six hundred degrees

Ahhh...

2011-12-24T12:57:00.000+11:00

Here comes the sun... and the food and the wine and the family and friends. I'm going to appreciate all to the fullest and have a little break from work and the computer screen.

I wish you all a very Merry Christmas.

Back soon!
Sophie

Quote #7

2011-12-15T16:28:00.003+11:00

"I realise how lucky I am that I found my song, and that art will be a fulfilling passion offering new challenges and joys until the day I die... I don't have to retire, or look for something interesting to do, or play golf. I'll be an artist to the end, like a dog's a dog." John Olsen

From A Beautiful Life by Janet Hawley
The Age Good Weekend Dec 10 2012

Porcelain bangles

2011-12-13T09:30:00.000+11:00

My first foray into jewellery. Fun to make and driven by the constant testing of coloured clay I have been undertaking of late. Well... I also just wanted some new jewellery... and there is also the Christmas thing. Each year I try to make porcelain Christmas cards or tree decorations of some description but I think bangles have become my 'not a vessel' item for 2011.

Along with batter bowls and other assorted functional tableware, I will have bangles available at the Sisters Market this weekend.

Brunswick Town Hall

233 Sydney Rd Brunswick

Friday 16th Dec 5pm-9pm

Saturday 17th Dec 10am-4pm

Last event for the year. Phew.

Revisiting Crosshatched

2011-12-05T19:41:00.001+11:00

Earlier this year I had the good fortune to work with Sandra Bowkett and Ann Ferguson on a Crosshatched project, a collaboration with Rajhastani potters Manahor Lal and Dharmveer. At the time I documented the event on the Pan Gallery blog but more recently an article, written by Sandra, Ann and myself, has been published online by The Australian Ceramics Association. Please click here if you would like to see the article.

One spectacular aspect of this event was the opportunity to visit Sandra's property in Tallarook, where the potters worked side by side, creating and firing the magnificent mudka (traditional water pots) and Tallarook Stacks. Thought this might be a good time to share some photos I took on the day.

Sandra and Ann continue to work with the potters and I believe a project in India is set for early 2012. Keep an eye on Sandra's website to follow the development of this fantastic cross cultural collaboration.

The market roll

2011-11-28T21:08:00.001+11:00

Yep - 'tis the season.

I have a few markets and things coming up so (given my frustrating inability to find time to blog of late) I thought an all inclusive list might be the go. If by chance you feel there is a certain someone who might like a handmade ceramic gift this Christmas here is where I will be selling work...

Starting with this weekend...

Sunday 4 December
10am - 5.30pm
Pottery Expo
Fed Square Atrium

Then...

Saturday 10 December

10am - 4pm

Studio Sale (samples and seconds)

Northcote Pottery Supplies

142-144 Weston St Brunswick East

And...

Friday 16 December 5pm - 9pm

Saturday 17 December 10am - 4pm

Sisters Market

Brunswick Town Hall

233 Sydney Rd Brunswick

Hope to see you... somewhere, some place, sometime...

And to all my fellow craft practitioners and wonderful retailers I wish you great success and sanity over the next few weeks!

Testing, testing

2011-11-16T20:46:00.001+11:00

It's most frustrating when you like the results after a bisque firing a whole lot better than after the glaze firing. That's seems to be the case for me quite a lot lately as I continue to test different colours in Southern Ice porcelain. Not quite right.. try again.. my studio is awash in test tiles.

Jane Sawyer recently drew my attention to a wonderful Grayson Perry video in which he referred to opening the kiln door as an "exercise in controlled disappointment". Ain't that the truth! I have learnt over the years not to heed my initial response to glaze firing results as they never ever match my fertile imaginings of what might lie behind that kiln door.

I unpack, inspect and walk away. I might grumble or huff a little but I stop myself from drawing any conclusions until I've had a moment (or day or two) to regroup and then I look again. Only then do I allow myself critical reflection. I take pieces home to look at them in an environment more natural than my fluorescent lit studio. I like to live with things for a little, pondering them at different times of the day,in various locations around the house, as I wander by or put them to use.

It's a busy time of year, orders to meet, markets to plan, commitments are stepping up a notch. And yet now, of all times, I have succumbed to an intense desire to develop new work. I can't help myself. Testing this, trying that. I'm loving it. Experimentation means opening the kiln door is all the more exciting and... challenging in regard to controlling the disappointment.

Go easy on the manganese dioxide Sophie!

Musical Interlude

2011-10-30T20:38:00.000+11:00

I love the ethereal state reached through sheer exhaustion.

Note to self: dancing is good for the soul.

Yes sir, I like it

2011-10-28T13:12:00.001+11:00

Last weekend I journeyed all the way to Brighton. That's the other side of the river you know. Hmmm, not my favourite neck of the woods but I will try not to cast aspersions on an unfamiliar burb. I'm sure it has its moments.

In fact, one such moment was a small exhibition of ceramics by David Ray at the Bayside Arts and Cultural Centre - the purpose of my visit.

David Ray Power 2008

Simply titled Contemporary Ceramics, the exhibition showcases a selection of David's work from the last few years, courtesy of the artist and Nellie Castan Gallery. I found the selection a little disparate and it took me a while to engage with the works but once I reconnected with Ray's ceramic vocabulary I found much to enjoy.

David Ray Cruiser 2010

The exhibition text states that David Ray applies "critical comment to contemporary consumerism and our national identity through his flamboyant baroque creations." Ray's contemporary observations of political and social life in Australia, excessive ornamentation and historical references combined with his rugged construction is very appealing. You need to spend quite some time with each piece to get the full impact of the work, to make sense (or not) of the overlapping of colours, lustres and images. I like that the content of the work is not always immediately evident. Some things are blatant thanks to their titles...

David Ray Trophy Wife 2010

David Ray What's Up Skip? 2010

but often there are only hints and suggestions that give you the sense of what the work is exploring.

David Ray Trit trot tramp, trip, trot, tramp...

who's that tramping over my bridge 2010

The work is best described in the artist's own words, of course, which I have lifted from his website...

"The work becomes human in its imperfections - lumps and bumps, the fingermarks of human touch - a tactile memory. My personal response to the repetitiveness of the industrial is to make objects that are organic and unique, each piece with it's own personality for the observer to engage with. Images colour and texture are layered upon layer to create a kaleidoscope of possibilities toward the idea of a narrative. The interpretation of this narrative is left to the perception of the viewer. Sometimes my work knows more about itself then I do."

His website also explains that David's influences began with early 18th century European factory ceramics and the social milieu around the industrial revolution. "Utilitarian objects that have been shaped since the beginning of mankind can transcend their original function and become a purely decorative status symbol. Objects therefore can be interpreted as social barometer of their times which gives insight into the human condition."

My favourite piece from the exhibition was Champion.

David Ray Champion 2010

Enclosed in a glass cabinet, individual porcelain trophy-like objects combined to form one oversized trophy in a humorous dig at our nations glorification of sporting prowess. Each piece had its own cartoon like personality with expressive arms and suggested sporty type actions culminating in a worship/victory moment on the top shelf directed at an image of Jesus.

David Ray Champion (detail) 2010

It also included a not so subtle reference to "assisted" sporting prowess..

David Ray Champion (detail) 2010

There is certainly a lot going on in David Ray's sculptures and I think the majority of it really hits the intended mark.

David Ray

Contemporary Ceramics

22 Oct - 13 Nov 2011

Bayside Arts and Cultural Centre

And then there's Debbie Harman

2011-10-19T21:41:00.002+11:00

As I said in the previous post I find enjoyment in a wide range of ceramics. I don't think Deb would mind if I said I like her work because it's a little bit... bent. Well a lot bent really. Debbie's ceramics are currently showcased in Small Pieces under the title FOMA (Fear Of Missing Out). Great title.

In her own words " fear of missing out affects many aspects of our lives, how we dress, what we say, who we hang out with. What sort of house we buy, our penchant for new furniture and the latest fashion. How we search for that one special person, trawling the internet or scouring darkened nightclubs. This fear of missing out is even more amplified in lives of adolescents as they navigate the school cliques, the bullies and the moraes of social networking."

The bright colours and fanciful characters initially appear fun and frivolous but as you zoom in on details you become rapidly aware of a dark undercurrent.

The pair on the right are titled Housing Commission Couple

Alice and Window Eyed Rabbit

Debbie uses Alice as a metaphor for the adolescent experience and small sculptural arrangements capture the essence of teenage isolation and angst.

The central figure is titled Pissed Off Alice

The work is really raw, rough and emotional. It captures that surreal, disproportionate, confused exuberance of adolescence, sometimes with subtlety, often with humour and occasionally with as much aplomb as a blundering teenager..

You can see more images, including illustrations in acrylics and oils, on Debbie's blog.

Going to get a little bit gushy now

2011-10-11T09:50:00.000+11:00

It's good to be flawed by art. To be so completely blown away by artistic and technical merit that it takes a little while for it to sink in. I really, really liked the recent Pippin Drysdale exhibition, Desert Crossings, at Mossgreen Gallery. I have seen images of Pippin's work in the past and have surprisingly not been particularly moved by them, so I was completely unprepared for the impact of seeing her work in the flesh.

First there was the scale, each piece so much grander than I had imagined. Then there were the forms themselves- so resolved, so complete. Pippin employs a thrower, Warrick Palmateer, a fact duly recognised in the exhibition catalogue and at the opening. Having recovered from my initial 'whoa' at the size of the works I was again taken by surprise when I walked over and peered into the closest vessel. I had expected a flat internal base from which the walls rose but was thrilled to find an uninterrupted continuous curve. The forms were faultless. Truly amazing.

Then there were the colours - colours that I didn't even know existed and colours that I certainly didn't know I liked. There was an orange inside some vessels that was so intense it almost hurt your eyes and a light green that seemed to float.

It felt like a lesson in colour. Some of the combinations you could expect to be gaudy but with the Pippin Drysdale treatment the balance is perfect. A harmonious chord is struck and the colours become vibrant, living. A perfect testament to the landscape from which she draws inspiration. Other forms are more muted and subtle in colour, which is where my taste usually lies, but done in such an informed, delicate way I felt humbled.

