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Cover: Target Practice Artist: Julie Lovelace 2008 Photo: John Shirley
INTOCERAMICS is published quarterly INTOCERAMICS welcome contributions from its readers in the form of articles, news snippets and photographs. All photographs need to be clear and in focus with a resolution of 300 dpi in JPEG or TIFF format. Please submit via email to inbox@intoceramics.com The opinions expressed in INTOCERAMICS are those of the contributors and not necessarily that of the editor.
Editorial 6 Inbox 8 Shopfront 11 Showcase 12 Profile: Julie Lovelace 14 Ceramics at the Crossroads 20
CONTENTS 26 Made in China 30 Profile: Nan Spurway 36 A Rare Find 40 Fat Lava 47 Finding your true Identity 50 Design Indaba Expo 2009
FROM THE EDITOR Editor Deon de Lange Contributors Eugene Hon John Shirley Nan Spurway Designer Kyle Goulden
THE LAUNCH ISSUE It is with great excitement that I wel-
Johannesburg. The university, as well
come you to the first issue of INTOCE-
as the technikon before the amalgamation, offered brilliant tuition in ceram-
RAMICS, the new FREE online magazine reporting on all matters regarding ceramics.
ics, and over the years produced great ceramicists that our country can only be proud of.
Although the magazine is based in South Africa, I envisage to report on
Read about new kid on the block Julie
artists and matters on an international
Lovelace, and be inspired by Nan
level, making all ceramicists citizens of the global village.
Spurway, who, although from an older generation, proves it is never too late to
I have decided to dedicate the first is-
start something new. The new collectable is the Fat Lava ceramics from West
sue of INTOCERAMICS to new beginnings. With an illustrious past, the me-
Germany.
dium needs to reinvent itself continuously to stay contemporary.
I hope INTOCERAMICS will inspire you all to take ceramics to new heights,
The future, however bleak, is some-
Deon
thing we all have to be positive about, especially in the light of the current worldwide economic climate, as well as the sad news of the closure of the Ceramics Department at the University of
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INBOX We received numerous e-mails wishing us well with the magazine. Here are a few:
I will be interested to see your first issue in March. Good luck with your magazine! Pauline
Congratulations! I am really impressed with your professional presentation. I look forward to seeing the first issue John
Thanks for your first edition of INTO Ceramics. Congratulations Delise
Well done Deon - I LOVE IT!!!! The format is exiting and the pictures make it interesting already, count me in!!!!!!! Thanks a million for taking the initiative to fill this gap in our lives, I hope this venture makes you happy and fulfilled!! Colleen I checked out your website and wish you ALL the best with this new project, at last someone has the balls to do something! Monica I am delighted that a new ceramic magazine is about to hit the shelves, Sue This is brilliant. We have needed a new magazine for a long time. I look forward to the first issue, Ona
Congrats and good joss to you! What a stunning idea! Alan I hope your endeavor goes well. We do need your enthusiasm and expertise to help promote ceramics here in SA. Lynette Deon, I think this is looking great, good luck, I am already benefitting from the dialogue! I can’t wait to see the first edition. Marina Hi Deon, well done with this website, it is working well. I am most encouraged that there is a response from people outside of SA. Thanks for your hard work behind the scenes. Cathy Send us mail to inbox@intoceramics.com
Thanks Deon! What a fantastic idea, and I wish you every success!! Ainsley
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Clayze An extensive range of bisque ware is available for ceramic decorators at our factory in Strijdom Park. We also manufacture ceramics for lodges, hotels, caterers and the retail industry. Workshops are held in ceramic underglaze decoration and mosaics. More specialised courses are offered by arrangement such as: sprig moulding, using glazes, mould making, etc. All provisions for the hobbyist can be found from clay and pottery tools to brushes and the full range of “Claybright� underglazes of which many colours are available in 3d effect. We also provide a firing service. A mould making service is also offered, providing retailers with the opportunity to stock exclusive designs. 34 C R swart Drive, Strijdom Park, Randburg Tel: 011 792 9351 Fax: 011 792 7389 e-mail gillian@studiobela.co.za
http://eugenehon.blogspot.com
http://johnshirleyceramics.blogspot.com
SHOPFRONT
Claybright 3D Effects Clayze 011 792 9351 Crystalites Brush on Glazes The Potters Shop 021 788 7030
Underglaze Pencils The Clay Pot 011 640 7316
INTOCERAMICSAUTUMN2009
Wood Firing Workshop Noordhoek, Cape Town May 2009 Catherina 021 789 1033 Lorette 021 789 1151 11
Julie Lovelace at Gordart till 7 March Tel: 011 880 5928
John Shirley at the 5th World Ceramic Biennale in Korea(CEBIKO) Icheon World Ceramic Centre 25April till 21June 2009 INTOCERAMICSAUTUMN2009
Jabu Nala at Kim Sacks Gallery 011 447 5804
Andile Dyalvane at Imiso, Old Biscuit Mill, Cape Town 021 447 7668
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SHOWCASE Margie Malan at Africa Niova 021 425 5153
Hennie Meyer at The Potters Shop & Gallery, Kalk Bay 021 788 7030
Cilla Williams at The Cape Gallery 021 423 6309 INTOCERAMICSAUTUMN2009
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Julie Lovelace
Celebrat ing t he ordinary Text: John Shirley Photographs: Deon de Lange & John Shirley
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Show and Tell The work of Julie Lovelace I recently spent time with Julie reviewing her adventure in the world of ceramics. As a child she recalls the joy of playing in her sandpit until one day the bulldozers came. She remembers having to move her industry into the garage of her childhood home, making mud pies out of earth gathered from various parts of her garden and scientifically working out just the right amount of water to add to create the perfect cast from her plastic bucket. Surely this was a hint at what was to come. Julie has lived in South Africa for the past ten years, moving here from England with her family and a diploma in shoe design. Her interest in ceramics began when she took her children to pottery classes. Her fist teacher obviously spotted some latent talent and she suggested she go to Digby Hoets to develop her skills. After about a year at Digby’s studio Julie knew that she wanted more than a once-a-week fix and looked for a way she could learn in a more formalised manner. This was how she came to the then TWR and enrolled in the full time Ceramic
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Design programme. Today she attributes much of her current work to the skills she acquired during her diploma years. Julie’s recent work, which at first glance seems cute or even banal, is imbued with metaphor and the narrative of separation, loss, and letting go or surrender. So much of the authenticity in the work is due to Julie finding her voice, her “path with a heart” in fact. Most of her work comprises assemblages of ‘found’ forms making her statements. When asked why she chose to use ‘found’ objects as opposed to modeling her own forms, she traces it back to time spent in her early years with her sister, who Julie acknowledges for teaching her how to shop, and in doing so, how to examine the everyday and really appreciate the beauty in the trivial. Julie’s one son is a marine, and this has had a major influence on her work. Coming to terms with his life choice is something difficult for Julie to assimilate and is shown in her many references to violence, either in the symbols of weaponry or explosives.
