. Toilet 

training, I'm told has a lot to 

answer for. It's an unfortunate fact 

that power freaks gravitate 

towards positions of power, and 

then attempt to redefine human 

nature in their own insecure 

image. We find ourselves 

struggling to uphold principles of 

truth, beauty, creativity in an 

environment where all values 

have been reduced to the dollar. 

o thought for those that can't be 

converted into cash. It does not 

compute! 

As artists we are custodians of 

one of these important areas of 

human value. In his entire life 

Vincent Van Gough sold just one 

painting - to his loving brother. If 

he could see the great money 

marketeers snap up his paintings 

today for millions, he might 

conclude that economic rationalism 

is as much help to talent as a potty 

full of politician's poo. Good art, 

like fundamental scientific research, 

often needs help to thrive - the 

market is too busy elsewhere 

making profit. These are hard times 

for artists, once again, and it's 

important to maintain the faith 

however we are able. 

Steve Harrison is such an artist 

who has maintained his faith. He has been charting the 

ceramic landscape for over 30 years. In this show he 

maps the territory of feldspathic glazes. These have a 

pedigree going back for many centuries in China, Korea 

and later Japan. Jun, guan, shino, and some celadons 

belong to this tradition, and are here developed in a 

series of simple, beautiful, timeless yet modern pots. 

These are undoubtedly what we would think of as 

"high fire" ceramics, but they are fired only to 1200°C. In 

recent years it has become evident that we have been 

seeking some of the traditional oriental glazes in the 

wrong places, firing too high and too fast. And of course 

the nature of the materials available from your local 

ceramic supplier is often not appropriate for some of 

Above: Teapot, 'Guan but not Forgotten' w25cm 

Opposite: Bowl, 'Light in the Distance' d12cm 

these effects. This artist has a long tradition of 

experimenting with hand won local materials, sometimes 

trying to achieve traditional results, and sometimes simply 

coaxing out the characteristics of those rocks, clays and 

ashes. 

Originally firing to 1300°C., over a period he has 

brought the maturing temperature down by a hundred 

degrees, still using the same glazes, by firing much more 

slowly. There are practical and aesthetic reasons for 

doing this. Most of these glazes need to be applied very 

thickly to get the visual depth, and to achieve qualities 

like ivory or marble or gemstones. In a normally matured 

high firing the glaze simply slumps off the pots. 

The long low firing fuses the glaze while allowing it to 


NE 

Pt 

stay in place on vertical surfaces. It is important that this 

fusion process be aided by some ball milling to achieve 

the intimate mixing of particles that results in the soft 

melted surface. 

Another recent development is the move towards the 

use of lithium materials in shino-type glazes. Lithium is a 

difficult material with strong and sometimes surprising 

effects. Some of the most beautiful pots in this show have 

a spodumene based shino-type glaze showing a 

variegated crazing with patches of sparkling shattered 

glass. I'm told these are on the borderline between hohum 

and disaster. Too little spodumene and it is just 

another feldspathic glaze; too much and the glaze peels 

off the pot. 

Typical of potters using this approach is a large shard 

heap. For the market-oriented potter this is an indication 

of failure - dollars lost. 

For those potters whose prime focus is the quality of 

their work, a large heap of broken rejects is no more a 

symbol of failure than is a discarded booster stage to a 

satellite. It's the means by which you get there. It's the 

price you pay. It's a byproduct of a difficult process 

involving hundreds or even thousands of decisions that 

discovers the one that works, the one that has the spark 

of life, that defies gravity. 

Another unfortunate irony is that for those consumed 

by creative passion, the success that comes at last does 

not satisfy for long. It soon becomes just another part of 

the launching pad for the next gravity defying effort. 

Having recreated some exquisite ancient oriental ware, it 

would be clever to settle down to take some profit. But 

there are new problems to be solved, the journey not the 

destination is all, and so the shard heap grows ever 

larger. 

To Steve and my other friends with steadily growing 

shard heaps, I say keep the faith. 

Below: Teaset, 'Some Real Old Number'. Celadon. h27cm 


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Clay x 4 

American ceramic artist, Jeff Oestreich, talks to SUE BUCKLE about one of the exciting exhibitions 

held in Perth during the National Ceramics Conference. 

ing 

Neil Hoffmann 'Waking Ground Series'. L62cm 

Photo Victor France. 

During the ational Ceramics Conference in 

Perth this year there were no less than forty 

two exhibitions of ceramic work. A feast for 

those who attended the Conference and for the 

general public of Perth. 

One of the outstanding exhibitions was 'Clay x 4' 

which showcased the recent work of Sandy 

Lockwood, eil Hoffmann, Dennis Monks and 

Malina Monks. Four experienced ceramic artists 

whose special passion is wood firing . All have 

extensive experience in the technical subtleties and 

vagaries of wood firing and each has developed a 

very personal aesthetic that goes way beyond 

technique and speaks loudly of their passion and 

committment. 


uni 

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1I I 

The opening speech at this exhibition was presented 

by ceramic artist Jeff Oestreich from America and his 

words were heartfelt and enthusiastic in reading the 

work of each artist. Hot off the plane and a little 

overwhelmed with excitement and anticipation of what 

the next four days would bring, I stumbled around for 

paper and pen to record this moment, balancing basket, 

drink, catalogue and coat, only to decide what was most 

important was to hear Jeff's moving introduction to this 

exhibition. Several days later we sat quietly in tl1e sun at 

the University of WA and he reflected on the work of 

these four exemplary Australian wood firing ceramists. The 

following are thoughts expressed by Jeff about woodfiring 

and about the artists and tl1eir works in this exhibition. 

'There is such a heartbeat to the work in this exhibition, 

such a strong conviction; a sense that each artist is guided 

by their inner feelings, by soul. The work goes way 

beyond technique, way beyond traditional aesthetics. The 

sources for the work are obscure which sets up a sense of 

mystery in the work. The traditions that each artist is 

referencing have evolved into a 

very personal view that intrigues 

the viewer. We have to find our 

own answers by reflecting and 

returning to the pieces again 

and again to develop intimacy and understanding. 

'Because the work comes from the heart, the firing 

process forms only a part of their powerful creative 

expression. The work is not based on technical virtuosity 

although this very fact provides the final masterful stroke 

to each piece.The four artists approach the woodfiring 

aesthetic very differently but in all pieces the clay forms 

and surfaces marry to produce timeless pieces with 

subtlety and quiet resolution.' 

Australian ceramists talk of isolation. Jeff sees our 

isolation as a state of mind. That it can work for us, giving 

us great freedom for personal expression. The exhibition 

is a great example of the success of this fact. It is exciting 

to feel that each ceramist has chosen tl1eir own patl1. 

' eil Hoffmann's forms are organic in feel and have a 

powerful sense of inner tension. It's as if they are born 

rather than made. They appear untouched by human 

hand, floating, barely touching the earth. The surfaces 

produced by the artist and the fire are subtle, demanding 

to be touched, to see just where the edges really are, to 

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understand the internal space. Where textures have been 

added by Hoffmann they are gentle interjections, they do 

not impose the sense of the maker on the piece. The · 

works intrigue the viewer with their subtlety and presence. 

Sandy Lockwood shows great maturity in her work, a 

sense of deep understanding of her materials, her 

processes and her artistry. They are assertive and direct. 

They sit powerfully in their own space, timeless in their 

presence. This is an artist who has always explored and 

pushed the technical and creative boundaries of both 

herself and her materials with absolute focus and 

determination. 

Malina Monks' woven forms are more gentle but at 

their most successful have an energy that put them in 

motion. The glow of the fired surfaces add to this 

liveliness. 

Dennis Monks presents the viewer with the 

unexpected. His pieces are small in scale and extremely 

carefully constructed. The precision of these forms is not 

usually associated with wood fired work, they are like 

jewels that need to be studied carefully, thoughtfully. 

They can be cradled in the hand, examined minutely and 

savoured for both their surfaces and form. 

This group of ceramic artists have redefined 

woodfiring. They have taken a technique, and, guided by 

strong and heartfelt conviction, have found a highly 

personal way of working. The resulting works, as seen at 

this exhibition, exude a confidence that comes from an 

independent spirit, determination and most importantly, 

passion.' oo 

Sue Buckle 

Above: Dennis Monks. w6cm 

Photo Peter Clark. 

Below: Malina Monks, 

Wall Piece. diam50 x d8cm. 

Opposite: Sandy Lockwood. h24cm 

Photo Victor France. 


Vert de Bien Hoa 

A classic Vietnamese glaze that can truly be seen as a meeting of Eastern aesthetic and 

Western technology. Article by B01 TRAN HUYNH 

In 1998 Bien Hoa, just outside Ho Chi Minh City, 

Vietnam, celebrated 300 years since its foundation in 

1698 when the king ordered General Nguyen Huu Canh 

to lead his troups south and locate a military force and 

custom office in Bien Hoa, the first port in South Vietnam. 

Ceramics in Bien Hoa has an even longer history. 

Archeologists in the region have found some relics dated 

to over 3000 years ago. These were found in the bed of 

the Dong Nai river and are now displayed in the Dong 

Nai Museum. Ceramics predates any kind of 

administrative bureaucracy. 

Vert de Bien Hoa is a traditional green glaze speckled 

with iron crystals giving the effect siinilar to the patina of 

bronze. The greens va1y from pale celadon to a dark green 

and are sought after by connoisseurs. It is fired to 1280°C 

and ash is the dominant ingredient and indispensible 

catalyst in the glaze recipe. The development and unique 

character of this glaze is du·e to the nature of local 

ingredients including a locally dug white clay. 

The French Director of the Dong Nai College of 

Decorative Arts, Monsieur Robert Balick and his wife 

provided important imput into the technical 

understanding of this glaze. In 1923 Monsieur Balick 

became Director of the College and his wife, Mariette, 

who graduated in Ceramics from the School of 

Decorative Arts in Limoge, France, were fascinated by the 

traditional ceramics produced in Bien Hoa and devoted 

their tune to understanding local ceramic technology. 

At first some chemicals were imported from China and 

France but then Madam Balick learned that local 

craftsmen had used local ingredients for generations. Rice 

husk, straw, ash, ground laterite and silica can be found 

locally and are incorporated in glaze formulas. 

Madam Balick, on the one hand introduced western 

ways to manufacturing glazes through scientific formula, 

and on the other hand learned how to make potte1y in 

the way local Vietnamese people have done, handing 

down experience from one generation to the next. 

Firings are managed by experienced experts who 

judge the temperature of the dragon kilns by the naked 

eye 

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Left: 70 Years-old bowl will 

vietnamese motif. 

Below: 50 years-old vase, tribal 

girls dancing. 

Opposite: 

ife 

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eye through spyholes in these multi-chambered kilns. 

Madam Balick's first intention of 'civilising the locals' 

gradually turned into a respect for local skills. Her 

interest in Bien Hoa ceramics and glazes may have been 

the reason for her husband's two other terms as Director 

from 1935-1944 and from 1948-1950. 

The continued production of the Vert de Bien Hoa 

glazed work was achieved in a time of great social 

upheaval. Under French domination, craftsmen and 

students at the College would have been dominated by 

the will of the French colonists who exploited Asian 

culture, particularly Chinese ceramics which were 

fashionable and exotic in Europe. Vietnamese potters 

were encouraged to adopt and mimic the Chinese 

aesthetic. This resulted in a superficial acceptance of 

Chinese forms and styles of decoration but closer 

inspection shows the decorative motifs are very much 

Vietnamese. With the French also came exposure to 

European styles of form and decoration and these also 

came to influence Vietnamese ceramic production. 

Some international Diplomas were awarded to the 

College and its Craft Co-operative, established in 1923 to 

support the activities -of the College. An agency of the 

College was established in Paris and ran successfully until 

1945, when World War 11 ceased all trading in the area. 

The College attended many International Trade Fairs in 

Paris, agoya, Hong Kong, the Phillipines in 1927, 1933, 

1938 and so on. Due to more recent political events and 

poor conservation, records of these are lost. 

Vert de Bien Hoa came into existence as a result of the 

work of staff members of the Dong Nai Decorative Arts 

College and the exposure to, and adoption of, western 

methods and technology. It can therefore be considered a 

true meeting point of East and West, a collaboration that 

I would like to see continue in all aspects of art and craft 

practice in Vienam by increased contact with 

international art Schools and craftspeople. oo 

Boi Tran Huynh, lecturer, writer and critic 

Graduate Diploma in Art History, Monash University, Melbourne 


RE 

32 

Pr 

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REVIEW 

I I 

. I 

About Ellipsis 

EDWARD ARROWSMITH 

Rap, rap, rap. 

A knocking at my door. 

Hello? 

There stands an editor. 

Will you write an article about the exhibition Ellipsis 

that was at Craftwest during the 9th National 

Ceramics Conference in Perth? 

I'm in it, how can I write about it? 

Interview yourself! 

Okay! 

Q What is Ellipsis? 

A: Ellipsis is a bastard! 

Q What does Ellipsis mean? 

A: It means there is more to come. But it's not about the 

future ·and it doesn't belong to history - its relative to 

now. 

Q lVho is in Ellipsis? 

A: Ellipsis is a sextet of 40-something-year-old artists from 

Perth who exhibit contemporary ceramics. Our names are 

Edward Arrowsmith, Beverly Gallop, Bernard Kerr, Robyn 

Lees, Helen Manson and Gillian Treichel. 

Q 

A: 

tht 

60 

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Q 

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Abo e Bev Gallop, 

Reflection Series. 

32 x 60 x 20cm 

Photo Hans Versluis 

R,ght. R. Lees, paperclay. 

Approx. h1 .5m 

Opposite Edward 

Arrowsmith, 'Domestic 

Violence' and detail. 

e 

o 

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n 

Q What is the background to the artists? 

A: We are riders of the 20th century storm, spawned in 

the 1950's, and flung on to the precarious rocks of the 

60's and 70's. As contemporary youth we flourished 

through mu ic, politic , literature and modern art. We are 

artists, thinkers, writers, husbands, wives, lovers, parents, 

(and in my case, a grandparent) who developed a 

method of expressing our compulsion to make art. 

Q Who is Ellipsis not aimed at? 

A: Ellipsis has no connection with young people and 

their ideas and limited association with traditional pottery 

making. We don't expect the generation ahead of us or 

behind us to fully engage with our ideas and methods 

because if they did it would dilute our grammar and 

weaken our syntax. Our theatre is the 20th century 

gallery though we do occasionally attempt forays into 

virtual alternatives and street credible adventure stories. 

Q What are your objectives? 

A: We want to make statements that claim and enrich our 

culture. And, using a visual language we invented for 

ourselves, to self reflect and ask questions about 

established canons. 


Al 

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Above: Gill Treichel. Fired 

and unfired clay installation 

detail. h1 .5m 

Right: Bernard Kerr 

'Requiem' 1999. Stoneware, 

perspex. 

Q What are your influences? 

A: We are influenced by abstraction in visual art, music 

and poetry, all of which are reflected in our work. 'The 

Shock of the New' was our manual and 'Ways of Seeing' 

our guidebook. Bob Dylan sang our anthems and 

Foucault wrote our postscript. We are ideologically 

encapsulated within the brackets of the a~ything-goesvanguard 

and the reformation of the postmodern 

meddling peddlers. 

Q What do you see as your wider cultural responsibility 

as mature artists? 

A: To pass on our knowledge. We became educators to 

teach students to make statements about themselves and 

how they view the world, to develop their social 

experience and consciousness. We get a similar kick out 

of that as we do from making challenging works. 

Q What are some of the great themes of our times that 

attract and repel simultaneously? 

A: Individuality - we reject anonymity because it 

collapses the social space around art objects. Ironically, 

the cult of personality is a constant terror because the 

king is not dead although he has no clothes on. The rise 

ar 

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th 

d( 

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Q 

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A: 

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Above and right: 

Helen Manson 

'Landing' 1999, 

installation detail. 

Porcelain , 

earthenware, paper 

clay. 2 x 1 .5m 

to 

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ial 

ut 

at 

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and rise of the intellect drives us further and further from 

the source and aligns us with the worship of fonn and 

the spectacle. The search for an equilibrium between the 

demands of emotion and the work of the logical mind 

wanting to structure imagination. The power of theory 

over practice is an ogre as is the propaganda associated 

with the cult of technology. 

Q Could you draw some direct analogies between the 

works in the show and your influences and ideas? 

A: Bev's work is like a Stravinsky composition, earthy, 

resonant and angular - edge as a counterpoint to surface. 

Bernard's work reminds me of a De Chirico painting, 

architectural, revisionary, as still as a glacier. Gill's pieces 

are concrete but airy like Brian Eno's wispy music - 

equally concerned with atmosphere and form. Robyn's 

figures pose like the coquettish Rose Selavy of Duchamp, 

Helen improvises form like the Miles Davis version of 

jazz and my installation is the emphatic grid of 

modernism, thoroughly entrenched within itself, like 

Barnett Newman on coco pops. 

Q Will you continue to exhibit as a group? 

A: Yes oo 


Lorne Woodfire 

I am sitting in that well known state of inspiration, enthusiasm, camaraderie and exhaustion which 

follows wood fire events. On pondering the last five days of the Qdos Woodfire Conference in Lorne, 

it becomes plain that it was just not possible, even without sleeping, to take in all that was 

happening. Report by ROBERT KNIGHTON 

The seed for the event was sown when Graeme 

Wilkie attended the last Gulgong happening. It 

seems that since Graeme moved into other media 

including steel, concrete and fibreglass he had considered 

giving up clay as a medium. However, at Gulgong Janet 

Mansfield apparently convinced him to not only 

persevere with clay but to build an Anagama and to hold 

this spectacular event. Graeme also gives credit to Connie 

Dridan for facilitating the presence of Gesson Hananaka 

and Tomita Reishi at the event. So it was 

that the builders, Ian, Kris, Staumn and 

Graeme in the course of January to April 

this year constructed an Anagama kiln. A 

graceful construction measuring some 10 

metres long and about 2m high and 2m 

wide at its girth, it has much flexibility in 

terms of stoking, active and passive 

damping, lots of side stoking ports, and 

provision to feed air under floor to various 

parts of the kiln. The rise of the kiln is in 

six steps of two bricks each terminating in 

an absolutely satisfactory flue. Construction 

was bricks over formwork with an outer 

layer of cow manure, sand and clay which 

was still very wet as we arrived. 

After loading, bricking up and mudding 

in, the throng gathered in a state of great 

excitement and expectation to witness the 

guest of honour, Sensei Gesson Hamanaka carry out the 

kiln lighting ceremony. With hand clapping to attract the 

attention of the Kiln God, sprinkling of salt at the four 

corners and whistling, the first kindling was lit. So many 

people then stepped in, putting symbolic first logs on the 

fire that it looked like being a very fast firing. The first 

stoking team took control, settled the fire down to a 

more appropriate level and something of a rhythm was 

established. Stoking shifts were six hours at a time. 

9.00pm to 3.00am, 3.00 am to 9.00 am and so on over the 

next three days. Being a truly democratic and egalitarian 

event, there was no master plan. Each team adopted its 

own plan for the particular shift, sometimes recording 

results on the graph and if things didn't go to plan -'I 

The 'wild beast' kiln. 

guess the next shift can fix that'. 