And just to complete the experience I must admit to sneaking a feel. I couldn't resist, the surface was calling me. Incredible. Despite all the lines and colour combining the surface was entirely smooth like butter. More than just a satin or burnished finish it felt like the glaze was soft. How does she do that?!

Can't tell you how glad I was I went. I can find enjoyment in all sorts of ceramics at a variety of levels but vessels made by an artist of this calibre is what truly inspires me.

Bring it on

2011-09-28T13:26:00.000+10:00

I am told there is some sort of football match on this Saturday and I believe a large number of people will be gathering in backyards around sizzling hotplates of animal type product and drinking amber liquid. But if that's not your thing or you think it best to have a little outing before the game then why not come and say hello to me?

I will be here...

Sisters Market

Saturday 1st October

10am - 4pm

Brunswick Town Hall

233 Sydney Rd Brunswick

Ever changing urban landscape

2011-09-26T20:52:00.001+10:00

City life churns on. Thankfully the sun is putting in a few more appearances, highlighting incidentals in my immediate urban landscape...

A parting gift from a studio artist...

A watchful paste up on a demolition site...

And constant suggestions on which direction to take...

Hmmm, which direction to take?

Clunes

2011-09-16T21:22:00.003+10:00

The sun came out, the sun went in, the sun came out again... seems Clunes' weather is a lot like Melbourne's... but things sure feel a whole lot fresher in a small country town.

There was a wonderful turnout for the opening night of The Clunes Ceramic Award. Many artists, organisers, friends and locals showed their support for the event. And it really is all about support.. support for a community that in recent times has faced drought then floods and the constant battle to encourage a fully functioning economy in a rural township. Also support for Australian ceramics which strives to maintain identity with our country's smallish population and distance from more established art epicentres.

Irianna Kanellopoulou, The General (detail)

(Highly Commended)

This was no grand scale exhibition and in a curatorial sense there were some areas in which it fell a little short. But this was a small community doing it's best to promote it's values and interests and there was a lot of good feeling in the room. And of course some very lovely work!

Angela Ratten, Seascape I

Lynda Gibbons, My Other Garden (detail)

Anne Mossman, Landscapes IX

As is so often the case my photography didn't do justice to the works and some of my favourite pieces are not represented here. Namely Kirsten Coelho's work... wow... a bottle and beaker in her trademark white satin glaze with rust like detail around the rim... so entirely right. Her work seems simple and minimal but is also soft and emotive, contemporary and fresh yet somehow nostalgic. There is something quintessentially Australian in her work but I think it's appeal is most likely universal. I've provided a link to her website which is quite beautiful but her pieces are all the more impressive in real life.

As are Phil Elson's (terrible image, so sorry Phil!), an artist whose work I have often extolled the values of on this blog and winner of The Clunes Ceramic Award. Hooray - another deserving recipient!

Phil Elson, In the Shadow of Gehry's Golden Fish

(Winner Clunes Ceramic Award 2011)

All in all the competition was a fascinating experience and I look forward to the shows growth and development in the years ahead.

The exhibition runs until 2 Oct and there are a few more images on my Facebook Page for those who would like to see more.

Going to the country

2011-09-08T22:39:00.000+10:00

Sophie Milne Wear 2011

I feel fortunate indeed to be included once again in the Clunes Ceramic Award exhibition and am looking forward to a blissful trip to the country this weekend to attend the opening. Hooray! Clunes is about a two hour drive from Melbourne. I'm told it's a beautiful township and of course I encourage all to visit.

The 55 selected artists (view list here) includes many friends, colleagues and heroes but also names I have not come across before which adds to my anticipation and great eagerness to see new work. It's going to be big and I will take my camera!

Wear (detail)

Wear is my selected piece and part of Domestic Wear, the recent body of work I discussed in the previous post. A somewhat refined artist statement (it had to be 120 words or less which was a great way to almost stop me rambling) was included with my entry...

Ceramic traditions occupythe periphery of my creative contemplation. Pots I have held or seen in books,exhibitions and museums subconsciously shape and inform my work. As objectsthat can survive millennium the historical weight of ceramics is heavy but theeveryday character of functional pottery inspires me. In Wear I commemorate the functional vessel and the still lifetradition and explore concepts associated with the passage of time, such asfading and eroding. I endeavour to express myrespect for the longevity of the ceramic object by striving for timeless appealand a perfection that maintains ‘made by hand’ qualities. Wear isunhurried and quiet, suggestive of the passage of time and the notion thatobjects become slowly stripped back to beautiful.

I'm not a big fan of being in the same place as my work and an audience (squirm) but I do feel comforted by the scale of this show and thankfully my desire to see all the work is overriding any apprehension. Well... today anyway.

Wear (side view)

The Clunes Ceramic Award exhibition will be open Thu - Sun 11am - 5pm 11 Sep - 2 Oct 2011

Domestic Wear

2011-09-02T08:00:00.003+10:00

Time for an 'outing' of new work. As usual it doesn't quite feel complete (one more firing... I'll just tweak this...) but I am happy with the general direction the coloured porcelain and inlay is taking me.

I have titled this body of work Domestic Wear because it explores concepts associated with the passage of time as well as commemorating the functional vessel.

With different percentages of ceramic stains in the clay body the intensity of colour varies from piece to piece so, when grouped, there is the impression of fading. The inlay is slightly raised (difficult to see in these images), as a result of wiping away the surrounding clay, to suggest erosion.

I'm enjoying the contradiction of exploring these concepts in a material that is know for it's durability. I think it makes the work feel unhurried, quietly suggestive of the passage of time and I hope it captures the notion that objects become slowly stripped back to beautiful.

Of course the urban imagery lingers.

Places and Spaces

2011-08-31T10:07:00.000+10:00

I have work in an exhibition that opens this Saturday at Cudgegong Gallery, Gulgong, NSW. So if you happen to be up that way...

"Exhibition shortens the space between places. A new exhibition at Cudgeong Gallery will bring together the worlds of 14 individual object makers living and working in inner city studios in Adelaide, Melbourne and Sydney and transport them to regional New South Wales. Curated by Zara Collins, a Sydney-based freelance curator and practising artist specialising in Australian contemporary craft, the exhibition will bring together more than 40 works to showcase the diversity of Australian art, craft and design and will be a rare treat for a regional gallery. The exhibition will also focus on providing a sneak peek into the lives and working spaces of the exhibiting artists...Curator Zara Collins said each artist has been invited to provide a collection of pieces that best represent the ideas and threads in their current work." Exhibiting artists: Matina Bourmas, Greame Bannerman, Zoe Brand, Kate Dunn, Katrina Freene, Carlie Henderson, Laura McKellar, Sophie Milne, Pheobe Miller, Jason Mo, Chloe Waddell, Collaborative Goldenink

Places and Spaces

Curator: Zara Collins

2nd Sep 2011 to 17th Oct 2011

Cudgegong Gallery

102 Herbert Street

Gulgong NSW 2852

AUSTRALIA

Should you be further a field, the hard-working curator Zara Collins has set up a blog and facebook page to further showcase the artists represented and the spaces in which they work.

Studio Open Day and Winter Sale

2011-08-16T10:15:00.001+10:00

This Saturday the Northcote Pottery Supplies artists in residence will be opening their studio doors so that interested parties can nosy about and see what they have been up to. Some of these creative spaces are tucked away in corners that you may never have realised were even there!

Organised in association with Craft Victoria's Craft Cubed festival, this is a great chance have a chat to practising ceramic artists, ask about materials, discuss processes and maybe get a sneak peek at new work in development.

Thank you to Kim Brockett for the images above. Kim recently popped in for a studio visit (and a coffee for me!) resulting in a lovely show and tell moment on the Craft Vic blog.

I will be combining this Saturday's open day with my annual Winter Studio Sale. In amongst the classes, fellow wanderers and chats there will be a table full of very affordable samples and seconds to browse through.

And if that isn't enough to get you there (!)...

you can also mosey about in the latest addition to the Northcote Pottery building The Vintage Element "a small retail store that sells unique second hand items for collectors, crafters, designers and gift givers." Like this...

and this...

Saturday 20 Aug 2011

10am - 4pm

Northcote Pottery Supplies

142-144 Weston St Brunswick East

To be continued...

2011-08-10T22:23:00.000+10:00

Collaboration continues at a comfortable pace. It's hard not to show images of everything we have created so far but some things need to be kept for reflection and reconsideration at a later date.

Here are just a few more teasers...

I would like to introduce my creative partner in this project - Jackie Kennedy. Jackie studied visual art at RMIT and has an impressive breadth of knowledge in many artistic mediums and processes (compared to my quite singular focus!) As mentioned earlier, it was her interest in printmaking, etching and linocutting that prompted me to suggest we work together.

What fermented the idea was Jackie's desire to explore figurative works with an underwater theme. When she alluded to a sense of wonder at movement through water I was captivated. As a creator of receptacles I am interested in containment and play between internal and external space. The scope of ideas to explore seems endless.

The marriage of image and form was a consideration from the outset and the more we make the more we understand what works. In response to Jackie's ability to capture movement in her figures I see the need create shapes with fluid lines and, in turn, the figures move with the curve of the form. It's an ongoing dialogue.

There is much to explore and resolve... shape, line, colour, surface... but it's hard not to like what has emerged from behind the kiln door already.

Market day

2011-08-03T21:51:00.000+10:00

My kiln has been firing her little heart out and opening the door this morning was a happy, happy moment. Inside a conglomeration of different projects - pieces for wholesale orders, a commission for a friend, works of collaboration, coloured clay tests and new work especially for market - all merrily baked and awaiting a gentle sanding. A perfect firing. Bliss.

Southern Ice beaker

This Saturday I will be at the Brunswick Town Hall for my first Sisters' Market. I have visited before but never participated. I am looking forward to being surrounded by crafty types and hopefully getting some immediate feedback on new work.