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Julie seemed surprised when I said I saw a dark side to her work. She prefers to see it as reality; that which exists. She does not want to hide or bury it. It is what it is and it cannot be brushed under the carpet. The time of childhood is wonderful and joyous and all that it holds is not only celebratory but also transient. This was a time of great pleasure, of activity and fun, referenced by the kinetic aspect of some of the works. The music box sounds used in some pieces evoke not only the childhood we all remember, but also the passage of time. ‘Bang bang you’re dead, 99 bullets in your head.’ In the work I find a dichotomy. In one way I experience a longing for the return to innocence and yet at the same time a maturity that sees the joy and escape therein and yet is profoundly aware of the truth; of seeing what is, and celebrating that. In this work I experience a person willing to look beyond the surface. This is the work of someone willing to say, ‘This is me.’ Read it as you may, this is a path I invite you all to celebrate. The technique Julie employs in the making of her work is slip casting using commercial moulds which are combined in numerous ways to cre-
ate the tableaux upon which she chooses to work. Her work is fired to earthenware temperatures. It is glazed using a clear glaze over prepared underglazes. Lustres of precious metals resonate with the preciousness of the childhood she recreates. The mixing of both ceramic and non-ceramic technique, and the delicate air brushed underglazes juxtaposed with the imposing imagery of the stark decals all refer back to the opposites that are observed in her work. Themes of innocence and loss, the joy of children and the severing of the apron strings, the sadness, go hand in hand with the celebration of life. When asked about her future work once again Julie spoke of dichotomy. She said she really wanted to perfect aspects of slickness in the work to contrast with the more modelled areas. Given the path of truth Julie has chosen to travel, the road ahead is sure to hold both joy and despair. Thumbing her nose at traditional pottery, she seems sure of where she is going as well as the route she is taking. All that’s left for me to say is ‘Bon Voyage!’
lovelacejulie@gmail.com
OPENING PAGE: If you go into the woods today. FACING PAGE LEFT: Target Practice. CENTRE: If you go into the woods today. RIGHT: Tea time time bomb. THIS PAGE LEFT, CENTRE & RIGHT: If you go into the woods today.
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ABOVE LEFT & RIGHT: Once I was fossilized, now I am out of my shell. BELOW LEFT, CENTRE & RIGHT: If you go into the woods today.
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Julia K Ceramics
Ceramic Painting Classes Custom Designs Commissions Accepted
Julia 0834513535
Ceramics at the Cross roads Text by Eugene Hon Photographs courtesy of University of Johannesburg
PREVIOUS PAGE: Urn by William Saunders.
THIS PAGE LEFT:Candlestick by William Saunders. BELOW: Candlesticks by Ainsley Taylor.
Ceramics at the Crossroads So where to from here? By Eugene Hon
Ceramics is at a crossroad. In so many ways this impacts not just on academic ceramic programmes, but every sphere of the material specific discipline. However it is the studio potter and the term pottery that is most adversely affected. That is if we take to heart the fundamentals pertaining to pottery as expressed by Garth Clark in his article, Fortress Ceramica answered prayers. His expressed view of the end of the road for the Fortress Ceramica and those that rely on its ongoing support will undoubtedly have a dramatic impact on many in the industry and community across the globe. Many well managed organisations, institutions and determined potters will strive against all odds to
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ensure that it stays on life support for as long as is humanly possible. The focus of this article is however not to call into question and or endorse this view, but rather to place on record my view and consider the way forward as we all grapple with change. I wish to draw attention to lessons learnt during the eighties, the height of Postmodernism, when the barriers between the arts literally obliterated; for me that was. I remember walking into the Ceramic Department for my first crit in 1986 with Suzette Munnik at the helm (Head of Department of Ceramics).I was asked to respond to the diverse work placed in front of us all (staff and stu-
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CERAMICS BY PAST STUDENTS O F T H E U N IVERSITY OF J O H A N N E SBURG TOP: Platters by Ainsley Taylor. BOTTOM: Bird figurines and Bird Feeder by William Saunders. Platter by Ainsley Taylor.