Meanwhile back at the main gallery Len Castle from 

New Zealand, one of a contingent of four from across the 

Tasman, was explaining to us his passions for clay, 

geothermal activity, glaze interactions, photography and 

the guitar preludes of Villa Lobos. He put all of these 

things together in a truly stunning two projector slide 

show. Both projectors were aimed at the same screen so 

that by moving his hands in front of the lenses, Len could 

fade from one image to another. This enabled him to 

show us the visual connections that he sees between the 

mineral colours of boiling mud and glaze surfaces, 

between textures in nature and some of the things that 

are possible with clay, all to beautifully atmospheric 

guitar. When the light gently faded from a gold rimmed 

glaze on glaze platter to the last bar of Villa Lobos there 

was hushed silence followed by deafening applause. 

During the quiet first shift there was time for the 

construction of a 'rustique' chess set with funny little 

pawns, wild eyed bishops, an anorexic white queen and 

all the others. The board was a kiln bat marked out in 

squares with oxide. Some played chess, some stoked, 

some were excited, some slept. At Bill Samuels' initiative 

tl 

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38 POTTERY IN AUSTRALIA + 38/3 SEPTEMBER 1999

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the chessboard was set up next to the main stoking door 

so that we could keep a level head and avoid stoking too 

frequently. 

In the morning, construction of the 'wild dog' 

disposable kiln commenced with slip soaked paper 

slopped over a teepee of fuel and pots. Graeme Wilkie 

demonstrated some sculptural techniques. In creating a 

woman growing out of a dress he explained that he likes 

to work with softish clay. This means that the clay has to 

be fairly thick to have any wet strength Even so, stirrups 

hanging from a bungee strap from the ceiling had to be 

used to keep the young lady more or less elegant. Thick 

clay is OK according to Graeme 'If bricks can be made in 

a kiln you can fire a thick pot with patience and 

accepting the occasional loss'. Another of Graeme's party 

tricks was a demonstration of the interesting texture that 

can be generated by inserting and wiggling a broom 

handle between the wheelhead and the base of a large 

bowl or platter. 

from his hands. When he stoked the kiln it was the same, 

no hurry, no fuss, no sweat, no stress, just grace. 

Roswitha Wulf gave an account in her slide show of 

her introduction to wood fired pottery in back-woods 

Germany as a very young child. The urge to capture and 

express the warmth and character of wood fired pottery 

has continued to be a very strong driving force in her life. 

How else could it be possible to contemplate a wood 

fired kiln in inner suburban Sydney? Her work in the 

exhibition pays due homage to the influence of Peter 

Rushforth and the East Sydney school, quietly revealing 

good design, good craft, and an excellent expression of 

the soul of wood fire. 

Just happened to see 'wild dog' kiln in full flight with 

flames and smoke roaring from between its gaping 

upturned fangs. What a photo! Where's the camera?! 

Another of the master blasters, Ian Jones, works soft 

clay very wet with lots of water leading to easy fluid 

forms. Continuing the easy working feel, he trims the 

Stocking the QDOS Anagama. 

Ian Jones demonstrating. 

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Steam is starting to rise from the warm cow manure · 

surrounding the Anagama, a lazy thread of smoke stirs 

from the flue and the barbie is lit for lunch. There is time 

to look in the main gallery at the exhibition of works of 

the Master Blasters. Sensei Gesson exhibited a number of 

bowls but no finished examples of the arrows for which 

he is famous, the arrows that remind us of the need of a 

direction in life so that we can avoid repeating the same 

mistakes and learn Patience and Love. In a later 

demonstration session Gesson showed some of the steps 

that he goes through to produce an arrow which was 

shown, unfired as part of the main exhibition. It happens 

so quickly, with such simple tools - a rock, seemingly 

any rock, a flattish stick and with no obvious interference 

base with a long pointy trimming tool before cutting off 

with a spiral wire. After a little time for the pot to stiffen 

it is cuddled and smoothed with a finger rather than 

formally turned. 

Ian talked of the relation between functionality and 

pricing, pointing out that it is a bit odd that a very very 

very good teapot might sell for maybe $90 whereas a 

fairly good vase might sell for $250. This notion doesn't 

stop Ian (or anyone) from making say jugs, so it's nice 

that we have a choice. Jonesey's solo stoking strategy - 

When you get tired, seal it up tight, get six hours sleep, 

wake up and start stoking again. 

By following the smell of a steaming cow shed we 

return to the action. Two or three yellowy green shoots 


I 

have sprouted from the outer layer of the Anagama and a 

pall of smelly smoke clings closely to everything. The 

pyros and other fire junkies who had been content to 

hover around in the background now become more 

active. There are those who don't seem to mind the smell 

of burning hair, the frenetic wood chuckers and splitters 

and those who like to warm their bottom in front of the 

open stoking door. There are also the so-called scientific 

ones who like to watch temperature readouts and cones. 

But as Bill Samuels says 'observation is the cornerstone of 

science - that doesn't always need meters' Bill had a 

couple of quietly strong little pots in the Master blasters 

show. Some of us were disappointed not to see a demo 

of how Bill trims those neat little cut feet on his bowls 

Return to find the embers of the wild dog and a 

display of pots contained therein - somewhat like a hot 

quick pit firing in effect. Work has commenced on Wild 

Dog II. 

Robert Barron explained how he began pottery at his 

The stack from the fire boy. 

mother's knee and went on to give a potted history of his 

life accompanied by slides showing the early days of the 

Gooseneck Pottery and the construction of his 

Noborigama. He is not backward in pointing out that it is 

not absolutely necessary to have an Anagama to produce 

good pots. The 'pipe', the jar, and the 'ruined boat' of his 

in the exhibition probably supported that thesis a little 

bit, but this was the day of the Anagama!! 

3.00 am, lovely night/morning. The previous shift got a 

little bit eager with the side stoking, resulting in loss of 

temperature and dignity. To reduce or not to reduce that 

is the question .... .10.00 am: Tired, time for a little siesta, 

but Peter Pilven is in action, sleep can wait. You can tell 

that Peter has payed his dues as a production potter 

when you see the way he can carry on an interesting 

conversation without looking at the wheel and not only 

does the pot continue to be thrown, it's also a fairly good 

pot. Coming from a production background, it is not 

always easy to 'loosen up' but Peter has managed to 

deviate from rigid geometry while maintaining a nice 

balance between order and chaos. Craftsmanship and 

design are expressed with considerable heart and soul. 

Janet Mansfield takes control _of stoking. Instructions 

and encouragement are given to the students engaged in 

side stoking. Flames jetting wildly from every 

recognisable orifice of the Beast. This is what it's all 

about! Any remaining cones have been reduced to a 

molten puddle and the rear pyro probe suffers meltdown. 

Even the barbecue fire is getting rather excited. Another 

truckload of Cyprus pine arrives. 

Len Castle shows how he produces interesting cracked 

earth textures by rolling dry powdered clay onto the 

surface of normal soft clay. To get the best effects he 

uses a mixture of sieved turnings from the 

wheel but including some coarser particles 

to add interest. Some pieces featuring these 

effects appeared in the exhibition as did 

the Hagi style bowls of Paul Davis. In a 

demonstration Paul generously shared 

some of his Hagi experiences, his 

techniques, skills and tools, and also 

offered information about his Hagi style 

clay bodies and glazes. 

With the wood pile dwindling, the 

· stoking becomes more measured and 

economical til Monday midday when the 

kiln is again mudded up. Cooling took 

almost five days and 10.00 am on the 

following Saturday was announced as the 

opening time. Most of the participants 

returned for the opening, obediently 

standing in line from the kiln door to the 

driveway where the pots were laid out in order. The 

results showed a very good first firing of the kiln. A 

working temperature of about cone 12 was achieved in 

most parts with fairly good flashing throughout. Ash 

deposit in the first stack behind the firebox was very 

heavy as expected. Very little of the work had been 

tumble stacked and the losses were quite minimal. 

In short, a thoroughly successful event for the hundred 

or so people attending, an opportunity for those without 

a 'woody' to enjoy the experience and an opportunity for 

those with a woody of their own to share, compare and 

get inspired. oo 

Robert Knighton, President, Victorian Ceramic Group. 

40 POTTERY lt:,J AUSTRALIA + 38/3 SEPTEMBER 1999

Brooching the Subject 

A recent exhibition held at Back to Back Galleries in inner city Newcastle. 

Review by JAN DOWNES. 

The instigator for this exhibition was 

Varelle Hardy a member of 

Newcastle Studio Potters which 

owns and runs the gallery. As a brooch 

maker Hardy wanted to get others to 

make brooches, in particular artists and 

craftspersons who had never made 

brooches previously. 

Back to Back Galleries is primarily a 

ceramics gallery stipulating that there is 

some clay content in every exhibition, 

however, it also exhibits a wide range of 

different media. 'Broaching the Subject' 

was no exception. In addition to 

ceramics the exhibition included 

photography, printmaking, metal and 

silversmithing, fibre, sculpture and 

woodwork. Materials ranged from satin 

and silk to metal springs and paper clips, 

from shards and fossils to shells and 

sticks, from beads and bells to thimbles 

and cotton reels. 

Many of the exhibits were purely 

decorative, others carried a message. 

Margaret McBride used simple strong 

black frames to house a padlock, a paper 

clip and a dice, metaphors for executive 

lives. Glenys Mann a fibre artist from 

Tamworth named her pieces 'Broaching 

the Environment' assembling a range of 

richly coloured hand dyed papers and 

fabrics concerned with protection of the 

environment. Sandra Burgess' clay 

brooches were also about the 

environment, in natural earthy colours 

with inlaid organic forms and highlighted 

with a smattering of gold. The brooches 

of Varelle Hardy are based on clay, to 

her brooch 'Stars and Meteors' she has 

added collage and wire. Elfrieda 

Armstrong's work 'Cobweb' is a white 

plaster armature wearing a network of 

wire of the radiating lines of a spider's 

web over the left breast, linking this to 

the traditional woman's activity of 

weaving. Virginia Chadwick's bold 

brightly coloured brooches were 

delightful, telling a simple story of daily 

life; a car, a house and a boat. Pippa 

Robinson's silver brooches were of 

animals and small silk screen prints to 

match, they spoke about the other 

inhabitants of her life on a farm near 

Gloucester, 1 ew South Wales. 

Two well known textile artists 

exhibited brooches. Perth artist, Judith 

Pinnell used silk paper and sequins in 

strong colours and gold creating a rich 

brigade of brocaded characters. Pat 

Davidson of Newcastle also used 

machine embroidery to decorate fabric, 

making a series of ageing eucalyptus 

leaves, natural earthy colours with 

delicate scribbly lines and the addition of 

small beads and wire giving each leaf its 

individuality. 

The anticipation of the exhibition in 

the last weeks was filled with trepidation, 

so many possible exhibitors but little idea 

of how many would deliver. By the last 

week the small packages had started to 

flow in and by hanging (pinning) day 

Varelle Hardy and her team were faced 

with the challenge of displaying 759 

works. Such an overwhelming response 

was also evident at a crowded opening 

and in visitor numbers over the duration 

of the exhibition. 

Professor Anne Graham, the newly 

appointed head of The School of Fine Art 

at The University of Newcastle, was 

given the difficult task of selecting 

Left from top: Sandra Burgess, Varelle Hardy, Caroline Hale, Stephen Garrett, 

Judith Pinnell, Sue Stewart, Virginia Chadwick, Margaret McBride. 


Above: Pat Davidson 

Left: Glenys Mann 

Below left: Jane Gilchrist 

winners. Her response was to make some personal 

selections. The first prize was given to Jane Gilchrist of 

Dungog, north of Newcastle, for a brooch of a variegated 

soft green paper ground on which were placed twigs 

encrusted in gold and lichen. Reminiscent for Jane of the 

hanging radishes that were a feature of women's 

domestic activity where she lived in Japan. Stephen 

Garrett was awarded the second place. His brooches 

were strong vertical assemblages of small clay and glass 

shards which he dug up in his garden. The third prize 

was awarded to Susan Morris, a series of three cedars and 

tarnishing copper moons. 

Many of the artists had not made brooches before, 

indeed many of the artists had not worked on such a 

small scale previously. Some talked of the difficulty of 

adapting their ideas to such an intimate scale, others 

reported the need to sharpen their fine motor skills and 

don borrowed spectacles or use 

magnifying glasses! Conversely 

working on such a small scale was 

liberating for many in terms of 

transportation. A dozen brooches in 

a postal jiffy bag or a chocolate box 

was quite a relief from the lugging 

of heavy boxes. 

Some ceramists did not adapt the 

work they normally do to a smaller 

scale but took the opportunity so try 

new techniques and materials. Sue 

Stewart's brooches were vibrant 

colours, a filigree made by trailed 

porcelain slip and fired with a rich 

cobalt glaze. She refired with a gold 

lustre and then added bright 

enamels in her home oven. Finally 

she added small items such as chain and beads. Caroline 

Hale took a break from her normal work and enjoyed 

playing with different materials. She used collected shells, 

driftwood and pate de verre, which she embellished with 

coiled wire like an unfolding fern. 

Newcastle Studio Potters has gained a reputation for its 

innovative approaches to fund raising to maintain their 

gallery. From this exhibition 5% of proceeds went to the 

gallery and 20% went to The New South Wales Cancer 

Council. With over half the brooches sold this was a 

good outcome. ot only was the gain financial, the 

exhibition was an impetus for new individual ideas. Since 

the closure of 'Broaching the Subject' the Newcastle a1t 

community have been wearing the brooches: the 

exhibition continues through this public display. oo 

Jan Downes, ceramist. 


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There are not many places in the world that gay and 

lesbian culture could express itself in public freely with 

the whole country being so curious and accepting. 

Australians are not only able to express themselves freely, 

but many seemed to be unstoppable in their celebration. 

People from all over the world come to be one with the 

carnival. The intensity of the multicultural atmosphere 

showed me that in Australia people of different 

backgrounds and cultures can come together in peace 

and happiness. Coming from the land of smiles, it was 

great to experience this here, for every one smiled 

"Happy Mardi Gras". 

The various extravagantly flamboyant floats and props, 

with the dazzling and sparkling costumes of the 

participants, provided perfect inspirations to develop a 

series of work based on the Sydney Gay and Lesbian 

Mardi Gras, but with a Thai perspective. 

The forms of fish fins and the female figures are used 

on the pieces to symbolise the traditional image of the 

mermaids, this is the same for both Thai and Australian 

cultures. These elements with the forms and images of the 

Mardi Gras' costume combine together in a equilibrium of 

design and concept. Dry glazes, which look like moss, 

were used to represent the surface of the creature, living 

deep in the water. Two parts of Thai traditional costume, 

which are the glittering headdress and the pointed epaulet, 

were incorporated into the pieces. Gold leaf and little 

pieces of mirror were used for finishing the works. At the 

Mardi Gras I observed how a number of participants 

enhanced their magnificence, by the use of 'high heels', 

thus, I created 'high heeled' stands for the pieces in this 

series. The stands also reference Thai classical dance .. 

I like to think that I use glaze in the same way as 

painters would use their colour because I use several glaze 

recipes for the pieces. Some of the pieces had more than 

five glazes applied and were fired more than four times. 

However, I do not want my "painting" to show only 

Since Childhood, I have been fascinated with the tales colour, but the detail and the texture as well. To achieve 

told to me by my grandmother. One of the this goal, a wide selection of brushes, in a variety of sizes 

characters from those tales has stayed with me ever were used. The variations of brush sizes allowed for thick 

since. Suvan Madcha (A Mermaid), from one of the and thin applications of glaze at the same time. Some 

Ramayana 1 stories, tells of a mermaid caught between the pieces were glazed twice before firing, and some were 

forces of good and evil. 

fired at high temperature, then glazed again and refired at 

Suvan Madcha continues the series of work, I did for my a lower temperature. Applying a second layer of glaze, I 

Postgraduate Diploma (Ceramics) Monash University as an intentionally left some surfaces uncovered or wiped the 

oversea student from Thailand. 

glaze out using a wet sponge so the first layer of glaze 

Today, it is my privilege to be able to study in Australia could show through; choosing totally different kinds of 

and whilst here I have experienced and seen many new glazes, to be used together, especially in terms of colour 

things. I have been very impressed by Australians' free t(J and texture. For example, I applied a thin layer of smooth 

expression, multiculturalism and friendliness. 

green glaze with an overlapping use of an orange glaze, 

One of those occasions that demonstrated these facets of firing once. This combination creates a bright orange 

Australian culture was the Sydney Gay and Lesbian Mardi surface with green mossy texture underneath. In addition, 

Gras. While at the Mardi Gras I could almost imagine I also used dry glaze over a glossy glaze to obtain unique 

myself in one of those Ramayana stories; I observed many colours and textures. 

incarnations of Suvan Madcha in the parade. 

I also produced a second generation of pieces based on 

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the same themes, further developing the ideas and forms 

of the work. The pieces are less abstract, focusing on the 

human aspects of my ideas with a greater emphasis on the 

'costumes' of the pieces. 

I am currently extending and refining the 'Suvan Macha 

Theme' at the Jam Factory, with a series of work based on 

the Mermaid ideas; exploring other forms such as my sea 

creature teapots. 

I hope I have been able to express a part of my 

experience of life, in a way that others may enjoy and 

appreciate. I intend very much to develop more work that 

continues to merge ideas from my Thai background, with 

my growing cultural understanding of Australia. oo 

1 - Ramayana is a collection of stories of the travails of Prince Rama 

and Princess Sita and their companions. 

Vipoo Srivilasa 

Jam Factory, 19 Morphen St. Adelaide SA 5000 

T: (08) 8410 0727 F: (08) 8231 0434 

Email: vsril@hotmail.com 

Web: http://members.tripod.com/srivilasa 

Previous and opposite: 'Mermaids Queen of The 

Sea'. Right and above right: 'Sea Creature' teapots. 

Works at the Jam Factory. Below: Sydney Mardi 

Gras 2000. Photography Kluvanek 

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eaturing the work of 44 potters, 

including students and recent 

graduates, the exhibition 

represented a great variety of styles, 

decorative and firing techniques. 

The winner of the Pat Emery 

Encouragement Award for an emerging 

potter was Judith Roberts . Her fine, 

well-proportioned raku vessels 

contrasted freshly textured black clay 

with a smooth unctuous crackle glaze 

in tan and also cream, a combination 

of quality finishes with spontaneity. 

Honorable Mentions went to 

Dayleen Evans and Kerrie Lightbody. 

Dayleen exhibited a collection of dry 

glazed boat forms, skeletal and abraded, 

but it was her group of three simple, 

crescent shaped sculptural forms which 

took the judges eye. The smoked, raku 

and pit fired finish enhanced and 

complimented their soft curves. 

In contrast were Kerrie's fine 

polished bone china vessels. Her group 

of three sandblasted-cupped forms 

suggested erosion and fragility , the 

action of waves and sand. 