The challenge with markets is creating the right product at the right price for everyone concerned!

It is understandable that market goers may expect to find something special at a price slightly lower than what would be expected in a retail store. Buying directly from the craftsperson means store overheads and other retail considerations are avoided. However, there is also the concern that markets can undermine the value of the craft object if work is sold too cheaply. The standard of handmade objects at Melbourne's many artisan markets is usually high and deserving of a respectable price tag.

My approach is to create a different body of work for each purpose. I have my retail 'range', work for exhibitions and now I am creating 'market wares'. We'll see how that goes!

Noodle bowls

What I am discovering is that the work I am making specifically for markets is leading me back to functional basics. Ornamental and conceptual concerns are somewhat diminished and I seem to want to make simple, practical forms for domestic use.

Batter bowls

This is where it all began for me and I must admit I am relishing revisiting this creative space - with greater knowledge, developed skills and a few more years under my belt!

sisters' market

Saturday 6 Aug 10am - 4pm

Brunswick Town Hall

233 Sydney Rd, Brunswick

Some thoughts on competitions

2011-07-28T11:14:00.002+10:00

I have just submitted work for the Clunes Ceramic Award. I wasn't going to mention it to avoid awkwardness should I not be accepted but then I realised I am actually ok with that. Having worked on selection committees myself I know how arbitrary and arduous that task can be, even with the best of intentions.

Clunes montage

The process of putting work into a competition interests me. Clunes accepts ceramic work made in the previous 12 months by an Australian resident. The prize money is $5000 with the work being acquired by the Castlemaine Art Gallery. There are other requirements regarding size etc but basically you send in images of your work and a judging panel decides if you are in or not then a judge selects a winner from the exhibited works.

My overriding response to this is... cool. An opportunity to exhibit and possibly sell work - good. A chance to make something that is not part of my retail repertoire - excellent. The potential to see my work alongside other Australian ceramicists that I admire - fabulous. Maybe a night out with champers and friends - wonderful!

But.. what to submit? I feel unnerved by a sense that the work must be 'substantial'. In what sense? Obviously in quality but in size? In price? In concept?

Despite a strong belief that one little bowl can be as substantial as a large sculpture, the scale of an exhibition and exhibition space could result in it appearing insignificant. Should this deter one little bowl being entered? No. But context is important. Entering a set or grouping might be more appropriate.

I do love a still life. When I had a shop my favourite activity was arranging the displays. In my home I am constantly rearranging things on shelves - searching for chiaroscuro, taking things away and moving this one a little to the left. Arrangements are part of my work so for this reason, and other reasons that I will expand on in a future post, I have entered a still life. My issue - I feel like I am 'doing a Gwyn' (which resonates all the more on this occasion considering she was born in Ballarat). Gwyn Hanssen Pigott - I so love her work but I have to say her ceramic supremacy has made it difficult for the rest of us to group ceramic vessels without feeling like our work is derivative!

Gwyn Hanssen Pigott Travellers no. 3 2001 (image sourced from here)

The only thing for it is to make what I want, respecting her influence but holding firm to the knowledge that my work comes from within.

Then there is the issue of the value of the work. $5000 is quite a bit of money, should the piece I submit reflect this amount? It is not expected that you submit a work with this price attached but if the judge was having trouble deciding between two works would he/she be swayed by the artists perceived value of their own work?

And finally - concept. Clunes asks for an artist statement that "includes a conceptual rationale". When it comes to functional pottery I think 'because it feels good to use' is a fairly substantial concept but perhaps this doesn't stand up so well in a competitive field. I do explore conceptual ideas in my work but I don't think that this makes it of greater value than works that may less obviously do so. In the case of the Clunes Ceramic Award the requirement of a concept is clearly stated so it should be accepted as a prerequisite of selection.

When it comes to a competition the idea that one piece is chosen because it is better than the others is difficult to avoid. Perhaps the best way to view the selection of a winner is more that it is one artists turn to be singled out and duly recognised and awarded for their work. I certainly felt that way in regard to the selection of Neville French's work in Clunes last year.

Neville French, Mungo Light 2010

I am, of course, over thinking it all and in reality have simply submitted work that I intended to make, competition or not. I am not 'in it to win it' but to set myself personal goals and challenges in order to make myself a better potter. I mention these considerations only to illustrate some of my thinking process and to encourage discussion regarding the light in which ceramic art is viewed.

And if you made it to the end of this rant I thank you for indulging me!

Urban inspiration

2011-07-12T19:04:00.002+10:00

Please don't ask me why. I think it was a split tennis ball, floating in the gutter mud, but I wasn't too keen to investigate any further than taking the shot.

Kiln magic and chemistry

2011-07-04T22:05:00.001+10:00

I never get tired of opening the kiln door after a firing. Especially a glaze firing... apprehension, expectation, elation, disappointment... more than your average soap episode.

I still love before and after shots too.

Before

After

Before

After

I am having issues with changes in the characteristics of some materials I use. So... testing, testing, testing.

The chain of blame is long when it comes to pottery supplies, sometimes manufacturers chose to delete lines or alter production methods but more often than not responsibility lies with mother earth. You don't want to be arguing with her. The best thing to do is roll with the changes or try something new. When you work with raw materials it's fundamental to accept the impact of environment.

I say this, of course, to convince myself and motivate my way through it all when in reality it is really, really annoying. I aim to supply my retailers with consistent work and when things vary beyond my control it is frustrating.

I am grateful that the pottery supply stores I deal with are incredibly helpful (most especially the lovely Norma at Potters Equipment) and the manufacturers are approachable. And thankfully there is a growing awareness and understanding of the values of handmade objects with their inherent variations.

Onward and upward...

Quote #6

2011-06-29T21:00:00.001+10:00

"Organised perception is what art is all about"
Roy Lichtenstein

Check this out

2011-06-26T18:12:00.002+10:00

Shelley Martin and Sara Dick, 2001

Every now and then I wander aimlessly from one ceramic link to another. It's fun to have a meander but it can be overwhelming at times. I experience a range of emotional responses, from inspiration to dejection, when I see the plethora of wonderful ceramic work being done globally.

I try to stick on the inspiration side of the scale.

Recently I was contacted by Shelley who has set up a blog, Vitrified Studio, that allows me to meander aimlessly in the one place. Cool. It's a simple idea (often the best)... as Shelley states "this blog is made for those who share an appreciation in the subtle beauty in simple handmade ceramic forms, and as an ode to the ceramic artists who inspire me."

I feel rather pleased to be included as there is some spectacular work represented.

Thanks Shelley.

Musical Interlude

2011-06-24T23:02:00.001+10:00

Pulled back from the brink today by The Dresden Dolls.

Dreaming of glamming it up while covered in clay.

A few things on the go

2011-06-23T09:41:00.002+10:00

I have recently returned to full time making. Joy! It is an entirely different head space to three days a week and the occasional extra moment. Days are still shortened or interrupted by life's other callings but just knowing I can get to the studio more has unleashed a whole lot of pent up creative notions.

It's entirely possible I am getting a little carried away. I have taken on new retailers, new students and have new work on the go for an upcoming joint exhibition. I plan to submit to a couple of competitions, have a market stall and studio open day dates to work toward and have started a collaboration. Hmmm... I may have gotten a little carried away... but... joy!

It's the collaboration that is on my mind at this moment in time. Starting a creative dialogue with another artist is something I have been wanting to do for quite a while and just as I had hoped, the situation presented itself rather than be hunted down.

It started in the form of a birthday present, a beautiful print from someone I didn't know drew, and a conversation about the linocut process with it's commonalities to sgraffito. Well... one thing led to another... and a collaboration has begun.

It is early days and I have no distinct expectations beyond the pleasure of seeing another artist's response to my forms and the opportunity to see my work more intimately through the eyes of another. At the moment we are still learning each others artistic language and keeping verbal (and "txt") communication to a minimum. Just playing really but it is exciting. These images are sneak peaks of the start of something, more on my collaborator soon.

Play should never be underestimated.

Dangling Carrots

2011-06-10T11:33:00.002+10:00

What a great title for an exhibition... and fairly apt as this is yet another last minute exhibition mention.

Michelle Hamer's exhibition of tapestries finishes at Craft Vic tomorrow. I saw the show last week and have been thinking about it ever since. As an urban craftsperson I relate to Michelle's language and I very much appreciate the subject matter she chooses to explore.

The press release states...

Dangling Carrots is Michelle Hamer’s tenth solo show in just five years of exhibiting. Her hand-stitched tapestries on perforated plastic explore personal, suburban and urban limits. The works, based on Hamer's own photographs taken during the Global Financial Crisis, continue her interest in socio-historic documentation through signage.

This new series questions the ‘suburban dream’ ideal. Large tapestries of signage within everyday suburbia are accompanied by smaller tapestries of ‘No Road’ signage. Taken at different suburban edge locations these signs literally mark edges and raise personal questions of how to proceed when life appears to be a series of challenges. Dangling Carrots explicitly questions the contemporary relevance of the ‘suburban dream’ in a post GFC climate. How do we reconcile edges and endless sprawl with environmental ideals of greater density? Do our dreams have limits or is that just reality?

Hamer’s works explore the small in-between moments of apparent ‘nothingness’ that characterise everyday life. She is particularly interested in contemporary societal edicts/ideals and the impermanent and in-between spaces as represented through signage and billboards. The traditional technique of hand-stitching is used to explore an ironic romanticism present between tapestry and the digitalisation of imagery in contemporary society.

It's a terrific statement. I am impressed by the questions raised. And of course I like the road signs, there is just something about road signs, such great metaphors for contemporary life...

Michelle Hamer (with Cat Wilson): Dangling Carrots

29 April - 11 June

Gallery 1

Craft Vic

Revisiting earlier thoughts

2011-06-09T20:11:00.001+10:00

Sometimes I play around with ideas then they get shelved, often quite literally.

Like these bottles for example.