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dents). I did so dutifully and knowingly; confident that my Masters in Fine Art, specialising in Ceramic Sculpture, would not fail me at this moment of first impressions that stay with you forever. I mentioned the word, non functional, when referring to ceramic products that were sculptural and non-utilitarian; needless to say I walked straight into it, as if a trap was set for me. Yes, I was severely reprimanded, yes in front of everyone; as the discourse of the Ceramic Design program was laid bare. Non functional was not a term referred to in this field and or department albeit at a vocational based tertiary institution and not at a traditional research focused university as one would expect. This lesson kindled within me an even greater passion for ceramics, much more than I ever anticipated through my strivings at university to master the clay for its expressive properties. For the first time I came to terms with the concept and expanse of the World of Ceramics, so eloquently and collectively expressed by Sottsass during the eighties … Look at Ceramics everything is there…… Within the world of clay, lies complex dialogues between history and innovative thinking on a creative and diverse front embracing the art, the design and craft of ceramics; yet to be discovered by many embroiled in research into culture and other related fields not familiar with the diverse history of ceramics (a world within a world).
Yes that the world of clay was a world within a world, was a lesson I had to learn, and more importantly that everything had some function albeit utilitarian, expressive, decorative, ritualistic and or all of the aforementioned. It all started when the department amongst other academic exploits wrote a serious review of the expressive vessel as a means to communicate effectively within the world of ceramics including the Visual Arts. The boundary breaking work was widely accepted and acknowledged (JAG bought some of the work for the permanent collection). The custodian of the liberating treatise received just reward and Suzette Munnik therefore became one of curators of one of the pioneering and ground breaking galleries in Johannesburg at the time, the Market Theatre Art Galleries. The levelling of the playing fields (barriers coming down between the disciplines) was further reiterated by the Class of 87, made up of two Fine Artists, a Graphic Designer with 20 years experience in the ceramic field and an Industrial Designer. Each one of them bringing different skills, anticipated directions and knowledge that would change the Ceramic Department forever; carefully nursed by all who lectured and guided the programme through the challenges year by year – in direct opposition and often in sharp contrast to APSA and all who took refuge in Anglo Orientalism.
RIGHT: Platter by Catherine Jacobs. FAR RIGHT: Bowl by Catherine Jacobs.
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The department slowly introduced design into its program, especially with the introduction of the Degree Programme (B Tech) – students had to specialise either as designer makers, artists and or craftspeople. This paved the way for an inclusive approach to Ceramic education, a broad based academic programme, embracing batch production techniques and processes (serious mould making and slip casting). This approach helped shape the look and feel of many a designer product to come out of the ceramic studios at the Department, many of which are inline with current practice – designers embracing the world of ceramics, making one-of-akind wares. We at Ceramics at UJ have for many years enjoyed the freedom of ceramic artistic expression, rooted in the simple understanding, that products function on many levels; as determined by the artist and or designer’s intent and not by modernisation brought about by an increasing rationalisation, bureaucratisation, scientification and technification of society. The staff of the ceramic department had to rely on its fraternity of mature students, passionate about ce-
ramics, to bring credibility to the academic offering and more importantly to ensure its viability. They also brought their understanding and particular intentions and knowledge into the program. This ensured that every angle of expression has since been covered and catered for. This collective endeavour has kept us abreast with creative developments, at the cutting edge of contemporary ceramic art and design practice. I therefore take this opportunity to salute them all for their valuable contribution to the department over the years. Even though the department itself is in crises and plans are to be tabled to reinvent ourselves – this is a phenomenon all over the world; as ceramics we hope, will take its rightful place within existing disciplines and that new and aspiring artist and designers will strive to realize their innovative ideas within the world of clay. This is the case at the incredible RCA (England) and UIAH (Finland) and many other great institutions and centers of excellence across the globe. They have had ceramic insight, foresight and hindsight to change and see the value of the world of clay, a world within a world – hopefully well
RIGHT: Interlinking platters by Catherine Jacobs. FAR RIGHT: Fruit platters by Candice Fenianos.
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Made in
CHINA The Ceramic Garments of
Li Xiaofeng Text and photographs courtesy Virginia Miller Galleries
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Li Xiaofeng Contemporary Chinese Art born of Ancient Traditions Li Xiaofeng, a 43-year-old Beijing artist, has found a way to link his contemporary work with traditional Chinese art stretching back to the 10th Century. In his art, the links are literal: he sews shards of porcelain from the Song, Ming, Yuan, and Qing dynasties to created full-length dresses and men’s jackets, complete with neckties. The shards are fitted together like pieces of a jigsaw puzzle, and sewn onto leather with silver wire into fulllength dresses and a man's jacket, complete with shirt and necktie. Button-and-loop closures along one edge allow both the dresses and man's jacket to be worn. standing
upright only, with cautious movements provided they are shaped to the body of the person wearing them.
One of Xiaofeng's dresses in this exhibition includes three tiles from the Emperor's Palace, which can be distinguished by their five-clawed dragons. Dragons of Chinese nobility were restricted to four-claws; ordinary people could have tiles or dishes with three-clawed dragons. For anyone other than the emperor to display a five-clawed dragon was considered treason, punishable by death. Xiaofeng recycles an older Chinese art tradition: pieces of Ming, Qing,
PREVIOUS PAGE: Jacket and tie made of fragments from the Ming and Qing dynasties. RIGHT: Dream Series number 1, front and back view.
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Yuan and Song dynasty porcelain that he has gathered from old trash dumps and bulldozed buildings. His warehouse studio contains bins of broken plates and other ceramics. Some of the porcelain bits were salvaged from the roof tiles of the emperor’s palace. Each piece is sorted by age, color, and shape before being
Born in Hubei, Xiaofeng graduated from Hubei Huanggang Normal College before earning a degree from the Central Academy of Fine Arts in 2002. “SAVE AS: Contemporary Chinese Art Born of Ancient Traditions,” is his first exhibition outside the Far East and continues through February 28, 2009.