This was an exhibition with 

'something for everyone'. Spread 

through the three areas of the gallery 

there was a treasure around every 

corner. Overall the work displayed 

quality and craftsmanship. Ola 

Almarker's large open bowls and 

square platters were simple and 

refined. The blue chun glaze had a 

depth and an almost ethereal quality. 

'Fruit Bowl with 2 Frogs' and 'Teaser 

for 2' by Ruth Petersen, in soft matt 

green with added frogs were well crafted, whimsical and 

appealing. Of particular appeal were 'Tendrils I and II' by 

Juliet Beovich; delicate stained porcelain cups with added 

handles of soft grey, weathered vine tendrils. 

The salt-glazed functional work by Frances Lockett had 

warmth and vitality with a lustrous finish, as did the 

anagama jars and vases by Ian Rowe from the recent 

Qdos kiln firing. Jan Barnes' urn form appeared in 

different sizes and finishes , including pit fired and oil, 

wood and anagama fired shinos. 

Peter Ries ' vessels and jewel boxes with quietly 

iridescent reduced lustre brushwork, the fine dry finished, 

squared off thrown forms of Susan Matyas and the clean, 

subtle matt glazed spiral vases of Lene Kuhl Jakobsen 

were well resolved and showed a mastery of their 

individual techniques. 

In the more sculptural area were 'Lorikeet House' and 

'Kookaburra House' by Margaret Holloway, a unity of 

form and colour, Jocelyn Mannings strong, well 

considered, architectural forms and the abstracted female 

forms of Maria Coyle. I thought that some of the larger 

sculptural pieces in the exhibition needed more space 

around them. The brief was for up to six items to be 

displayed together. Entering 2 larger forms , instead of 6, 

would have allowed the work to be displayed to better 

advantage. 

I think that the annual unselected exhibition is an 

important event. It encourages new graduates, students and 

new exhibitors to submit work without fear of rejection. 

This, in combination with the Pat Emery Encouragement 

Award, has helped to produce an interesting and varied 

show, a true 'Potters' Showcase'. oo 


The Rites· of Tea 

Kim Pen Pang - a potter working in Tasmania with his focus very firmly on the 

ceremonies of tea drinking. By MICHAEL CONNOR. 

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n Hobart there is a potter obsessed with tea sets. In 

Kim Pen Pang's studio cups, teapots, milk jugs and 

sugar bowls fight for space on overcrowded shelves as 

a multitude of unique tea sets spring from his wheel. 

Originally from Singapore, Kim's Straits Chinese 

background, an eclectic mix of Malay, Chinese and 

English influences, surely plays some part in the rich 

fantasy his work displays. 

The influence of the tea ceremony is strong in his 

throwing. But it is neither the formal gentleness of the 

Japanese nor the robustness of those squat, steaming, 

and often chipped pots, endlessly refilled on the tables of 

Chinese restaurants. Kim's tea sets are made for the 

mysteriqus pageantry and rituals of English tea drinking. 

Something elegant, wild and elusive combining the 

smooth surface display of a Merchant Ivory film and the 

underground dottiness of a Monty Python tea party. His 

pots both laugh at and celebrate the rites of tea making 

and drinking. 

The elements of his sets unite to extol the heady 

delights of Prince of Wales or Irish Breakfast teas. His 

teapots are made to be pre-heated, to have measured 

amounts of black leaves added from tightly sealed 

Fortnum's tins, then infused with boiling water. Scented 

liquid to be poured into cups and coloured with light 

clouds of milk from the accompanying jug before the 

off er of sugar from obese little containers. And all from 

pots that seem virtually animate and ready, at any 

moment, to march themselves around the tea table. 

At first Kim, who trained as a contemporary dancer, 

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Oxidation, copper matt glaze, rutile/iron splattered. 

Milk: h12.5 x L 14 x w8cm; Teapot: h18 x L 17.5 x w9.5cm; Sugar h14.5 x LS x w6.5cm 


:l the 

. His 

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used clay to create splay footed, thunder thighed, bulging 

breasted and heavy waisted dancing figures which 

mocked perfect body pretensions with the irony of one 

who had been there and suffered that. He was 

introduced to the wheel only when he began a course in 

ceramics at the Townsville TAPE in 1995. 

But elements from the life of his earthy ballet figures 

have remained to enliven his pots. There is always 

something, although one is never sure what and viewers 

all have their own interpretations, that resembles living 

forms within all his pots. A blue tea set appears as a 

group of iron carapaced mechanical bugs, another a 

group of children's picture book snails bound for a family 

picnic in the nearest letter box. 

@ 

First come the thrown forms in which the earthy 

softness of the clay is bent and moulded seemingly to the 

very border between functional and the purely 

decorative. Pulled handles that grow like living tendrils 

are added, and thrown lids and spouts, and sometimes 

extruded attachments. Using Clayworks' JB3, for the 

flexibility it allows, he works within the stoneware firing 

range in either oxidation or reduction and uses glaze? 

that have been sprayed, splattered or painted onto the 

surfaces. Before moving from 

Townsville to Hobart Kim 

experimented with rich majolica 

pigments and produced functional 

pots flaunting raw tropical colours for 

sale at local markets. Since living in 

Hobart his palette has been 

transformed by ochreous tints which 

seem to reflect the subtle autumnal Tasmanian landscape. 

Kim's pots are best observed as complimentary threepiece 

sets. Families of almost living pieces that achieve a 

unity of design and function when seen and used together. 

Following his introductory, and satisfyingly practical, 

TAPE course, Kim studied at James Cook University in 

Townsville before transferring southwards and graduating 

with a Bachelor of Fine Arts degree from the University 

of Tasmania. Currently he is completing studies for 

honours in ceramics, at the Hobart School of Art, and 

undertaking a major study of - teapots. oo 

© COPYRIGHT MICHAEL CO OR 1999 

Tel.: (03) 6234 4427 

email: mconnor@postoffice.utas.edu.au 

Oxidation, clear with copper sprayed. 

Milk: h14 x d13cm; Teapot: h19 x d14.5cm; Sugar h14.5 x d15cm 



A river can hide its secrets, its sorrows and its joys. 

But a river can also reveal the richness of its heritage, filled with memories of its peoples and its past. 

A Community Arts project described by BONNIE ENGLISH. 

The people of Innisfail, in 

frame within a 90 degree 

northern Queensland 

regular grid. The 'Cesco white' 

worked together with 

earthenware standardised tiles 

ceramic artist and project 

allowed for the series 

designer, Sam Di Mauro, to 

create a visual record of their 

life and the history of their 

region in a ceramic mural that 

runs horizontally along a 

coping wall by the North 

Johnstone river. It enriches the 

production of these pieces. The 

river was dotted with fish 

shapes made from laser cut 

brass, in which an inserted blue 

venetian glass tube was placed 

in the eye hole, along with 

dazzling terrazzo and pieces of 

landscape and is flanked by the 

multi-faceted glass which 

proud statue of the 'Canecutter', 

commissioned in the 1950s by 

the Italian community to 

celebrate their contribution to 

the rural community. 

heightened the luminosity of 

the work. These materials 

create a surface flicker which 

plays as a reflection on the 

water. 

Di Mauro, a lecturer at the 

In this very precisely 

Queensland College of Art, 

Griffith University, was born 

and bred in Innisfail. Having a 

sense of 'belonging' to the 

region, made it 'a greater and 

richer experience' for him to be 

involved in the project. The 

Top: 'River reflections' lnnisfail Qld. One 

panel of 8 in foreground. 

Each panel 2 x 4m. 

Above: Sam Di Mauro in his studio loading 

rendered design plan, Di Mauro 

argues, it is the process and not 

the technique that is most 

important. The process draws 

upon a number of people in 

the community who have the 

necessary skills to bring the 

mural, he said, was created in 

tiles for bisque firing. · mural successfully to its 

the true spirit of community 

completion and this develops a 

collaboration, where local professional craftspeople, 

artists and members of the manufacturing industry 

worked together and the local people were 'asked to 

remember and speak about their past'. 

Innisfail is a town rich in the cultural diversity of its 

peoples. There are 47 languages spoken in this area and 

this agricultural community is surrounded by cane farms 

and sugar mills. The mural, 'River Reflections' references 

and records its original inhabitants, the early migrations 

to the region, local flora and fauna, natural and human 

disasters, personal histories, business and commerce in 

the area and entertainment, celebrations and food. 

The mural consists of eight panels of finely detailed 

ceramic tiles, terrazzo, glass and brass. The central motif 

of the mural is the free flowing shape of the river, with 

110mm carved square tiles fitting the rectangular outer 

sense of ownership of the art work. Vital assistance was 

provided by Mate Buljubasich (Tiler and builder), Rob 

Hart (boat builder), Lily Hart (Aboriginal/ South Sea 

Islander Community), Lorraine Viegel, who fired 750 tiles 

herself (Broken Nose Pottery), Rebecca Sweeney (a1tist) 

and the Johnstone Shire Council Works Department. 

The citizens of Innisfail have expressed the happiness 

that their contributions to the project have given them. 

Their stories, often passed down from previous 

generations, have been visually actualised in the illustrative 

narratives painted on the individual tablets. One women, 

Connie Bataska, related a story during the war when so 

many Italians in the area were interred and, often, moved 

away. Times, she said, were hard for the women and 

children left to run the farms and yet she remembered with 

fondness the time that one young boy got into the pantry 

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Above: 'Personal Histories' River Reflections, Panel 

No. 5. Clay tablets, terrazzo, glass and inlaid brass 

fish. The title is in one of the languages of the area. 

Right: 'Food' River Reflections, Panel No. 7. Top 

left: Italian mother making pasta. Bottom centre: 

dining under the old queenslander. 

and took off all the labels of the rationed tinned food 

that had been given to them by the government. For 

months, mealtime brought great surprises! 

Another little-known story, goes back to the early 

pre-colonial times. One tablet, which consists of an 

open fire, illustrates the time when Captain Cook 

travelled up the eastern coast of Australia and as he 

was sailing past the Innisfail region spotted small fi res 

dotting the hillsides. He later learned that these fires 

marked the locality of the Aboriginal camps. 

Exhaustive researching time was spent collecting these 

stories by visiting church groups, community gatherings, 

private homes, service groups and clubs and the Innisfail 

and District Cultural Society. 

By means of interviewing, demographic studies and 

seeking archival material gathered from the John Oxley 

Library, a comprehensive and conclusive body of material 

was gathered. In early 1998 a submission of the project 

was presented to the Johnstone Shire Cultural Association 

(the commissioning body) and local government, in May 

1998, a workshop to fabricate tiles and a works-inprogress 

exhibition was held. In October 1998 the 

finished artwork was installed in situ. An accompanying 

book is now b,ting compiled to complement the visual 

rendering of ilie histories revealed in 'River Reflections'. 

The official launch of this Arts Queenslan d* funded 

public art project** took place in early 1999. oo 

*The Public Art Agency has been recently established within Arts 

Queensland as the Queensland Government's main agency for the 

advice and development of integrated art and design projects. The 

agency's inaugural grant recipient under the Collaborative design fund 

is the Johnstone Shire Cultural agency with its River Reflections project. 

**The Queensland Government's 1998 Art Policy ensures that 2% of 

the budget of all State Government capital works building projects 

will be spent on integrated art and design and will set a precedent 

in Australia, in its breadth and magnitude, while reinforcing the 

cultural foundations of the State of Queensland. 

Bonnie English, Senior Lecturer in Art Theory, 

Queensland College of Art, Griffith University. 


The Potters of the Punjab 

The region now known as 

Pakistan has a rich history 

and tradition in its pottery 

production dating back to the 

Indus Valley (Harappan) 

civilisation, (23-18 centuries B.C.). 

Moenjodaro and Harappa were 

the major cities of a centralised 

and literate society that existed 

there that had established 

commercial links by sea to other 

parts of the world. They made 

and exported glazed earthenware 

beads, terra cotta figurines and 

black painted red clay pottery. 

Modern day Pakistan is a very 

diverse country with four regions, 

Punjab, Sindh, Northwest Frontier 

Province and Beluchistan, with 

each having its own tradition and 

distinct styles of pottery 

production. There are many 

regional variations in forms and 

styles of decoration. Generally, 

however, the majority of the work 

is either unglazed red 

earthenware or lead-glazed 

earthenware, mostly using clear 

glazes over decorated engobes. 

Some blackware is produced in several areas, for 

example in Swat in the north and Ahmedpur, south of 

Multan. A paperfine, intricate unglazed terra cotta ware is 

also produced there. 

As throughout the whole country, similar industries 

tend to cluster together. The potters' village Amar Sidhu, 

12kms south of Lahore, is no exception. In one of many 

such potteries, Hagi Sahib, the owner, respected elder 

and master potter, oversees the production of cooking 

pots, bowls and water storage vessels. All of the boys in 

his family work in the pottery from an early age and 

learn all aspects of the craft. Women do not work in the 

potteries, except on occasions to gather the wood for the 

kiln. The raw clay is dug and brought by donkey carts to 

the village from where the young boys collect it and 

Article by PETER WILSON. 

Above: 

Potters putting the bases into 

cooking pots. 

Below: 

Potter working inground kick wheel. 

pulverise it using hand tools. It is 

then put into troughs of water to 

slake. The slurry is then dried 

slowly in a series of ponds and 

stored until used. 

Mechanisation has encroached 

only slightly on traditional craft 

methods. The process of making 

and firing pottery remains largely 

as it has for centuries. A primitive 

one-speed electric wheel 

operated by Hagi's sons Abdullah 

and Billa , was the only 

innovation witnessed, as the 

majority of wheels in other 

potteries were of the in-ground 

kick wheel variety. The tools and 

other resources are the bare 

minimum. The pots are made 

and sun dried, turned or a new 

base added as for cooking pots 

to avoid cracking. The cooking 

pots are made and when leather 

hard, the bases are pinched off 

the pot. It is replaced with a thin 

heavily grogged slab of the same 

clay. This is done in a round 

bottomed dish using an anvil 

shaped tool which stamps the 

new base into position.The pots are then decorated using 

a white slip, over which patterns are stamped or brushed. 

The clear glaze is then poured onto the pots which are 

stacked on top of one another in the chamber of the kiln. 

Hagi Sahib's kiln takes about nineteen hundred pieces 

and is fired once a month. It is a wood fired updraught 

kiln about two metres in diameter with a dome-shaped 

firebox with holes which allows an even heat distribution 

up through the ware. The top of the open cylinder of the 

kiln is partially closed by placing large brick slabs on the 

top, cantilevered in towards the centre with holes big 

enough to allow a draught for the fire. 

Shahdarah, Gujrat and Gujranwalla are all traditional 

pottery villages which spread along the Grand Trunk 

Road, heading northwest from Lahore towards Islamabad. 

Tr 

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These centres are also important 

for the production of industrial 

pottery such as electrical 

insulators, tiles, sanitaryware, 

vitreous tableware and brick 

products. In these factories, a 

variety of production methods are 

used; the sanitaryware is slip-cast, 

individual hand operated presses 

stamp out the electrical insulators, 

tiles and bricks in respective 

factories. The tableware is 

produced by jigger and jolly 

machines. Without exception, 

these industrial potteries used airforced 

gas as the preferred source 

of fuel for firing, some of which 

had continuously opentting trolley 

kilns. The main exception here 

being in the traditional brickworks 

where wood is mostly still used. 

These are situated where the clay 

and silt deposits are located on 

the former floodplains of the 

major rivers of the Punjab region, 

the Ravi, Chenab and Sutlej. 

Apart from the traditional and 

industrial ceramics, there is a 

contemporary ceramic practice 

that exists in Pakistan and there 

are a handful of ceramists 

working in the Punjab area. The 

most notable of these are Dabir 

and Talat Ahmad, both lecturers 

in ceramics and sculpture 

respectively at the ational 

College of Arts , ( CA), Lahore. 

They are a husband and wife team who construct 

ceramic panels amongst other works, that look to the 

Islamic traditions of religion, the Koran, the Mughal 

architecture, the patterns and colours of Islam and the 

calligraphic script of Urdoo as inspiration for their works. 

Both have exhibited widely throughout the country as 

has Salahuddin Mian, a former Professor of Ceramics at 

the CA. His works reflect his Japanese training and 

interest in intuitive marks as a means of decoration and 

expres ion. 

The traditional potters continue to fill the age old need 

of their people for practical utilitarian pots for cooking, 

serving, eating, and for food and water storage. However, 

the introduction of cheap alternatives in the form of 

plastics and aluminium cooking wares has impacted on 

Above: Potters stacking pots ready for loading the kiln. 

Below: Pots drying in the sun - kiln in background. 

-:' 

the traditional craftspeople. As the western world 

encroaches, the traditions and customs of the people are 

changing and the demand for folk pottery is in decline, 

especially in the cities where alternatives abound. The 

difficulty is that when the markets for a traditional craft 

that has existed and been passed down through families 

for centuries dries up, the ability to change and develop 

new products and methods provides insurmountable 

barriers causing, in time, a loss of these industries and 

self sufficient communities. cw 

REFERENCES 

Traditional Pottery Techniques of Pakistan 

Rye, O.S; Evans, C. 

Smithsonian Press, Washington 1976 


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Guan or possibly kuan is a very old glaze type 

which originated in ancient China at around about 

the time that Europe was enjoying the renaissance. 

It was made under royal or court patronage and can be 

loosely described as a highly f elspathic stoneware glaze 

which is pale in colour, sort of whitish/ grey with 

variations of pale grey/green, grey blue, creamy/grey, or 

grey/pinky mauve. This glaze can only be created at 

stoneware temperatures under reducing conditions, as it 

is only under reduction that the predominant greyish 

character is developed. 

It is not a clear glaze, although it would be if it were 

fired high enough. It is not an opaque glaze either, I 

think a good term would be perlucient, showing just 

enough passage of light to indicate the clay body colour 

underneath. It makes a remarkable difference to the glaze 

to see it over the two different bodies, one white and the 

other dark. Traditionally the clay body used is quite dark 

based on a high iron content. 

The dark clay/glaze interface layer reflects light in such 

a way as to give the surface a mysterious depth. The clay 

must not be too vitreous, as under reduction the iron 

colourant becomes a flux which can lead to slumping of 

the body, or worse, shattering of the pot due to the 

stresses of glaze fit. 

In fact it is best if the clay is quite porous and sandy, 

as this lets the glaze craze freely without shattering the 

body. There is no such clay on the market of which I am 

aware, so I make up my own. 

I started out firing to 1300°C but I now only fire to 

1200°C with the same recipes and I am starting to get 

some lovely results. I find that I'm firing longer and 

slower, especially towards the top end of the firing and 

I'm ball milling the glazes just a little - one hour. It's 

important not to mill high felspathic glazes for too long 

as the felspar breaks down very rapidly and the glaze 

soon becomes unworkable. 

It is essential that guan style glazes contain 10% to 20% 

of limestone or whiting in the mix to develop the 

grey/green colour. It also helps to create the mass of tiny 

microscopic bubbles which adds to the opacity of the 

glass and finally 10% to 20% of fine silica makes up the 

glaze. Small additions from one to five percent of such 

things as talc, dolomite, bone ash and wood ash give 

excellent variations on the base glaze. 