Little tests in throwing coloured clay and inlay. They weren't particularly successful... over fired for one and elements of cracking in the inlaid slip... but there was something in them that persuaded me to leave them visible on a studio shelf. They've have been there for months, maybe years, and my eyes often come to rest on them when I am pondering something else entirely.

I have some other tests stuck to the window sill.

Colouring clay.

It's been something I have been meaning to return to for ages. Actually, now that I have looked into it, I see it was Oct 2009 when I mentioned it last on this blog. God, that's frightening. No matter... some things take time to simmer and my small reminders have finally paid their dues.

I have been having a whole lot of fun mixing stains and clay. I half fill a doubled bag with dry turnings of Southern Ice porcelain and smash it with a rolling pin just like my Mum did with Marie biscuits for her hedgehog recipe. Then I mix measured amounts of clay, stain and water with my trusty (so far) blender.

Once the coloured slip has dried a little on a plaster batt I wedge away and... voila... coloured clay. I imagine the longer the whole process takes the better, allowing the clay to settle and mature at different stages. My impatience to get throwing has been only slightly tempered by the usual time-in-the-studio limitations (ie. eating, sleeping, socialising and.. oh yeah.. raising a child) but I haven't experienced any problems to date as a result of doing things fairly quickly.

And my... it is so much fun the throw with colour...

I shall most certainly return to this topic as things start to emerge from the kiln... oh and I think I have the inlay issues resolved too so more on that soon.

Tarrawarra

2011-05-18T21:02:00.001+10:00

Blogging and exercise seem to be the first things to go when I get busy.

Been making pots, been making pots aplenty.

Sweet production - head down, orders to meet, throwing, turning, more throwing, things drying rather slowly so to decorating other things, kiln firing, turning, mucking around with stains in clay and inlay, glazing, more firing, finish that turning, handles and spouts, more throwing, decorating, turning, glazing, firing... sweet production.

But some time must be made for a break. So a day trip to Healesville to visit TarraWarra Museum of Art. What a wonderful private gallery this is.

The building somehow manages to be substantial without being overwhelmingly large and possesses a contemporary, minimal style while comfortably inhabiting its country setting. As someone who knows naught about architecture, beyond what I like and don't like, I wont go on.

Suffice to say I like this building, especially its colour and concrete grace...

...and of course the fact that it is surrounded by some very picturesque views.

I intended to visit the museum during it's recent Brett Whitely exhibition but time got away from me. The idea of a day trip was lodged in my mind.

There are currently three exhibits in the space - Australian Masterpieces from the TWMA collection : the 70's; Artwork To Tapestry; and Rosslynd Piggot Dividing Infinity: A Room For Painting. While there were occasionally captivating moments in each show, all together it was a little dispirit. The scale of the exhibition space works better when utilised for one cohesive show.

No matter, it is a beautiful place to spend some time and share a glass of wine on the lawn on a mild autumnal day.

Quote #5

2011-05-05T16:38:00.001+10:00

"I cannot copy nature in a servile way. I must interpret nature and submit it to the spirit of the picture. When I have found the relationship of all the tones, the result must be a living harmony of tones, a harmony not unlike that of a musical composition." Henri Matisse

From Concepts of Modern Art
Editor Nikos Stangos

The finished work

2011-04-23T20:55:00.005+10:00

Phil Elson: Along the horizon from Barcelona to the Basque

2 April – 8 May

It's quite overwhelming seeing a large collection of Phil Elson's work. There is a lot of work in this show.

Statuesque pillars stands amongst reservoirs of bowls reflecting on the landscape and architecture of Spain. The forms are subtle but monolithic and the combination of the unglazed white of Southern Ice clay with Phil's repertoire of nepheline glazes is striking.

There are beautifully intimate moments where curves and swooning ellipses bring into focus play between object and negative space.

Pieces in the exhibition are altered not only by the makers hands but also in firing, often relaxing to oval, celebrating the malleability of porcelain at high temperatures. This is further highlighted by the highly reflective nature of the glazes.

The installation piece below was interesting. When I first laid eyes on it I was really bothered by the tall, leaning vase-shaped form. It was so contrary to the other refined and resolved forms. But then with reflection I surmised this was it's beauty. It had a jarring effect that not only engendered a greater appreciation of the surrounding pieces but made me slightly fond of it for it's quirks and eccentricity - like a new building initially labelled an eyesore that with time becomes iconic. I'm not sure that this was the artists intent but it's where it took me!

There was so much to see. Perhaps a little too much to see. The work was arranged on plinths that from certain angles created a staggered landscape that was certainly effective but with bold graphic paintings and glass cabinets filled with other ceramics intercepting the view something was lost. How wonderful it would be to experience this collection of work in a room twice the size with bare walls and space to appreciate the scale of the works.

Then there are simply the bowls.

Phil Elson does such a good bowl.

The last word should go to them.

Phil Elson

2011-04-22T22:08:00.002+10:00

You may have noticed the name Phil Elson one or two times before on this blog. I really like his work.

And recently I have had the good fortune to get to know the man himself a little. What a nice person.

I mention this because last week he was a focus of my ceramic attention, in the form of a trip to the Castlemaine Art Gallery to view his current exhibition and a one day master class at Northcote Pottery.

It was most fortuitous to firstly see the completed works and then listen and watch their creator discuss and demonstrate his inspirations and processes.

I got a little snap happy so I think two separate posts are in order. First the master class, although I attended this after seeing the exhibition. I’m overlooking chronology in favour of illustrating the order of creation – it’s all about the process with me.

So, to highlights from the workshop..

Phil began by sharing stories of his residency in Barcelona a few years ago which has been highly influential on his work and then showed this gentle video, put together by his son Jim, of him at work in his Castlemaine studio...

And then to the practical...

Throwing noodles bowls with precision.

There is a name for this measuring device which unfortunately escapes me at this moment in time but as the photo illustrates the diameter and height of the bowl is predetermined and the weighed clay is thrown to measure enabling repeat ware.

I enjoyed Phil's comment that although the same amount of clay and the exact same measure, one days throwing of noodle bowls can still result in slightly different forms than those thrown another day. Thank goodness!

Phil finishes the shaping of larger bowls with a beautiful river stone.

No pressure!

An intriguing element to his process was the right-side-up turning. Using a little water and the tap centre technique he attaches a bowl to the wheel head and cleans the surface of the interior with a tool before upending the piece to turn the foot.

I really like his "whatever works for you" philosophy.

There was much discussion of tools, techniques and tips with an enthusiastic and informed audience that made for an entertaining and relaxed day.

Enjoyment all round l I think.

Writing 'bout pots

2011-04-15T21:32:00.001+10:00

I have had a couple of articles published recently.

Writing about ceramics is a newly discovered joy for me. I am a long-time reader of other peoples thoughts on the subject, always loving my interpretation and comprehension of ceramic artworks validated, broadened, challenged or provoked. Now I find putting my own thoughts down as written words furthers my ability to formulate opinions and gain a greater understanding of the root of these opinions. You know.. a little more than 'the vibe of the thing.'

Writing about pots get me thinking and if it gets others thinking too.. well that's a bonus.

Lessons In Clay: The Art of Ann Ferguson Ceramics Monthly May 2011 p.82

Concept and Competition Sophie Milne talks with Kim Brockett and Anita Cummins The Journal of Australian Ceramics Volume 50 April 2011 p.76

Hey MONA, o-oh MONA

2011-04-06T23:32:00.001+10:00

It's probably incredibly uncool to inflict travel photos on others but hey, I don't go places often and last weekend was a doozy.

Hobart...

What a swell city. Indulged in an art feast interspersed with food and drink. Too many wonderful galleries and artworks to mention in one humble post but the main reason for visiting was MONA. Wow.

Stories abound about the building, the works and of course the man himself - all fantastic, intriguing and highly entertaining. All I will say is that I enjoyed (nearly) every minute of my 5 hours spent underground... and its free!

That a man chooses to spend a fortune on art, then spends millions more building a museum to allow anyone and everyone the opportunity to experience the works in a fantastical environment... well that's alright by me, whatever his bent. Good, bad, provocative or other, it's all subjective and it certainly gets you talking and thinking.

A few highlights...

James Angus, Truck corridor, 2004

Ah Xian, China China - Bust 82

Del Kathryn Barton (detail)

Although, I admit to being just as taken with Hobart's zinc factory...

and the powerful presence of a Sea Shepherd ship...

Great weekend all round really.

I still wedge too

2011-03-31T17:58:00.001+11:00

A friend has pointed me in the direction of John Britt's videos and I plan to watch more as soon as I get time. This one is great. Informative, relevant (well.. to those of us that like to reclaim porcelain) and it carries a subtle message too.

I really like the bumper sticker. It says a lot.

Conversations about 'process' have arisen recently and the term 'labour intensive' seems to crop up when I describe and consider my own creative processes. I'm actually ok with this. In fact, strange as it may sound, it is the way I prefer things. There are reasons for choosing a traditional craft technique over modern production methods and it's fairly reasonable to assume none of them are economic!

I guess it's a little like the slow food movement. I enjoy spending time with my materials and prefer it when there are less gadgets and machines between them and me. I'm no purist mind, I like my wheel with power and my clay comes in a bag. I imagine each craftsperson draws their own line in regard to technology and machinery and maybe that line changes with financial changes. But, for the most part, I'm happiest with fairly low-tech processes.

So when I am asked, yet again, why I don't have a pug mill the answer, for the time being, remains the same - No I wouldn't say I'm a purist... maybe I am a little old fashioned... but yes, I still wedge.

I think you know what to do..

2011-03-30T22:30:00.001+11:00

I heART Japan online charity auction

In the days following the devastating 11 March 2011 earthquake and tsunami in Japan, Brisbane-based Japanese ceramic artist Kenji Uranishi and his wife Sonia felt overwhelmed with sadness and a sense of helplessness being so far away and unable to help.

Turning their grief into positive action, a call went out to their network of artist friends and colleagues for help and was answered by 20 talented artists from around the country.

