Journal of Australian Ceramics - Vol 54 No 1

Contents 3

EDITORIAL

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CONTRIBUTORS

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AWARDS & GALLERY

8 SHARDS

FOCUS: THE FUNCTION OF ART, THE ART OF FUNCTION

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Guest editorial: Euan Craig

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The Function of Art, The Art of Function Euan Craig and the aesthetics of sharing

18 The Vibrancy of the Slightly Incomplete Ben Richardson putting the vessel in context 22

Simple Virtues Damon Moon shares his journey from the road to the table

26 My Journey to the West Cape

by Warrick Palmateer 30

A Cup of Kindness Shannon Garson explores the art of living

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Touch Mel Robson and Suzi Lyon explore the function of art in the community

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Quiet Unorthodoxy The work of Mitsuo Shoji by Natalie McDowell

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Constant Movement in Space and Time Kelly Austin explores the contribution pots make

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Conversation, Jazz and Pots Sandy Lockwood discusses art as process and object

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Shino – Form and Beauty Angela Walford shares her passion for the unpredictable

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A Place in Time Maggie Zerafa reflects on her place in the ceramics continuum

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The Integrity of Function John Dermer defines his stance as a craftsman

The Journal of Australian Ceramics Vol 54 No 1 APRIL 2015 $16 Cover Euan Craig, Machawan Tea Bowl Diam.13cm, h.8cm, Jomon rope decoration Igusa straw marks and natural ash, woodfired in the Hamada Noborigama kiln February 2015, upright with green tea (front cover), inverted (back cover), Chaire tea caddy, diam.7.8cm, h.11.2cm, with Taisho Period (circa 1912–1926) ivory and gold lid.

See pages 11 and 80 for more information.

Publication dates 1 April, 17 July, 20 November

ABN 14 001 535 502 ISSN 1449-275X

Publisher The Australian Ceramics Association PO Box 274 Waverley NSW 2024 T: 1300 720 124 F: +61 (0)2 9369 3742 mail@australianceramics.com www.australianceramics.com

Editor Vicki Grima www.vickigrima.com.au Guest Editor Euan Craig http://euancraig.blogspot.jp

THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2015

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Contents REGULARS 60

VIEW 1: The Domestic Artist The art of Melanie Jayne by Mark Henderson

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VIEW 2: Capturing the Ephemeral A reflection on Stephen Bird’s 2014 exhibition at Gould Galleries by Robyn Phelan

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SPACES AND PLACES: paper boat press an atelier in Brisbane

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EDUCATION: Pathways to Practice Lou McCallum examines the pathways that three Australian ceramic artists have taken

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WEDGE: The Whispering Gallery by Glenn Barkley

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POCKET PhD: Brett Smout Explores Low-fire Vitrification to Reduce Emissions

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STUDIO: Inside the Studio of Ramesh Mario Nithiyendran

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POTTERS MARKS

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AUSTRALIAN CERAMICS OPEN STUDIOS

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GATHERINGS: Baptism of Fire The rebirth of the Hamada kiln, witnessed by Euan Craig

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COMMUNITY: Touch This Earth Lightly: a participatory environmental art project Bridget Nicholson shares her experience of presenting work to a new audience

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ASSOCIATION: The Trudie Alfred Bequest Ceramic Scholarships 2015

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ASSOCIATION: The Trudie Alfred Bequest Follow Up 2014

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CERAMIC SHOTS

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AUSTRALIAN CERAMICS TRIENNALE 2015

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AUSTRALIA WIDE: Reports from around the country

The Journal of Australian Ceramics Vol 54 No 1 APRIL 2015 $16 Marketing and Promotions Carol Fraczek

Proofreader, content Suzanne Dean

Design Astrid Wehling www.astridwehling.com.au

Australia Wide Reports ACT: Sue Hewat NSW: Jan Downes QLD: Richard Stride SA: Sophia Phillips TAS: Kim Foale VIC: Robyn Phelan WA: Elaine Bradley

Subscriptions Manager Rachael Hegh

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THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2015

Printed by Newstyle Printing Co Pty Ltd 41 Manchester St, Mile End SA 5031 Certified to AS/NZS ISO 14001:2004 Environmental Management Systems. Printed on Sovereign Silk using 100% vegetable-based process inks.

Newstyle Printing Logo options for FSC Mixed.