A good starting recipe is 

RECIPE 

Felspar 

Silica 

Whiting 

70 

20 

10 

Mix to a unctuous creamy consistency and apply 

thickly. Fire in reduction from 1000°C onwards, fire 

gently and slowly, don't be afraid to underfire and 

use test rings to check on proceedings. 

The choice of the actual raw materials is quite important, 

it is surprising how much difference a change in one of 

the ingredients can make. I have recently been 

prospecting a wide range of local 

materials and a white clay straight 

from the ground can be anything from 

highly aluminous to highly silicious, 

this will have a remarkable effect on 

the look of the glaze. 

Guan is one of a series of traditional 

glazes which are all interelated 

chemically. If the limestone is 

eliminated, it becomes a shino. When 

small percentages of talc are added to 

this glaze it tends towards luan-chuan, 

when larger amounts are added it 

shows signs of chun or jun effect, 

especially in the presence of one to 

two percent of bone ash and or some 

wood ash. Alternatively, if a little clay 

and iron are added to a guan it can 

become a celadon. 

Bon feu oo 

38/1 MARCH 1999 + POTTERY IN AUSTRALIA 55

- 

this life ... a glaze journey 

Research and article by WINNIE WEBBER graduate student from Hunter Institute of Technology, 

I 

have no idea why I 

gained 6 kilos for the 

final year of my Diploma 

in Ceramics at the TAPE 

Hunter Street Campus in 

Newcastle. For the majority 

of 1998 I was engaged in a 

busy multi-layered life of 

Tech, clay, work and 

family and spent most days 

huffing and puffing, lifting, 

pulling and grunting .... and 

still more lifting! Plus 

walking .... never ending 

treks from the 

Handbuilding Room ... to the 

Glaze Room ... to the kilns .... 

and to the car. I know I 

did miles. (mentally, and 

on foot). Not to mention 

the challenge of cramming 

an assortment of hurriedly 

wrapped and partially dehydrated chunks of clay, boxes, 

bags, buckets, tools, bats, folders and books into an 

unsuspecting and groaning station wagon that eventually 

wore grooves into the trail I laid working between the 

Campus, Newcastle Studio Potters' workshop and the 

makeshift studio/ garage of my home. And then there 

was the back and forth of unpacking at the other end ... to 

do it all again the next day! Its not what I had planned, 

not really ..... 

Having spent some years previously on an affair with 

Newcastle West. 

woodfiring (in the days 

when ferocious orange 

flames leaping out of 

chimneys was still a thing of 

beauty), I knew here, with 

my major work, was an 

opportunity to rekindle my 

dormant pyromania. Thus, 

having set my heart and my 

mind on Raku I eagerly 

commenced glaze research 

and kiln building only to 

find that Workcover 

regulations in regards to 

LPG cylinders on campus 

made my Raku plans a nonevent 

and reaching red-heat 

on Town Gas was OK 

providing my kiln remained 

the size of a tomato tin! So, 

off I went to the inner-city 

Workshop of ewcastle 

Studio Potters where the small courtyard became host to 

much enthusiastic Raku experimentation and activity that 

somehow (?) culminated with irate neighbours 

complaining 'where is my house - I can't see it for the 

smoke', the fire brigade arriving to hose us all down and 

the EPA said ...(a lot of stufD ... and yes, we would have to 

pay them lots of money if we didn't comply. I was 

crushed. My major work was now a major fizzier. 

I felt consoled by convincing myself that I had 

probably saved myself from many hours of radiant 

ph 

pri 

WC 

wi. 

frit 

vit 

we 

wil 

ma 

COi 

be, 

ere 

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OUl 

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:-, 

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56 POTTERY IN AUSTRALIA + ISSUE 38/3 SEPTEMBER 1999

s 

e 

of 

of 

h 

n 

y 

S, 

physical exhaustion, and of course, I no longer had to 

pretend to myself that I fe lt even remotely at ease 

working alongside 2x45kg bottles of LPG! And as luck 

will have it- it was at this time that fellow potter and 

friend Sue Stewart sang the praises of Janet de Boos' 

vibrantly exciting dry glazes she had demonstrated in a 

weekend workshop at ewcastle University campus. So, 

with renewed vigor but some doubt (how could anything 

match the excitement of Raku?) a new body of work was 

conceived. I now knew that I wanted to go large! Large 

because with the proposed composite forms I could 

create many possibilities and also to overcome some 

limitations that I perceived myself to have in regards to 

recurring RSI (really shitty injury) and a less than perfect 

lower back. 

For the next 8 months, there followed a period of 

exhilarations and challenges as I progressed on a steep 

learning curve that was accelerated by the successful 

outcome of many vibrantly coloured dry glaze tests and 

only minimal frustrations and a very tough, obedient 

Walkers o SB s/w clay body that was excellent for the 

task of constructing joined forms. My enviable shopping 

list included such delicacies as Strontium, Lithium, 

Barium, Chrome, Vanadium (soon deleted) and many 

others that came to make up a chemical cocktail and 

brought home the potter's dilemma of toxicity and 

pollution in the workplace. Most of this period saw me 

DRY GLAZE RECIPES 

(Developed from Janet de Boos recipes). 

Best fired 9'f5-955°C, Cone 08 oxidation. 

heavily disguised with fil ter masks or breathing 

apparatus, rubber gloves and copious cover-up garments 

working in close proximity and co-operation with Hazchem 

bins and state of-the art extraction fans greedily 

sucking up poisonous dust and fumes. Ever vigilant 

Graham Cecil, our Technical Assistant, had his work cut 

out for him when it came to OH+S enforcement! We tried 

to be good. At least we always wore our sensible shoes, 

if not our sensible heads! 

So, with little work, breathtaking glaze tests resulted by 

simply varying the amounts of Strontium Carbonate, 

Calcite & Nepheline Syenite in each of the recipies; 

varying the thickness of glaze· application (spray, sponge 

or brush) and determining final kiln temperature. Simply 

re-firing could result in changes to colour intensity with 

some results remaining firmly unpredictable thus giving 

me endless scope for further research. Q. what do you 

get when you overlap a blue glaze with a yellow one? A. 

vibrant green of course! 

November 1998 saw the culmination of many months 

of work with the Graduating Tafe Students exhibition 

entitled 'Surface Tension', an exhibition that needed to 

show all the requirements of the Diploma course along 

with copious quantities of documentation. It was then 

that I realized that it was not about making the perfect 

work of 'Art' but about the challenge and process of 

continually striving to do so. 00 

A Varying the Strontium Carbonate - 40-60-80-100 

Colour: Ume to yellow/orange/red 

Frit --±06-± 80 

Strontium carb 10 

Chrome Oxide 2 

B Varying Calcite - 20-30-40 

Colour: Olive to orange/rust 

Frit LJ:06-± 80 

Calcite 10 

Chrome Oxide 2 

C Varying Nepheline Syenite - 20-40-60-80 

Colour: Mauve to grey/blue/teal 

Barium carbonate 60 

1 Tepheline Syenite 20 

Copper carbonate 8 


Glaze Q&A 

When it comes to ordering glaze ingredients, there are many questions to be answered. 

MIKE KUSNIK provides the answers to common questions. 

J 

• Black Copper Oxide: is half the price of red copper 

oxide. What is the difference? 

There are two copper oxides available - black copper 

oxide (cupric black CuO) and red copper oxide (cuprous 

re Cu2O). Use the black copper oxide. In oxidation it 

will give you green/ blue glazes and under strong 

reduction it will produce copper red glazes. The red 

copper oxide will work likewise although in certain 

glazes (very stiff, viscous glazes) the red copper oxide 

may give you red/ brown colours in oxidation. 

• Bentonite: should you buy American bentonite at $5 

per kilo or Australian at $1.20 a kilo? What is the 

difference in performance? Is the price difference due to 

one being imported? 

Any Bentonite (American, Australian, English) is good to 

use as long as it is the swelling type. Sprinkle the 

bentonite on top of water - if it sinks to the bottom 

instantly, it is no good; if it swells and floats on top of 

the water for a minute or longer it is good. 

• Bone ash: natural Boneash is $8 per kilo and synthetic 

$11 per kilo . Why? What is the difference in the 

performance? 

Use the natural boneash as it is produced for the ceramic 

industry in the first place. The synthetic one is produced 

for the chemical industry for all sorts of applications and 

it is very pure and therefore expensive. 

• Ball clay: BBR is slightly more expensive than FX. 

What are the advantages/disadvantages. 

The BBR is more suitable due to its constant quality (it is 

low on impurities). The FX does not have the same wet 

strength or dry strength as the BBR. 

• Dolomite: English is $3.30 per kilo while Australian is 

$1. 10 per kilo. Which should I choose and why? 

Dolomite is a double carbonate of calcia and magnesia. 

The ratio of the calcia to magnesia is not the same all 

over the world; in some cases it is 50/ 50 (theoretical 

formula), in other cases it is 25/75 or 75/ 25 depending 

on where it comes from. We all assume that dolomite has 

the theoretical formula 50/ 50 and for this reason it pays 

to replace it by whiting and magnesite. For example: if a 

glaze formula needs lO0gms of dolomite use 50gms of 

magnesite (always use the heavy magnesite) and 50gms 

of whiting. 

• Eckalite - what is it? 

Eckalite is a very pure china clay and very short of 

plasticity. It is useful for casting slips and for special 

bodies where whiteness is of paramount interest ie bone 

china. 

• Rutile - what is the difference between rutile flour and 

rutile sand? 

Rutile sand is as mined and when it is ground, say to 

100-200 mesh, it is called flour. Always use flour. It will 

stay in suspension more easily in a glaze. 

• Sodiums - I believe that Sodium Carbonate is also 

called Soda Ash. Is it the same as Soda Bicarbonate? 

Soda ash is anhydrous sodium carbonate. It is called 

soda ash because in the old days it was extracted from 

wood ash; it is also used in washing powders. 

Soda bicarbonate, also named the acid carbonate is 

used in cooking as a rising agent, in medication as 

antacid and also some potters use it in 'salt' glazing 

instead of salt to reduce pollution. 

• Zinc Oxide - should I buy densified or just plain zinc 

oxide?. The latter is cheaper. 

Glazes containing up to 10% of zinc oxide can be made 

with plain zinc oxide; for higher concentrations use the 

densified zinc. oo 

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58 POTTERY IN AUSTRALIA+ ISSUE 38/3 SEPTEMBER 1999

Junko Kiritani in Cairns 

Junko Kiritani visited Australia and had an exhibition of her work titled 'Shukyoku, The Evolution of the 

Earth', in Sydney and Melbourne earlier this year. During her stay she held a workshop with the 

Cairns Potters Club in the ceramics department of Cairns TAFE. Shikuko Otsubo. 

-a 

of 

s 

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o 

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o 

s 

s 

Junko Kiritani is well 

respected in Japan, 

exhibiting new works 

regularly in private exhibitions 

over the last twenty years. 

Japane e ceramic art has 

traditionally been the domain 

of men but since World War 

II more women have entered 

the field of ceramics. Junko 

Kiritani is uch an artist. She 

began working with clay at 

the age of 18 and, without the 

restrictions imposed by the 

traditional apprenticeship 

system, has developed a 

unique style of ceramics. 

Her forms are slab built, 

often tarting from 10kg slabs 

Which she distorts and 

stretches and then hollows 

out for firing. This keeps the 

exterior of the piece almost 

untouched. The result is 

surfaces with textures and 

fissures seemingly created by 

the material alone. These 

reflect her observation and 

affection for the natural 

world. The fired works have 

an internal tension which 

imparts a unique energy to 

each one. She transcends 

technique; she has explored 

the qualities of her material, 

clay, and lets it have its voice 

in finished pieces which are 

for the most part unglazed. 

The vessel forms she makes 

have glaze, usually a 

tenmoku or celadon on the 

inside only. 

: · A marbled pattern is made using a block of buff 

ctoUred clay onto which is placed two coils of white 

SI ay ( these should not reach to the outside edges of the 

ab). 1he slab is rolled up and lightly wedged. Use your 

0 

Pen hand to flatten and compress the block to avoid 

air bubbles. 

The final block will be the size of the finished mug. Cut 

the block in two and join together using a little water 

along the cut edge. 

Compress the clay with your hands and then use slats 


to cut even slabs (about 5mm thick) from the block. The 

wire should be thin and not too stretchy. Stabilise the 

slats by pressing the ends against your body as you cut. 

If there are any holes in the cut slabs then mend them 

by pressing in buff clay at this stage. 

2. Place wet gauze on the surface and smooth it onto 

the clay with a flat wooden tool to emphasise pattern. 

Join the slab with gauze still attached. 

3. Make the base out of another marbled slab of clay, 

cut to size of clay cylinder already formed (inside 

diameter). Join by pressing on the base of the cylinder 

wall. Add an extra coil to the inside to finish the join. 

Keep the gauze on the outside of the piece whilst 

securing all edges, remove and dry slowly. 

4. The base of the finished vessel is not left flat but is 

given a lifted edge to lighten its appearance. 00 

Notes compiled from articles written by Hiroshi Ogawa "The Art of 

creating Artless Surfaces, the Ceramic Art of Junko Kiritani" and 

"Clay Alone" by Kim Scheufftan supplied by the a1tist. 


Images of South Africa 

The full picture of life in South Africa can only be seen by those who make the effort to 

seek all the integral components. 

For September 2000, The Potters' Society ofAustralia is 

offering the chance to meet South African ceramic 

artists in their studios and galleries. Here, behind the 

scenes, varying factors of culture, location and personal 

creativity set the stage for the next millenium. 

Imaginative work springs forth from workshops hidden 

away amongst tranquil settings of outstanding natural 

beauty, scattered throughout this vast country. More than 

twenty South African ceramists will be involved in this 

programme. 

High quality elegant creations reflecting international 

influences from Japan and Europe, sit side by side with 

works that are unmistakenly African in design. 

South Africa is a melting pot of many cultures working 

together. The historic image of a divided nation is 

changing and is nowhere more obvious than in the 

current artworks, including ceramics. 

Katherine Glenday creates handbuilt, wheel thrown 

and sculpted work. Using porcelain fired in oxidation to 

stoneware temperatures her pieces have a playful quality 

that engages the viewer. Since 1980, Katherine has taken 

part in two international exhibitions, nine national 

exhibitions and three solo exhibitions. She has won 

awards and has works on display in galleries in 

Johannesburg, Durban and Pretoria as well as the South 

African Cultural History Museum, Cape Town. 

Cilia Williams work is pit fired porcelain. Form, clean 

lines and symmetry are foremost in her works. 

Completed work is sprayed with metallic sulphates prior 

to being subjected to pit firing. This gives a deep richness 


to the surface colours achieved in the firing. 

Clementina van der Walt has established her ceramic 

studio and craft gallery in the midst of South Africa's 

vibrantly green and fertile wine region. A picturesque old 

wine cellar with its gleaming white Cape Dutch facade 

creates an inspirational atmosphere in which Clementina 

and her assistants work. The studio produces a brightly 

coloured range of dinnerware. Original designs are by 

Clementina and are inspired by West African textiles and 

South African rural landscape patterns. 

Participants in our September 2000 programme will 

also witness a flourish of springtime blooms, enjoy a 

wildlife safari to view lion, elephant, giraffe, zebra and a 

wealth of nature in Kruger National Park as well as the 

glorious garden route and spectacular scenery around 

Table Mountain and the Cape of Good Hope. oo 

T 

u 

S 

If you would like to have more information about this trip phone 

Destination Management toll free 1300 307 317 or 07 3359 6651 to 

receive a brochure with details of this special Potters' Society of 

Australia event. 

Above: Katherine Glenday. 

Right: Cilia Williams, pit firing. 

Previous: Clementina Van de Walt, Maiolica ware. 

Below left and right: Images of South Africa. 


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The 9th National Ceramics Conference was held from the 5th to the 8th of July 1 999 in Perth at the 

University of Western Australia. 'Identity and Change' discussed issues concerning the identity and 

situation of the craft practitioner and ceramic artist into the new millennium. ALISTAIR WHITE reports. 

ne 

to 

of 

Fire sculpture by JORGEN HANSEN (Denmark) and workshop participants. Unveiled before 400 fire enthusiasts. 

The morning after. 


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s an invited delegate to 

demonstrate 'Porcelain 

Toolmaking and Throwing 

Techniques', and a presenter of 

a paper on the Development of 

Overglaze Colours in Japan, 

much preparation took place 

before I arrived in Perth. 

When I finally arrived the 

Conference was quite a 

revelation to me , not having 

been to one in ten years. There 

were quite a few overseas 

delegates who were taking part in various ways. In the 

week prior to the conference there were a series of 

workshops at the Western Australian School of Art, Design 

and Media. The artists included Torbjorn Kvasbo 

(Norway), Christine Thacker (NZ), Martin Willis (Australia), 

Nino Caruso (Italy), Astrid Gerhartz (Germany), Jorgen 

Hansen (Denmark), and Jeff Oestreich (USA). 

Wrapped in ceramic fibre blanket for firing. 

Removing the fibre blanket. 

Photos Cher Shackleton. 

So as you can imagine, by the 

time I arrived on the Sunday 

night (4th July), there was already 

a spirit of action among the local 

potters. I stayed at St Georges 

College where the majority of the 

interstate and overseas potters 

were billeted. My first meal was 

to go out with some of the local 

potters, Nino Caruso ( who I had 

met many years ago in Japan), 

Jeff Oestreich and Sebastian 

Blackie (a ceramic educator from 

the UK). This type or after hours activity set the tone for 

what was to happen right through the conference. Potters of 

many persuasions would get together and eat discussing the 

events of the days activities, lectures, Keynote Speakers, 

while making contacts and networking. A very rich 

environment that kept one on a high of activity and meant 

sound sleep when the chance finally came. 

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The potters who attended could be broken up into 

three or four main groups. The teachers and lecturers, 

students, professional full time potters and interested part 

timers also not forgetting suppliers and other related 

parties. 

There were four main Keynote speakers, one each 

morning after the housekeeping session. They included: 

Janet Mansfield, Edmund de Waal, Paul Mathieu and 

Steven Goldate. These were all thought provoking, 

stimulating sessions, especially Edmund de Waal's talk on 

'The Language of Authentic Pottery', which I enjoyed the 

most and included some details of his recent book on 

Bernard Leach. This also seemed to be the general 

consensus after this talk. Paul Mathieu's talk on 'The 

Depreciated Legacy' was also most stimulating though the 

quality of many of his slides was disappointing. Steven 

Goldate's talk, 'Inside the ew White Cube' also 

provoked much discussion though the ideas expressed 

were less popular and very provokative. His use of 

technology was impressive. I feel that there is still quite a 

lot of resistance to the concept of virtual ceramics that 

only exist inside cyber space among potters who all 

follow the tactile actuality of the three dimensional world 

of ceramics as we know it. Yet this is no doubt a new art 

form that is here to stay, though I doubt that it will ever 

replace more traditional ceramic practices. 

After each keynote address delegates dispersed to 

follow their choice of the diverse program. I still find it 

frustrating that I cannot get to hear all the presentations. 

