January Edition 2024 BUMPER ISSUE
INSIDE… EDITOR The Value of creative sharing CLAY SOURCING Geological surveys and soil types in QLD PROFILE A Shade of Allusion -Ceramicist SLIP DECORATION How to decorate without glazes ALTERNATIVE KILNS Ken’s Microwave Kiln INTEREST History of pottery in Australia-Bendigo Pottery COMMUNITY Can Creative Arts save the country town? INSPIRATIONAL CREATIONS
Small Birds slip decorated wild clay Photographer L Jones
We would love to include your personal journey and pottery photos! Email to : louielouisea@live.com *
I recently had the enormous privilege of hosting art teacher and founder of Aphrodite Art School Yeppoon, Jules Holland for the day at my studio. It had been a unique ‘accident’ of meeting; I had posted on recently discovered group ‘lovebartering australia’ on FB that I would offer art workshops or artworks in exchange for materials and labour to renovate my studio. Lo and behold fem extraordinaire Jules responding with a desire to learn about pottery and pit firing. So we dug trenches and build walls for my studio and bonded as fellow creatives, sharing ideas, inspiring each other and generating energy to tackle future projects. During our conversation it appeared we had a shared experience; we were both blacklisted from a particular potter’s group nearby. Thus began a tale of exclusion and downright rejection of various artist enclaves in the area…we pondered the big question- was it because we were female? Because we were younger and inexperienced? Because we posed a threat to the older generation and stalwart guardian of artistic knowledge? Was our enthusiasm and philosophy too much for the vanguard? We didn’t come to any firm conclusion but determined ourselves to continue in our openhearted attitudes of generosity of spirit. In our mind, the artistic process and creative spirit naturally flows in collaboration with others; ideas and art are birthed when creative minds share together. Does this mean that one is therefore likely to be taken advantage of? Might our ideas and artworks be copied or ‘stolen’ to generate income? More than likely. But it is not a reason to close up. At this time in history, it seems the artists perceive themselves to be under threat…AI can easily generate a seemingly original painting created from the thousands of online artworks the program has ‘seen’. In an economical downtown artists compete for grants, funding, and commissions in order to live. This however does not justify the tight hold on intellectual or artistic ideas, materials, or knowledge. More than ever, we need to stand against the societal pressures of competition and exclusion and embrace fellow artists; encourage their journey, walk alongside as mentors or fellow travellers, and demonstrate a better way of community. The amazing thing about encouraging fellow artists is that other people, participants and observers, consumers and business are drawn to a creative hub; rather than not being enough energy or economy to support more artistic endeavours, there is a catalyst effect which actually enlarges the support base and welcomes everyone. It is my hope that this bumper issue of Wild Pottery serves as inspiration to everyone to learn, embrace and share our combined skills and knowledge for the benefit of all. Louise Jones is a visual artist/educator passionate about sustainability and authenticity in art. She is a registered teacher and has taught in state schools for seven years. Her art practice has ranged from oil painting to pottery with every medium in between. Her work has sold throughout QLD and her pottery is exhibited in Longreach and Mount Morgan. She is an accredited workshop facilitator with Flying Arts Alliance and founder of Wild Mount Morgan Clay.
Geological surveys and soil testing GSQ | GSQ (data.qld.gov.au) geoscience data.qld.gov.au If you are trying to source local wild clay in your region, there are two ways to go about it – ask around for people who have found clay in their garden on property {most likely they will be happy to give you some} , OR locate the geological map of your region which pictorially designates soil types. On the QLD government geosciences page this geological map of Mount Morgan is available. The search engine can be used for any town or region. The circled area is the only cretaceous area and labelled ‘old fireclay pits’ which were the source of clay brick made for local mining and town buildings. If I use a regional map instead, I can see more cretaceous deposits further afield. When you find a clay deposit of course, you can test for plasticity and fire it to see how it fares. You might need to send it away for sampling to see what minerals it might contain.
PAULINE GRABHAM AND ‘A SHADE OF ALLUSION’ WHAT IS A CERAMICIST? A ceramicist is a person who makes ceramic product or works of art. I use slip and plaster Molds to create pieces which are then g, sanded and trimmed, sometimes carved into, and then fired in an electric kiln. I use slip which is refined clay mixed to a cream-like consistency and poured into a mould. Once the slip has dried to the right thickness the excess slip is poured out and the object left to dry further before removing from the Mold. This process can take anywhere from five minutes to several hours.
WHAT HAS YOUR ARTIST JOURNEY BEEN LIKE SO FAR? Quite amazing really! I studied art in NZ for three years before coming home to Australia. I’m so privileged to have met some incredibly talented and inspiring artists along my journey which has led to me creating thing I had no I idea I could make. I have learnt so many new techniques and genres in this wonderful world of art.