Some of the porcelain bits were salvaged from the roof tiles of the emperor’s palace assembled into a porcelain “garment.” Although the shards are not altered in any way, they are fitted so closely together into pleasing patterns the finished garments appear to have been designed for their materials. The works open on the sides or back, just like an actual dress or jacket, and can be modeled as if they were of fabric.
Virginia Miller, owner and director of Greater Miami's longest-established contemporary fine art gallery, ARTSPACE – Virginia Miller Galleries, has been introducing historically significant American, Latin American, Chinese and other international artists to the United States and this region for more than 35 years.
RIGHT: Dream Series number 2, front and back view.
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The incredible journey of
Nan Spurway Text: Nan Spurway Photographs: Marina Walsh
Previous page and below: Cocoons enmass Porcelain slip and string Size: (of installation 2.56m x 1.5m x 1.5m) (each cocoon 12cm x 4.5cm approx. Below right: Networking Nan knitted 12 kilometers of clear fishing gut over 18 months to complete this piece.
After falling ill whilst teaching rural women to sew in Grahamstown , Nan Spurrway’s son brought her back to Gauteng to be treated and recuperate under his roof. The recuperation took time, during which she decided to write a book. Three chapters later she was ready to send the manuscript to her editor for evaluation. The pages came back stripped of their dignity with red lines scratched across the words and whole paragraphs, with a message at the end of the manuscript as follows: “I suggest you throw these chapters in the trash can. You are not a writer, and by what I have read, you never will be.” These words; rather than deflated, encouraged Nan to find a means to write. She contacted the English Department at UNISA, explaining that she required an English course in order to learn to write novels. Persuading Nan that it would be sensible to complete a degree with English as her first major and perhaps Art history as her second major, she was sent to the Art Department to speak to them about a course. The secretary took Nan under her wing and suggested she complete a degree in Visual Arts, not realising that Nan had already enrolled for an English Degree. Unaware of the fact that a student could only enrol for one degree at a time, and without any previous training in art, the secretary replied, “It’s easy, don’t worry about it”. This resulted in Nan having enrolled for two courses. Unbeknown to
her, it was expected of a prospective student to present a portfolio of previous works with the application for registration. Somehow, this was overlooked and she was accepted. The first workshop and end of first semester was disastrous, Nan failed hopelessly. However one of the examiners approached her and said that for a beginner she had done an excessive amount of work, all of which was useless, but commented that perhaps there was still hope and she would require tuition. Nan was sent to an exceptionally talented art teacher who opened a window for her, with the result that she achieved distinctions at the end of the year. Since then she has never looked back. Nan won the Ekhuruleni fine Arts Award in 2008 for her hanging Perspex sculpture called ‘Building Ice.’ (now part of UNISA’s permanent collection) When she was telephoned to say she had won the award, she could not believe it, and later in the day, phoned the curator back to ask if it was true. Since Nan uses many different materials in her works, one of which in her second year was Mohair, she spent a week on an Angora goat farm learning about the intricacies of Mohair production, and having gone through the auction house, she gained much knowledge which she applied to her end of year art works and again received distinctions.
Thereafter, for two years she experimented with Perspex and felt the need for something different in 2008. Her decision was to experiment with ceramics; porcelain being her preferred choice.
Below Left: Cocoons enmass Porcelain slip and string Size: (of installation 2.56m x 1.5m x 1.5m) (each cocoon 12cm x 4.5cm approx.) Below Right: Encoded hanging pods (2008) Porcelain paper-clay Size: (of installation) 2,5m x 3m x 1m (each pod 6cm x 4.5cm approx.)
Nan approached two pottery teachers who both said she would never have anything ready by July, let alone October; that is takes years of practice. Finally she visited, well known potter, Digby Hoets, and this was the highlight of her year. Within the first lesson she threw a few small skew dishes, this carried on for a couple of weeks until, with Digby’s patient instruction, she produced two pointed pots with teardrop cut-outs which, very proudly she took to her lecturer with an explanation of what she wanted to create for her final exams. The lecturer told her it was too literal and too decorative and did not fit in with the Visual Arts concept. So it was back to the drawing board for her. To give up on the ceramics was not an option, this was her choice, and she was going to see it through. Simply by sitting at her studio table and pinching the porcelain clay, thinking about it, writing about her intentions in her workbook, shaping it, discarding many attempts, she visited a book store and accidently came across a book on paper clay. Subsequent to reading a few paragraphs the book was purchased and took up office on her studio table. The mixing of paper clay is done by hand and in so doing, Nan got the feel of it, mostly
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its elasticity, and the fine qualities that could be achieved through firing. Nan found that using pure porcelain was precarious, both from table to kiln, and after firing it was liable to break easily. While sitting at her table with a pile of broken pieces of porcelain in front of her, and which she photographed, a story began forming in her mind. The broken pieces (paper-clay porcelain which had not worked properly) looked like bones, in fact fossils. Now the fun began and a few ideas had already been formulated before the day was through. Unfortunately she had no idea where to start. Remembering a bag of Jacaranda seeds she had collected for projects in her second year, she retrieved them and began by covering the seed pods with paper-clay. Again disaster, too thin and they disintegrated. It was her desire to make the pods as fragile as possible and after wasting a number of pods by covering them and firing them as is, it dawned on her that the pods perhaps exploded due to the fact that there might be a little moisture trapped inside them and the porcelain thus exploded with them whilst in the kiln. She then moulded the paper-clay over the pods and allowed them to dry before carefully lifting them off the pods and setting them on the kiln shelves. That done, her story began formulating and the narrative took a twist by means of a crazy scientist wanting the animals to be born in cocoons. With this in mind Nan had to make cocoons again using porcelain paper-clay. A piece of heavy garden
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Right Top: Networking Nan knitted 12 kilometers of clear fishing gut over 18 months to complete this piece. Right Bottom: Cocoons enmass Porcelain slip and string Size: (of installation 2.56m x 1.5m x 1.5m) (each cocoon 12cm x 4.5cm approx)
Nan Spurway
turstin@worldonline.co.za
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twine hanging loosely from the roll had become mixed up in the paper clay bowl. An idea dawned. Taking newspaper she wrapped tiny oblong shapes, held together with cotton, then after soaking the twine in paper-clay she wrapped the shape with the wet string and allowed it to dry. She made ten and when dry fired them. Opening the kiln 30 hours later she found paper-clay crumbs on the kiln shelf. The twine did not hold enough paper-clay and she realised something more absorbent was necessary. She found thick cotton string at the hardware store and at last success loomed on the horizon.