The choice can often be difficult and I am sure that there 

are others like myself that are hanging out for the 

transcripts of the Conference to catch up on many 

sections that . were missed, though this still precludes the 

slide presentations. 

Half of my time at the Conference was spent 

demonstrating along with a diverse group of potters 

showing great skills in many areas. A veritable feast of 

knowledge and techniques. I was impressed with just 

how diverse ceramics has become in Australia in the last 

twenty years. Great throwing skill can be found as well 

as sculptural and non functional. While there may not be 

much depth of tradition in Australia, we have certainly 

come of age in the area of ceramic arts. Now we only 

need the buying public to catch up and be educated. 

I must also mention the interesting diversity of trade 

booths that also graced the hall where demonstrations 

took place. Without the back up of the suppliers, 

magazines and organisations we would not be where we 

are today. 

The first night of the Conference culminated in the 

opening of a kiln fired sculpture that had been built on 

site at the university and wrapped in ceramic fibre to 

Above and over: Some creative approaches to 'Pulling 

the Longest Handle' in the Clay Olympics. 

Photos Lyn Robinson. 


enable firing. This was a magical moment when the fibre 

panels were taken away revealing the hot glowing 

structure that had all the appearance of a cathedral or 

shrine to ceramics, encircled by a large crowd of 

admiring potters. 

There was never any excuse for nothing to do at the 

conference after hours. Many a discussion went on long 

into the night and there were other wild activities that I 

heard of second hand. The range of exhibitions on in 

Perth during the Conference also presented another 

challenge. I actually waited until after the conference 

and spent a few days until my return, going around as 

many of the exhibitions as possible, making contacts. 

There were certainly some impressive things to see. 

Perth certainly has some galleries to be proud of 

though I am sure that this range of ceramics must have 

been a first. 

The Conference conveners must be congratulated for 

putting together an excellent Conference that attracted a 

great many potters and dealt with a great many issues. 

They demonstrated the strength of, and interest in, 

ceramics in Western Australia. 

The Conference finished with the Clay Olympics which 

was a great romp for all those who took part, especially 

the event where you had to throw a pot with some part 

of the body apart from the hands. Those who observed 

this will not forget it in a hurry. The wind up Barn dance 

showed a wild freedom and abandon that these 

conferences are renowned for. People hung around at 

the end not wishing to leave, chatting with new found 

friends and old acquaintances. 

Now one must look forward to the next conference in 

Melbourne. 

One or two other points that came out of this 

conference that I felt were of importance: 

The use of the internet. As potters we need to know 

what is out there and make use of what is out there. Also 

due to this new medium we have to consider ways of 

reinventing our audience. 

Ceramics in Australia is struggling with galleries closing 

down (recent examples being the Metro Craft Centre in 

Melbourne and Distelfink Gallery), the constant struggle 

to get an audience and the ongoing difficulty with 

funding, be that for institutions or individuals through 

grants. 

There is a great need for funding to help potters get on 

the net. This funding is likely to do more that anything 

else to find a new audience and promote Australian 

ceramics. 

Potters also need to get together and organise 

themselves as there is increasingly little or no outside 

help. It is all user pays. oo 

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The teapot, which originated in China in the 14th 

century, has long been considered a symbol of 

hospitality and friendliness. To some extent these 

associations remain, yet in recent years, with the 

increased use of teabags, the teapot has become less of 

an everyday utensil and more for use on special 

occassions. Yet the production of an aesthetically 

THE BODY 

The best form for the body of a teapot is low and squat. 

This helps infusion by allowing the water to be in greater 

contact with the tea, it keeps the tea hotter and it is a 

more stable form. A great variety of shapes and form is 

still possible within these constraints. 

THE LID 

A teapot lid should remain in place when the tea is 

poured. Theoretically it should be possible to turn the 

teapot almost upside down and have the lid remain in 

place. This can be achieved in several ways. 

• The gallery on the lid should be long enough to catch 

on the rim of the pot when pouring, although not so 

long that it occupies too much space in the pot. 

• If the gallery is on the pot and not on the lid, a piece 

Teapots 

Article by GLENN ENGLAND * 

pleasing, good functional teapot remains a challenge for 

many potters. 

Although the construction of each component part is 

relatively simple, there are a number of design and 

technical considerations which govern the succesful 

combination of these. Here are a few points to 

consider. 

of clay applied or left under the lid can act as a 

counter balance. 

• Often a double gallery is used, ie a gallery on the pot 

and also the lid. 

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• Sometimes a tag of clay is added to the gallery on the 

lid to keep it in place. This can be vulnerable. A better 

solution is to ease our a small area on the gallery. See 

diagram below. 

• The lid should be a good close fit. 

• The lid should have a hole in it to allow air to enter 

whilst pouring. 

• The knob should relate to the form and can be thrown 

or handbuilt. If thrown, allow adequate height 

between the lid and the knob for a comfortable grip 

(at least one finger). See diagram at bottom. 

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THE SPOUT 

The spout can be 'thrown, pulled over a form or cast. It 

normally tapers from a full base. This acts as a reservoir 

for the tea whilst pouring. 

The type of spout used should suit the form and the 

lip of the spout should be positioned higher than or level 

with, the top of the teapot body. 

When adding the spout I position it at a slightly 

higher angle than required as it tends to drop abit 

during the process. 

Before applying thE spout, holes are cut in the body to 

act as a strainer for the tea. Line up the spout and mark 

the position on the pot by tracing around the base of the 

spout. Allow space for joining and drill a series of holes. 

These should be clean and clear, inside and out. I use a 

drill bit or a tapered hole maker. 

The area for the sieve can be thinned before making the 

holes. This stops the glaze build up in the holes. The area can 

fun 

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rip 

also be tapped into a concave shape as the resultant convex 

shape inside the teapot keeps the sieve clear of tea leaves. 

Timing, when joining, is very important. Dont let the 

body of the tepot dry out too much. The spout should be 

added whilst fairly soft at its base. This allows it to be 

more easily moulded to the shape of the body. I usually 

throw my spouts on the same day I am assembling the 

pots and dry them out to the required state. 

After joining the spout the end may be cut diagonally. 

This helps the teApot to pour more smoothly. A thrown 

spout will often twist in the firing. It will twist in a 

clockwise direction if thrown anti clockwise. This needs 

to be allowed for when cutting the spout. Individuals 

differ but a good starting point is to cut it on an angle 

relative to five to/ twenty five past on the clockface. 

To prevent dribbling, the angle of the lip is important. 

It should follow the flow of the spout. 

Cut about 45°C 

THE HANDLE 

Handles may be pulled, extruded, rolled out, thrown or 

cast. The type of handle chosen should suit the form and 

balance the pot. A back positioned handle or an 

overhead handle may be used. A back handle should be 

comfortable, well balanced and large enough so that the 

hand does not touch the pot. 

Overhead handles made from clay can be vulnerable 

when cleaning the pot and cane handles are often used. 

Be sure the handle is high enough for easy removal of 

the lid. The lugs for cane handles should not be too large 

or thin. Smaller compact lugs are less vulnerbaable but 

make them big enough to accomodate the cane handle 

after shrinkage. They can be pinched so that the handle 

does not swing while pouring. 

Again, timing is important when joining the handle or 

lugs. 

Area for joining 

to 

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e 

.S. 

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e 

il 

CLAY AND GLAZE 

A red earthenware clay is traditionally said to be the best 

insulator and keeps the tea hotter, as used in the old 

'Brown Betty' teapots, but a well vitrified stoneware clay 

one is stronger, will not seep and is easier to keep clean. 

The glaze on the inside of the teapot should be 

functional and preferable non-craze. 

All the components of a teapot need to be carefully 

considered so that they combine to form a cohesive, 

aesthetically pleasing, functional form. 

Happy teapotting! oo 

Glenn England is a teacher in Ceramics at Chilsolm Institute of 

TAPE, Victoria. 

*Reprinted with permission from the VCG ewsletter 

Angle of cut 

Area 

for 

joining 


HANDS ON 

NEW ENGOBE RANGE FROM -CERAMIC GLAZES OF AUSTRALIA 

A 

selection of engobes in twelve strong colours is 

now available. These highly opaque engobes may 

be used as a covering colour to hide bisque 

imperfections (as is often done in the tile industry) or to 

change the background colour before decoration. 

For example, to completely block out a terracotta 

body, a white engobe could be applied first. An 

underglaze with clear glaze or colour glaze may then be 

applied to the unfired CGA engobe surface before a once 

only firing. 

Of course it is not necessary to use an underglaze or 

clear glaze - use of different engobe colours is in itself 

0 

zmosis Plaster Moulds became an entity to provide 

the Australian craft community with Australian 

made moulds - an alternative to the 

overwhelmingly imported product. Their designs cover 

most Australian themes that are inspired by our most 

recognisable totems. The moulds can be cast to add 

'Australiana' to almost any ceramic situation. 

The range of add-on sprig moulds have been of great 

interest to practicing potters to add to the mugs or 

platters they make - or to sculptors who use cast objects 

as adjuncts to the objects they make for selling in tourist 

and craft outlets around the country. 

Ozmosis has its operations in a forest on the mid North 

Coast of NSW. The landscape of lush valleys, ocean, 

rivers and forests provide a creative working environment 

that is peaceful and private. Sally Hook and Peter Quirk 

started their business after a move from the city. Sally's 

ceramic sculptures of Australian fauna and fanciful 

objects were so popular that the process of working with 

moulds became a necessary alternative to repeating the 

same hand built forms over and over again. But instead 

another form of decoration - especially suited to natural 

effects, and the colours are intermixeable to achieve the 

required tones. Colours available are red, purple, dark 

and light blue and green, orange, bright yellow, black, 

white, beige and pale apricot. Engobes may be ordered 

in 250ml, 500ml and larger quantities can can be supplied 

in spray, dip or brush on consistencies. oo 

For supplioers contact Ceramic Glazes of Australia, 

Ph: 03 9887 1702, Fax: 039801 4650 

email: cgaust@bigpond.com.au 

OZMOSIS PLASTER -MOULDS FO R POTTERS 

of getting into production of the finished product, the 

moulds became the interest for a special market. After 13 

years of development of their range of moulds, Ozmosis . 

is a growing production house in mould design and 

finished ware. 

Speciality production moulds for organisations other 

than Ozmosis' own can be made to specific requirements 

- either from existing work of a client's or modelled to a 

client's instructions. oo 

Enquiries to Ozmosis Ph/Fax: 0265 681 903, 

email: Ozmosis-moulds@hotmail.com 

Catalogues can be mailed on request but a small charge of $5 is 

requested for this. 

Ozmosis Plaster Moulds, Soldier Settlers Road, Newee Creek, via 

Macksville 2447 

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Hot to Pot 

A Summer School experience with Jane Crick at Pender Lea, Jindabyne. 

Article by SHELAGH GOWEN 

ral 

he 

irk 

ck, 

ed 

ed 

an inexperienced potter (or should I say an 

nexperienced person who pots occassionally), the 

itle of Jane's course intrigued, not only my 

husband but myself. We were both keen to extend our 

knowledge, and a practical workshop specialising in 

primitive firing, with lots of 'hands on' was just what we 

were looking for. 

Jan'e natural approach to her own work is to use 

traditional handbuilding techniques of pinching, coiling 

and slab work. (although her finished, slab built, non 

functional white forms cannot be called primitive, but 

refined and elegant). 

Jane had the unenviable task of delivering, to a very mixed 

bag (in age, background and experience), enough 

information and technical expertise, to enable each of us to 

create, dry, burnish, have bisqued, glaze and fire pots using 

both raku and sawdust methods. All in the space of five days! 

The venue was tremendous, a chalet at Pender Lea 

where we talked, shared ideas, and were provided with 

excellent sustenance for both mind and body. Inspiration 

came from videos, journals and books but also from 

within ourselves and from our surroundings. 

The nine of us produced various shapes, using all 

methods shown to us, from pinch pots to slab and coil 

work. There were the adventurous and the cautious, the 

large and the small. Organic forms , naturalistic and 

identifiable or functional, like Susie's garden light. 

The weather turned against us on the second and third 

day and made drying difficult. But, I soon found out why 

'hairdryer' was on the list of things to bring! In 

conjunction with a plastic bag, it made a very effective 

drying capsule. 

Jane introduced us to at least one new skill, and most 

of us to many more, so the only questions that beg being 

asked are when is the next 'Hot to Pot' workshop and 

what do I do with a haird1yer in Queensland. oo 

Next Workshop: February 2000. Contact Jane Crick: 02 6281 2594 

er 

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ia 

Left 

Loading the kiln. 

Above 

Lifting pots from the kiln. 


Q &A 

] 

GOT A QUESTION FOR OUR TEAM OF EXPERTS? WRITE TO PO BOX 937, CROWS NEST NSW 1585 OR FAX 02 9436 1681. 

- 

I 

'd like to thank Leonard Smith for his recipe, (Issue 

37 /2, June 1998, page 59, Pottery in Australia). 'Leo's 

Transparent Glaze' - It's really great. Also thanks for the 

midrange satin matt of Tricia Dean, Issue 36/ 3, Spring 

1997 page 61. Many thanks. 

After an absence of over twenty years from potting - I 

had forgotten anything I may have learned but these two 

glazes worked despite overfiring by many degrees and 

applying them too thick/thin over really doubtful objects. 

It worked so well I am thrilled to the pink. Not a single 

run! 

I tried Leo's colour additions and got a most beautiful 

green glaze. 

Also thanks to Leo for his kiln plan which is a good 

guideline for building a gas kiln. 

I love the magazine and it is so helpful getting a glaze 

or two that you can trust. I feel like potting - Yippee! 

I hope you can help with the following questions. 

Lurline Farmer 

• Because my old kiln is past its use by date I am keen not 

to over tax it and hope to stay around 1220°C 

Now I am really keen to try out Leo's glaze in the mid 

firing range - and wonder if its possible to use Nepheline 

Syenite to reduce the temperature from cone 9 to cone 7. 

As you are aware my transparent glaze has a very wide 

firing range and I'm pleased that it is working for you. 

Whilst the substitution of part or all of the feldspar with 

nepheline syenite in a glaze will help to bring the firing 

temperature down, it is never that simple. Due to 

nepheline syenite's high soda content and proportionally 

higher silica, it will in fact be a very different glaze. 

My advice would be to add small amounts of frit to 

your base glaze to bring its firing range down with 

minimal effect on the glaze quality. 

Tty a line blend of the base glaze with 10 or 15 % of 

Frit 3124 and you should find a suitable glaze somewhere 

on the line. 

• Can I use Leo's transparent glaze with additives to get a 

white Glaze? I am into china painting and would like a 

really reliable white that fires around 1220 - 1250°C 

The addition of 10% of an opacifier such as Zirconium 

Silicate should give you a stable white although I have 

never tried it. I'm sure that you are aware that most china 

painting was done on the soft surface of bone china. The 

glaze was clear and the body was white. A lot of blanks 

sold to china painters today have a porcelain body with a 

thin clear glaze over it. You may wish to explore these 

avenues to produce your own pots to decorate with china 

paint (on glaze enamels) 

• When I was in the Brisbane TAFE college in 1973 we 

were given a great glaze which did not run and was lovely 

to look at - I think it was called Shiga Shigeo 's Red. It fired 

to 1280°C in medium reduction. 

The recipe was: 

Potash Feldspar 54 

Silica 24 

China Clay 5 

Bentonite 3 

Magnesium Carbonate 7 

Bone Ash 13 

Red Iron oxide 13 

The glaze you mention is in fact the original 'Shiga's Red' 

that ,thanks to its use by Shiga Shigeo during his long 

residence in Australia before returning to Japan to 

reestablish himself, spread through out potters' studios in 

Australia. 

It is an excellent glaze that works nearly as well in 

oxidation as it does in reduction giving the well known 

tomato red effect. Of course it is very variable and relies 

heavily on long firing and slow cooling for its most 

lustrous effects. 

Leonard Smith 

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LETTERS 

-31. 

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any thanks to the Potters' Society of Australia for 

the Experimental Firing Day. I know how hard 

committees work to organise and run these 

occassions, and much credit is due to your team for the 

effort and enthusiasm put into the day. Steve and Janine 

were very generous with their help and information. Even 

the weather was perfect. My friend Karen Brown, is a 

new potter whose enthusiasm for the various primitive 

kinds of firing has only been increased by the obvious 

success of bonfire and woodblock kilns. All in all it was a 

most enjoyable and informative day. I hope I get the 

opportunity to join in some future Potters' Society events. 

• Jo Murray 

I 

am a student of Barrier Reef TAFE and was thrilled to 

have a photo of my work published in the Student 

addition. However, my pride turned to disappointment 

when another student's name was attached to my work. 

I can only hope that this was not my chance at 15 

minutes of fame. 

If nothing else, this 

incident has made me 

determined to produce 

work of a high standard, 

and be published again. 

So remember me ... 

• Elizabeth Millar 

Editor: Apologies for the 

mistake - but you've got 

the attitude right - I look 

forward to your progress. 

Elizabeth Millar 

I 

t has come to my attention that stringency in health and 

safety licencing regulations may be going too far. 

According to my local supplier of raw glazing 

materials, 'Health & Safety ' regulations have caused him 

to drop off reselling three items last year since he would 

have had to obtain a Poisons Licence and be both 

premises inspected and regulated in: 

1 Signage on the product 

2 Unable sell glaze materials by the plastic bag full (small 

quantities) - must be in screw top containers. 

3 Special products must be stored in a separate room to 

all other products. 

4 Obliged to increase Workers Compensation premiums 

substantially. 

It appears a planned changeover to the new regulations 

will affect more and more products. Strangely it is not the 

heavy metal products like Barium etc that is affectd. (this 

could be sold without a poinsons label!) but it is the 

lighter, dustier products. Silica 200# as you know is such 

a product, and, while I agree silicosis is a disease to be 

avoided at all costs with due care by the user, we potters 

will be unable to purchase this raw material ourselves 

without a Poisons Licence because that is· what the 

legislation will entail if it comes in. 

This small family business owner judges that it will 

increase his costs out of bounds and he will be 'forced' 

(by being unable to afford compliance) not to stock these 

affected materials. 

I agree that there should be suitable signage on all 

products with toxic/health handling problems and with 

potters being reminded every time they reach for that 

product to wear appropriate safety gear for the requirement. 

To have to become a Poisoned Licenced potter though? 

(Apparently the Licence isn't too cheap either.) 

With smaller resellers supplies drying up before too 

long, where will we be able to purchase smaller 

quantities? ot everyone wants to buy 25kg bags from 

major mineral suppliers ( or has the space to store this), 

but if legislation were to stop us from being able to 

purchase, then where are we? 

Somehow, we need more voices to speak up on taking 

Licencing too far, health and handling is one thing, but 

we have to be guided surely on what they did on aerosol 

packs - issue warnings on the us.e of products but all 

responsibility is the users - to see to it that it is used safely 

and that should be it - we dont have to have a special 

Licence to spray garden pesticides, so why not adopt this 

common sense approach in these matters also. 