WHAT IS YOUR MOST SUCCESSFUL CREATION? My ‘Falling petals’ (see photo) series immediately comes to mind. I started off making porcelain daisies, but the petals kept breaking so I turned them into ‘dying ‘daisies. I really like my work to have a bit of a funky twist, so it was fun to create the perfect imperfection. They sold out very quickly which was quite amazing! I still use this technique in my work whenever I can.
WHAT ARE YOUR HOPES FOR YOUR STUDIO IN MOUNT MORGAN? While I am in the process of finishing my own home studio set up, I am working out of the Mount Morgan Arts and Crafts Inc. Studio. They will shortly be offering workshops for Ceramic Mold-making and ceramic pouring which I will be tutoring. Participants of the workshop will be able to come and pour their own ceramic pieces and learn how to ‘clean’’ them up ready for firing and glazing. There will also be greenware for sale for those who are unable to attend the workshops. There is hundreds of different Molds
to choose from including special occasion, functional plateware, decorative vases and mugs and sculptural animal pieces. Pauline’s ceramic artwork can be seen on her Facebook page ‘A shade of allusion’.
Figure 1 hand built porcelain spoons Figure 2 hand painted porcelain molded mugs
CLAY TYPES FOUND IN CQ {so far…}
SLIP DECORATION Slip has been used for centuries to decorate pottery. Fragments of red slip on pottery aged 5000 years have been discovered in Japan, the region in which it is believed to have originated. Slip ware is the term used to describe pottery that has been treated with liquid clay ie slip, either by dipping the entire vessel and scratching it off or applying it using different techniques. Slip can be coloured or mixed with flocculant to change its viscosity. Pottery which has slip applied is most often left unglazed. For the primitive kiln it is a method of decoration which does not require chemicals or commercial glazes. There are a variety of interesting decorating techniques using slips. Slip trailing is the most widely known method of decoration. Liquid clay is poured into a dispenser to deliver a stream of slip onto damp or leather hard clay.
Feathering Slip is an effect thought to have been drawn by a feather. Bands of contrasting colour slip are applied using slip trailing. A soft flexible sharply pointed tool is drawn through to create a chevron pattern.
Combing is the process of drawing a fine comb through a trail of slip to create a feathered effect
.
Fine Dot Slip is the precise application of small dots of slip to create a pattern or design. The final dried decoration will be raised off the pottery vessel.
Marbling slip. Once slip is trailed over the pottery a marbling effect is created through turning or shaking the piece.
Sgraffito is the process of entirely covering the pottery with slip and then carving away areas to create a design.
Resist Slip Is the process of applying slip over a wax resist design. The wax melts and disappears on firing to leave the profile design.
Slip texturing is the application of slip to create raised areas of texture
Slip Recipes Slip is made by breaking up dried clay or greenware and soaking it in water in a zip lock bag or covered ice cream container. The result is blended or sieved until the consistency of double cream. Coloured Slip To create a contrast between pot and decoration a ceramic stain can be added to the slip. Available as a powder, it needs to be mixed into a paste and then added to the slip. Testing and firing a sample pot is recommended to determine the desired shade of stain. Textured Slip To maintain bulk once slip has dried a deflocculant can be added to allow a higher proportion of powdered clay to water. Sodium silicate is the most effective deflocculant along with soda ash.
Ken’s Microwave Clay Miniatures
One of the more surprising options for firing clay is using a microwave as a kiln. With the help of ceramic fibre circular kilns inserted into the Figure 3 ceramic fibre vessels microwave, small ceramic pieces can be fired quickly and economically. The only real tools needed are fireproof gloves and a suitable surface for hot materials. If you have a microwave you can fire up a kiln anywhere. Of course, size is a limitation, as Ken from Mount Morgan will attest. His small, dissembled cars, huts and foods are created from clay to fit the circular dimensions exactly. Not only can his clay be bisque fired in his microwave, but he has been able to glaze with a variety of colours for a beautiful result. Temperature control is a little trickier too, with timing of microwave bursts key to a good result.
History of Pottery in Australia: Bendigo Pottery It was purely by accident; in researching slipware pottery in Australia, I came across The National Museum of Pottery. This museum is physically located in Holbrook NSW but helpfully provides a website as a starting point of research. Early slipware dating back to 1 850 is identified as originating at Bendigo Pottery although the Official name was established in 1850. Scottish migrant George Duncan Guthrie ‘stumbled’ upon a local clay deposit and from their built up a pottery business which would soon rival the Staffordshire potteries of England.