What resulted was i heART japan, a beautiful collection of work by a talented group of artists including ceramicists, painters, photographers and designers to be auctioned (here) on eBay over a 2.5 day period starting Friday 8 April (3pm EST) and ending Sunday 10 April (8pm EST).

The work can be previewed (here) on Facebook in advance of the auction: http://www.facebook.com/album.php?id=196940070336811&aid=45605

Net proceeds of the auction will be donated to the Red Cross Japan and Pacific Appeal 2011.

Participating artists are...

Toni Warburton

Charity auction season

2011-03-23T21:27:00.001+11:00

And well it should be with the weird state of the world.

I have contributed to two auctions, am helping organise another but for the moment I would like to mention one I have simply heard about as it starts tomorrow and the included ceramic work is really quite spectacular.

Handmade For Japan is being organised by American/Japanese potter Ayumi Horie whose work I very much admire.

To get straight to the point...

The auction will be held next Thursday, March 24th, 8pm EST to Sunday, March 27th, 8pm EST on eBay and we'll have assured bids so check in early. Right now we have a public Facebook page where we are previewing the items as they come in. Even if you're not on Facebook, you can see the items. Please help us get the word out so that we can reach our goal of raising more than $25,000. 100% of the proceeds will be given to Global Giving’s Earthquake and Tsunami Relief Fund.

I encourage all to visit the Facebook page and meander through the photos. Or better still... bid!

Ayumi Horie

New look

2011-03-22T14:33:00.000+11:00

Too grey?

Sanding joy

2011-03-18T13:52:00.002+11:00

Slightly sarcastic title as this is far from my favourite part of my creative process.

Charcoal bottles before firing

The majority of the work I make has a matt surface. I use ceramic underglazes and stains, mixed with a small amount of glaze, to coat the exterior of forms to create different coloured, matt surfaces. Adding varying amounts of a basic clear glaze to each colour works like a flux . The amount of glaze I add depends on how matt, satin or shiny I want the finished surface, how high it is fired and lots and lots of testing.

Sky blue bottles before firing

What all this means is that the surface of the clay, when it comes out of the glaze firing, is still slightly rough and requires a once-over with sandpaper to ensure a smooth surface to touch.

Enter sanding day - sigh.

Fired charcoal surface being sanded

I try to approach the task with the Zen-like wisdom of Beppo Roadsweeper, a character from one of my favourite children's books - Micheal Ende's Momo.

" You must never think of the whole street at once, understand? You must only concentrate on the next step, the next breath, the next stroke of the broom, and the next, and the next. Nothing else... That way you enjoy your work, which is important, because then you make a good job of it. And that's how it ought to be." (p.32)

Each breath I take is unfortunately somewhat Darth Vader-ish as it travels through my mask and a broom doesn't enter the equation with all those powders floating about but... I do try.

Slowly does it

2011-03-10T20:44:00.001+11:00

Feels like I am slowly returning to earth from another planet.

There are many reasons I love making pots but one of the main ones is the singular focus - that time when you switch off the computer, close the door, put the mobile on silent and turn on the wheel. It's my saving grace.

What I am doing is right there in front of me, its real and tangible. At times I dictate what is to occur but at other times I respond to the demands of the material and process. It is a conversation I never tire of having and a constant reminder that with time and patience everything can be overcome.

Feels good to be back... a little at a time...

Of course music helps too.

Pony Face Stars Are Bright

And with friends like these I feel fortunate indeed.

For mum

2011-02-25T22:45:00.004+11:00

I love you.

Rest in peace.

Moon from kitchen window

2011-02-22T21:25:00.001+11:00

Looking way back

2011-02-09T22:05:00.001+11:00

Four years ago! I can't believe it was four years ago that I did my residency at The Clay Studio in Philadelphia. It was such a short stay - just a month. (Long enough time to be away from small child really!) But it was fantastic. Great people, amazing studios, so much to see and do and it was hot. Really, really hot. Loved it.

My application proposed that I would explore the effect of new and unfamiliar surroundings on my work which, until that time, had mostly been inspired by rural Australia. One month is not very long in ceramic realms and I must admit the work I created whilst there dealt more with new and mind-boggling materials (and remembering to convert to Fahrenheit!) But I can certainly say, with hindsight, the effect on work made since my return has been immense.

So good to play outside your comfort zone. And so lovely to be remembered with Irianna and David as well...

Looking Back: Work from Past Guest Artist Residencies, 1994-2009

February 4 - February 27, 2011Reed Smith and Harrison Galleries

Looking Back: Work from Past Guest Artist Residencies features works by artists who participated in The Clay Studio's Guest Artist in Residence program between 1994 and 2009. Their works serve as a marker in the evolution of clay as a material used for creative expression. Each reinforces the inherent commonalities of varied cultures, yet highlights the inherent differences.

On view are works by 13 artists from 10 countries: Czeslaw Podlesny (Poland 1994), Takumi Sato (Japan 1996), Carlomagno Martinez (Mexico 1999), Bai Ming (China 2001), David Ray (Australia 2004), Takeshi Yasuda (United Kingdom 2003), Irianna Kanellopoulou (Australia 2005), Mia Fernandes (England 2005), Eva Avidar (Israel 2006), Catrin Howell (Wales 2007), Sophie Milne (Australia 2007), Fiona Thompson (Scotland 2007), and Malene Pedersen (Denmark 2009).

image credit: David Ray

Here's the link

2011-02-05T13:08:00.001+11:00

If you click here you will be taken to the

Ceramic Art Auction for the Premier’s Disaster Relief Appeal.

It finishes at 9.30pm tomorrow night.

Don't let this little guy get away..

Irianna Kanellopoulou Happy Blue

and help raise some money for those in need.

Three days to go

2011-02-03T21:13:00.001+11:00

Another hasty post to mention an exhibition that is about to close... High Tea at Bundoora Homestead finishes this Sunday. If you enjoy tongue-in-cheek opulence and irreverent pokes at the social traditions of a bygone age then, like me, you may enjoy this exhibition.

I wandered naively into one room and was immediately confronted by a dance installation. Two dancers folded under very small tables were attempting to drink and pour tea from the surface above. After reading the accompanying text I relaxed and enjoyed the space with its various installations and buttons to push and ate the offered scones, jam and cream. Yep, was definitely liking this exhibition so far.

Some other highlights...

Dani Maugeri High Tea 2010

Tara Badcock Teacosy No.31 Death and the Maiden 2010

Tara Badcock Teacosy No.? 2010

Hmmm, odd things going on under that teacosy's skirt...

Tara Badcock Teacosy No.? (detail) 2010

Malte Wagenfeld Making Scents of High Tea 2010

I smelt till I was giddy in this room (above). Two tables were set with boxes containing scents relating to the high teas of early 20th century and those of today. Yum and urghhh...

Jeremy Pryles Return to Decorum (detail) 2010

This is just a taster of a few moments in the show. I know it's been done in many different ways and shapes before but I do like that idea of contemporary works in a traditional space and I enjoy a sense of playfulness in an exhibition, every now and then.

Congrats to curator Kim Brockett I say.

Ceramic Art Auction for QLD flood relief appeal

2011-01-30T11:02:00.001+11:00

Lynda Draper (NSW) Bunny

Prominent Melbourne ceramicist Vipoo Srivilasa was distressed by the unfolding tragedy, and has organised an auction featuring the donated works of well known and award-winning artists to raise funds for The Premier’s Disaster Relief Appeal (www.qld.gov.au/floods/donate.html).

Shin Koyama (Qld) Caught in a Trap

Srivilasa's call-out for his friends and colleagues to donate has exceeded his expectations, and he is currently fielding expressions of support from as far away as North America. "The response has been overwhelming! I was planning for maybe twenty artists to join me but I reached forty in no time. It's turning into a much bigger project than I expected", he admits.

Julie Bartholomew (NSW) I am Chanel

The auction will happen online at ebay.com.au

from Friday 4th to Sunday 6th February, 2011.

And you can preview the work here.

Studios I Like #8

2011-01-11T21:03:00.001+11:00

Ahh - holidays. I have embraced relaxation in its many shapes and forms and am growing my fingernails just for the novelty of it. Although having a break from making, I find I can't completely stay away from pots. A trip down the Great Ocean Road is incomplete without a side excursion to Qdos.

Once again I admit I didn't actually see the studio in question here but experiencing the setting is enough to include it in this series of posts. And there are a few pictures on the website that make me fairly certain I would like the studio itself.

Qdos, located in the rainforest of The Great Otway National Park (Lorne, Vic), is a contemporary art gallery, restaurant, accommodation and home to the studio of woodfire master Graeme Wilkie.

Each time I have visited, the gallery has been showing paintings rather than ceramics but there is a small retail outlet for pottery made on site, which is fun to have a nosey around.

I have an odd relationship with woodfired ceramics. With little experience of it, just some wonderful all night firings when I was a student, I feel somewhat removed from the passion of those who embrace this technique wholeheartedly. However I appreciate what is involved and the philosophy behind many of it's practitioners.

I also appreciate change and getting out of industrial Brunswick East to spend a little time wandering around the "backyard" of a famous potter is definitely something I like.

Current outlook, 2011

2011-01-03T20:45:00.001+11:00

Let's call it a tradition

2010-12-25T19:06:00.001+11:00

My Christmas ornament cards...

Added a little lustre this year.

Making purely for friends is a joy.

Merry Christmas.

Robust, sculptural, functional vessels

2010-12-20T22:15:00.001+11:00

For a while now I have admired the work of ceramic artist Elise Bishop. Earlier this year she took part in an exhibition at Pan Gallery called The 48 Hour Clay Project . Four artists, from country Victoria, set themselves the challenge of digging their own clay, making something, building a kiln and firing the work, all within the time frame of 48 hours using only the tools and materials they had on their own properties. The spirit of these artists and the works they created was wonderful.

Since then Elise has left our shores to establish a home on Great Barrier Island, NZ. From all accounts the facilities are fairly basic. I vaguely remember her mentioning something along the lines of... "might need to get a generator if we want power"...

but here is the view from their back window...

And side window...

and this is their 'local' beach...

