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Workshop report - Summer School with Chris
Harford Jan 2011
Workshop report - Sandy Lockwood October 2010
Workshop report - Raku Weekend October 2010
Workshop report - Bev Hogg June 2010
more workshop
reports
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2012
SUMMER SCHOOL 9th to 13th January 2012
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Wheelforming
with Kevin Boyd
Read the workshop
report below
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Figurative
Sculpture
handbuilt ceramics with
Bev Hogg
Look out for the report on Bev Hogg’s Figurative
Sculpture Workshop in next month’s edition.
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Wheelforming with
Kevin Boyd
Report by Andrea Ho
All
potters are secret pyromaniacs. They love to fire
things very, very hot. Relating one of many
colourful and entertaining stories, Kevin remarked
that he had once fired an entire car engine in his
kiln.No-one in our class of twelve said, “How
bizarre”. No-one asked, “What happened?”, or even,
“Why?”
Someone DID ask, “How high did you fire it?” Kevin
replied, “Stoneware, of course.” Fire formed the
bracket of our five-day wheel-forming workshop. We
began by considering simple
forms, first in Kevin’s opening presentation and
then at the wheel as we threw some pieces in
preparation for the naked raku (smoke firing)
planned for Friday. It was a great way to limber up,
find our potting feet after the Christmas break.
We
learned about terra sigillata, and experimented with
applying both white and a terracotta ‘terrasig’.
Over
the next few days Kevin helped us to explore
altering forms: rims on bowls, self-made stamps,
incising, adding hand-formed decoration, throwing
‘big clay’, and others. He taught us some of his
techniques that make his own work so distinctive,
including forming bowls from the rim down, and
pulling handles in his style. It was exciting to
watch each participant first try Kevin’s techniques,
and then go on to make their own unique pieces
fusing their own and Kevin’s styles. New creative
doors opened each day.
An
added bonus, Kevin proved a treasure house of tools.
His clever use of everyday pottery items has taught
us how to make sure we get even divisions of a form,
and that we never need to trim the bottom of a mug
again.
At
break times we met up with Bev Hogg’s handbuilding
students, and there were frequent ‘emissaries’ from
both classes who would go across and visit the
neighbours at work. It created a lovely sense of
community, not to mention an opportunity to share
artistic ideas and even enjoy a joint presentation
by the two teachers on creativity.
On
Friday our work reached a fiery climax with a full
day of raku firing. It was a harsh, violent, messy,
glorious process, producing some stunning results.
With so many helping hands and volunteered kilns
(thank you Chris, David, Julie, Ian) there was room
to experiment with technique even on the day. It
satisfied the hearts of even the most enthusiastic
pyromaniacs (we had more than a few in the class).It
was a great joy, almost a guilty pleasure, to spend
a
week with clay and with Kevin Boyd. Look out for
some new and exciting work from artists in Canberra,
Parkes and even Adelaide in 2012. |

The output from Kevin Boyd's class
was prolific.

Friday
lunch for all gave Chris a chance to show he can
cook great pizzas as well as make great
pots.

Last day was a naked raku day – only
the pots! |
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Figurative Sculpture
handbuilt ceramics with Bev Hogg
An
intensive workshop focusing on the development of
ideas and technical skills to create expressive 3D
figurative forms. Students are encouraged to bring
along ideas, inspirational images, visual diaries
and texture making found objects with a view to
developing their own visual language. There will be
practical demonstrations of construction techniques
and surface treatments followed by time for
experimentation and discovery. The aim is to create
a valuable resource that will form a palette of
ideas to create works made during the workshop and
inspire future works.