Figure 4 oldest known image of Bendigo Pottery 1850s
It was not an accident that the pottery began and flourished in Bendigo; the nearby goldfields attracted approximately 15000 people worldwide to work on the gold seams. The infrastructure required to house these new residents demanded industrial pottery su ch as clay sewerage pipes, roof tiles, sinks and insulators. On a domestic level Bendigo Pottery produced functional wares for eating and drinking, pots for cooking, water filters, jars and teapots.
To fire the pottery Bendigo built Bottle kilns (see last edition for the feature on bottle kilns), now the most extensive collection in the world. A variety of kilns fired the range of pottery, bottle, rectangular and circular with a myriad of chimney styles. The early pottery from Bendigo is understandably collectable. The following details the collections of wares from its establishment:
LANGLEYWARE 1872-1920
Waverley ware 1925-1950
Majolica
EPSOMWARE 1970S ON*
Organic Collection 2020
Marble Ware 1940s
Majolica is a richly coloured heavyweight clay pottery coated with enamel, decorated with paint and finally glazed
Canadian Ware 1930s
Rockingham Glaze
Bendigo Pottery was in decline in the 1950s; it took Bill Derham to kickstart a resurgence in 1970. It has been transformed into a successful tourist attraction and maintains its function as Australia’s oldest working pottery.
These salt glazed items with
BENDIGO POTTERY Rectangular Building and Bottle Kiln is on the Victorian Heritage Register
CAN CREATIVE ARTS SAVE THE COUNTRY TOWN?
When I moved to Mount Morgan nearly two years ago, I felt the tangible despair of a town in decline. Along with many locals l have witnessed the recent injection of hope to our community with the promise of the mine reopening and the pipeline promised in the last election. A good number of new faces can be found in our town as well, bringing renovation to houses and new ideas and skills. Many newcomers seem to have some kind of creative flair, be it musical, spiritual, artistic, or organic. Last year I was invited to Biloela Community Arts House for their annual Creative Capers Weekend. It was an amazing experience which opened my eyes up to the wonderful trail of artist workshops happening around central QLD. Thanks to funding like RADF and the support of local businesses many country towns such as Monto, Springsure, Kilburnie and Greenup are discovering the benefits of running a whole weekend arts event which draws locals, tourists and regional audiences. So what did the weekend look like? The Biloela Arts House was overflowing with tables and chairs inside and out. Tutors taught a myriad of skills; artists were keen to inspire and teach unusual and unique artisan techniques. Barbed wire was woven into the most beautiful orbs and wreaths for the garden. Fabric was woven into beautiful baskets. Lead was softened and formed around glass to create lead -lighted butterflies. . Cupcakes were decorated in the form of a flower bouquet. Native flowers and leaves were pressed to create botanical fabric prints. Coloured wool was massaged to form felt millinery. And of course, wild clay was hand -built into Small Birds and Guinea Fowl. There was no end to the talent and
skill found in the art tutors. By organising such an event, Biloela has not only employed QLD regional artists, but inspired a community and brought people from as far as NSW to participate. These two small country towns of Biloela and Mount Morgan illustrate the exciting opportunities for the artist and creative residents that reflect a growing arts movement around the region. Aside from economic development, small towns throughout Capricornia and Banana Shire are finding the benefits of creative arts projects and events for community cohesion and tourism dollars. In celebrating our towns and the creativity of its residents such events not only develop a rich sense of community but bring tourism dollars and much needed hope for the future. I for one am excited to be part of it and very thankful for the support given for Wild Mount Morgan Clay.
Central Queensland Artists
INSPIRATIONAL CREATIONS
Figure 5 Wild Mount Morgan Clay Figure 6 Steve Bishopric & Ron McBurnie
Figure 7 Nob Creek Gallery
Figure 8 monoprint mug Rockridge Creations
REFERENCES Microwave Kiln Basics and FAQs - Before You Buy – Glacial Art Glass Australian pottery: The first 100 years | National Museum of Australian Pottery Bendigo_A3_18.07.07.indd (vgls.vic.gov.au) Australian Pottery Makers A-Z 1850-1970 - CCs Retro Bendigo Pottery collection | National Museum of Australia (nma.gov.au) Slip, Engobe, and Terra Sigillata (ceramicartsnetwork.org) Seven Fun Ways to Decorate with Slips and Engobes (ceramicartsnetwork.org) Slip Decoration Techniques in Pottery (thesprucecrafts.com) Slipware - Where Does it Come From? and How is it Made? (thepotterywheel.com)
WILD MOUNT
MORGAN CLAY
HOW TO CONTACT US 0427314410 louielouisea@live.com www.wildmountmorganclay.au