I have been so happy to receive the occasional update of how things are progressing and to see that Elise's work continues to capture the essence of the 48 Hour project - raw, immediate and intensely reflective of the environment she inhabits. And what a spectacular environment to have as an influence!

Here are a few beautiful examples of her recent work...

Perfect Moment

2010-12-14T21:53:00.001+11:00

Rode home at dusk

breaking through 32 degree still city air.

Deep blue velvet sky intercepted by

occasional pinpoints of starlight

and low flying bats over Merri Creek.

Crosshatch of gravity-prone power lines

and incidental houses boasting lurid Christmas lights.

Clack of cutlery and fragments of conversation

from open doorways.

Feeling spectacularly insignificant,

no attempt to capture moment with inadequate image.

Suffice to say

perfect moment

sometimes I really love this place.

Something about the light

2010-12-09T21:22:00.001+11:00

Perhaps it had something to do with the momentary break from torrential rain but the light today was special.

I like to think it was because the atmosphere was washed clean, colours seemed brighter, contrasts seemed stronger and different highlights appeared with the passing of the day.

The city's not always a beautiful place but sometimes...

Loving Christmas time

2010-12-08T22:08:00.001+11:00

According to the good people at The Sunday Age I am a "Christmas essential". Well, they say my work is at least.

Just in case you can't see it

this is the image they used...

Big thanks to Jude at Potier.

This time in another place

2010-12-07T21:39:00.003+11:00

I have new work appearing in an exhibition that opens this weekend at Cudgegong Gallery in NSW.

Time and Place: Australian Studio Ceramics 2010

10 Dec to 31 Jan 2011

Cudgegong Gallery

102 Herbert St

Gulgong NSW

The show is curated by the unstoppable Vicki Grima, editor of the Journal of Australian Ceramics and the list of exhibiting artists is company I am certainly pleased to keep...

Artists: Ros Auld, Tania Rollond,Yuri Wiedenhofer, Karen Millar,Mollie Bosworth, Avital Sheffer,Pam Sinnott, Stephanie James-Manttan, Sophie Milne, Aleida Pullar, John Mawhinney,Brenton Saxby, Andrew Widdis

Happy Summer

2010-12-01T21:07:00.002+11:00

Busy, busy, busy

and I wouldn't have it any other way this time of year.

My classes have finished, my Christmas orders are nearly complete and the gallery is about to host it's last show for the year. There are also so many other great exhibitions to visit. I popped in to the RMIT ceramics grad show at Carbon Black today (more on that when I have a free moment) and I'm looking forward to attending the opening of Fresh! at Craft Vic tomorrow.

But today was mostly about packing, posting and delivering.

This bundle is on it's way to a new retailer (for me that is).

The Benchmark Collective is in Woodend.

I really like Woodend.

I hope Woodend really likes my pots!

On this Sunday

2010-11-29T10:30:00.002+11:00

I am taking part in the Pottery Expo at Federation Square. It is on this Sunday 5 Dec in the Atrium (that's it above) from 10am to 5.30pm.

There will be 40 ceramic artists taking part as well as demonstration and activities. I am looking forward to catching up with some folk (and most likely spending any potential takings on works by other artists!)

I am also looking forward to see The Matchbox Show, a large collection of ceramic art in matchboxes. It is worth a visit to this project's website gallery. Some fantastic ideas and interpretations on the theme. A couple of my personal favorites are Vipoo Srivilasa's vision of the iconic Redhead and Chris Keane's matchbox car.

Please do say hello if you are passing by this Sunday.

Hooray for collectors

2010-11-27T21:26:00.004+11:00

This past month there has been an exhibition at Bundoora Homestead called Formed. I have been meaning to post about it for a while and now realise it finishes tomorrow. Oops.

Here is the official synopsis...

Formed celebrates the ceramics collection of Emmanuel and the late Etta Hirsh donated to La Trobe University in 2009. The Hirshs have been dedicated collectors and supporters of the arts in Australia since the 1960’s, but their passion for collecting began with ceramics. The marriage of form and glaze influenced their choice of works, and the collection reflects the enthusiastic and sometimes eccentric and humourous taste of the Hirshs.

The exhibition features works by leading Australian ceramicists such as Greg Daly, Milton Moon, Gwyn Hanssen Piggott, Peter Rushforth and Petrus Spronk reflecting the repertoire of Australian studio ceramic practices from the mid-1960s to the mid-1980s. It includes early wood-fired and blackfired works, glazed eathernware, stoneware and porcelain ware.

Jenny Orchard, Black and White Woman No. c.1988

It's quite the who's who of Australian ceramicists and I had fun playing guess-the-artist, occasionally proven wrong on reading the label. It really is interesting, in retrospect, to see how the artist's were informed by each other, influenced by similar aesthetics but also constantly evolving in their individual styles.

The collection is a little 'old-school', a little kooky and a lot of joy. A beautiful catalogue has been produced, that I'm sure the homestead will have available after the exhibition closes, which includes two wonderful photos of the Hirsh's over-the-top, eclectic home. I was so pleased to read they actually used the artworks they collected. A Milton Moon platter under your casserole perhaps, followed by tea in a Gwyn Hanssen Pigott?

I really enjoyed seeing the works in Formed but the downside of exhibitions at Bundoora Homestead is that due to the heritage nature of the establishment everything is always exhibited in glass cabinets. A ceramic exhibition with no touching... I wasn't there long... too frustrated!

“The reason why Etta and I both loved ceramics – it was always our first love – was because there was the artist’s soul in the work…you could pick it up and touch it” Emmanuel Hirsh

There is another great looking show on next at Bundoora Homestead High Tea 3 Dec 2010 to 6 Feb 2011. I will hopefully have more on that one soon but please note, you have been informed in advance for a change!

Studios I Like #7

2010-11-25T21:36:00.001+11:00

Now I'm thinking perhaps I should have called this series Spaces I Like rather than studios per se, but.. oh well.. whatever...

On a recent trip to Daylesford I visited A Day On Earth , a warehouse full of the material manifestations of the random thoughts and imaginings of artist David Bromley.

I was told that David does, from time to time, work in one of the rooms off to the side so I can count this as a studio... of sorts.

I can't say I am a huge fan of Bromley's work but I do appreciate it's easy-on-the-eye nature.

This was just such a great space to spend some chilled out weekend time. It had that kind of shabby-industrial-chic thing going for it.

P.E.B.

2010-11-17T14:02:00.001+11:00

I have to admit to suffering a small bout of Post Exhibition Blues. Not an uncommon ailment. In fact, in another role it is something for which I attempt to prepare exhibiting artists. All that work, that build up, that emotional investment... then... that's it... and you are not quite sure what happened.

A writer friend of mine once likened parenting a child to pulling your heart from your chest and letting it wander around on it's own (not quite her literary words but you get the gist). I feel similarly about exhibiting work. Exposed and vulnerable. And also open to judgement, good, bad, indifferent or 'don't get it'. Despite the fame-grabbers, in reality I don't think there are many people who enjoy this limelight.

Not that I'm complaining (oh my god I am so complaining!). There are many fantastic reasons to exhibit. Not least of all, to step back yourself and take a long, hard look at what you are doing and see how it stands up in a public domain. It's a risk and a challenge and a steep learning curve. And I do love to learn.

So... good... but... phew, sometimes I make myself kind of pooped!

Thursday 6-8pm

2010-11-03T09:44:00.007+11:00

The classic time for an exhibition opening; plenty of time to come straight from work but not so late that you tire before you make it; a respectable hour for a drink and a chat but time enough for something more substantial to eat at home and a hot choc before bed; late enough in the week that a social outing is called for but not such a big night you feel shabby for work the next day.

All that and a chance to see art! There are no excuses...

Artists in Residence Exhibition
opening at Pan Gallery tomorrow night.
142-144 Weston St Brunswick East

I hope to see you there!

Quote #4

2010-11-02T21:40:00.001+11:00

"To quench our thirst, we drink boiled water.
To expel anxiety and melancholy, we drink wine.
To clear our heads, we drink tea." Lu Yu

From Chajing (Tea Classics)
AD780

Which way now?

2010-10-27T22:00:00.002+11:00

Making new work is an odd thing. You allow yourself to travel with it, get thoroughly lost and end up on an entirely different path than expected.

Now and then you stop, look around and feel like telling someone where you are and what you see. A good time to exhibit I expect.

Continuing on the Street Side theme, I call this new body of work Time of the Signs. It stems from many different directions and holds a confusion of ideas that, in making the work, I hope to address. To give some sense of my purpose, here is the artist statement I have written to accompany the work...

Time of the Signs is a body of work that explores both personal and social conflict and contradictions arising from a love/hate relationship with the city.

Colours and markings in this work parallel the visual impact of street signage while the hand thrown porcelain forms provide an intentional distinction to machine made infrastructure.

Arrows, numbers and symbols can confuse, unnerve and dominate our periphery but abstracted become whimsical, almost festive. Rather than be worn down by the presence of street signs, I chose to celebrate their aesthetic.

In aspiring to create timeless objects that reference my era, the vessel has become a potent symbol of self. Utilising the icons of our day I create a vocabulary to consider existence; finding and losing direction, recognising milestones and crossroads and questioning the need for certainty of destination.

This work explores an alternate view of both urban and internal landscapes.

Artist In Residence Exhibition
5 to 25 November
Opens Thurs 4 Nov 6-8pm
Pan Gallery
142-144 Weston St Brunswick East

It's all becoming clear...

2010-10-23T15:30:00.001+11:00

This week was a glazing week.

I made sure to take things slowly as this stage of my making process has become complex and quite labour intensive. The simpler the pieces appear, the trickier they are to make!

Messing about with underglaze markings and text, wax resist and a few different glazes to achieve the results I want does mean, at the very least, a couple of days are required to glaze. The walls of my forms are quite fine so I usually glaze the interior and exterior in two stages, allowing drying to occur between so the glaze takes well. And I like to dip the rim separately so there are no finger marks.

And once all the glaze is on and dry there is fettling to do and some cleaning up of the resisted areas and bases to be cleared.