Shelter 2010 Bev Hogg
wall display clay, slips & downpipes 24h x86w
x 10 d cm Photo. Bev Hogg |



Fusion 1, 2 & 3 78hx45x55cm
2010 Bev Hogg
Photo: Joseph Lafferty
Medium: Clay, slips & glaze
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A
Thousand Surfaces Condensed:
A decoration workshop with Hillary Kane
Wednesday 4th May & Thursday 5th
May 2011
The canvas
of clay poses an enormity of possibility. In the course of
two days of demonstration and experimentation, this workshop
explored techniques harvested from many cultures and
manipulated in many and surprising ways to suit contemporary
expression in clay. Techniques included a taster’s choice of: sgrafitto, engobes, hakeme, rope-texturizing, stamping,
paddling, wax-resist, slip brushwork, and underglazing.
Porcelain and stoneware were thrown and hand-built as the
basis for exploration of surface elements.
For every
technique, there was opportunity for participants to
experience hands-on—more for the chance to experiment, less
in order to complete a full piece in the time frame of the
workshop.
For artist
and nomad, Hillary Kane, the world continues to draw her out
like the tide. Travel and work has led her to claim
residence in several continents and innumerable countries.
Inevitably, the artistic culture of each has imparted
indelible influence upon her own work and continues to be an
endless source of inspiration. Educated in the United States
and France, she now resides in Bali, Indonesia. She focuses
her creativity in both clay and paint, enjoying the dynamic
of two very different mediums and their possible confluence.
She has recently attended an international wood fire
conference in La Borne, France, and a completed a wood-fire
residency in Aomori, Japan. After a year as
artist-in-residence at Gaya Ceramic and Design, she is now
directing the launching of Gaya Ceramic Arts Center in Bali,
Indonesia.
About her
work, Hillary writes, ‘I see my artwork as a journey in
which the process, the very visceral act of creating, is as
significant as the final outcome. It is labyrinthine in its
development and I am often surprised by the intuitive level
of its revelation. I am entranced by the visual traces of
this journey and the slow development of a patina of color
and texture, the subtle variation of simple forms, and the
impact of timing, of time. To me, these layerings offer
clues to the suggestion of visual references, to the stories
embedded, to the many possibilities of interpretation. And,
perhaps, therein begins the dialogue. ’
For images
and more about Hillary visit
www.hkane.com
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| GEOFF
CRISPIN - A WEEKEND WORKSHOP
19th & 20th March 2011
In conjunction
with his exhibition, Form,
Fire & Fruition opening in the gallery on Friday 18th
March, Geoff Crispin will be conducting a two-day workshop.
Topics to be included in this workshop include;
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Working
with porcelain; throwing considerations, slip casting, slab
building
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Combinations of techniques
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Demonstration
of throwing porcelain pieces, small, large and multi-pieced
-Considerations
with design of carving
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Demonstration
of carving techniques
Geoff has
travelled widely, often working with underdeveloped
communities including remote indigenous communities of
Ernabella, Tiwi Islands and Hermansberg. He has curated many
exhibitions and written extensively for ceramic publications.
About his work Geoff writes:
‘My
work reflects my pre-occupation with exploring the
interactions of local raw materials (wherever possible),
process (wood firing) and the maker. Current work is a
synthesis of technology, raw materials and various production
methods (throwing, slip casting and slab building). The pots
combine a porcelain body (combed, scratched and carved) with
ash, celadon, copper red and chun glazes to achieve a very
subtle effect. The pale greens of both celadon and ash glazes
contrast with the warm flashes from the wood kiln to create a
very personal means of expression. Influences from Asia, the
Middle East and Australian Aborigines are evident in the
work. The pots have their roots in traditional sources but
with a look and feel that reflects a contemporary presence’.
For more
information about Geoff visit his website
www.osmosis.net.au/crispin |



