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MEET ANNE MASTERS, OUR INAUGURAL EASS ARTIST-IN-RESIDENCE

7.30pm Wednesday 29 FEBRUARY 2012

The first recipient of a CPS residency as part of the Emerging Artist Support Scheme (EASS), Anne Masters has been working in our new residency studio since the middle of January. Anne uses Southern Ice porcelain and incorporates delicate relief decoration obtained by a shellac wash-back method into her pieces. Many of you will remember the beautiful wearable art pendants which Anne exhibited in our 2011 Members' exhibition. Now she is moving on to a new project extending the skills she has built up during her time at ANU.

Come to the artist-in-residence studio at Watson Arts Centre at 7.30pm on Wednesday 29th February to meet Anne, view her new work and engage in discussion of the processes which go into the development of new work.

Don't miss this first event of an exciting new year.

 

A DAY at LOOPLINE POTTERY with STEVE HARRISON

Report by Dalma Demeter

On 19 November 2011 a group of enthusiastic potters (from the very beginners to experienced artists) headed down for a daytrip to Balmoral Village to visit Steve Harrison’s and Janine King’s Loopline Pottery. A few of us got somewhat lost when crossing the historical Picton-Mittagong Loop Line railway (giving the name of the studio), but we honestly enjoyed the unintended additional visit to some fairy-tale-like corners of the village before reaching the small estate hidden in beautiful bushland.

We received a tour of the house, gardens, workshops, and listened to stories that reflect a lifestyle many of us probably dream about, but few can achieve. Steve and Janine built their home and workplace and live their life with a minimal impact on the environment. Their house – originally a country school, expanded with materials obtained from an old train station – could serve as a model of sustainable living. The organic garden offers almost everything a healthy family could need and the workshops are entirely carbon neutral. Solar power, energy efficient appliances, rainwater tanks, furniture made by Steve from wood that nature offers of its own accord, and pots made in a wood-fired kiln; all setting a respectable example, especially considering the only consumption-based city life most people know.

We admired Janine’s floral-painted pots, each looking like a piece of Spring in lively, fresh colours; and listened to Steve, who seems to understand the language of rocks. Apparently all stones from the shire - and even the roadside debris, can talk to Steve. He can often tell from a simple crack or angle of an edge, what clay or glaze that rock can turn into. While he bases his prediction on rock-solid chemistry knowledge and yet claims to often be surprised by the result, his skills appear to the ordinary (but artistic-veined) layperson as the capability to see the colourful butterfly in an ordinary caterpillar. Steve collects rocks, mills them into fine powder, then mixes it with other materials, most of which he’s also collected and prepared. He produces unique little pots whose colours could never be compared to or copied by machines; reflecting the triumph of art over industrial mass production.

After immersing ourselves in Steve’s stories filled with contagious enthusiasm for sustainable life and pottery, we had the chance to pretend that we too could create glaze from the rocks offered by the shire. Steve made our task almost embarrassingly easy by providing all the raw materials, tools and the recipes. At this date it’s unknown if we managed to produce the same glaze as the samples also provided. Irrespective of the outcome, the process was real fun, and we curiously wait for our ‘masterpieces’ upon a test grid tile fired at CPS, reminding us of a wonderful day spent in Balmoral.

Thank you, Steve and Janine, for the insight into an admirable sustainable lifestyle and the glimpse into the magical world of Loopline Pottery!       

You can find out more about Steve Harrison at www.hotnsticky.com.au

Above image: hard at work learning Steve's glaze testing method

INDIGENOUS CERAMICS and other 3-D art at the National Gallery of Australia - July 2011

On a cold afternoon, eleven CPS members and friends (one celebrating a birthday!) joined guide Elizabeth Bennett to view some of the very special ceramics in the national collection by indigenous artists.

Elizabeth had been asked to focus on the work of a well-known recently deceased artist and had arranged for quite a number of her works to be retrieved from storage and made available for us to view in the Study Room.