I'm currently in my second year of the Bachelor of Fine 

Arts at the National Art School where Glaze Technology 

plays a major role, I certainly wouldn't like to be relegated 

to having to buy prepackaged liquid glazes at ilie end of 

my course, just when I'm beginning to see some of the 

exciting possibilities of making my own glazes! 

• Sharron Woolley 


New Releases 

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Simply Pottery 

A practical course in basic pottery ttc n q 

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SIMPLY POTIERY 

A practical course in basic pottery techniques 

Sara Pearch with text by Geraldine Christy 

Published by Simon & Schuster 

Rrp: $24.95 

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This is a very nicely produced how-to book for 

beginners. It is stylish and in full colour. 

It tackles the basic equipment and space needed 

and simple information about types of clays and clay 

preparation. 

After a very short introduction to handbuilding 

techniques (pinching, coiling and slabs), throwing and a 

couple of decorating techniques, it moves on to specific 

projects for each technique. There are over 25 projects 

in all. Each project is shown step by step with handy 

hints and good clear instructions from start to firing. The 

projects are very straight forward - candle lantern, 

buttons, vase, slab dishes, wind chimes and many more. 

Each finished piece is photographed in situ to make it 

appealing. Many of the projects would also suit 

children. 

The throwing section covers basic projects like bowls, 

plates, mug and additions such as lids and handles. It is 

brief but again the clear pictures are very helpful as a 

starting point. 

This is a good start for someone just beginning who 

wants basic information and a practical start. It would 

also suit children and teenagers looking for projects they 

could easily tackle. 

Sue Buckle 

74 POTTERY IN A USTRALIA + 37/2 W INTER 1998 


AUSTRALIA 

WIDE 

A ROUNDUP OF LOCAL NEWS AND EVENTS 

FROM OUR STATE REPRESENTATIVES 

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QUEENSLAND 

I have to say how much I enjoyed the ino Caruso 

workshop I attended at the recent ational Conference 

held in Perth. I am still responding to the content ideas 

and enthusiasm of Nino. Gatherings such as this give 

everyone an overview of what's going around the traps. It 

was a pleasure. 

Queensland is hosting its own State Conference in 

September and hopes for a similar success on a statewide 

basis. The Queensland Potters Association is the host 

organisation, and the venue this year is Toowoomba with 

a two day program with focus sessions on public art and 

training included. 

Over the last twelve months QPA has seen lots of new 

faces on both the Board and staff with Lee Labrie as 

President and Marcus Hughes as the new Executive 

Officer, replacing Bernice Gerrand who has headed to 

T 

his section is made possible by the PIA 

representatives in each state generously 

donating their time to provide a quarterley 

report. By volunteering their time they fulfill an 

important role in promoting ceramic art in Australia. 

They are, without exception, enthusiastic members 

of their local ceramics community who play a 

crucial part in the publication of this magazine. 

They keep me in touch with exhibitions, new 

artists, events and much more in their state. I could 

not keep the magazine truly national in its content 

without them. 

Let them know what is happening, they need and 

value your imput as do our readers. 

Sydney for a position with the Australia Council. 

Many ceramists are hoping with the Queensland State 

Government's new Art Built in policy - which will be a 

2% public art levy on certain projects over $250,000 at the 

clay, that the clay fraternity will benefit through broader 

professional opportunities in this area. This policy should 

generally enliven the visual arts industry to everyone's 

benefit, which is great news. 

A new gallery space has arrived on the scene with 

quite an impact in Brisbane recently. Space 43 is 

codirected by Clare Llewelyn and icole Sylvestre. The 

Gallery at 43 Vulture Street St (west end), has hosted 

several solo and group shows in the few months it has 

been operating, featuring bodies of work by both Sandra 

Lancaster and Warren Palmer with Steven Roberts and 

myself as well. The two directors are enthusiastic, 

supportive and dedicated to providing an exciting 

contemporary arts venue for Brisbane. 

Recently Robert Burton from North Queensland had a 

very successful show at Fusions Gallery with his 

individual caricatures of the animal world. 

David Bange, a recent Masters Graduate from James 

Cook University participated in a group show focussing 

on fish at the Contemporary Art & Design Gallery at 

Woolloongabba with swirling schools of fish adorning the 

wall and a large standard floor vase towering above eye 

level. David has a fresh and brash way of handling clay 

and image, which is in part both irreverent, full of fun 

and abit of a diary of his own life's journey. 

Some sad news - many potters in and around 

Queensland will be saddened to hear of the recent loss of 

Dean Daddow who had been a part of the Ceramics 

Department at Southbank Institute of TAFE for many 


AUSTRALIA 

l 

years. Dean was a stalwart to staff and students alike for 

many generations of graduates and always managed to 

problem solve and lend both reason and good humour to 

all his endeavours. He will be greatly missed. 

• Stephanie Outridge-Field Ph: 07 3857 2679 

email: outridgejield@one.net.au 

NORTH QUEENSLAND 

With the season of ceramic competitions upon us in the 

north we started off at Mt Isa with Chris Harford awarding 

prizes to Leonie Wood, Helen Taylor and Shirleen 

Hudyma. Chris went on to run a raku workshop there 

and has more recently enthused potters here in 

Townsville and Charters Towers. 

Patsy Hely judged the Townsville Ceramic Competition 

splitting the major acquisitive Award of $2000 between 

Sandra Black and Robin King. Other winners in this 

competition were Gwynn Hanssen Piggott, Elizabeth Milgate, 

Andrew Cope, Rick Wood, Len Cook, Jane Skepper, Delilah 

van Wyk and Neil Hoffmann. This annual competition gives 

the local potting community the opportunity to view current 

trends in ceramics from all over Australia and we hope it will 

continue to be strongly suppo1ted. 

Pioneer Potters in MacKay hold their competition 

shortly with Jenuarrie as judge and this year the Cairns 

Potters Club is celebrating its 25th Jubilee with the 

'Melting Pot' competition in October 

and home to many disciplines of visual and performing arts. 

The VCG committee are extremely busy organising the move 

to Box Hill and preparing for the Paula Frost workshop. 

Plans are under way for the very popular event, Festival in 

Ceramics, for the middle of next year, more information will 

be available later. Work is under way organising the 2002 

Forum, called Pressure Point. This national event will deal 

with change and the new millinneum and promises to be 

more interactive than a conference. 

The VCG has approximately 500 members who enjoy the 

benefits of the bi-monthly newsletter, opportunity to exhibit 

and sell their work, exhibition experience and support is 

available to students, affordable and diverse workshops to 

attend, meetings and contacts with other potters and the 

opportunity to join the committee. The VCG have been 

promoting excellence in Ceramics for thirty years and a 

retrospective sample of their collection on display at the 

"Clay Fever" exhibition at the Chapel Gallery, Prahran. 

• Marg Hornbuckle Ph: 03 9584 4536 

SOUTH AUSTRALIA 

A Sunday drive to visit some of the SALA (SA Living 

Artists Week) open studios and exhibitions was very 

exciting. The views of the tremendous work being 

achieved reconstructing the Freeway into the hills were 

awe inspiring - engineers as artists? 

Finding some of the studios was more difficult than 

negotiating the roadworks. Once there, the backtracking 

• Wendy Bainbridge Ph: 07 477 15044 

through unfamiliar terrain was forgotten as we admired 

. VICTORIA 

the ceramics, paintings and more. 

Due to the closure of the Metro!, the Victorian Ceramic Down on the plains, the Adelaide Potters Club 50th 

Group office has moved to the Box Hill Community Arts Anniversary Exhibition in September is one to look 

Centre until the future of the Metro! has been decided. TI1e forward to. The Elizabeth Potters, out in the northern 

Box Hill Community Arts Centre have made available office suburbs, continue to hold evening workshops, inviting 

space so business will continue as previously. At this centre · various local potters to come and share their skills. They 

space is also available for exhibitions and the clay studio may are a sociable lot enjoying clay, music and laughter. Their 

be used for workshops. This centre is a foendly environment clubrooms even boast a dancefloor! 

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First Prize (for wheelwork) at the Tea Tree Gully Art 

and Pottery exhibition won by Peter Ward for a beautiful 

gold lustred teapot and First Prize for Free Form Sculpture 

to Leo Neuhofer, for his intricately woven day basket. The 

entries, as is usual for this 'SA only' competition, were of a 

high standard and it was nice that the promotion for this 

event even carried a quote from Pottery in Australia. 

I've been carrying out a soft survey of the age of 

people actively potting in SA and it seems, interestingly, 

the majority are over 40. It would be good to find out 

why more young people are not coming into ceramics - is 

this a national trend? 

South Australian Studio Potters Club has moved from 

Sussex Street to newer and larger premises at 1 Fourth 

Avenue, Klemzig. A new Gallery at 54 Og Road, Klemzig 

should be open in time for the Fringe Festival at 

February/March 2000. 

• Maggie Smith Ph: 08 833 7 9854 Fax: 08 8239 1156 

SA ROUNDUP 

• Lesa Farrant continues to be the centre of rumours 

about her new work. A bit risque , these double 

entendre - or is it single entendre? - works utilising 

decal imagery that makes Benny Hill look lewd (or so 

rumour has it). 

• ot content with winning the big cheque for sculpture 

(Tea Tree Gully Art Awards) Leo euhofer managed to 

win support from Arts SA for a project grant. Leo & Lisa 

will be taking up residencies at the University of SA. 

• Kylie Waters, working at the Jam Factory, has almost 

completed her mentorship with Marea Gazzard. Kylie's 

sculptural and 'cluster' pots have been seen as part of 

SALA at the Jam Factory. 

• The Jewish Museum in Melbourne commissioned Kylie 

Duncan - also at the Jam Factory - to create special 

ritual ewers and vessels for ceremonial use. 

• Long term day addict and notorious sponge decorator, 

Peter Andersson is taking time out to tackle the resorts 

and spas of Italy. We expect a post card Peter. Also 

Robin Best, in Europe courtesy of the Australia Council. 

• The inexhaustible juggernaut that is Gerry Wedd has 

just rolled another lumpy area of day practice flat and 

into shape. His recent Blue and White exhibition has 

caused quite a stir. Gerry's insouciant humour is well 

matched to his lyrical and louche interpretations of 

Willow ware. It's on at the Jam Factory. 

• Ben Booth and Suzie Chapman continue to get funky 

and hi-fi-sci-fi with their new Big Carrot Studio. 

• Two recent Public Art works of note that feature 

ceramics are the Maslins Beach Ammenities with tile 

works by Irene Dougan and Regent Gardens Reserve 

art works by Andrew Stock. 

• Jacinta Ivory has been accepted to Banff. 

• Stephen Bowers, Jam Factory, Lion Arts Centre 

WESTERN AUSTRALIA 

With so much news from the July Conference in Perth 

already in the magazine (and much more to come), this 

seemed an appropriate time to give Lyn a break from 

reporting. She does a very thorough job for the magazine 

and is a crucial link for me with what's on in WA. It was 

great to catch up with her whilst in Perth. I look forward 

From left to right: Lyn Robinson, Jane Crick and 

Stephanie Outridge-field, Central TAFE Wasad Gallery. 


AUSTRALIA WIDE 

to her next report and encourage the WA ceramics 

community to help keep her informed. 

• Lyn Robinson Ph/Fax 08 9244 3013 

email: lister@wantree.com.au 

NORTHERN NSW 

"This Way Up" Exhibition at the Centre for Contemporary 

Craft, in Sydney throughout August is showcasing some 

exciting contemporary craft and three dimensional design 

from 19 specifically selected graduates. These included 

two graduates from Southern Cross University - Tara 

Cuthbert exhibiting a ceramic/mixed media piece called 

'Collect Two' and Silva Bond's 'Glass Laces 1 & 2'. 

On my visit to Sydney I couldn't help but notice Jenny 

Orchard's work in many galleries around Sydney. As a 

practicing artist, I felt inspired and encouraged by her 

ability to make, exhibit and sell. It is evidence that 

ceramic art is definately out there and thriving. 

Ceramic artists on the Far North Coast have an 

opportunity to exhibit their work in local businesses 

throughout Byron Bay for the month of August. This is a 

community initiative, and encourages local artists. 

The Annual Tea Tree Plantation Sculpture Show, which 

incorporates many sculptural mediums, is currently 

gearing up for its fourth year. This Award is gaining 

national and international recognition, and it is envisaged 

that there will be over 100 entries this year. Each year, the 

numbers of ceramic works increase. If you are in Ballina 

in September, keep an eye out. 

The Raw Womens' A1tist Diary is a national publication 

featuring approximately 30 works of emerging women 

artists from around Australia and the millenium issue is 

about to hit the stands. 

A little bit of enthusiasm goes a long way, so if you 

have any news please get in touch. 

• Yvonne de Vries Ph: 02 668 72120 

email: judiandyvonne@bigpond.com 

ACT 

How good it was in Perth for the Conference, to enjoy a 

great time and to meet up with so many old friends and 

make so many new ones. It was especially nice to meet 

Lyn Robinson and Stephanie Outridge-Field, fellow state 

reps for PIA. My special thanks to Lyn for her generosity 

in adopting several interstate delegates, chauffeuring us 

around Perth and environs and making us feel welcome. 

The busy season in Canberra is just beginning. 

Exhibitions coming up include the annual members 

exhibition of the Canberra Potters' Society, opening on 

September 8, and of the Strathnairn Arts Association, 

opening on November 27. This year Canberra Potters 

Society has invited Irene Mura Schroeder, of Mura Clay 

Gallery, to be the selector and judge for the Doug 

Alexander Memorial Award. 

Floriade, Canberra's Spring Festival, always inspires 

myriad exhibitions during September and October and 

this year is no exception. with one of the highlights being 

1 

an exhibition of garden water features including work by 

ceramic artist Geoffrey Potter at Pialligo Plant Farm, one 

of our nurseries. 

Canberra Potters Society has a full workshop 

programme this Spring. They have recently enjoyed a 

weekend of figurative sculpture with Susan Jorgensen and 

are looking forward to visits from Hildegard Anstice and 

Gail Nichols to enlighten them with 'Creative Extrusions' 

and 'Soda Firing' respectively. 

The Society will build a new kiln for the soda firing 

workshop. 

Work is also being undertaken to assist in the 

redevelopment and beautification of the Watson Centre, 

Watson being the suburb in which the Society has had its 

premises for almiost twenty five years. 

• Happy potting everyone, 

Jane Crick Fax: 02 6281 2594 

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PROFESSIONAL OPPORTUNITIES 

• Contemporary Clay Competition & Exhibition 

Exhibition dates: 30 October-28 November 

Entries Close: 19 October 

Entry by slide/ photograph. Up to three works may be 

entered per ceramic artist. 

Delivery deadline: 27th October, 1999 

Awards: $500 potters materials from Northcote Pottery; 

$500 professional photography by The Visual Resource. 

Judge: Sue Buckle. Entry forms & information: 

Cowwarr Art Space 

Cowwarr, Vic 3857 

Ph: 03 5148 9321 Fax: 03 5148 9321 

email: cow-art@net-tech.com.au 

• Lithgow Pottery Fair 

31st March-2 April 2000 

Open Prize $2000; Local Prize $500. 

Judge: Peter Wilson 

Entries accepted 20-22 March 2000. 

Telephone Lithgow Public School for information & entry 

forms: 02 63 512297 

This is the fouth Pottery Fair. Local businesses and the 

community lend this event great support. Opening night 

is Friday 24th March, 7.30pm. 

• Inner City Clayworkers 

This longstanding and popular cooperative gallery in 

Glebe is open for membership applications. 

Contact the Gallery for details 02 9692 9717 

Gallery hours: Wed-Sun 10.30am-6pm 

• Sidney Myer International Ceramics Award 

Premier Award of $15000 and other merit awards totalling 

$10000. 

Winners become part of the Gallery Collection. 

Entry forms from July. 

Entry deadline: 30 September, 1999. 

Contact Leanne Willis, Director 

Shepparton Art Gallery 

Locked Bag 1000, Shepparton 3632 

Ph: 03 5832 9861 Fax: 03 5831 8480 

• MAGNT Annual Craft Acquisition Award 2000 

The year 2000 Award features ceramics. ext Award will 

feature textiles and fibre. 

Managed by Museum & Art Gallery of orthern Territory, 

in partnership with Crafts Council of NT. 

Entry Deadline: 12 ovember 1999 

Exhibiting 11 March - 14 May 2000. 

Contact Emma Davies at MAG T 08 8999 8282 

GPO Box 4646, Darwin NT. 

POTTERS SOCIETY OF AUSTRALIA 

NEWS ... 

• GENEROUS VESSEL EXHIBITION 

This exciting exhibition from the Potters' Society of 

Australia will open on 4 December at Customs House, 

Circular Quay. It will run through to 9 January 2000. 

Showcasing the work of 12 ceramic artists whose work 

references the vessel. 

• CERAMIC EXHIBITION, NOVEMBER 2000 

The Potters' Society of Australia and Manly Art Gallery & 

Museum, Sydney, invite ceramic artists to submit work(s) 

for a sculpturally based exhibition titled 'Cerebration", 

opening November, 2000. 

This exhibition aims to be a celebration of the diversity 

of change in cultural, social and political arenas at the 

edge of the millenium through the eyes, hands and 

thoughts of the ceramic artist. The exhibition will also aim 

to show where creative objects come from; what are the 

circumstances and catalysts for their birth; and how the 

maker lives and works in partnership with these objects 

by exhibiting at least one aspect of the developmental 

stages in the final work. 

Interested ceramists are asked to consider not only the 

exhibition of the 'finished object' but to reveal their. 

inspirations and processes through the presentation of 

either drawings, found objects, marquettes, journals or 

photodocumentation. It is hoped that through the 

'opening up' of the ceramist's creative process, 

'Cerebration' will provide the viewer with insights and 

deeper connections with the forms. 

Work will be chosen from 6 slides depicting recent 


NEWS 

works; CV; 50 word proposal citing materials, firing, 

surfaces, scale and approximate weight of the work to be 

exhibited together with 2 working drawings or 

developmental photo documentation which could be 

used in the catalogue. 

The curators of the exhibition are Marian Howell and 

Helen Engle. 

Applications are to be sent to Marian Howell 

255 Prince Edward Park Road, Woronora NSW 2232 

Expressions of interest and application enquiries ring: 

Marian: 0408 432 732 or A/H 02 9545 0554 

Helen: 02 9818 3237 

Exhibition Diary: 

Expressions of Interest 30.1.2000 

Applications Close 30.4.2000 

Applicants notified 21.5.2000 

Catalogue completion 15.8.2000 

Works to gallery end September 2000 

Exhibition opens October 2000 

CONDITIONS: 

Exhibitors must be members of the Potters' Society of 

Australia - new Members welcome. 

For membership information contact the PIA office 02 

9901 3353, Fax 02 9436 1681 

email: potinaus@ozemail.com.au 

Participation fee: $25 per artist 

Works may be for sale. Works may be reproduced for the 

catalogue, web site or advertising 

OBJECT APPOINTS A NEW 

DIRECTOR 

The Centre for Contemporary Craft, NSW has announced 

the appointment of Steven Pozel as Director of Object. He 

is currently Director of Marketing & Development at 

Sydney's Museum of Contemporary Art and will assume 

his new position in mid-October. He replaces Noel 

Frankham who has left to head the South Australia School 

of Art, University of SA. 

