Yes it is true, I have finally finished and passed my Ceramics course at Australian National University. It took a long happy time as I deferred a couple of times but clearly Distance Study works for me. Ten glorious days of residential school twice a year, getting the work done at home was the only way I could study Ceramics to diploma level. It is not formally taught in Perth, which, given the facilities available at Perth TAFE now 'Central Institute of Technology' - is tragic. I flew to Canberra with my final pieces mummified in layers of bubblewrap and styrofoam crates for assessment. I was 'over it' and ready to be released to do all the other stuff that had been waiting to be done, including two exhibitions and competitions I had plans for too.
The tutors at ANU this time were the legendary Jack Troy and Ilona Romule, Latvian Porcelain Artist, both of whom were unbelievably generous with their time and wisdom. I bought three small pieces of Ilona's work (an occasional bonus opportunity) and Jack's book of poetry, as well as some pieces by other graduating students. Sold some too!
This one was a favourite of mine, with screen printed tissue transferred cobalt carbonate. I had experimented with cobalt and also with dark blue stain, I loooved the way the cobalt mix bled and seeped rebelliously over the white porcelain surface. I made some real beauties, if I say so myself, and lost most of them to the Kiln God who is not happy that my kiln door is falling off at one hinge. All photos in this post by Deb Plumb, Photographer.
The work ethic in the ceramics department was maxed up like I had never seen before. Students brought appropriate work to go into the wood firing kiln at ANU, spent the first day packing the wood kiln, then the roster began to ensure the firing went well for the next few days. A sense of bonhomie settled on the group, rallying from their fatigue to watch (and listen) as Jack gave throwing demos, with many gems of wisdom on life, the universe etc. Ilona taught how to make a plaster model, shape, carve, perfect it, take a mould from it, slip cast and china paint - how is that for packing it in? Ilona was fantastic and unbelievably supportive to us to strive for the very, very best we can do. The dedication of the tutors to conveying all they had to share was met equally by the determination of the students to soak it up, often into the wee hours. With humour and kindness, Janet DeBoos, with Greg Daly and Joanne Searle guided six distance students through their final assessments along with a small exhibition and opening. Janet is the most amazing champion of making it possible for ceramics students to find a way to pursue their interest hence her instigation of the Distance Diploma at ANU which is now evolving into a more wide ranging flexibly delivered opportunity to study.
Here is some of the work I put forward for my final assessment for the Diploma of Art - double-walled, wheel thrown, unglazed, porcelain, with printed imagery in screen printed cobalt or iron oxide laser decals from digital images of twigs I photographed/drew/tweaked.
Leaves, birds, feathers, twigs - to me they are about making a home, and looking after your people.
An Australian potter shares her thoughts on the clay life. Elaine Bradley has a special interest in Print on Clay techniques.
Wednesday, September 1, 2010
Sunday, May 23, 2010
CHRIS WEAVER
Members of CAAWA are extremely lucky to have New Zealand potter Chris Weaver teaching us this weekend. I had seen his work at the Rex Irwin Gallery in Sydney http://www.rexirwin.com/artists/exhibitions/2009/Tablewares/index.htm during the Ceramics Trienniale last year and never forgotten it. I would put Chris and my superclayhero Takeshi Yasuda http://takeshiyasuda.com/ in the same league, ie. right at the top of the ladder.
Chris's home is on Kaniere, east of Hokitika on the west coast of the South Island of New Zealand. I hope I got that right, I haven't had the pleasure of visiting NZ yet, but his photos make it look so good for the soul. After two days of talking about how and where he works, half the attendees decided we need to arrange a pottery tour of NZ and soon.
How to begin to even describe the range of techniques he employs, he is a master of the wire cut, using wiggle wire to remarkable effect far beyond what most people stop at, he makes all his own wooden elements, handles, laminated and steam bent wood, he encloses forms, then manipulates them into organic gems, his squared vessels have you pondering whether they are thrown or slabbed ... you must have a good look.
Pop over to http://www.chrisweaver.co.nz/ the website is beautiful, the photography is just lovely and you will luxuriate and get lost in his work, trying to figure out how he achieved such results, he tells me though, that his website is a little out of date. Apart from his innovative approach to clay, Chris is well known for his use of wooden handles and accents in his work, elements that he designs and forms himself from driftwood.
When I went over to say g'day to Chris I almost stopped midsentence having spotted all his tools laid out on a table beside the wheel he was about to demo on. I noticed almost everyone reacted in a similar way, we all gasped and picked up the implements enjoying their fine surfaces and the almost ergonomic way they fit the hand or the task they were made for. I have a woodworking friend I just can't wait to show this stuff to, maybe we could collaborate sometime.
I love the thoroughness of his site though, he has several images of his works from over the years groups according to the style he was working with at the time - his Salt Fumed Series, Iron Series (which stemmed from the form of his grandmother's old iron), his wire cut series, the one he calls pillows and so much more ... I realised I had downloaded images of his work for years as 'inspirational' images for my studio and here he is showing us how he gets such results.