Out of respect for this artist's culture we are not allowed to use her name and she is referred to as "Thapich" which means "the person who we know" and would have been what she was called before she was born.

Rose, the curator for the Study Room, had assisted Elizabeth in researching these works and we were told the relevant dreamtime stories in the artist's own words.

It was a privilege to see the works in such detail. Elizabeth had also arranged for a selection of pots from Hermannsberg, Ernabella, and the Tiwi Islands to be available in the Study Room.

The very different styles from the various regions were fascinating. Moving from the Study Room to the galleries, Elizabeth showed us a more extensive range of work from Hermannsberg now very appropriately displayed alongside the paintings of Albert Namatjira, who was also from Hermannsberg.

We finished by viewing work by CPS board member Janet Fieldhouse, who is of the Torres Strait people.

Altogether a very interesting and inspiring tour - and there is a lot more to see. We may have to arrange another visit.

Jane Crick

A members' event with visiting artist Hillary Kane was organised at short notice in May, while Hillary was at Watson conducting a 2-day workshop. Despite the short notice and only being able to notify members by email and word of mouth, we had a great turn out. Hillary was an enthusiastic speaker and inspiration to all.

PIT FIRING with Maryke Henderson - Saturday 9 April

On Saturday the 9th April students from Jane Crick's Monday and Maryke Henderson's Wednesday classes along with a number of members met to pack their pots for a pit firing. it was a beautiful still morning ideal for the firing.

Pots of all shapes and sizes and of a variety of clays were prepared for the pit. Copper wire and string soaked in a solution of salt, borax and copper carbonate was wrapped around some while others had seaweed placed on them. A wadding mix which contained salt, copper, crushed heat beads, sawdust, cow manure and fire clay was placed amongst the pots.  Salt and copper carbonate was placed on the bed of sawdust on which the pots were placed. The pots were then covered with timber and lit from the top.  The fire was allowed to burn slowly with the help of some corrugated iron and the pit was re-stoked twice during the afternoon before being closed down.

Overall, the results were good and most pots had good colour. In this firing even the white raku clay responded well. Maryke's students were very happy with the results and plan to do it all again next term.

Great food (thank you, Maryke Henderson and all your helpers), good weather and great company –what more could you ask? It was a terrific way to round off 2010.

SALT FIRING

November 2010 members' event - report by Jane Crick; photos by various participants

Twenty-one CPS members participated in the salt-firing at Strathnairn on Saturday 13th November.

The kiln was loaded on the Friday morning with many willing helpers - some of whom stayed for the whole time (9am to 2.30pm) even though flagging from the heat as the day went on.  Wadding was mixed; many small balls and sausages were made and applied; slurry was slurped; and everyone learned a lot from Alex's beautiful and thoughtful pack.

At 6am on the Saturday morning Alex lit the kiln and the gas pressure was increased a little every thirty minutes until the gauge read 14psi. When the temperature in the kiln reached about 1000ºC, as indicated by an 06 cone, the damper was closed to about one third to throw the kiln atmosphere into reduction to ensure the clay bodies were reduced. After about an hour the damper was opened again and the temperature in the kiln began to rise steadily. As always there was a difference in the rate of temperature rise in various parts of the kiln and this was monitored by observation of the fall of cones placed at strategic points.  By 6.30pm the kiln had reached 1240ºC and the salting could begin.  The damper was closed as before and the gas pressure was reduced to 10psi so that the sodium fumes would be held in the kiln as long as possible.  As the kiln has been well-used and already had a large build-up of salt inside Alex salted twice, using about 8kgs of salt each time, and allowing the fumes to clear and a short period of oxidation between the two saltings.  The final temperature in the kiln was between 1260ºC and 1280ºC.  A total of four draw rings were pulled from the kiln to assess the salt-glaze development.  A constantly changing support crew assisted with the firing - many thanks to all, and especially to Alex.