A deep intake of air (taking care not to inhale any powders) and a slow exhale and I remind myself not to rush, not to get impatient for those final results. There are no short cuts and each moment should be considered and given due care.

New work is on it's way. The kiln will be cool enough to unpack tomorrow. Some sanding and a lustre firing before handing work over to the curator for our artists in residents show later next week.

I think I can, I think I can...

Studios I Like #6

2010-10-17T19:55:00.002+11:00

OK, so I think this might be all for the Studios I Like series for the time being. I will have to get out and about and visiting more!

Before I move on I will mention this book...

Modern British Potters and their studios
by David Whiting.

The description from my place of purchase reads "An in-depth study of 24 artists, their work and studios. The book will look at the work, inspiration and the studio of each potter. Almost a mini biography on many of the most prominent and exciting artists around, the book looks at artists making everything from domestic ware to sculpture...Both a visual and informative book, showcasing work alongside professional shots of the artists studios, with a well-written summary of the artist. This book offers an ideal opportunity to review a variety of some of the most interesting potters together, throwing the book open to a wide audience of ceramic lovers."

And that it does, but I like it because it's got pretty pictures! The images are beautiful, the art is inspirational and the studios are spectacular.

Hmmm... studios... it is the light that does it but also the textures and materials in old buildings - tiles or floorboards, stone walls, chunky wooden benches and shelving. Space and natural light are so important but I really like sturdy studios: heavy, anchored, workable fixtures and furnishings that allow movement, small and large, to take place without hesitation.

Enough dreaming for now, still love my little space because it's mine, and personally I could be happy making pots in a submarine.

Studios I Like #5

2010-10-14T21:56:00.001+11:00

Behind this door...

and this window...

lies the studio of Katie Jacobs.

I like it because it is smaller than mine (!)

and yet Katie is capable of immensely creative things.

And because she has wallpapered her door...

Musical Interlude

2010-10-13T21:45:00.002+11:00

First Aid Kit cover of a Fleet Foxes song.

Think I need to go bush. The morning magpie song is about as close as I'm getting at the moment.

(a temporary) Studio I like #4

2010-10-09T08:01:00.002+11:00

Last night I went to see the theatre production Jack Charles V The Crown by the Ilbijerri Theatre Company at The Fairfax Studio in the Melbourne Arts Centre. Jack Charles is an aboriginal actor, now in his 60's and a few years back he was the subject of the documentary Bastardy. I had seen the documentary and was moved by the tragic nature of his life and his ability to persist and even positively engage with his reality. He is an incredibly charismatic character with an infectious humour and curiosity for life.

One of the Stolen Generation, Jack spent his childhood in and out of foster and state care. He founded the first Aboriginal theatre company in 1970 and has had a successful career as an actor but has also succumbed to heroin addiction and crime, spending a large part of his life incarcerated.

When he walked into Northcote Pottery a few months back, to have publicity shots taken for this production, I felt relieved to see him well and out of jail. It turns out Jack is a potter. He learnt to throw in Castlemaine jail and went on to become a teacher of ceramics, telling all his students "from clay we come and clay we shall be."

The play is his own telling of his life story and part of his continuing process to reclaim his identity and gain a sense of self. On stage he talked about living in the suburb in which I now live and having committed thefts to support his addiction from houses near to my childhood home. It feels odd (to say the least) to have lived such wildly different existences in such close proximity, treading the same land and having that commonality of passion for pottery.

I feel glad to have been able to loan Jack my potter's wheel for the production and it was very special to be included at the indigenous community preview of his play.

Jack Charles V The Crown
12 - 17 October 2010
The Melbourne International Art Festival

Studios I Like #3

2010-10-05T20:53:00.001+11:00

I admit I haven't visited this studio but I can't let it go unmentioned. The very thoughtful Kylie Johnson, of Paper Boat Press fame, sent me this photo because she may have had a small (!) inkling I might appreciate it. It's a happy snap she took of the recreation of part of the workshop of Dame Lucie Rie, in the Victoria & Albert Museum, London, England.

I like it because of the way the bench surrounds her wheel; because there are so many beautifully worn, wooden tools and brushes arranged in such a practical way; because the radios and lamp are so cool and because I don't know what the hell that green crystal-y thing is (always good to have some mystery).

And, well, of course I just like it because it's Lucie Rie's.

Thanks Kylie.

The V&A...one day...

Studios I Like #2

2010-10-04T19:13:00.002+11:00

Also in the Abbotsford Convent,

in fact just next door to Cone 11,

is a glass studio.

I like it because it is big, neat, industrial and has a disco ball!

Unfortunately I have mislaid the details of the 'men in sunnies'.

As soon as I find them I will update this post.

When I visited the music was pumping, the kilns were glowing

and the artists were demonstrating

the spectacle that is glass blowing.

Glass artists - rock stars of the craft world, aren't they?!

Studios I Like #1

2010-09-29T21:26:00.007+10:00

Earlier this year a new ceramic studio opened at The Abbotsford Convent. Ceramicists Ilona Topolcsanyi and Colin Hopkins have put much thought, consideration and hard work into establishing Cone11.

The studio, designed and built by the artists, is just spectacular and helped, in no small part, by the beautiful buildings and surrounds of the convent.

Features that had me agog included a large granite workbench; an elevated area for four wheels drenched in beautiful, natural light; a shelving system that allows easy placement of work on boards and fancy upward-lifting cupboards doors on storage space below.

And to top it all off, a lovely wooden door slides open to reveal the kiln room behind.

I look forward to seeing the work that emerges from this space and these talented artists.

Space

2010-09-27T19:37:00.003+10:00

my space

I've been thinking about space. Not outer space but immediate space or more specifically studio space. There used to be a great section in the weekend Age newspaper called My Space where artists discussed the space in which they worked. I liked it - but they axed it. Go figure.

Recently a potter friend expressed concern that the limited size of my studio may impact negatively on my work. It got me thinking...

my space within another space

My initial response was to defend my beloved space with my usual plethora of clichéd sayings.. make the best of the situation... learn to work with what you have... glass-half-full kind of person... and, as my Mum often said on camping trips, necessity is the mother of invention. (Not sure the last one applies here but I've always liked it.)

All well and good. Yet I can't help but note that over the last few years my work has become more and more streamlined and precise and my areas of interest often involve control and fine detail. These aren't bad things but do prompt me to consider just how much immediate surroundings impact on creative output.

I consciously draw inspiration for my work from the environment in which I live but it may also be true to say I am subconsciously affected by the defined space of the area in which I create.

I wonder what I would make given room to swing the proverbial cat?

one half of my space

Thankfully I enjoy exploring ideas in many different ways and I don't believe the effect of a constricted space on creation need necessarily be negative.

view from my space

But I will admit there have been moments when I have succumbed to studio envy. Think I will revel in my darker side and do a few posts on 'Studios I Like'. Surely something good will come of it!

I haven't many artist studio images as it feels intrusive bringing out the camera in someones private creative space. But I'll begin the thread and see what happens...

And the winner is...

2010-09-18T18:20:00.001+10:00

Neville French was awarded the Clunes Ceramic Art Award last weekend for his work entitled Mungo Light 3. I am fond of a good cliche and the saying "it couldn't have happened to a nicer person" really fits the bill on this occasion. I have had the good fortune to meet the man himself and the saying really is incredibly apt.

Since 1982 Neville has taught and coordinated Ceramics at The University of Ballarat. When I visited last year, and was kindly shown the facilities, I was impressed that after nearly 30 years his passion for his students work appeared unabated. Past student and talented contemporary ceramicist Bridget Bodenham, who was with me at the time, explained that Neville's teaching, while incorporating many aspects of ceramic practice, focuses on the importance of learning the craft of producing functional tableware. A cause near to my heart!

Although I have yet to make it to Clunes I did see this piece earlier in the year in the context of Neville's exhibition at Mossgreen Gallery. Unfortunately the gallery was in a state of disarray when I visited, not giving the works their full justice and the staff were not keen on photos being taken. They did, however, let me touch the work. I don't think it would have been possible to deny me this (!) as the works call out to be caressed.

Neville's works hum with both solidity and fluidity. The curves appear never ending and the walls are... well... fat. I could have said voluptuous or curvaceous or even plump but to me they appeared beautifully and uncompromisingly 'fat' - thick with glaze and endowed with merging colours that give these static forms suggested subtle movement.

Neville has a lovely website that is well worth a visit - gorgeous images but also a concise and accessible artist statement.

I congratulate Neville on his win.

Also on this weekend

2010-09-09T09:08:00.001+10:00

This Saturday night sees the opening of The Clunes Ceramic Award Exhibition. The award is an acquisition prize with the winning entry for 2010 becoming part of Art Gallery of Ballarat’s permanent collection. The works of the 50 finalists will be exhibited in the historic town of Clunes at a variety of venues.

From all accounts there were many entries and I am chuffed to have been selected. The list of names is extensive and includes many friends and heroes of mine, so I am disappointed I won't make the opening but am going to try my hardest to visit at some time during the course of the show.

I've never been to Clunes.

All the more reason to visit I say.

The Clunes Ceramic Art Award

12 September to 3 October 2010

When the worlds collide...

2010-09-08T21:02:00.002+10:00

I demonstrate.

Yep, parental duties call.

I shall be throwing my heart out this Saturday and encouraging others, young and old, to give the potters wheel a go. Think I'm on from 11 to 3(ish). Come and say hello if you are in the vicinity.

Wales St Primary School MusArt Festival

The Wales St Primary School MusArt Festival aims to celebrate the arts (both musical and visual) in both the school community and also in the wider community. A variety of foods and activities will be available to enjoy. 11 Sept at 11am Wales St Primary School Cnr Wales St and Speight St, Thornbury

Is decoration a dirty word?

2010-08-25T20:11:00.001+10:00

I've been wondering lately why I feel slightly uncomfortable when I use the word 'decorate' in relation to my work. I don't want it to bother me... but it does... a little. Is it because there is something slightly 'twee' or (heaven forbid) 'crafty' about the term?

