The Journal of Australian Ceramics
Vol 55 No 2 July 2016 $16
www.australianceramics.com
9 771449 275007
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Vol 55 No 2 July 2016
ISSN 1449-275X
Focus: Pathways to Practice National Education Pictorial Survey Gerry Wedd: 40 years of making
Contents 3 EDITORIAL 5 AWARDS & GALLERY 8 SHARDS 10
TRIBUTE A Permanent Mark: Remembering Michael Hallam (1963–2015) by Alma Studholme
FOCUS: PATHWAYS TO PRACTICE 15 Guest Editorial: Lou McCallum 16
The Stuff of Life by Merran Esson
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Ceramics in Regional Australia by Alexis Tacey
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Past – Now – Future of Ceramics Education by Greg Daly
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Pathways Clare Nicholson shares her story
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Kindergarten to Year 12 Education Panel Lou McCallum took notes on a discussion at Clay Gulgong 2016
Michael Hallam
REGULARS 44
VIEW 1: Slight of Hand [sic] – Ceramics in The Magic Object The 2016 Adelaide Biennial of Australian Art by Damon Moon
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VIEW 2: A Potter’s Path by Gerry Wedd
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VIEW 3: The Care-full Craft of Lifetimes Sera Waters on new work by Honor Freeman
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STUDIO: “If you could hold onto a moment in time, what would it look like?” Kenji Uranishi shares porcelain secrets and the process behind Momentary, his stunning installation for Museum of Brisbane with Claire Atkins
The Journal of Australian Ceramics Vol 55 No 2 JULY 2016 $16 Cover: These photos were taken by fellow resident artist Deanna Ng (Singapore) during my artist residency at Listhús Artspace in Ólafsfjörður, Iceland, one of five residencies I participated in during 2015. My work at the residency was about surface and trying to represent the environment and surroundings of Ólafsfjörður, very different to my regular practice. Being in a coastal Icelandic fishing town was a far cry from anything I had experienced before – surrounded by mountains, in the middle of winter, only receiving
a few hours of sunlight a day, experiencing snow that reached the top of doorframes and swallowed cars, witnessing the northern lights and watching kids get taken to school on sleds dragged by dogs. I’m now back to my studio in Toowoomba, Queensland, working on projects with external, historical influences. Dan Elborne www.danelborne.com Dan is currently studying a PhD at USQ
Publication dates 1 April, 17 July, 20 November Publisher The Australian Ceramics Association PO Box 677 Alexandria NSW 1435 T: 1300 720 124 F: +61 (0)2 8072 1804 mail@australianceramics.com www.australianceramics.com Editor Vicki Grima www.vickigrima.com.au Editorial Assistant Claire Atkins www.pinkyandmaurice.com
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Contents 68
POCKET PhD: An Australian Botanical Narrative by Cathy Franzi
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ARTIST IN RESIDENCE: Portrait: an Artist in Residence by Kirsten Coelho and Ingrid Hedgcock
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PROFILE: Virginia Arregui – Life in Tiles by Jen MacCulloch
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TECHNICAL: Michael Hallam’s Technique by Liz Stops
PROMOTION 80 Tetlow Kilns & Furnaces 84
SURFACE THERAPY #3: Glazing for Functional Ware
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POTTERS MARKS
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TRADE: We can’t all be stylish, sexy or stunning ... Carole Epp shares her social media tips
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OVERSEAS: Ceramics to the People A review of Ceramic Art London 2016 by Daniel Skeffington
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COMMUNITY: Clay Intersections Curator, Cath Fogarty, brings together the ceramics community in a new exhibition
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ASSOCIATION: Clay Adventures Shannon Garson shares her recent experience at NCECA
98 WEDGE: The Continued Underrepresentation of Female Ceramic Artists Why we ‘mansplain’ and justify the status quo by Bianca Dash 99
NATIONAL EDUCATION PICTORIAL SURVEY 2016
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CERAMIC SHOTS: #POTSINUSE Winner
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EVENT: Clay Gulgong 2016
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VIEWED AND READ 1: The White Road: a pilgrimage of sorts by Edmund de Waal A review by Peter Wilson
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VIEWED AND READ 2: Subversive Ceramics by Claudia Clare A review by Karen Weiss
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AUSTRALIA WIDE
The Journal of Australian Ceramics Vol 55 No 2 JULY 2016 $16 Guest Editor, Focus: Pathways to Practice Lou McCallum Marketing and Promotions Carol Fraczek Design Astrid Wehling www.astridwehling.com.au Subscriptions Manager Montessa Maack
Australia Wide Reports ACT: Sue Hewat NSW: Jan Downes NT: Sarah Body QLD: Wendy Bainbridge SA: Sunshine March TAS: Joanna Larke VIC: Robyn Phelan WA: Andrea Vinkovic ABN 14 001 535 502 ISSN 1449-275X
Proofreader, content Suzanne Dean
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THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2016
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Editorial Vicki, Carole Epp and Adriana Christianson at The Potting Shed, Sydney, May 2016
I am reminded on a daily basis of how strong, engaged and diverse our worldwide ceramics community is by the floods of emails, office phone calls, social media likes and comments. But nothing beats the real thing ‌ experiencing that community outside of the TACA office by actually meeting people in person. This year has been full of such experiences, rich and inspired adventures that started with my Indian journey to traditional potters communities in February, was followed closely by a few mad days in Gulgong in April, and soon I will be off to teach at Sturt Winter School. The personal connections made while travelling, teaching, learning and participating, broaden and enrich my life in ways that fill me with optimism and excitement for future possibilities. New friends are made, skills are rejuvenated, my mind is challenged and what was just a possibility a few months ago becomes a reality. One of these wonderful connections was with Claire Atkins, a multi-talented ceramic artist from northern NSW. I first met Claire when we attended a woodfire workshop at Gaya Ceramics in Bali a couple of years back, then we reconnected in India earlier this year. Her engagement with ceramics and our broader community, along with her willingness to jump in to the nitty gritty, tedious world of editing and publishing has led to Claire joining the small team who work on this journal. Welcome Claire! A few others who have energised me in 2016 with their creative ideas, commitment and honest hard work to strengthen our worldwide ceramics community are Shannon Garson (TACA President who recently attended NCECA), Lou McCallum (TACA Vice President and Guest Editor of this issue), Carole Epp (Canada) who recently gave an inspiring workshop for TACA, and Adriana Christianson (Melbourne) who is organising the second international Cup Collaboration in September 2016. I thank you for crossing my ceramics pathway in such positive ways! You are givers, not takers. This issue and the people in it are testament to the exciting and inspiring community we are growing right here, right now. Enjoy!