Alex has said that this was a very successful firing and that the most variable, and possibly the most result-influencing, element was the choice of clay.  Certainly reactions varied from ecstatic delight to dismal disappointment.  Such are the vagaries of salt-firing.

What can influence the results achieved:

• The choice of clay - as stated before, white clays and highly porcelaineous clays will seldom give good peel or coloured results.  We had a lot of white clays in this firing.  Dark clays will sometimes be too chocolatey or black.  We had very dark clays in this firing, too.

• The position of the piece in the kiln - is it shaded by another piece or a prop? or just too far away from the vapours?  We had many small pieces and many bowls and flats in this firing.

• There should be a reducing atmosphere in the kiln at about 1000ºC to reduce the clay and again during the salting to produce glaze colour.

• The height of the salting ports above the burners should be correct to allow the salt to sublime quickly.  This kiln has been used successfully many times and its suitability should be beyond question.

• The bag walls inside the kiln should be of a height which allows sodium vapour to freely enter the chamber of the kiln.  The bag walls of this kiln are tried and tested and always utilised in the pack.

• A short period of reoxidation after salting will brighten colours. 

This kiln sometimes does not achieve this.

What clays did I use?

1. TMK - a white porcelaineous clay - it gave, as expected, a cold grey, lightly peeled result, and had been textured and decorated accordingly.

2. CPS recycled stoneware with 10% BRT added - nice bright result with good slip response.

3. Keanes White Raku - disastrous. This clay has previously given good results but the current batch appears to resist fuming at any temperature. The applied glazes had melted so correct temperature was reached but, although showing signs of trying to sodium react, the clay surface was rough and dull.  Companies change their clay sources all the time so one must expect that occasionally a clay will not perform as anticipated.

4. Mansfield Wood-fire Porcelain - glorious in every respect, wherever it was in the kiln.

Another opportunity to salt fire will be offered next year so that we can practice all we have learned.

Alex de Vos - kiln master

Finished works

Some of the finished works

Jeff Mincham: Ceramics

Living Treasures: Masters of Australian Craft

On Saturday 17th July over 40 people came to the gallery to hear Greg Daly interview Jeff Mincham. This fascinating insight into Jeff's life and work was followed by a floor talk about some of the individual pieces in the exhibition. Many thanks go to Greg and Jeff for this wonderful event.

Read more about the exhibition, which is in the gallery from the 16th July to 22nd August

Image: Jeff Mincham working in studio, Cherryville, South Australia, 2009. Photo: Grant Hancock

ROSELINE VEDRINES

May 2010 members' event - report & photos by Jane Crick

An enthusiastic group of CPS members enjoyed meeting and conversing with Rosline Vedrines at her exhibition 'From Paris with Love'. Seated in the garden of Strathnairn homestead on a glorious autumn afternoon, Roseline told us of her childhood in Normandy and her delight in observing the countryside. As a young adult she moved to Paris to study a language-based course at a international institution and, while there, she started wood carving as a serious hobby.

Roseline and her family moved to a small town about 4km west of central Paris. She found there was no opportunity there for working with wood and so she discovered clay. She enjoyed the immediate responsiveness when compared with wood and has been working with clay ever since. She exhibits annually at Potters Markets and also has private exhibitions and supplies a shop in Corsica, where her family enjoy their holidays. Recently she has become more serious in her approach to her clay work as she has been given recognition by an important auction house in Paris, which now stocks her work.

Roseline has been working with raku-style firings for about three years and particularly likes the naked raku techniques although "burnishing is very hard work"! Several of the pieces in her exhibition demonstrated naked raku and it was particularly striking on her figurative work.

Thank you, Roseline. I hope your wish to visit Australia again comes true.

Roseline contemplates one of her beautiful women

"Oops" - and in spite of his accident, he found a new home!