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top: Geoff Crispin
middle: Barrel Form slip
cast with slab additions, ash & celadon glazes, 1320oC
bottom: Pot, carved, ash &
celadon glazes, Whiteman creek porcelain body,
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Workshop
report -
Reflections on the
Teapot and Casserole Workshop
workshop report by
Marg Cotton
10-14 January 2011 |
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In
a strangely wet week in January a group of 13 students
attended a Teapot and Casserole Workshop. With his recent
award winning entry in the Fusions Teapot Competition in
Brisbane who better than Chris Harford to lead the group
through the dark mysteries of teapot making?
The first
three days of the workshop were devoted to teapots. A table
full of teapots of various shapes and sizes greeted us on our
first morning. The features of the pots were noted and
different approaches to discourage lids from falling off were
discussed. After instruction on the need to visualise and plan
our teapots, and an inspiring demonstration on throwing the
pot and lid, we were let loose on the wheels. With the goal of
trying to throw 5 or 6 pots ringing in our ears, not many of
us paused to draw our visualisations before slapping down some
clay to make a start.
The
concept of throwing half a dozen teapots seemed ambitious for
those in the group who had never attempted one before. But the
benefit of having multiple pots on the go soon became
evident. In something akin to the free flowing approach that
is sometimes evident in a family with 5 or 6 children, there
seemed to be less agonising over the peculiarities of a single
pot when there were so many others in need of attention.
Throwing a number of items in succession also allowed a rhythm
to develop and throwing skills improved with repetition.
The second
day saw us trimming pots and being instructed in spout
throwing and pulling handles. Rain and humidity meant that
that the pots and lids had barely dried overnight. The buzzing
of heat guns filled the air as we sought to dry our pots to a
workable leather hard stage. Throwing a spout with an even and
not too heavy wall proved to be much harder than it looked.
Chris had demonstrated the technique with a Ninja-like
dexterity that eluded many of the students.
Day three
was assembly day. Trimming and lid fitting continued, and
spouts and handles were attached. Chris provided endless
patient assistance - reminding us of the necessary steps,
saving the occasional runaway pot and advising on spout size
and orientation. Amazingly, as the day progressed the teapots
began to come together.
On the
fourth day we turned our attention to casseroles. Again we
looked at a range of approaches to these vessels and Chris
generously shared his experience on what works and why. The
perils of asymmetric shrinkage, for example, encourage Chris
to carve galleries at the leather hard stage after some
shrinkage has occurred rather than throwing the gallery. Again
Chris adeptly demonstrated throwing the casseroles and fitted
lids. He also showed how to make an oval shaped casserole
with a slab base.
On our
final day there was a flurry of activity as we all sought to
finish off pots in various states of completion and dryness.
Again the hum of the heat gun was pervasive. Handles, knobs
and bases were being applied throughout the workshop and
casseroles took shape. While we broke for a very enjoyable
shared lunch in the courtyard most of us were back in the
workroom determined to finish off the teapots and casseroles
that were under construction.
Reflecting
on the workshop it was a luxurious opportunity to devote a
whole week to developing and improving our potting skills. We
all left inspired and encouraged to seek to create beautiful
and functional pottery. Another fantastic workshop - thanks
Chris!
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Workshop
report -
Making Handles with
Sandy Lockwood
workshop report by Maryke Henderson
23rd & 24th October 2010
On the
23rd and 24th October 8 members attended a workshop with a
focus on handles with wood-firer and salt-glazer, Sandy
Lockwood. Sandy started by demonstrating her technique for
her loosely thrown forms and made components for teapots and
cylinders for mugs. We viewed slides of her work, her
workshop and pots that she had seen in France during her
recent travels for a wood-firing conference. She also brought
along a wonderful collection of pots with handles for us to
drool over.
We were
then challenged with her techniques, as we attempted to make
our own loosely thrown forms. On Sunday Sandy demonstrated
the assembly of her teapots and then we struggled with our own
pots, making handles that complemented the forms by using
different methods.
It was an
inspiring and challenging weekend with a talented and giving
tutor such as Sandy.
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Sandy Lockwood with a handled
teapot |
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Sandy Lockwood has been working with clay for over 30 years.
She has taught extensively at TAFE, NAS and university. She
has exhibited widely in Australia and overseas including
Japan, USA, UK, The Netherlands, Korea, and France. Her work
is woodfired and salt glazed.
She has presented workshops and symposia in Australia, Japan,
Taiwan, USA, and France and her work is represented in a
number of public and private collections.
For more information see her website
www.sandylockwood.com.au