Originally from Canada, Steven brings seventeen years of 

professional arts experience to the position. From 1992-1997 

he was Director of Power Plant, Toronto, Canada's leading 

contemporary public art gallery devoted exclusively to the 

exhibition and interpretation of the visual arts including 

design and architecture. In 1997 he began at MCA. 

He says of his appointemnt: 'Object has made 

enormous strides in the advancement and public 

understanding of craft & design by building a dynamic 

program of exhibitions. educational initiatives and 

publications. As Director I hope to make significant 

contribution to the ongoing development and 

advancement of this important organisation". 

STURT GALLERY EXHIBITIONS 

During September, Sandy Lockwood will be exhibiting her 

salt glazed work with a selection of other crafts, all inspired 

by the Japanese Tea Ceremony. Sandy lives in the Southern 

Highlands and is one Australia's preeminent potters. This 

year her work was seen at exhibitions in Holland, Japan 

and Perth. This exhibition opens on September 12. 

On October 10 Sturt holds its Annual Exhibition and 

Open Day. The Exhibition shows the work of all the 

teachers and craftspeople who work and teach at Sturt. 

This is a diverse display of contemporary Australian 

design and craft by twelve professional and experienced 

practitioners. Ceramics, wood, jewellery and fibre are on . 

display. The exhibition will be opened at 11.30am, 

October 10 by Gillian McCracken. 

During the Afternoon of October 10, all workshops will 

be open to the public. There will be wine tasting and 

music on the lawns, irrestible food from the Sturt Cafe, 

displays in all the workshops and a chance for children to 

play with clay in the pottery. 

During November, Gillian Broinowski will show her 

whimsical interpretations of pot forms with a selection of 

fine prints. This exhibition runs 31 October-21 November. 

John Lewis, a well known photographer from 

Wombeyan Caves, will be exhibiting large black and 

white photographs during December. 

December will see the gallery filled with quality crafts 

making ideal gift opportunities for Christmas. 

Enquiries phone Sturt Shop 02 4860 2083 or view our 

website: www.sturt.nsw.edu.au 

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DISTELFINK GALLERY 

It is with great regret we pass on the news from Rita 

Kornhauser of the closure of Distelfink Gallery, 

Melbourne. This gallery has been an 'institution' for 

ceramic artists and collectors alike for the last fifteen 

years. It will be greatly missed by all who understand the 

value and excellence of Australian ceramic art. 

NATIONAL CERAMIC FORUM 2002 

The Victorian Ceramic Group has announced its plans for 

the 2002 Ceramic Forum, titled 'Pressure Point'. It will be 

held in Melbourne and Bendigo. 

It will pick up the theme of change commenced by the 

'Edge' Conference recently held in Perth. The name 

'Pressure Point' refers to clay making, but also to the need 

to deal with the pressure of change. 

The first four days of the Forum will take place in 

Melbourne and the remaining two in Bendigo, covering 

major Victorian urban and country centres for studio 

ceramic activity. 

The event has been named a 'Forum' as opposed to a 

conference, inviting participation and communication 

within the wider community, as well as amongst specialist 

sections of the ceramics community. 

Melbourne and Bendigo have well developed cultural, 

historical and entertainment facilities, as well as 

supportive government and provate arts organisations. 

The Forum hopes to create a flexible outgoing event with 

a programme of innovative events which raise public 

profile of studio ceramics. 

The Forum will aim to link otherwise deverse 

professional elements which might share a common 

interest in activities around studio ceramics. Events might 

for instance revolve around ceramics and food 

presentation, interior design or landscape and 

architecture. 

For more inforamtion contact Chris Sanders: 03 9481 3067 

email: csanders@ozemail.com.au 

TRAVEL OPPORTUNITIES 

• USA STUDY TOUR 

Leaving March 2000, led by Connie Dridan. 

Approx. 28 days visiting ceramic and glass studios, 

collections, museums and galleries. Also NCECA 

Conference, Denver, Los Angeles, Aspen, Nevada, North 

Carolina, New Jersey, Minnesota, New York (Corning 

Glass Colllection), Boston, Seattle and San Francisco. 

Ceramic artists to be visited include Peter Voulkos, Paul 

Soldner, Peter Callas, Jeff Oestreich, Tom & Elaine 

Coleman and Jack Troy and more. 

Contact Cathy - Harvey World Travel 03 9877 2444 fax: 

03 9877 2606, email: hwtvicfu@wired.net.au 

• JAPAN 

Departs April, 2000 

Destination Management, in conjunction with the Potters' 

Society has announced another tour date for the Japan 

workshop tour. The September tour has been so popular 

that another date has been set for April 1, 2000. This will 

be a springtime tour coinciding with peak cherry blossom 

time. It will include time in the Tokoname workshops and 

a similar itinerary to the September tour. (See PIA Issue 

37 /4 for details.) 

Call toll free 1300 307 317 for details. 

• TURKEY 

Departs May 27, 2000 

A 21 day trip to Turkey escorted by ceramic artist Tamris 

Ustun. Experience the vibrant tradition of Turkish 

ceramics, visit workshops and studio and immerse 

yourself in the cultue of this exciting destination. 

$6,299 per person twin share 

For information contact Trans Turk Travel 02 9281 3500 

email: transtur@ozemail.com.au 

• VIETNAM 

Departs 25 June - 9 July, 2000 

Small group pottery and craft tour of Vietnam escorted by 

Sue Buckle. This third trip to Vietnam with Sue visits the 

Mekong Delta, Saigon, the ancient port town of Hoi An, 


NEWS 

the ancient Imperial Capital, Hue, Hanoi and northern 

hilltribes. See both pottery and textiles, work in a studio, 

and enjoy the sights and tastes of this exciting destination. 

Excellent accomodation. 

$3,495 per person twin share 

For information ph Active Travel: 1800 634 157 

Fax: 02 6249 6788 

email: goactive@ozemail.com.au 

Sue Buckle: 02 9958 8622- 

INTERNATIONAL HONOUR 

At the Ceramic Millenium Congress, held in Amsterdam, 

the Netherlands, in July 1999, the New York based 

Ceramic Arts Foundation presented Janet Mansfield with a 

prestigious A ward in recognition of her work in the 

ceramic arts field. After outlining a brief biography, Mark 

Del Vechio, representing the Foundation, spoke to the 

more than thousand strong participants, saying: 'Those of 

you who know Janet Mansfield, and I am sure that is 

most in the audience, have a sense of her generosity, 

spirit and energy level that is almost superhuman. She is 

receiving this award partly for publishing but mainly for 

her role as a peripatetic ambassador-at-large, travelling 

the world from event to event, conference to conference, 

linking writers, artists, collectors, museums and others by 

organising tours, events, workshops, jurying exhibitions 

and providing advice and encouragement. She is uniquely 

skilled in bringing people toegether from all over the 

world and, through her activism, getting pipe dreams 

turned into ceramic realities.' 

The award ceremony marked the start of the week long 

congress, which featured speakers and participants from 

all around the world. More than 60 exhibitions of 

ceramics presented in and around Amsterdam and 

associated events were held throughout the Netherlands 

as well as in the wider European ceramics community. 

Other awardees included Ettore Sottsas, Italian designer, 

Jan van der Vaart, artist and teacher, the Netherlands, the 

International Academy of Ceramics, based in Switzerland, 

and the Museo Internationale of Ceramics, Faenza, Italy' . 

WORKSHOPS 

• HOT TO POT with Jane Crick 

7-11 February 2000 

1 0am-5pm daily 

at Pnder Lea Chalets, Alpine Way between Jindabyne and 

Thredbo. 

This workshop is suitable for all levels of experience. 

Participants can expect to make several pots using various 

handbuilding techniques. Decoration will be primarily 

with the use of various slips and masks in conjunction 

with low temperature smoking techniques. A new gas kiln 

will help with firings on site. 

A roomy and well equipped chalet has been booked as 

a base for the workshop. Information sessions (slides, 

videos etc) and refreshment breaks will be held in the 

chalet. The studio area is 'open air' with plenty of natural 

shade. The daily temperature for February in this area is 

about 10-25C. 

Accomodation ranging from mobile homes through 

cabins to 5 star chalets, all set amongst beautiful natural 

bush, is available at Pender Lea. Camping is possible in 

the National Park, 5mins away. 

The cost of the workshop is $290 which includes all 

materials and firing, tea, coffe and lunch each day. 

• BLACK SHEEP FARM POTTERY, NIMBIN 

This pottery was established in 1984 and produces a wide 

range of brightly decorated ceramics and indoor 

fountains, all wheel thrown. 

The workshop is located in a secluded valley, 

completely surrounded by nature, 6kms north of Nimbin. 

It is on the edge of the Nightcap National Park. 

Day classes have been held for four years and every 

summer there is the opportunity to participate in a 4 day 

and 7 day live-in workshop, limited to 6 participants. 

Accomodation is in the rustic yet luxurious guesthouse 

with inground pool and suana. All meals are provided to 

ensure guests have enough time for creative expression 

and relaxation. 

Get away and explore your creativity. 

Ph/Fax: Mac 02 66 891095 

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1. The Encyclopedia of Pottery 

Techniques by Peter Cosentino 

A comprehensive directory of 

pottery techniques and a step-bystep-guide 

to their use. Excellent 

teaching aid for all standards. 

Full colour 

$29.95 + $7pp• 

0 seas + S28 airmail 

17 surface 

2. Ceramics & Print by Paul Scott 

Practical guide to decorating 

techniques incl. screen printing. 

Very clear & useful text 

exploring a range of techniques. 

Special $22 incl postage* 

(Rrp $24.95) 

O/seas $34 incl pp airmail 

3. Glazes & Glazing Techniques 

by Greg Daly 

An essential text for all ceramists 

wishing to understand and 

explore surface finish. This is 

easy to read and inspiring. 

Special $39 incl. pp* (Rrp $35) 

O/seas $55 air incl pp 

4. The Potter's Palette by 

Christine Constant and 

Steve Ogden. 

Full colour practical guide to 

creating over 700 glaze colours. 

Special $24 incl. pp* 

(Rrp $24.95) 

gh 

al 

in 

all 

5. Practical Solutions for Potters 

By Gill Bliss 

100s of your top questions with 

1000s of practical solutions. 

SPECIAL OFFER : S35 plus S7 

postage anywhere in Australia. 

(Rrp: $39:95) 

6. Traces the history of Raku. 

An exploration of international 

potters who use the mediwn today. 

Special $55 including pp* 

(Rrp $6o) 

7. Perryman discusses a wide 

range of smoke-firing methods 

and draws on examples of 

work by international artists. 


(Rrp $80) 

8. The Potters Directory of Shape 

and Form by Neal French. Over 

600 at-a-glance designs. Excellent 

design tool for all potters 

describing both forms and 

additions (handles, spouts, lids). 

Full colour 


(Rrp $24.95) 

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• postage within Australia Overseas prices in Australian dollars. NB PAYMENT REQUIRED IN AUSTRALIAN DOLLARS 

ISSUE 38/3 - BOOK ORDER FORM: 

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POTTERY IN AUSTRALIA - ORDER NOW 

Put tcry in A1L-;tmli.1 

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• 

WHILE STOCKS LAST 

30/2 33/2 33/3 33/4 

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. 30/2 

Yoon , Kwang-Cho, 

Pat Cahill, 

ew Gas KilnPlan, 

Paper Kiln, 

Reviews and Profiles. 

33/2 

Graduate Student Focus, 

College/ Uni works 

and information, 

Ceramic crayons -Techniques. 

33/3 

Fantasy of Flame, 

Profiles and Reviews: 

wood, soda, wood/salt, 

Cross draught kiln plan, 

'Weed' firing, Spodumene 

in Raku glazes. 

33/4 

Queensland Ceramics, 

Reviews and Profiles, 

Raw glazing, 

Paper clay techniques. 

34/1 

Handbuilding, Paperclay, 

H/building with perlite, 

Patination of copper glazes, 

Kiln burners. 

34/2 

Graduate Students, 

College/ Uni works 

and information, 

Anagama Firing, 

Decals, Matt glazes. 

34/3 

Victorian Focus, 

Profiles and reviews, 

Terrasigillata in raku, 

Extruders compared. 

34/4 

Australian Stoneware, Profiles 

and Reviews, Textured s/ w 

glazes, Wheels compared. 

35/1 

The Art of Function 

Fluxes, Clay adhesive 

Electric kilns 

35/2 

Graduate Students 

Anagama plan 

Resspiratory masks 

Glaze programmes 

35/3 

Corrunercial Lustre, 

Protective clothing, 

Fletcher Challenge Award 

35/4 

Ceramics from the A.C.T. 

Reduced Lustre 

Sandblasting 

Slabrollers 

1 

D 

D 

D 

D 

D 

D 

D 

D 

D 

D 

D 

D 

E 

D 

D 

D 

D 

E 

D 

D 

D 

D 

D 

D 

D 

D 

D 

D 

Pri 

a 

My 

Cai 

Toi 


Technical Booklets (Tick the box) 

D Layed Back Wood Firing King/Harrison $5.00 

D Simple Woodfired Kiln for Earthenware CSG $5.00 

D Firing an Electric Kiln Grieve $5.00 

D Energy Saving Max Murray $8.00 

D Firing a Kiln with LPG Gas Grieve $7.00 

D Reduced Lustre Warner $5.00 

D Sawdust and Primitive Firing CSG $7.00 

D Fibre Kiln Glazes Kemp $11.00 

D More Fibre Kiln Glazes Kemp $11.00 

D Salt Glazing Mansfield $7.00 

:s. D Potters Beware Rosemary Perry $10.00 

D Raku CSG $7.00 

Subtotal 

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D 36/1 Where There's Smoke ... $13.00 

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D 37/ 1 Purely Clay $13.00 

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' . 


• NSW Southern Cross Pottery Walker Ceramics Gunyulgup Galleries 

14 Caba Cls, BOAMBEE 55 Lusher Rd, CROYDON Gunyulgup Valley Drive 

Aldersons Arts & Crafts 

YALLINGUP 

64-68 Violet St, REVESBY Sturt Craft Centre 

Warrnambool Potters Wheel 

MITIAGONG 74 Liebig St, WARRNAMBOOL Jacksons Ceramics 

Art Gallery of NSW 

94 Jersey St, JOLIMONT 

Domain Rd, SYDNEY 

Syretts Newsagency 

• QUEENSLAND 

30-32 Otho St, INVERELL 

Margaret River Pottery 

Artsup 

The Artery 

91 Bussell Hwy, 

Shop 7, Manning Street Tallaganda Pottery P.O. Box 343 WARWICK MARGARET RIVER 

KINGSWOOD 

116 Wallace St, BRAIDWOOD 

Claycraft Supplies 

Potters Market 

Back to Back Galleries The Clay Shop 29 O'Connell Terrace, 

} 

18 Stockdale Rd, O'CONNOR 

57 Bull St, COOKS HILL 9/ 10 William St ADAMSTOWN BOWEN HILLS 

Whiteman Park Pottery 

Bathurst Regional Art Gallery The Pottery Place McCabes Newsagency Whiteman Park, Lord St, 2 

BATHURST 104 Keira St, WOLLONGONG 7 Eight Ave, HOME HILL WHITEMAN 

Bellingen Newsagency Walker Ceramics Monte Lupo Pottery & Fine Art 

• NORTHERN TERRITORY ( 

83 Hyde St, BELLINGEN 98 Starkey St, Shop 2016 

KILLARNEY HEIGHTS 

Brookvale Hobby Ceramic Studio 

Garden City Shopping Centre Aussie Potz 

s 

UPPER MT. GRAVATT 2 Saunders St, JINGILI A 

11/Powells Rd, BROOKVALE • ACT 

} 

Carpenters Newsagency 

MP Ceramics 

Canberra Potters Society 

• TASMANIA 

25 Wiloughby Rd, CROWS NEST 143 James St, TOOWOOMBA 

Crafts Council ACT 

Entrepot Art Products 

I\ 

Ceramic Study Group 1 Aspinal St, WATSON North Queensland Potters Centre for the Arts 

Association, TOWNSVILLE Hunter St, HOBART 

Clay Things Potters Gallery National Art Gallery of Aust. 

Bookshop, CANBERRA Pottery Supplies Handmark Gallery C 

21 Oaks Ave, DEEWHY 

51 Castlemaine St, MILTON 77 Salamanca Pl, 

Coffs Harbour Pottery Supplies Walker Ceramics 

BATTERY POINT 

E 

18 Allison St, COFFS HARBOUR 289 Canberra Ave, FYSHWICK Queensland Pottery Supplies 

Unit 2/ 11 Ramly Drive, • u.s.A. 

Designed and Made 

Yarralurnla Gallery 

s 

BURLEIGH HEADS 

88 George St, 

Nursery Bay, Banks St, 

Pine Ridge Pottery 

The Rocks, SYDNEY 

YARRALUMLA The Pottery Place 5704 G General Washington Dr 

171 Newell St, CAIRNS Alexandria, VIRGINIA 22312 

The Fabled Bookshops • VICTORIA 

54 Terania St, NORTH LISMORE The Clay Shed 

Artisan Craft Books Seattle Pottery Supplies 

2/ 24 Hi-tech Drive 35 South Stanford, SEATTLE 

Gleebooks Meat Market Craft Centre KUNDA PARK 

131 Glebe Point Rd, GLEBE 42 Courtney St, 

Trinity Ceramic Supply 

NORTH MELBOURNE Queensland Art Gallery 9016 Diplomacy Row 

Hilldav Industries SOUTH BRISBANE TEXAS 75247 

108 Oakes Rd, Bendigo Pottery Services 

OLD TOONGABBIE 

Midland Hwy, EPSOM Queensland Potters Assoc, 

• CANADA 

482 Brunswick St, 

Humphries Newsagency Clayworks Potters Supplies FORTITUDE VALLEY Scona Pottery Supply & Clay 

60-64 The Corso, MANLY 6 Johnson Crt, 

Art Studio, 8105-104 St, 

DANDENONG 

• SOUTH AUSTRALIA 

Inner City Clayworkers 

Edmonton, ALBERTA 

Cnr St Johns Rd & Darghan St, Distelfink Gallery 

Bamfurlong Fine Crafts 

• NEW ZEALAND 

F 

GLEBE 1005 High St, ARMADALE 34 Main St, HAHNDORF 

Coastal Ceramics 

t-- 

Janets Art SuppliesP/L National Gallery of Victoria Jam Factory Craft & Design 

124 Rimu Rd, PARAPARAUMU 

143 Victoria Ave, 

Bookshop, MELBOURNE Lion Arts Centre 

CHATSWOOD 

19 Morphett St, ADELAIDE Cobcraft Supplies 

Northcote Pottery Services 

p 

24 Essex St, CHRISTCHURCH 

Keane Ceramics 85A Clyde St, THORNBURY The Pug Mill 

3971 Debenham Rd, 17 A Rose St, MILE END South Street Gallery 

t-- 

Potters Cottage Gallery 

SOMERSBY 10 Nile St, NELSON 

321 Jumping Creek Rd • WESTERN AUSTRALIA 

Mudgee Book Case 

WARRANDYTE 

Compendium 

Angus & Robertson Bookworld 

10 Church St, MUDGEE 5 Lorne St, AUCKLAND 

Potters Equipment 240 York St, ALBANY A 

Mura Clay Gallery 

13/42 New St, RINGWOOD 

Wellington Potters Supplies 

Art Gallery of WA 

49-51 King St, NEWTOWN 2 Cashmere Ave, Khandallah 

Red Hill South Newsagency Bookshop, PERTH WELLINGTON 

Iv 

NSW Pottery Supplies Shoreham Rd, RED HILL 

Hewitts Art Bookshop 

50 Holker St SILVERWATER Roundhouse Gallery • SINGAPORE 

7 Mouat St, FREMANTLE C 

Potters' Needs 

1/2 Queens Pde, TRARALGON 

Southern Light Trading 

Fremantle Arts Centre Bookshop 

18 Scott Place KELSO The Arts Book Shop 71 Seng Poh Rd, #01-35 

1 Finnerty St, FREMANTLE 

E 

SINGAPORE 

The Powerhouse Museum Shop 1067 High St, ARMIDALE 

Guildford Village Potters 

500 Harris St ULTIMO s 

Victorian Ceramics Group 22 Meadow St, GUILDFORD 

Raglan Gallery 

7 Blackwood St, 

5-7 Raglan St, MANLY NORTH MELBOURNE 


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Issue 38/3 September 1999 

POTTERYin AUSTRALIA 

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Featuring the work of more than 130 

Australian Ceramists, over 50 Galleries, 

Suppliers and Potters' Groups 

The essential reference for Makers and Buyers, 

Collectors, Curators, Galleries, Interior Designers, 

Tourists, Teachers and Students. 