AGNIESZKA BERGER

March 2010 members' event - report by Jane Crick

An interesting and entertaining evening was enjoyed by eleven members who attended this presentation by Agnieszka. A short video introduced us to some of the work she had made in Poland. She was one of a small group of potters using a co-operatively run studio in Warsaw which served as a focus for learning skills associated with making clay objects, kiln-building and firing. Much of the work featured decoration by photographic printing on to the clay, a technique which was new to most of us and which Agnieszka is hoping to use again now that she has "found a friend with a dark room". Clay sculptures with moving parts and mixed media inclusions also featured strongly, as did the female figures we have come to recognise as Agnieszka's work. This work sparked animated discussion and Agnieszka was very generous with her explanations and information. Following the presentation of her own work, Agnieszka introduced us to the work of four of her favourite European ceramists:  Leanid Tratseuski from Belarus and Andrzej Bero, Barbara Trzybulska and Kasia Modrzejewska, all from Poland. Photographs of work by all these artists can be viewed on the internet.

Thank you, Agnieszka, for opening our eyes to something new.

A morning of low temperature Smoke Firing for Decoration

February 2010 members' event - report & photo by Joan Barrass

Who could resist the chance to use some resists in a smoke firing with Jane Crick at the recent members' event? Certainly not certain people from Cooma, the coast, further afield and local - a small but extremely enthusiastic group who enjoyed the morning enormously while experimenting with various methods of mark making on the smooth, or preferably burnished, clay surface.

There were two methods of smoking the pots - slow and fast. The slow method used shredded newspaper compressed in the base of the metal garbage bin, pots were then placed on this layer and further shredded newspaper over and above the pots to the top of the bin.  The newspaper was lit and left to smoulder for an hour and a half.

The fast method also used newspaper, this time not shredded but loosely crumpled in the base of the bin, pots placed and more crumpled newspaper to the top of the bin.

The newspaper was lit and smoking took place.  Some pots were refired with this method, each time gaining further smoking marks. These two methods gave varying degrees of smoke absorption as a result of resist slips, foil, strings and textured wrapping.  We were all excited and very happy with results and the experience we gained which will certainly be used for some adventurous smoke firings in the future.

August 09 members' event with Jane Crick

The programme for the 43rd Conference of the National Council on Education for the Ceramic Arts, held in Phoenix, Arizona, was very full with many concurrent sessions. Each day I read the programme and prioritised what I would attend. Many of the lectures were written up in part or in full in the NCECA Journal and so it was possible to make informed decisions about which sessions would be most pertinent to my project. Many thoughts for teachers to consider came from the discussion session ‘What Works?’ – motivation, morale, competition, collaboration, positive reaction and rewards, adventure and extension, communication, critique (aesthetics, content, craft), passion and fun can all be incorporated into classes and workshops.

Influences, symbolism, process, scale, personal vocabulary, social issues, whether works are sculptural or functional are all qualities which can be discussed, related and evaluated and appreciation of which can be taught.
Teacher, tutor, mentor, trainer, modeller, instructor – I have heard all these terms; they do not describe the same activity but they are all educators. Of the educators I met during my study tour some fulfilled only one of the listed roles and some definitely fulfilled two or even more of those roles. The focus and manner of presentation and dissemination of knowledge is as varied as the titles. I have found that it is possible to take something of value from every model. The most inspiring educators with whom I spoke were Cynthia Bringle and Dan Finch in North Carolina and Sandy Brown in Devon, UK. Other highlights included the opportunity to view more than fifty exhibitions of ceramics across all areas I visited.

I have learnt a new motto, “Showcase what you do!” Without exception the studios I visited had a gallery exhibiting examples of the work made in that studio. The motto can also be applied to the promotion of workshops. I have also learnt that it is quite possible to throw exhibition quality pots while watching the rodeo on TV and listening to Blue Grass music at full volume......