Two of Sandy's demonstration
teapots in the making |
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Workshop
report -
Weekend Raku
with
Chris Harford
workshop report by David Leake
9th-10th October 2010
Over the
weekend of 9 & 10 October twelve potters took part in a raku
workshop with our resident "Raku Guru" Chris Harford. On
Saturday Chris demonstrated throwing and altering forms
suitable for the raku firing process. Chris shared his wealth
of knowledge as well as a few tips and techniques for
finishing leather hard ware. Chris said, "The attention to
detail, finishing and decorating is the key".
Discussion
on glaze recipes and demonstration of glaze application was
also carried out before we were "let loose" decorating our
own ware.
Sunday was
off to an early start. After a few firings we all had a better
understanding of the glazes and how they worked singly or in
combination. Further glaze decoration and firing continued
throughout the day - with the results from each firing getting
better and better. The colour variations from the three glazes
were amazing. The range of fired ware was varied from small
wrens, pigeons, penguins, roosters, pinecones, balls, short
and tall cylinders, lidded and open forms, vases, bottles,
bowls and flowers. All the results were very pleasing. At the
end of the day we were all still very keen and nobody wanted
to leave, we all just wanted to keep on firing!
Many
thanks to Chris for a great workshop.
CPS resident potter, Workshop
Manager and teacher, Chris Harford, conducted this workshop. Chris has been a potter for 28
years, 23 of these as a professional potter and teacher. His
works are in collections in the U.K, NZ, Ireland, Japan and
Australia.
He is predominantly wheel-based,
spending the formative years of his craft learning the
technical skills needed to make high-grade functional ware
under the guidance of Paul Fisher in New Zealand and later, as
a trainee, production throwing the domestic range for the Jam
Factory in South Australia. Then for a number of years he
turned to making non-functional Raku-fired work; this is the
style of work Chris will be demonstrating at the workshop.
Chris has since returned to his first love, the permanence of
high-fired stoneware and porcelain, but dabbles periodically
with low-fired ware.
Commissioned works include a
presentation platter to Sir William Deane, Governor-General of
Australia, and a 12-person dinner setting for the Swiss
Ambassador. Overseas commissions include four tile murals in
Duffcarrig, Ireland and a large breakfast buffet setting for
the Hyatt Kingsgate Hotel in Queenstown, New Zealand. In 1996
Chris established Spinning Gum Pottery.
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Raku guru Chris Harford