Below Left: Encoded hanging pods (2008) Porcelain paper-clay Size: (of installation) 2,5m x 3m x 1m (each pod 6cm x 4.5cm approx.) Below Right: Cocoons enmass Porcelain slip and string Size: (of installation 2.56m x 1.5m x 1.5m) (each cocoon 12cm x 4.5cm approx)
During the first installation, where a small portion of the work is installed, there were more problems, the slightest slip whilst hanging a string of pods or cocoons and the whole string crashed to the floor shattering into crumbs. Nan took the decision to make far more than were necessary, and the packing was important, as it was necessary to pack all the small pieces individually so that they would not catch on each other when lifting them out of the box. The whole artwork is brought to fruition and made whole by the shadows which the small elements throw on the walls behind. Nan enjoys encompassing such elements, which are always different in different circumstances and galleries. One of her successes as been her knitted gut, which is also part of this installation. She knitted 12 kilometers of clear fishing gut over a period of 18 months to create her piece called Networking. Again this piece in this installation is not complete without the 7 large tiled panels, which have been covered with porcelain slip trails and
fired, representing shadows of the netting in their own right. Neither artwork is complete without the shadow of the Networking piece. The tiles need the extra shadow of the knitted piece and the knitted piece is incomplete without its shadows. Nan’s concept for her final year was Nature Reconstructed. She wrote a short narrative about a scientist and an archaeologist who set about devising an idea to save the starving people of the world and to rejuvenate barren land. Their idea was to find pre-dinosaur fossils, extract DNA, from whence they would make smaller animals, which would be born from eggs deposited in cocoons, thus everything would be hygienically created. Unbeknown to the archaeologist, the scientist had no experience with DNA with the result many of the experiments did not succeed. One such experiment being when one of their small creates came to life but only lived for a few hours and after a post-mortem they found it had died from cirrhosis of the liver, due to the fact that it had inhaled fumes from the sparkling wine which the Scientist had been drinking during his experiment. The whole narrative which is the foundation for Nan’s art installation is a humorous tale, with deep seated connotations. It forms an artwork in itself and the book is printed on vinyl. Since 2002 Nan Spurway(65) has written 5 books. One of her books, depicting one of her paintings on the cover, is due to be published within the next few months. All her novels are fiction but contain researched facts of interest.
Mon, Tues & Thurs: 07H00 - 16H00 Wed & Fri: 07H00 - 22H00 Sat: 10h00 - 14h00; 17h00 - 22h00 Narina Trogon and The Canopy are available for private bookings on request. Please contact us for further information. T 011 339 6645 C 078 121 7133 E info@narinatrogon.com 81 De Korte Street, Braamfontein, Johannesburg
a rare
find Text & Photographs: Deon de Lange
PREVIOUS PAGE: The steel buffet server be Gregor jenkin and handmade ceramics by Sue Weston. LEFT: A mosaic feature wall by Ira Bekker. BELOW: A ceramic sculpture on the outdoor table. OPPOSITE: Handmade ceramic crockery by Sue Weston used to serve the patrons.
When walking down De Korte street in Braamfontein, one is suddenly surprised by a green mosaic facade with a very contemporary interior. On closer inspection, this turns out to be a fine restaurant with a menu as surprisingly different as the space itself. Narina Trogon, as it is called, is named after a very elusive bird, found in coastal forest areas right throughout Africa, from The Tsitsikama forest in the Cape to Mount Meru in Tanzania. Although reasonably common, this shy, unobtrusive bird spends a large amount of time sitting very still in an upright, though slightly hunched, position. This means that they are easy to overlook despite being so brightly coloured. The historic building, dating back to the early years of the previous century, originally housed a sweet manufacturer on its ground floor with
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warehousing above. Many would remember it as the original Turn ‘n Tender steakhouse. Carlyn Zehner, the owner, lived in New York and Londen before. Being passionate about handcrafted items, her brief was to use local talent wherever possible. This is evident in the buffet server by Gregor Jenkin, mosaic wall by Ira Bekker and the diningroom table and chairs by Haldane Martin. No detail was overlooked, individuality is even evident in the handblown glassware and handthrown crockery. Upon asking where the ceramics came from, assuming it was imported, I was informed it was indeed made by Sue Weston, a Johannesburg potter. Somehow I was not surprised, Sue always had a talent for design and incredible detail in her decoration.
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“Carlyn is a big spirited person who gave us plenty of creative freedom and decent deadlines so we could come up with a solid product” says Sue. “I don't fall into the big industry category, hence it was possible to do specialized orders like Narina Trogen quite easily.” A big challenge when doing ceramics for restaurants is durability. It is not easy to make an individual product that has the equivalent durability of vitreous china, and still have a unique handmade look. Suitable materials in South Africa are limited, even a high fired handmade stoneware mug chips easily, let alone it being in constant use in a busy restaurant.