This more than makes up for the lousy Mother's Day I had recently.
Chris's home is on Kaniere, east of Hokitika on the west coast of the South Island of New Zealand. I hope I got that right, I haven't had the pleasure of visiting NZ yet, but his photos make it look so good for the soul. After two days of talking about how and where he works, half the attendees decided we need to arrange a pottery tour of NZ and soon.
How to begin to even describe the range of techniques he employs, he is a master of the wire cut, using wiggle wire to remarkable effect far beyond what most people stop at, he makes all his own wooden elements, handles, laminated and steam bent wood, he encloses forms, then manipulates them into organic gems, his squared vessels have you pondering whether they are thrown or slabbed ... you must have a good look.
Pop over to http://www.chrisweaver.co.nz/ the website is beautiful, the photography is just lovely and you will luxuriate and get lost in his work, trying to figure out how he achieved such results, he tells me though, that his website is a little out of date. Apart from his innovative approach to clay, Chris is well known for his use of wooden handles and accents in his work, elements that he designs and forms himself from driftwood.
When I went over to say g'day to Chris I almost stopped midsentence having spotted all his tools laid out on a table beside the wheel he was about to demo on. I noticed almost everyone reacted in a similar way, we all gasped and picked up the implements enjoying their fine surfaces and the almost ergonomic way they fit the hand or the task they were made for. I have a woodworking friend I just can't wait to show this stuff to, maybe we could collaborate sometime.
I love the thoroughness of his site though, he has several images of his works from over the years groups according to the style he was working with at the time - his Salt Fumed Series, Iron Series (which stemmed from the form of his grandmother's old iron), his wire cut series, the one he calls pillows and so much more ... I realised I had downloaded images of his work for years as 'inspirational' images for my studio and here he is showing us how he gets such results.
This more than makes up for the lousy Mother's Day I had recently.
Friday, May 21, 2010
MUSIC TO MY EYES!
Baroquen Strings by Anita Staaden
What better medium than glass to represent the crystal purity of a violin note! “Baroquen Strings” represents the rise to popularity and development of the violin during the baroque period. The arches and curtains in rich velvet colours are symbolic of the architecture and opulence of the time, and the opera houses, chateaux and palaces for which baroque music was commissioned . Baroque style was characterized by rich ornamentation. This was evident in music, but also in architecture, furnishings and clothing, hence the elaborate window mouldings, lace, brocade and jewels. “Baroquen Strings” features handwritten manuscripts by Vivaldi, Corelli and Albinoni, and names some famous baroque composers who wrote works for the violin.
Friday, May 7, 2010
Ceramics in Vogue, thanks to Vogue!
This is the third time I have found the work of someone I knew within the pages of Vogue Living (Australia) while flicking idly through it in my local newsagents, figuring out whether I needed another indulgence in my life. Vogue Living often includes some inspiring reviews or articles on design and invariably at least one article on a 'maker'. The publication ought to be commended for this inclusive approach, as they are truly bringing the artist into the homes of those who may wish to collect our work.
At a glance my friend Jodi Dawson is on page 54, with her handpainted plates, Potter Rynne Tanton who is at Crickhallow Pottery in Tasmania (page 77) - they call him a Ceramics Wizard - what a lovely title! He is shown making cracked clay surfaces on his thrown ware - they say he uses a gas torch but I think he is also using sodium silicate on the surface and stretching from within, as I learnt from Janet de Boos at ANU Distance School in Ceramics not long ago. More from the man here http://resources.education.tas.gov.au/item/edres/d81fa561-6c23-91df-052d-592808eb3861/1/tanton_final.zip/rynnetanton.htm Someday soon I will learn how to do short links - emails welcome!
AAAAAND ..... Perth W.A. Midland Atelier is given attention on page 103. I nearly went blind though trying to find those page numbers for you, so check it out.
Blogger is busy and won't allow me to upload an image, but I will later.
Friday, April 16, 2010
ALANA MC VEIGH

I am heading out again this Wednesday evening to catch Alana and Claire's exhibition at
EMERGE Art Space
676A Beaufort Street
Mount Lawley
Perth
21st April - 7th May
676A Beaufort Street
Mount Lawley
Perth
21st April - 7th May
Alana used to be a member of Clay Feet and I caught up with her at SODA in Cottesloe at the weekend at Laura McKibbon's lovely exhibition. I succumbed to the collecting bug there too and bought a small piece. There were some very fresh and innovative pieces there from collaborating with some of the SODA artists, like Fleur Schell and I liked seeing Laura's domestic ware in the flesh and not via her website for once.
It is always a feast or a famine with exhibitions, often several falling on the same night. Alana throws with Southern Ice Porcelain, water etching delicate patterns on the surface, a tricky technique but very rewarding. She has recently been in China on a museum residency. Claire's paintings are exciting and I see she won the Churchie Emerging Artists Award 2009 (painting category) so I am keen to see what she has been producing since then.
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