workshop members observing the
raku firing process

some of the finished works
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Workshop
report -
Figurative Handbuilt Sculpture
with
Bev Hogg
workshop report by Jenny Hadzi-Popovic
Saturday 19th & Sunday 20th June
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By 9.30am on Saturday, a
cheerful motley crew had assembled around two large tables
in the members’ work area, ready for Bev Hogg’s much
anticipated Figurative Sculpture weekend workshop. We each
came with our own diverse potting history, experiences and
ambitions; but were united with an eagerness to dabble where
we had previous dared not dabble before, be inspired to
embark on a new chapter of sculpting creativity – and, of
course, have some fun!
On Day One, Bev got us to
experiment with a variety of surface treatments on fresh
tiles of clay to demonstrate the multitude of effects that
can form part of a potter’s textural palette. Using any
number of mundane to more exotic objects, we each made six
tiles of varying surfaces which we then decorated using the
smorgasbord of colourful slips, oxides and carbonates laid
out before us. Bev encouraged us to experiment with
layering, dribbling, sponging, scraping - and anything else
that took our fancy - to achieve various results, ranging
from subtle to startling effects.
In the afternoon, Bev presented
a slideshow that gave insight into some of the influences
that have shaped her work throughout her extensive and
illustrious career as a visual artist. It was wonderful to
see the variety of concepts, forms and social commentary
that one can achieve through sculptural expressiveness, and
ways to connect with your audience, on even quite depressing
topics, with a touch of humour. We were then set our next
task; to develop our own ideas and model a maquette, or
miniature figurine, of clay that we would then try to expand
upon as a larger work.
Some of us had already brought a
myriad of ideas to the table and began busily
building…others (such as myself) were contending with a
newly-filled head of ideas, but left struggling to pluck out
a single work on which to focus! Then all of a sudden, it
was time to head home – and I was left to reflect on yet
another example of how time really does have (jet
propelled) wings when you’re having fun!
On Day Two, we were all heads
down tails up, immersed in concentration to construct,
carefully coax, texturise (and complete!) our sculptural
pieces, incorporating one - or several – newly-introduced
ideas and techniques to which we had been exposed the day
before.
For some, it was mission
accomplished, for others (again, your’s truly) it was work
in progress - but for all, it was a fabulous fun weekend of
learning and experimentation that stocked our creative
cupboards chock-a-block full of wonderful new ideas to
incorporate into our work for years to come. Many thanks,
Bev! |
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and a
follow-up report...
by Jenny Hadzi-Popovic
FINISHED!
Back in June,
a dozen members had the good fortune to participate in Bev
Hogg’s figurative sculpture hand building workshop. A few
months later, many of the sculptures started at the workshop
have now been completed and found a home; yet participants are
still enjoying the benefits of the techniques and ideas
offered over the weekend.
“The workshop
really helped a lot with building techniques. I now have the
confidence to go quite thin in the building and it makes a bag
a clay go a lot further, not to mention the lifting, and
loading the kiln. The workshop weekend was really enjoyable
and valuable.” Monika Leone
As you can see
by some of the examples here, participants had the freedom to
sculpt any form of their choice. This diversity allowed for
everyone to learn from others’ works as they went, - as well
as catalogue a few learnings for future use! For the beginner
sculptor like myself, even the basics such as, ‘don’t forget
to measure your kiln before building’ was an invaluable tip!
Another equally useful lesson; that large works don’t have to
equate to heavy inch-thick walls(!) I think several of us were
amazed to see just how strong a medium clay can be when the
correct foundations and joining techniques are used. Bev also
encouraged us to experiment with surface textures and
treatments throughout the workshop, and reminded us to apply
these to our works once left to our own devices to finish our
sculptures.
A perfect
example of this, is Monika’s ‘Lizzy’, pictured below. Lizzy
was treated with a couple of dry glazes, underglazes under a
clear glaze and a touch of lustre (extra low firing) to create
this wonderfully colourful character. She was raw glazed and
fired slowly in one firing up to about 1280 degrees. Biscuit’s
fur was textured using the back of a finger nail to provide
his think coat, and for contrast, white raku clay was used for
his beloved bone. Velda’s beautifully posed Boy with a Bird
Series, although not fired at the time of this photo, shows
wonderfully textured clothing, contrasted by smooth youthful
skin, and cleverly well-defined hair. And doesn’t Celia’s
rabbit ‘just relaxing in the sun’ make you want to go outside
beside it in the garden, to lap up that sunshine?! Another
work by Celia made after the June workshop, pictured right, is
‘Yoga Bear’. (I am almost inspired to take it up!) Thanks to
Monika, Celia and Velda for sharing your finished works with
us, and thanks again to Bev for a wonderful workshop - you
have certainly inspired us to continue sculpting and having
fun - in more ways - with clay! |
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L-R:
Lizzy by Monica Leonie
Biscuit by Jenny
Hadzi-Popovic
Just
relaxing in the sun by
Celia Lawrie |
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Boy with
a Bird series
by Velda Hunter |
Yoga Bear
by Celia Lawrie |
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