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Other difficulties facing smaller producers is HIV infection amongst skilled workers, low productivity and excellent ceramic tableware imported from the East. “One of the best things about ceramics is that most of the time we work withamazing people who understand if you have a meltdown in your kiln a day before delivery, but who can somehow improvise without going all psycho on you.”
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FAT LAVA Text and Photographs: Deon de Lange
PREVIOUS PAGE: A j u g w i t h fl o w i n g clazes and crystals. RIGHT: Geometric vases by Dumler & Breiden. The name Fat Lava originates from an exhibition held at the King’s Lynn Art Centre, London in 2006. The exhibition featured ceramics produced in West Germany in the 1960’s and 1970’s. Recalling my childhood days, I can still remember those chunky ceramic vases reminiscent of the colours of muesli gracing the room dividers and mantelpieces of every hip living room. Inspired by the Arts and Crafts movement of the late 19th century, these pieces ranged in size from a few centimeters tall to monumental floor vases. Ceramics, like everything else, were hugely affected by the design revolution of the 1960’s. Diversity was the order of the day. The work of crafts people reflected their commitment to an alternative lifestyle.
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Colours ranged from sludgy brown to riotous blues and yellows through to fiery reds and oranges, often characterized by crusty lava and textured indentations. Shapes ranged from geometric cones and cylinders to organic and freeform. There was something for every style and taste. Many vases were one-off and handthrown, but the majority was slipcast commercially in large factories. Although these pieces share the same shape, the finish and glaze combinations were more individual, making each piece unique. A few years ago one could pick up an interesting German vase for a few rand accompanied by a ‘are you crazy’ look from the stallholder at a charity shop or flea market. Nowadays pieces quite rightfully command higher prices, with bargains
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getting few and far between. Bright colours and thick crusty textures are more sought after than the plain earthy examples. Unlike more classic vintage ceramics, Fat Lava is very much an acquired taste, particularly suited to more contemporary interiors. They work well in groups of similar or contrasting colours. A variety of shapes together forms an interesting landscape on a shelf.
BELOW LEFT: A jug and bottle shaped vase with flowing glazes.
Scheurich was the largest producer, others include Carstens, Dumler & Breiden, Roth and Baykeramik. Although some factories had their name embossed underneath, most pieces can only be identified by a serial number, sometimes accompanied by German or W-Germany. Pieces with the original paper sticker identifying the manufacturer is high in demand.
BELOW RIGHT: A group of heavily textured pieces from the 1970’s
World War II was over, and like many of the West German ceramics factories Scheurich went into production in 1954 and quickly became one of the largest producers, spanning a
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huge market. The clay used was white earthenware with moulded numbers with three to four digits and a hyphen with further digits and also the words W.Germany. Where the piece was not large enough to take all the information one will find numbers only, with a lot having a thick black glaze over the base that obscures the information. Once handling enough pieces, their glazes are fairly easily recognizable. Strong colours seemed to be the order of the day, and Scheurich used some serious Fat Lava glazes that was perhaps inspired by the moon landing of the time. This was major news at the time and influenced many product designs. Scheurich were prolific in styles and shapes and new pieces are discovered all the time. The main designer for this establishment was Heinz Siery, who later also designed for Ruscha. He brought about new shapes and handles. There is little other information on the subsequent designers.
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LEFT: Bright colours and textured patterns were very popular. RIGHT: The same shape was often produced in various sizes.
Scheurich produced so many different sizes and colours in one style, that some collectors only stick to one shape. The Jasba factory was started by Jacob Schwaderlapp in the early 20th century and was a high producer with a large range of moulded patterns. The main designer was Cilli Wörsdöfer. Christiane Reuter came along later and stayed with the concern for many years. Perhaps this is the one factory that had produced the bizarre vases and jugs with prehistoric animal motifs and a plethora of articles that would entice a client to buy a whole collection. Their colours were bight and the shapes have well formed necks and rims. The base clay is white earthenware and more often than not the name is raised in an oval with numbers. The very bright colours of Jasba really stand on their own, as well as the textures they used. Most of the articles are well finished right
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down to the neat and clean footring of the articles. The Dümler &Breiden factory joined the boom during the 1950s with their new shapes and designs by the two brothers Peter & Albert Breiden. They were big in production late 19th early 20th century, and joined the revolution in the mid 20th cenyury. Like Ceramano there is a shortage of good examples from Dümler & Breiden as they were not market leaders at the time. Designers included Ernst Dümler, Paul Zimmerling and later Rudolf Christmann. The factory marks are rather distinctive having name and numbers impressed in the base clay, which was always white. Various paper labels were also used. The two crossed swords with the D B added to the base of the swords identify this factory, together with a product numbers. Studio pieces are also to be found, but then they are rather like hens teeth.
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Ceramano was founded in 1959 by Jacob Schwaderlapp. This factory set about developing new styles, designs and techniques to compete with all the other factories who were doing a roaring trade at this time. Designers at the time were Hans Welling and Gerda Heuckeroth. The base clay for this factory was a terracotta. with all its details scratched into the clay as well as that of the designers. At a later stage they also had a printed stamped blue mark defining the factory, mainly used on tableware.
BELOW LEFT: Pieces were not always bright, as seen in this collection of brown vases. BELOW RIGHT: The use of textured glazes have started in the 1950’s already as is evident in these pieces.
