Pottery In Australia Vol 38 No 3 September 1999

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thin the :ery vere ing, but 1pty ade of he S a led tch has the a at ore re, ely ass ed op or he 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. 38/3 SEPTEMBER 1999 + POTTERY IN A USTRALIA 19
J Alistair Whyte Aspiring to make pots of a high standard using techniques and aesthetics learnt overseas and influenced by the Australian lifestyle. 20 POTTERY IN AUSTRALIA + 38/3 SEPTEMBER 1999
Page 1 and 2: classic form & surface
Page 3 and 4: DATE DUE ~-~ THIS ITEM MUST BE RETU
Page 5 and 6: The 9th National Ceramic Conference
Page 7 and 8: Left: Greg Crowe. Long wood fired v
Page 9 and 10: Lidded jars, green and red with gun
Page 11 and 12: particularly in relation to colour
Page 13 and 14: fE si vc OJ tc ai sl eJ I A s Helen
Page 15 and 16: It's not on any map, true places ne
Page 17 and 18: 'a. sl li, h 0 (' p p V, p ir lE tc
Page 19 and 20: Slumped at the Wheel After a decade
Page 21: ecause of the variety of hole sizes
Page 25 and 26: inner shape of the pot. Work is usu
Page 27 and 28: • 1 d s a Kissed by Fire Crystall
Page 29 and 30: co co on hu Vil pa he to< COi is; f
Page 31 and 32: NE Pt stay in place on vertical sur
Page 33 and 34: uni ad< no we 1I I The opening spee
Page 35 and 36: Vert de Bien Hoa A classic Vietname
Page 37 and 38: RE 32 Pr Ri! Ai:: 0~ Ar Vic REVIEW
Page 39 and 40: Al H 'L in p, e, cl Above: Gill Tre
Page 41 and 42: Lorne Woodfire I am sitting in that
Page 43 and 44: I have sprouted from the outer laye
Page 45 and 46: Above: Pat Davidson Left: Glenys Ma
Page 47 and 48: There are not many places in the wo
Page 49 and 50: po Wf. COi wit in of l Da l gla bul
Page 51 and 52: The Rites· of Tea Kim Pen Pang - a
Page 53 and 54: River Reflections A river can hide
Page 55 and 56: The Potters of the Punjab The regio
Page 57 and 58: V; g st i5 cl fi tl e: u tc 0 b a:
Page 59 and 60: - this life ... a glaze journey Res
Page 61 and 62: Glaze Q&A When it comes to ordering
Page 63 and 64: to cut even slabs (about 5mm thick)
Page 65 and 66: to the surface colours achieved in
Page 67 and 68: thr Stu tirr pa1 s an invited deleg
Page 69 and 70: enable firing. This was a magical m
Page 71 and 72: Th sp, de to dif rel: lug CL Ar ins
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Pottery In Australia Vol 38 No 3 September 1999

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