Monday, 31 October 2011

Journal of Australian Ceramics - Issue 45#1, 2006

I grabbed a handful of the Journal magazines off my bookshelf last week to have a flick through. If I had to say there was one particular edition of the Journal over the years that resonated with me, it was the first one I look at. Making it even more exciting it turned out to be Vicki Grima’s first issue as the new editor of the magazine, taking over from Trisha Dean.

I was in my first year of Diploma in 2006 and was fast falling in love with Southern Ice porcelain and exploring my clay pleating technique.

This edition was packed full of the kind of work that excites me and inspires me. Images of work by Gerry Wedd, Robin Best, Kirsten Coelho, Maria Parmenter, John Ferguson, Philip Hart, Angela Valamanesh, Rolf Bartz, Jane Robertson, Charmain Hearder (true!), Sergei Isupov, Paul Scott, Lesa Farrant, Kaye Pemberton, Greg Daly, Alison Cooper, Alan Peascod, Sara Wright – all in the one edition. Amazing. And then, as if my cup did not already runneth over, there was an article on Gwyn Hanssen Pigott. Sorry Dee, but I think the apparent simplicity of Gwyn’s forms, the purity of her glazes, the balance in her groupings, are just sublime.

I have no idea what gave me the confidence to enter the Gold Coast International Ceramic Art Award later that year with a group of 3 bottles, but I’d like to think it was related to seeing so many inspiring images and seeing the diverse ways in which porcelain can be worked. I was selected and got to share exhibition space with Rolf Bartz, Philip Hart, Greg Daly, Gerry Wedd and John Ferguson - from my list above - as well as many other incredible ceramic artists. An awesome and unforgettable experience in my ceramic journey.


  1. What a list of names! I'm guessing it was a special South Australian edition? What is it about Adders that makes great potters? Could be something in the water (other than the dregs of Murray River)?? i was lucky enough to be at the Jam Factory when Phil Hart was overseeing the ceramics studio - I remember watching him throw on the kick wheel one day - and being entirely in awe - a surfer's feel for the clay?

    Funny that you mention Gwyn - (don't be sorry - maybe you've noticed that I'm a bit prone to saying things just to get a rise??) trip to Manly Gallery on the weekend and one of GHP's still lifes (or should that be lives?) is on display - something really lovely - what did you say, sublime? glazes were almost luminous, i thought for a moment that i ought to reconsider my position, but... what year was it dated?

    Good on you for the Gold Coast entry - gotta be in it eh?

    Onward and upward

  2. After my last post below re needing time and space - maybe there's more of that in Adelaide ... Issue 45/1 was a good issue, full of mistakes from a new editor, but, as you say Jo, a wonderful variety of work. Lots to say ... no time. Gotta run and get the web articles ready for issue 50/3.

  3. Mmm..Adelaide. I think this is the bit where I come in, seeing as I live in Adelaide. I don't know why it's got lots of good artists here. It may be how easy it is to live here (it's only a slightly strenuous bike ride to almost anywhere and an easy one to everywhere else), it may be the access to some famous farmers and fresh food markets and excellent wine, or it may be kinda centralised meeting place of the various arts organisations in the city – JamFactory, UniSA, Tafe, CraftSouth, Arts SA, etc. For my money, there’s a certain relaxation here that makes it easy to be anything you want – conceptual artist, potter, installation artist, etc. Oh, that and the knowledge that at anytime, somewhere in Adelaide someone is brewing up a teapot and cutting up cake for morning/afternoon/evening/no-particular-reason tea.

    Charmain Hearder

  4. I think I need to move to Adelaide!!!