Produced by the Potters' Society of Australia 

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88 

THE AUSTRALIAN POTTERS' DIRECTORY THE AUSTRALIAN POTTERS' DIRECTORY ·

I 

Join us for 2 weeks of 

creative inspiration 

l 

cGREGOR 

. 

SUMMER SCHOOL 

4 -15 JANUARY, 2000 

Offers tuition in Performing, Visual and 

Creative Arts and many other subjects. 

CERAMICS TUTOR: 

GREG DALY 

Join Greg for a throwing program 

investigating forms (bowl design, vase, 

their shape and visual weight) will be 

explored. As well, surfaces ( texture & 

colour) and glaze finishes will be 

investigated. The workshop will work in 

stoneware, but techniques covered can be 

at any temperature. Basic throwing skill is 

needed. 

For further information contact: 

McGregor Schools USQ 

PO Box 220 Darling Heights Q 4350 

Ph: (07) 4631 2755 Fax: (07) 4631 1606 

Email: mcgregor@usq.edu.au 

Internet: http//www.usq.edu.au./opecs/conted 

~ 

~ 

AUSTRALIA 

Making Australiana a feature of your pottery is an 

option open to you easily and successfully with the 

use of moulds. 

Ozmosis Moulds specialise in designing and 

manufacturing Australian themes for slip-casting and 

press moulding - as finished forms or add-ons for 

your own ware. 

Our range includes: 

• Native wildlife • Figurines 

• Tropical fish and Dolphins • Tableware 

• Planters • Many others 

Our Services also include specialised mould design 

and manufacture for your own ideas. 

Production house enquiries preferred 

For a full brochure send $5 to: 

OZMOSIS MOULDS 

SOLDIER SETTLERS ROAD, NEWEE CREEK 

VIA MACKSVILLE NSW 2447 

ENQUIRIES - PHONE/FAX (02) 6568 1903 

ADD SOMETHING DIFFERENT TO YOUR RANGE WITH OUR 

RAYI PRESSED bisque and greenware 

• 

Bmvls: plates. platters - square. rectangle\ oval and octagonal 

• 

~ew shapes - coffee mugs, sushi plates 

~ew dav - Walkers vitn-ous china f'arthenware 

• 

Pressing in white earthenware. terracotta and stoneware clays 

PRJCE LIST AND CATALOGUE AVAILABLE 

17A ROSE STREET, MILE END, SOUTH AUSTRALIA 5031 • TELEPHONE (08) 8443 4544 • FAX (08) 8354 0991 

email: pugmill@pugmill.com.au 

• SMALL OR LARGE ORDERS WELCOME • i------.... 

89

RGW HOLDINGS 

PTYLTD 

- - ) 

- . FOR SALE 

• I only as new 30 Tonne Hydraulic Ceramic Press, 

complete with 4 Steel Framed Plaster Dies Masters 

in rubber with compressor & die making accessories. 

• I only De-airing Pug Mill 300mm round extrusion 

with 305mm wide x 25mm thick tile extrusion fitting 

nearly new capacity I . I tonnes per hour. 

All this equipment must be sold at discount 

prices due to the owner retiring at the end of 

the year and no reasonable offer will be refused. 

USA STUDY TOUR - MARCH 2000 

LED BY CONNIE DRIDAN 

PLANS IN THE PIPELINE 

visiting ceramic and glass studios, collections, 

museums, 

• 

galleries . 

NCECA Conference - Denver, Colorado 

• Los Angeles - Aspen, Paul Soldner 

• Minnesota - Warren McKenzie, Jeff Oestreich 

• Nevada - Tom & Elaine Coleman • New York (Corning) 

• North Carolina - Mark Hewitt 

• Boston (Cambridge) Mark Skudlarek • New Jersey - Peter Ca llas 

• Seattle • San Francisco - Peter Voulkos 

AND MUCH MORE! 

( 

HIGH TEMPERATURE CERAMIC COATINGS 

Save energy 

Increase productivity 

Better temperature uniformity 

Easily applied by in-house maintenance 

For more details see our website www.powerup.eom.au/-pinches or read about 

the advantages in the book "The Art of Firing" by Nils Lou (Professor of Art, Linfield College, Oregon) 

Distributed exclusively in Australia and New Zealand by: 

PINCHES ALLOYS 

SPECIAi, AU,O'\'S .. ~ HIGH 'l'ElUP !UATEIUAl,S 

Contact: Ron Kamp or Les Pope in the Brisbane office. 

Telephone 07 3846 SO I I Facsimile 07 3846 S070 

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PINCHES ALLOY PTY. LTD. 

PO Box 205, South Brisbane QLD 410 I 

283a Grey Street, South Brisbane 

Queensland, Australia 410 I 

E-mail: pinches@powerup.com.au 

90

NATIONAL ART SCHOOL 

SYDNEY AUSTRALIA 

Ceramics Courses 2000 

BACHELOR OF FINE ARTS-CERAMICS 

91

HOT & STICKY l:f~ 

Steve Harrison - KILN & CLAY TECHNOLOGY 

CUSTOM DESIGNED & BUILT KILNS: 

Electric and gas fired 

Refractory insulation brick or fibre 

Burners - LPG or natural gas 

Hoods - custom built stainless steel 

Stainless steel flue systems 

Fibre kilns available in kit form 

V enco potters wheels 

V enco vacuum pug mills 

Kiln shelves and props 

Digital pyrometers & thermocouples 

CREATIVE SOLUTIONS TO TECHNICAL PROBLEMS 

Old School Balmoral Village via Picton 2571 

Telephone or facsimile 02 4889 8479 • Email: hotnstky@hinet.net.au 

~ 

] 

I 

POTTERY in 

AUSTRALIA presents 

POTTERY IN JAPAN 1999 

Participate in pottery workshops in T okoname. Enjoy t O days of traditional homestay 

accommodation. Visit six ancient kiln sites, galleries and studios with exclusive meetings 

and demonstrations by some of Japan's leading ceramic artists. 

DEPARTS AUSTRALIA 2 NOVEMBER, 1999. 

LIMITED NUMBERS. 

ADDITIONAL TOUH DATE: 1 APHIL 2000. 

CIIEHHY BLOSS01\I Tll\lE IN JAPAN. 

For brochures and more information contact 

DESTINATION MANAGEMENT 

PO Box 1109, Stafford Qld. 4053 

Freecall: 1 300 307 3 17 

Email: travel@powerup.com.au 

Internet: http://www.powerup.eom.au/-travel 

92

Ceramic 

Study 

Group 

Inc. 

for everyone interested in pottery 

24th September - Meeting 

Kit Ferry - Decorating 

Ceramic Art Association 

8th - 10th October 

"Clay Olympics" - Res. w'sbop - Jan Buttembaw 

22nd October - Meeting 

Bunty Mitchell - Design & Decorating 

\ll'lli11:..:,.111· lr1ld1111 llr1· l111111lr I rrd.n ,,1 

1,lllr 111011tli•1\11pt lh11111h11 - f . 11111.,n 1111111,1111 

i11 I u 11111 1111 . 1111 ~ . B11rld111:_: I -1: 

\l.11q11.1111· I 11i111,1t1 

CSG Inc. PO Box 1528 Macquarie Centre NSW 2113 

Telephone 02 9953 5938 or 02 9869 2195 

the VCG 

has moved ... 

• From September 1999 you'll find us at 

Box Hill Community Arts Centre 

(470 Station Street, Box Hill, Victoria) 

• New telephone: (03) 9899 2777 

• New postal address: 

Victorian Ceramic Group Inc. 

c/o Box Hill Community Arts Centre 

Locked Bag 2, Eastern Mai I Centre 311 0 

• VCG office attended 10 am - 5 pm 

Thursdays and Fridays 

• Monthly meetings held at the Centre 

-==* Victorian Ceramic Group Inc. 

T 

-~ c/o Box Hill Community Arts Centre 

Locked Bag 2, Eastern Mail Centre 3110 

Telephone (03) 9899 2777 

• SKUTT AUTOMATIC KILNS 

SKUTT 

• Precision firing at high 

temperatures 

• Rated up to cone 10 

• Includes ramping and 

hold modes 

• Up to 10 cubic feet 

• Kiln furniture included 

• Two-year warranty 

• Exceptional value 

Ceramic Hobbies 

12 Hanrahan Street Thomastown 307 4 

Tel: (03) 9466 2522 Fax: (03) 9464 0547 

Ellen Massey 

1 Marigold Place Milperra 2214 

Tel: (02) 9773 9900 Fax: (02) 9792 7373 

93

It's On Again! 

The 

Hot To Pot 

Summer Workshop 

In The Snowies 

Handbuilding, 

Smoke Decoration Techniques including 

Variations on Raku-Style Rapid Firing 

Personal Tuition with Jane Crick 

7th - 11th February 2000 

at beautiful Pender Lea, 

10 minutes from Thredbo. 

Range of Accommodation on Site. 

Workshop Cost: 

$290 including lunches and all materials. 

For further information write to: 

Jane Crick 

Summer Workshop 

26 Glynn Place, Hughes 

ACT 2605 

or Telephone Jane on: (02) 6281 2594 

C 

Q) 

-0 

::, 

Advanced Diploma, Diploma & Certificate Courses 

i f 1 ~ :fl 

Full and Part Time Options 

Enquire at your local TAFE College or Phone 02 9217 4299 

INTRODUCING 

• 

• 

• 

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BROAD FIRING RANGE 

EXCELLENT FOR THROWING AND PRESSING 

WET TO FIRED SHRINKAGE COMPARABLE 

WITH OUR OTHER STONEWARE BODIES 

OUTSTANDING GLAZE FIT WITH A WIDE 

RANGE OF COMMERCIAL GLAZES 

• 

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AVAILABLE AS LIQUID SLIP OR FILTER CAKE 

EXCELLENT CASTING PROPERTIES 

CONSISTENT AND STABLE PERFORMANCE 

CLAYWORKS AUSTRALIA PTY. LTD. 

A.C.N 007 005 932 

6 JOHNSTON COURT DANDENONG 3175 

PHONE (03) 9791 6749 FAX (03) 9792 4476 

www.ozemail.eom.au/--claywork 

Email: claywork@ozemail.com.au 

95

97

WOLLONGONG COLLEGE OF ART 

Ceramics Courses 2000 

The Ceramics section of the School of Arts & 

Media invites applications for. the following 

Ceramics courses: . 

• Certificate in Studio Techniques #5370 

part time 4hrs/wk for 2 years. 

• . Certificate in Ceramics #5491 

Full time and parttime options. 

• Advanced Certificate #7400 

Full time 26hrs/wk. 

• Certificate:of Attainment courses 5hrs/wk 

#7414 Surface Treatment & Design 

#7415 Clay & GlazeTechnology 

·For more information about these courses 

refer to the TAFE HANDBOOK. 

~pplications fQ.r Yr.2000 courses should be 

!received at' the co_llege by 30.11.99. 

Address-to: Ulawarra Institute of Technology 

-· Wollongong West Campus 

36 Gad stone Avenue,. Wollongong NSW 2500 

Contact: · Lawrence· Mearing 

Tel 024222 2846 

Fax 02 4222 2881 

T~FE~ 

. rything 

F eatunng eve . 

· glazing 

from f orrrung, . 

and firing techniques 

. t hrofiles and 

to artis I:' d 

5 aroun 

pottery new 

the globe. 

- ate· $53 

. I one-year r . s bani

Be creative in a different way with 

ENGOBE COLOURS 

by Ceramic Glazes of Australia 

For your nearest distributor 

please call +61 3 9887 1702 

Ceramic Gia 

3/8 Eastgate Court Wantirn 

telephone +61 3 9887 lii1Mf!•-~ 

email cgaust@bigpond. 1~rw,n 

ACN 007 043 28 

99

• Environmentally friendly. 

• Low density hot face insulating 

brick. (Fibre Free) 

• Economical to operate. 

• Made in Australia. 

• One of Australias most 

experienced kiln and furnace 

manufacturers. 

• Australias largest range - 32 

standard sizes - custom sizes on 

request. 

• Over 30 years experience - 

Established 1963. 

• Over 15,000 kilns and furnaces 

now in use. 

• Fast firing to 1300°C. 

23 & ~ Cft!~c::Sf t!J. ~tJ. 

Your choice - Manual or 

electronic temperature controller. 

MODEL No. 1 0 fitted with 

Shimaderi Temperature 

Controller I Auto Ignition. 

1 2 George Street, Blackburn, 31 30, Victoria, Australia 

Telephone: (03} 9877 4188 Facsimile: (03} 9894 1974 

International Telephone: + 61 3 9877 4 1 88 Facsimile: + 6 1 3 9894 197 4 

100

Study from your studio 

Graduate Diploma of Arts (Visual Arts) by distance. 

This course has an excellent reputation in Australia among ceramics professionals. 

For informati on contact Owen Rye 

ph: + 61 3 512 26564 fax : +61 3 512 26678 

email: owen.rye@artdes.monash.edu.au 

Gippsland Centre for Art and Design 

Faculty of Art and Design 

For application kit contact Rosema ry Nevi ll 

ph:+61351226261 

email: rnevill@artdes.monash.edu.au 

••••• 

____ m_on_a_sh university faculty of art and design 

Work by Simone Fraser (NSW) 

The Faculty of Art and Design also offers a full range of undergraduate and postgraduate courses in the following studios 

APPLIED ARTS - Ceramics, Glass, Metals and Jewellery DESIGN - Graphic Design, Industrial Design, Design, Interior Architecture, Mult1med1a 

FINE ARTS/ VISUAL ARTS - Drawing, Painting, Photomed1a, Printmaking, Tapestry, Sculpture

POTTERY in 

AUSTRALIA presents 

DOMESTIC POTS 

Table and kitchenware by Australian Potters 

ROBERT BARRON 

ANTHONY BRINK 

PETER BROWN 

LEX DICKSON 

PHIL ELSON 

VICTOR GREENAWAY 

COLIN IMRIE 

IAN JONES 

JANE SAWYER 

ANDREW STEW ART 

ALEXIS TACEY 

Departs Australia 27 May 2000 

DOMESTIC POTS 252 Bronte Rd 

Waverley NSW 2024 

Hours 11-3 Wed-Sat. Ph/fax 02 9386 4099 

A tour where you will experience the unique art 

tradition of Turkish C_eramics and meet Turkey's 

most renowed contemporary and traditional 

artists. 

Visit studios, workshops and see demonstrations 

by studio potters replicating Iznik tiles. 

Wherever you travel in Turkey you are confronted 

with its great history, its archaeology, its 

timelessness and physical beauty. 

A unique 21 day tour of Turkey which will leave 

you in awe as you journey through ancient 

civilizations. 

For your free copy of the 

'MILLENNIUM CERAMIC TOUR TO TURKEY' 

~· 

brochure call 

'-F' 

Trans Turk Travel 

Services Pty Ltd 

Tel 02 9281 3500 Fax 02 9281 2979 

www .transturk.com.au 

email: transtur@ozemail.com.au 

LITHGOW POTTERY FAIR 

;nst M,uch. 1st April. 2n

membership applications 

CNR ST JOHNS RO & 0ARGHAN ST 

GLEBE NSW 2037 

WED-SUN 10.30am-6pm 

TEL/FAX 02 9692 9717 

The exhibition will feature large thrown jars, 

urns, deep bowls, tall bottles and wide platters by 

12 members of the Potters' Society of Australia. 

Representing a specific genre of ceramics, the 

work represents a contemporary revisiting of a 

tradition thousands of years old. As cultural 

products, they echo a romantic past, but at the same 

time affirm the present joy of a generous plate, 

and the tangible product of vigorous imagination 

coupled with hard work and patient effort. 

. ··fxn ·····~1~ga111 ···show .• of ... big .• bc>ld· 

'&>•

Contemporary Clay 1999 

Above: Northcote 

Saturday 30 

October to 

Sunday28 

November 1999 

Judge Sue Buckle 

Pottery Award Winner 

1997 Bern Emmerichs Editor Pottery in Australia 

COWWARR 

~ 

ART SPACE 

Northcote Pottery 

Award $500 of potters materials 

or equipment 

The Visual Resource 

Award $500 of professional 

studio photography 

Entries close 19 October 

Entries juried by submitted 

slides or photos. 

Apply now for entry fonns. 

Send a stamped seHaddressed 

envelope to: 

Cowwarr Art Space, 

Cowwarr, Vic. 3857 

Tel: 03 5148 9321 

Fax: 03 5148 9498 

cow-art@net-tech.com.au 

BLACK SHEEP FARM POTTERY 

NIMBIN,NSW 

Experience a creative holiday in our 

beautiful paradise 

Workshops: 12-15 November 99; 18-21 November 99 

21-28 January 2000 - groups of 6 only 

Learn to throw, handbuilt, paint, glaze and fire, 

and enjoy it. 

For beginners and the experienced. 

Luxury accommodation in our guesthouse, all meals 

and materials included. 

Website: www.blacksheepfarm.com.au 

or phone Mac on 02 6689 1095 

The Multiple Handicapped Association of Queensland trading as Monte Lupo 

Pottery and 'Jine .91.rt 

MONTE LUPO 

SHOP 2016 

GARDEN CITY SHOPPING CENTRE 

UPPER MT. GRAVATT, QLD 4122 

PHONE (07) 3219 4422 

STUDIO (07) 3841 6266 

104

Pottery In Australia Vol 38 No 3 September 1999

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