Editorial From Minakami to Sydney: Euan Craig and Vicki Grima on Skype, discussing the intricacies of editing, proofing, captions and characters

I didn’t expect this change so quickly. From plain white china being commonplace to Australian handmade tableware gracing tables in more than a few of our restaurants and cafes, the shift has been swift. The look is more rustic, with the earthy colours of grey and brown creating a perfect backdrop to stunning local food. The plate served to the table, graced with delicious food, is a work of art. The term ‘farm to the table’ is now joined by ‘studio to the table’.

I have enjoyed working over the last six months with guest editor Euan Craig, and we have proven that with email and Skype it is possible to edit the journal from anywhere in the world. Euan has brought to us some unique stories of what it means to make functional ceramics today and how our collaborations with chefs, restaurants and our local communities are at the crux of ensuring the value of our ceramics is enjoyed by as many people as possible. I’m sure you’ll enjoy Euan’s special focus in this issue.

In daily discussions with The Australian Ceramics Association members, journal subscribers and those who find our magazine on library and book shop shelves, I have been encouraged to share my call for your support here. The Association has been able to offer this wonderful connection with, and record of, the Australian ceramics community over 53 years by your support through membership fees and subscriptions, and advertising revenue from the ceramics businesses (suppliers, galleries and regional groups) who generously support us to make this happen. Please support us and our advertisers in every way you can. Encourage fellow potters and ceramicists to join our Association. Buy your supplies from our advertisers. Buy a gift subscription to the Journal or a TACA membership. Do a ceramics workshop.

Give a gift made by your local potter. What goes around comes around and will help us to make the ceramics community in Australia bigger and stronger.

I hope to be able to meet you in person at the Australian Ceramics Triennale in Canberra in July. It’s shaping up to be a great coming together around our common love of ceramics!

THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2015

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Contributors

Kelly Austin is a Canadian ceramic artist currently living in Canberra, ACT. She received her undergraduate degree in General Fine Arts from the Emily Carr University in Vancouver, Canada and is currently half way through a practice-led Master of Philosophy within the ceramics workshop at the Australia National University. www.kellyaustindesign.com

Glenn Barkley is an independent curator, writer, artist and gardener based in Sydney. He was Senior Curator at the MCA Australia 2008–2014.

In 2015 he co-founded The Curators Department.

A practising artist, he exhibits at Utopia Art Sydney.

Recent exhibitions include Clay 2 and Glazed and Confused at Hazelhurst Gallery www.thecuratorsdepartment.com www.utopiaartsydney.com.au Photo: My Media Sydney

Lou McCallum is a ceramic artist based in Marrickville, Sydney. Lou is making a transition into ceramic arts from a career in international public health and has just completed a Masters in Visual Art at the Australian National University.

Coming from a ceramist family, Natalie McDowell’s interest in pottery began at an early age. She has lived in Japan several times and worked as a journalist for a Japanese newspaper through which she has encountered many in the Japanese and Australian ceramics communities. The Nihon Mingeikan (Japan Folk Crafts Museum) in Tokyo is her spiritual home.

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Awards 1 Louise Rive, The Space Between, 2014 paperclay, gesso, cold paint, h.36cm, w.37cm d.18cm; photo: courtesy artist; winner of $15,000 Premier Portage Award, The Portage Ceramic Awards 2014, New Zealand 2 Belinda Michael, Lies in Construction, 2014 Keane’s white raku, slabbuilt, h.36cm, w.45cm d.7cm; photo: artist; winner of The Australian Ceramics Association 2014 Award, RMIT 3 Agnieszka Berger, Whispers in the Shadow of the Trees, 2014, stoneware, steel armature multi-fired glazes, assembled, h.135cm, w.60cm d.53cm; photo: Louis Power; winner of The Australian Ceramics Association 2014 Award, EASS, Australian National University

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Gallery 1 Dan Elborne, Remains VII, 2014, bone, porcelain, lustre, h.4cm, w.5cm, d.8cm; photo: courtesy Artisan Remains, Artisan, QLD, January–April 2015 2 Helen Fuller, Bottle 1 and 2, stoneware, porcelain slip, underglaze, oxide, various dimensions; photo: James Edwards 3 Sarah Rayner, Gynoecium, 2014, porcelain, terra sigillata, h.15cm, w.8cm, d.7cm; photo: Shannon Garson Chain Reaction Two, Artisan, QLD, January–April 2015 4 Suvira McDonald, Spirit Stone 2, 2014, stoneware, rosewood, stainless steel, slab construction, h.45cm, w.26cm, d.20cm Photo: artist; Stone Samplers, Tweed Regional Gallery, NSW, January 2015

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