This factory is easily identified where the article base was large enough to take all the details. This company produced stylish pieces that are extremely hard to find, especially those with a strong design. Wall tiles were also produced, these are thin and have an impressed mark with the wording Mettlach - made in West Germany. Bay Keramik was founded in 1933 by Eduard Bay and closed in the late nineties. The styles and designs varied and spanned to over 100 different shapes, not to mention all the sizes which were decorated in splendid colours. One great designer of the time, Bodo Mans, produced the Ravenna range. The clay for this factory
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is white and this can be seen from the base of the object. Not all the pieces show this as some would have the bottom glazed all over. These items are recognized by the moulded name Bay with the wording West Germany or sometimes W.Germany and some numbers that reveal the shape according to the factory. The production of Bay pieces are of a high standard and well finished down to under the base. There are a number of different paper labels that were attached to the finished product that spanned the years of production. It is great to find pieces with the original label as this helps date the piece. Looking across the spectrum of production the Bay factory surely did extend themselves in producing new shapes and designs. One seldom find a poor example from Bay, a high standard was always maintained . One will also find labels attached that relates to the distributer and should not be confused with the manufacturer. The Carstens factory started up just after World War II and was situated in Tonnieshof, lower Saxony. Possibly the most exciting producer as designer was Trude Cartens, wife of the founder.
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Wonderful colours and shapes are to be found and they are certainly not plentiful, thus very collectable. Another wonderful designer was Gerda Heuckeroth who produced the ‘ATELIER’ range in the mid 60`s. The markings on the base are moulded with two houses with pitched roofs and the TC monogram below. Once again raised numbers appear relating to shape and size with the words WGermany. Several labels ranging from paper to foil are sometimes still intact. The base clay is always a terracotta and examples are well constructed and designed. Carstens seemed to be in a world of their own as their designs are so distinctive and very different from other manufacturers, who often copied and compared each others wares. If you consider buying Fat Lava pieces, they should be in perfect condition with no chips or cracks. Some fine examples with light scratches are still collectible as most items have been knocked about over the years, considering that these were very functional items in daily use.
FINDING YOUR TRUE
IDENTITY
ARTICLE AND P H O T OGRAPHS BY DEON DE LANGE
RIGHT; Scorched Earth series by Deon de Lange
You have been working in clay for some time now, and you have acquired the basic skills of throwing, hand building or slipcasting. The next question when facing a lump of clay is: “what shall I make?” Here comes your greatest chal‐ lenge, Einding your own unique style, the X‐factor that make the viewing pub‐ lic aware that this piece is distinctly yours. To initiate the process, you have to start looking from within, what is it exactly that excite or inspire you? What is it about something that you glimpse at in passing that makes you stop and look again? Be it another ceramic piece, an artwork, a building, nature or fashion? Start collecting images of what inspires you and when you have a few, start sift‐ ing through them until you have only a dozen or so that really grabs you, then start analyzing them. Post these Images in your workspace on a storyboard or paste them in an exer‐ INTOCERAMICSAUTUMN2009
cise book. Look at what made you choose them. Is it the shape, style or tex‐ ture that grabbed your attention? Look at the pictures frequently over a period of a few days, then start making a list of all the points that come to mind and see which ones are repeated often. Knowing now what stimulates you, place your visual preferences among these opposites: • Simple, unadorned, minimalist or grandiose, intricate, whimsical • Graceful plain surfaces or richly textured • Chunky solid shapes or elegant forms • Earthy and rough or highly Ein‐ ished and reEined • Large monumental scale or pe‐ tite and intimate By now you should have a vague idea of what you would like your work to look
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like. The next step is to make a few rough pieces in your studio. Contemplate them and recycle the ones you are not a hun‐ dred percent happy with. These pieces need not be Einished masterpieces, but rather a collection of ideas from where you are going to depart. Now it is time to go back to your story‐ board. Make a list of a dozen or so ways that you can subtly change your work. It can be anything from shape, essentials like the rim or foot, or details like handles or other attachments. Also look at the texture and Einish or glaze surface. Focus on one small area at a time and work at it until you are satisEied, even if it takes a few months. It is also a good idea to start looking at everything around you with an artists eye, look at plants in your garden, their textures and the way nature constructed them. Observe the colours on an appetiz‐ ing plate of food, how it contrasts or harmonizes to please your eye. Feel the texture of a piece of fabric that stimulate your touch. All these elements can even‐ tually combine to make your work unique. The most challenging part of changing to your new signature is sustaining it. It can sometimes take months to resolve a new idea, the secret is to persist until you have mastered it. Developing your own style is not a process that happens over‐ night. Be conEident about what you do and have the stamina to carry it through. Don’t give up when something doesn’t work out, put it aside and look at it with fresh eyes when you have new inspira‐ tion. Once you are on the road to success, Eind yourself a mentor. Look for someone who is well established in the community that is an accomplished artist in their own right. They are normally more than will‐ ing to part with knowledge and do a good critique on your work. Be sure the person can relate to your style, it is pointless
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asking a traditionalist about concep‐ tual work and vice versa. Keep a vision of your future. Imagine yourself Eive years from now, successful and accomplished. Assume you have solved small and major issues, be it on design or technical, your work has reached a level of maturity, has pres‐ ence and is well received by the viewing and buying public. It is viewed with great favour by the most sig‐ niEicant person – yourself. Write an article about your work in the third person: “She makes graceful domestic ware on pedestals that elevate them to ceremonial status, decorated with intricate patterns abundant with colour” or “he makes a bold architectural statement with stylized sculptures Einished in rich textured surfaces remi‐ niscent of metal patina.” Now that you have paved the path to your future, walk it often, keep on w o r k i n g t o maintain your skills. Every time you feel y o u h a v e s t a g n a t e d , go back to w h a t y o u have learned h e r e . T h e process need not be as dras‐ tic as the Eirst time, but a few subtle changes is inevitable for con‐ tinuous growth.