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Contributions on all aspects of Australian ceramics are welcome. Written Contributions We prefer articles to be supplied on a disc, USB, Dropbox.com or by email. Photographs The Journal of Australian Ceramics welcomes good quality digital images. The files must be high resolution JPG (300dpi), approx. size 220 x 150mm. Digital files may be sent on a disc or USB to our office, attached one or two at a time to emails or uploaded to Dropbox.com. Further photographic requirements are available on request, or go to www. australianceramics.com and follow the ‘Journal’ link. All images must be accompanied by the name of the artist, title of the piece, date, materials and techniques, dimensions (metric) and the photographer’s name.
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Copyright All material published is the copyright of The Australian Ceramics Association. Requests for permission to reprint must be made to the editor. No responsibility for the content of the articles, or claims of the advertisers, can be accepted by The Journal of Australian Ceramics. Photographs are attributed where possible. Advertising Rates These are available by request or online at www.australianceramics.com Follow the ‘Journal’ link on www.australianceramics.com Stockists We welcome enquiries from new stockists. Please contact the office for details.
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2016
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2016/2017 FOCUS & PUBLICATION DATES DEADLINE: 2 MONTHS PRIOR TO PUBLICATION VOL 55 NO 3 Publication: 20 November 2016 Terra Nova VOL 56 NO 1 Publication: 1 April 2017 The Body Issue VOL 56 NO 2 Publication: 17 July 2017 The Flame Issue VOL 56 NO 3 Publication: 20 November 2017 The Function Issue
Awards Left: Amaya Lang, Herbert, 2016 handbuilt earthenware, underglaze and glaze, resin, enamel, h.72cm w.40cm, d.40cm; photo: artist 2016 Finalist, Tom Bass Prize for Figurative Sculpture, Sydney, NSW Below left: Jeffery Mincham AM Bush Ballard, (Forces of Nature Series), 2016, mutiglazed, multifired midfired ceramic, h.81cm, w.42cm d.27cm; photo: Grant Hancock Winner, $10,000, 2016 biennial North Queensland Ceramic Award Below: Cathy Franzi, Silver Banksia, 2016, wheelthrown porcelain, sgraffito, h.38.4cm w.19.5cm, d.11cm; photo: Andrew Sikorski-Art Atelier; Winner, $1500 Scott Brickworks Award, 2016 biennial North Queensland Ceramic Award
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Gallery
1, 2 Bruce Rowe, Structures 2015–16, handbuilt, glazed stoneware and earthenware various dimensions Photos: Lisa Cohen Structures 2015–16 Hub Furniture, May 2016 Melbourne, VIC 3 Sharon Alpren, Bedrock Platter, 2016, handbuilt stoneware, terra sigillata oxides, stains, h.5cm, w.46cm d.23cm; photo: Bob Newman Table Talk, April 2016 Kerrie Lowe Gallery, NSW
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4 Amy Kennedy, White & The Blue, 2016, handbuilt artist blend glaze material glass additions, h.9cm w.22cm, d.20cm and h.9cm, w.20cm, d.20cm Photo: Christopher Sanders Return to Beauty, April 2016 Edwina Corlette Gallery, QLD
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5 Maria Chatzinikolaki, Essence of… communication 2016, handbuilt black stoneware, Southern Ice cast pebbles clear glaze, black underglaze, 1280ºC oxidation, h.13cm w.45cm, d.25cm; photo: George Karatzas Essence of ..., July 2016, Beaver Galleries, ACT 6 Irene Mbitjana Entata, Mission Days, 2001, terracotta and underglazes, h.24cm, w.16cm, d.16cm; photo: Al Sim INSIGHT - The Hermannsburg Potters Collection of the Moreton Bay Region, June 2016, Lismore Regional Gallery NSW 7 Jane Barrow, Still Forest, clay, h.1.5m, w.2m, d.2m Photo: courtesy artist; finalist, Waterhouse Natural Science Art Prize, SA 8 Yumi Sakai-Harmelin, Plate, 2015, wheelthrown stoneware, Anagama woodfired, natural ash glazes and Hidasuki, h.20cm, w.20cm, d.1.5cm; photo: Greg Piper CONNECT – Contemporary Woodfire Ceramics , May 2016, Incinerator Art Space, NSW 9 Niharika Hukku, Seeds, 2016, handformed porcelain stainless steel wire, fishing line, installation, various dimensions; seeds d.22cm; photo: Mikhail Zenon Ode, April 2016, Gallery Klei, NSW
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