Dictionary.com defines 'decorate' as "to finish or adorn with something ornamental or becoming".

When I spend the day 'decorating', as I did today, I am brushing engobes onto the surface of a dry or leatherhard pot; I am defining areas with colour, thinking about contrast and cohesion; I am scratching marks and attempting to conjure evocative imagery; I am considering the finish of the piece in relation to its form and function.

There is more to it than adding finishing touches. Days like today are so integral to my making process that the term 'decorating' seems inadequate. I fear it suggests the addition of a pattern or picture on a preconceived piece. Which, of course, is perfectly acceptable, but not what I do.

Perhaps the trouble is not that the term is dated, but that, it's too general and doesn't apply to anything in particular. Glazing is another form of 'decorating' but on glazing days I say "Today I glazed".

What did I do at work today?

I ornamented?

I embellished?

I beautified?

I mark made?

No.

"Today I decorated."

Awesome

2010-08-13T21:53:00.001+10:00

Vaguely wandering the internet I came across this on Designboom ...

Awesome.Yes I do recognise that I'm using the adjective of an 8 year old boy but sometimes it's required. How wonderful to see your own imaginings and flights of fancy materialised (almost) by the creative genius of others, and on such a grand scale! Love it.

To quote directly from the Designboom post...

"American firm choi + shine architects recently received the 2010 boston society of architects award for unbuilt architecture for their project 'the land of giants'. Making only minor alterations to well established steel-framed pylon design, the architects created a series of towers that are powerful, solemn and variable. These iconic pylon-figures will become monuments in the landscape.

The pylon-figures can be configured to respond to their environment with appropriate gestures. As the carried electrical lines ascend a hill, the pylon-figures change posture, imitating a climbing person. Over long spans, the pylon-figure stretches to gain increased height, crouches for increased strength or strains under the weight of the wires. The pylon-figures can also be arranged to create a sense of place through deliberate expression. Subtle alterations in the hands and head combined with repositioning of the main body parts in the x, y and z-axis, allow for a rich variety of expressions. The pylon-figures can be placed in pairs, walking in the same direction or opposite directions, glancing at each other as they pass by or kneeling respectively, head bowed at a town.

Despite the large number of possible forms, each pylon-figure is made from the same major assembled parts (torso, fore arm, upper leg, hand etc.) and uses a library of pre-assembled joints between these parts to create the pylon-figures’ appearance. This design allows for many variations in form and height while the pylon-figures’.Ccost is kept low through identical production, simple assembly and construction."

I really do hope it becomes built architecture.

Incidentals

2010-08-12T21:07:00.002+10:00

When I pop 'round the corner'

for the luxury of a shop bought coffee

in a take-away cup

(mmm the delicious sin of it)

these are a few of the moments I enjoy

as I sip and stroll

my way back to the studio.

Todays inspiration

2010-08-11T20:24:00.001+10:00

Who would have thought

a folk-rock concept album

could be so damn fine to turn pots too?

Will be thanking the brother that put me on to this one.

Well it's about time...

2010-08-05T21:36:00.003+10:00

Yep - new website is up and running. Hooray!

There are still a few things to add but for the time being it will suffice. I'm trying to keep it simple, just a general reference point for the work I do really. I must remember to send thanks to Terence Bogue - image is everything, as they say, and he provided many of the photos included on the site.

When I haven't been glued to the computer screen I have, suprise suprise, been making pots. Monday was joy-on-the-wheel day. Southern Ice, warm water and a new form taking shape.

I have been on a beaker bender for a while - tall cups without handles. I enjoy exploring their function; forming a comfortable lip, chosing an appropriate drink, experiencing the balance and weight when in use. The form also provides a clear vertical surface for mark making and designs. ( I say this because I am scared of using the word decoration but more on that later!)

The thing is - I've always had a slight 'issue' with handles. Functionally they are great but I have often felt they distract from the simplicity of the forms I create. Plus they are damn right difficult to 'decorate' around.

Of course, when done right, handle and body can merge to make a unified form. And lately I have been noticing handles that are really quite spectacular. This one by Euan Craig is not exactly the minimal style I have in mind but impressive none the less!

So I'm thinking the time may be right to give handles another go. No guts, no glory! I managed to attach twelve in the space of my son's karate class last night. I'm not saying they will be successful (!) but I think with handles you just have to go for it... over and over again.... until you have done so many they become second nature. I'm aiming for relaxed but intentional...hmm...well it can't hurt to try...

Syohei Harada

2010-07-22T21:30:00.002+10:00

I have been a little quiet on the blogging front of late. I am in the process of developing a new website and there is only so much time this duck can spend on the computer before going completely balmy. Think I may have passed the threshold.

But I would like to show a video I stumbled across as my mind obviously wandered from the task at hand.

I have no translation but it's really not needed. This is a beautiful clip showcasing Syohei Harada, a ceramic artist of the Clover Studio in Aichi, Japan. First I was impressed by his neat, organised studio, then wow-ed by the state of his kiln (surely this is the first time it has been used!) and finally gobsmacked by his work.

He embraces traditions of mashiko ware but I also see similarites with Lucie Rie pottery and so much more. And as for the precision, detail and character in those robots... ... it's just ace, you have to see it for yourself.

Makers: Ceramic artist Syohei Harada - JAPAN | CLOVERSTUDIO from YoshNagata on Vimeo.

Yellow

2010-07-14T16:22:00.002+10:00

I have a tumultuous relationship with yellow. Well no, I can't even say that, as we've never even dated - I don't wear yellow, don't grow yellow flowers, you'd never find a yellow capsicum in my shopping basket and I grew tired of that Coldplay song pretty quickly.

And yet here it is emerging in my work.

With road signs as my current muse it could hardly be avoided and the surprise is I'm liking it. Perhaps it represents my yearning for summer but more likely it's about the process I find myself in.

I'm continuing to explore my love/hate relationship with the city. Not just a result of observations, the work I'm currently embarking on is, in part, a personal attempt to view my urban landscape differently. I'm chosing to celebrate it's aesthetic rather than be worn down by it.

And a by-product of this exploration is apparantly some kind of acceptance of the joy of yellow.

Huh, who would have thunk it!

Latex and Lustres

2010-07-04T20:47:00.002+10:00

I seem to be developing expensive habits. First it was dabbling with Southern Ice porcelain (now a full blown addiction) and more recently I have felt the need to try a little lustre action. Platinum being my flavour of choice. Hmmmm, intriguing.

In conversation with a recent ceramic graduate the other day I completely empathised with her comment that she felt everything she had ever made and will ever make is a test.

Resolution can certainly seem a rare and fleeting notion.

This test tile is just one of many emerging from my kiln of late. Sometimes I think I would be perfectly happy with a lifetime of experiments.

Quote #3

2010-07-01T09:57:00.001+10:00

"Perfection is a thing invented by wicked, intellectual man. Nature is absolutely innocent of any such concept" Michael Cardew

Having a Loudon moment

2010-06-23T21:26:00.004+10:00

still liking street side views

and really missing Summer.

I have a gig

2010-06-16T08:55:00.001+10:00

This Saturday 19 June from 10am to 4pm

I will be demonstrating throwing

at the Northcote Town Hall Winter Artisan Market.

189 High St Northcote.

I will have some work for sale too.

Music, food, artists and art,

couldn't ask for more really,

except perhaps thermals

and some warm water for throwing.

Brrrr.

Repetition

2010-06-11T22:24:00.001+10:00

Here is the end result of my 'teapot play' as mentioned in a previous post. Same pot, different handles.

Handle A

Handle B

The point of the exercise was actually to reacquaint myself with the LGH clay body and to test various glazes that will be introduced in classes next term.

When I look at this teapot it makes me laugh. The spout is too wide and stumpy, the belly is squat and the base too broad. It completely lacks grace and were I to do it over again (and again and again) I would certainly do things differently. This approach has defined my practise to date: reflect, refine and discover through repeating. I love it. I love the consideration repetition requires, the attention to detail and the slow progression of form development.

Of course it makes earning a living a little tricky! And there is also the fact that sometimes I look back at earlier works and see something in them that is missing from later editions - maybe I enjoy their naivity or more evident enthusiasm.

Anyway, this was a one off and I think I'm going to keep the little fella. There is something kind of friendly in it's ineptitude. But hmmm, which handle and why?

Verging on sentimental

2010-06-04T13:38:00.007+10:00

I may have previously mentioned my desire to one day work in collaboration with another artist.

Potter or not, I think it would be a fascinating process to work alongside another to produce a body of work that has the potential to capture something greater than the sum of it's parts.

I am not actively seeking a collaborative project, more allowing myself to be open to the idea should an opportunity present itself. (Not lazy just busy!)

Then this -

A day off school with the snuffles, taken to work with Mum, handed an unfired cup and a sgraffito tool to keep him busy and young Finn came up with these little masterpieces.

Yes, possibly I am a tad bias and maternally proud but... well... look how awsome they are!

Occassionally opportunities present themselves in the most unusual of ways. Pays to recognise them when they happen.

Sunday Happy Sunday

2010-05-30T20:14:00.002+10:00

Alone in the factory.

Learning to dance around smaller studio space without

table-corner injury.

Turning bowls and beakers slowly and considerately.

Unpacking near perfect glaze firing.

Quote #2

2010-05-27T19:48:00.003+10:00

"In a world suffused with images and things, one might want to reflect on what already exists, rather than devise new forms." Glenn Adamson

From Once More With Feeling

Crafts UK March/April 2010

Every now and then an odd sentence floats my way that gets me thinking. I usually scrawl it down in a notebook somewhere and promptly lose it. The other day it dawned on me (quick i am) that jotting them down in my blog could prove a much more effective record. So that is why the quotes. Not always words I completely agree with but simply things that get me thinking.

And another aside, regarding the previous post - t'was purely intended to describe one aspect of my experience of the creative process and in no way did I mean to imply I wish it otherwise. Please don't stop showing me things my friends, family and collegues!!!