Anyone interested in reading my report to the Churchill Trust can access it at www.churchilltrust.com.au

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July 09 members' event report by Jane Crick

An evening with Lindsay Oesterritter

On Tuesday 14th July, at very short notice, a small number of CPS members were fortunate enough to be present at a most interesting and well-presented talk by Lindsay Oesterritter. Lindsay is currently artist-in-residence at Strathnairn. She is a wood-firer with particular interest in the reaction of unglazed clay to

the flame. She attended Utah State University where, under the tutelage of John Neely and his team, she developed many clay bodies and researched their response to wood-firing and particularly to colour

development during reduction cooling. Lindsay explained very clearly what she meant by "reduction cooling" as it was a term new to many who were present. In most reduction firings with wood or gas the kiln damper is closed, or partly closed, near the end of the firing to reduce the oxygen in the atmosphere in the kiln and then there is often a short period of reoxidation before the kiln is clamped up and allowed to cool naturally. In "reduction cooling" the kiln is fired to it's top temperature, with reduction, and then after the kiln has been clamped the fire is occasionally fed with small amounts of fuel to ensure that

the atmosphere in the kiln remains starved of oxygen while the temperature drops. This ensures that the clay body remains reduced and retains any of the colours developed during the firing. Lindsay is not a fan of huge ash deposits on pots but she particularly likes the contrast between the honey coloured natural ash glazed areas and the "cranberry" reds of the clay body she prefers. Lindsay illustrated her talk with images of her simple forms with peaceful surfaces, with a lot of the "cranberry" she looks for.

Thank you Lindsay for a most informative and enjoyable presentation.

Photo source Internet - http://www.avicam.com/profile/oesterritter.php

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May 09 members' event report by Jane Crick

The Benalla Community Mural with Lisa Baier

On 29th May a small group of CPS members gathered to be totally enthralled by Lisa Baier's presentation on her "personal addiction" - the Benalla Ceramic Mural. The history and recent working on the mural are well detailed in the latest issue of the Journal of Australian Ceramics (issue 48/1). Lisa expanded on her personal involvement with the mural and gave a stimulating and informative visual presentation referencing the development of the community artwork - a 25-year project to date - to the work of Antonio Gaudi, internationally acclaimed Spanish architect. The curves, cupolas and mosaics of the mural are certainly reminiscent of those seen in Barcelona, whilst the continuing theme represents a very Australian ethos. The Benalla council have now decreed that the mural must be finished by 2010; volunteers are still needed to ensure that the work is finished. For those who missed this exciting event - I feel sorry for you. There are brochures about the Benalla Mural in the committee room if you wish to find out more. It would be a fascinating short detour on a trip to Melbourne and maybe you will become as addicted as Lisa.

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March 09 members' event report by Jane Crick

Anita McIntyre

What a pleasure it was to welcome Anita McIntyre to the Canberra Potters' Society studio. Those members who came on what was the first evening of the long weekend holiday were not disappointed. Anita spoke with enthusiasm and humour of her early-life love of painting and her experience as a High School student in Queanbeyan having to study "ART" by distance education as "ART" was not offered in the general curriculum.

She told of her discovery that painting did not have to be a literal illustration of what was seen but could be an expression of ideas in an abstract way. After leaving school Anita continued to pursue painting and after a few years it was suggested to her that she should also try "pottery". Like so many of us she fell in love with clay and has used it to express her art for many years now.

Shortly after completing her tertiary qualification at what is now the ANU Canberra School of Art, Anita joined the staff of that establishment and she continued there until her retirement from full time teaching in 2003, and is still involved as a Visiting Fellow.

Anita's early work was very much influenced by her travels around Australia and she showed some stunning views of the Kimberleys and other areas of northern and western Australia and indicated how they had influenced her work. Aboriginal spirits and central Australian desert landscapes also played their part in the development of her decoration.

Most recently Anita has become intensely interested in her family history. A fourth generation Australian from one side and a fifth generation one from the other side means that she feels a great bond with the land. Using old parish maps, following traditional migration pathways of creatures endemic to the Queanbeyan area, such as the Bogong moth, and ever influenced by features in the landscape Anita tells, through her work, the story of her predecessors’ interaction with the land.

An entertaining and inspirational evening.

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