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Design Indaba Expo 2009 What can your creativity do? By Deon de Lange
Design Indaba, South Africa’s prime design expo, now in its 5th year, once again took place in the Cape Town International Conference Centre. The show was abuzz with designers, manufacturers, buyers and just the plain curious, from all over the world, all interested in the best South Africa has to offer. All media were on exhibit, from graphic design and multimedia to interiors, fashion and craft. The only limit on creativity was that imposed on the creator by his or her own mind. Ceramics, despite the doom and gloom surrounding us, was well represented and once again ceramists from all levels of expertise proved how versatile the medium can be. It was fantastic to see everything homegrown, and with the skills available, retailers would be shortsighted to rather look at imports. Pieces on show ranged from small enterprises to larger manufacturers, product designers whose designs are sometimes executed in ceramics, smaller co-operatives and NGO’s
providing skills training through the medium of ceramics. Ceramics proved to be a medium that can build bridges between people from all walks of life, the joy of making is handed over to someone that can share the joy in owning the item. It is a medium that can uplift communities and with little training empower disadvantaged people or communities to make a better life for themselves. Products ranged from small gift items to large sculptural pieces, both decorative and functional. Items that attracted my attention were furniture by Andile Dyalvane and Imiso ceramics, beautiful ceramic lampshades and candle votives in porcelain from Loren Kaplan and the quirky homeware products that resembles alien creatures by Vanilla Concrete. The exquisite lacework on the bowls by John Bauer proved that we have exceptional talent in South Africa. Accomplished ceramists Clementina van der Walt and Hennie Meyer, who were exhibiting in London during the expo, had their latest work on show too.
PREVIOUS PAGE: Ribbon Plate by Kendal Warren. THIS PAGE LEFT: Retro designs from Wonki Ware. THIS PAGE RIGHT: Quirky creatures by Vanilla Concrete.
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THIS PAGE LEFT AND BELOW: Items from the Free Range for Design Indaba.
When it came to awards, ceramists were also not left behind. Kendal Warren was a finalist in the ‘Most Beautiful Product in South Africa,’ Nicci Swanepoel was a finalist in the South competition, Imiso Ceramics got a place in the Visi Designer of the Year award and Louise Gelderblom is representing South Africa in the craft division of the Elle Decoration International Design Awards. Into Ceramics would like to congratulate everyone on their achievements, the quality and design of your work is outstanding and do us proud. On a non ceramic level, it was also great to make contact with the team from Chew, a glossy magazine that is also published online. We are proud to share a space with you on the cybernewsstand. There is truly an inspirational message in the slogan of Design Indaba: “What can your creativity do?” I can hardly wait another year to see what people have created next.
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Free Range for Design Indaba Spawned by a passion to create quality design at affordable costs, Free Range is set to open a world of design to a market not normally catered for by professional designers. “Over the past few years, the word ‘design’ has hit international news headlines more and more. Now we’re starting to see the trickledown effect, where design is no longer only a creative industry patronised by the elite, but also demanded by the everyman. Free Range is a response to this growing consumer market for accessible creative produce,” said Ravi Naidoo, founder of Design Indaba. Free Range consists of functional homeware items that range in materials from plastics to felt. Pitched at offering affordable South Afri-
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Madoda Fani
The Potters Workshop Peter Mthombeni
Cornelius Lemmer Hennie Meyer
Papercake
Clementina van der Walt
Potina Vuyisa
Imiso Ceramics
My China
Loren Kaplan
Zinzamela
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Ralph Johnson
Diane Harper
John Newdigate
Kate van Putten
Sarah Walters
John Bauer
Sue Weston
Noleen Read
Michael Haigh
David Walters
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Liesel Trautman
Nienke van der Meulen
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THIS PAGE RIGHT AND BELOW: Items from the Free Range for Design Indaba. can design homeware to anyone and everyone, the range hopes to bring a touch of creativity into every South African’s home. Further benefiting local production lines and economic promise, the products are the result of Design Indaba collaborations with top local designers. Heath Nash, Themba Mngomezulu from Darkie clothing, Marisa Fick-Jordaan from Zenzulu, Ronel Jordaan, Clementina van der Walt and Pepperplum Designs are just some of the participants who were asked to adhere to the strict guideline that products would not retail for more than R200. Fighting the temptation to limit themselves to mediocrity, the designers made way for late nights, many coffee breaks and strenuous brainstorming to think “out of the box”.
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Expression and functionality were key concerns. “What has emerged is a range of quirky, fun homeware products created for the people. From telephone wire coat hangers to lights made from recycled plastic bottles, the diversity of the collection illustrates that designer products can be produced to access broader markets,” concludes Abigail Florence, curator of the Free Range.
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1 Parkwood Mansions, 144 Jan Smuts Ave Parkwood, Johannesburg Tel: 011 880 5928
Few of us are free of stress; even the good kind that drives us to success still takes a toll on our shoulders and neck, on our tempers and our health. Indulge in tranquil time with pottery classes that take total beginners to practised creatives. You can be totally non-artistic and produce pots or even sculptures - pottery is forgiving and fun. Custom built studio in tranquil garden surroundings in Bryanston. Adult classes from 09h30-12h30 weekday mornings. Stress Management through the Medium of Pottery Workshops and Corporate Workshops by request. Specialised Ceramic workshops by guest Ceramic Artists. Call Colleen Lehmkuhl on 0734810889 or visit www.potterystudio.co.za for more details.
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