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Joey Burns discusses the opportunities available to a newbie wood-firer
I n April 2007 I had the good fortune (or possibly misfortune) of having my first stoke of an anagama, raging at around 1300ēC. The calmness broke instantly when the door was opened and the first chunk of pine was awkwardly fumbled into the fire box; the hairs on my fingers singed through the leather gloves and the heat dried my face in a life-changing second that has, ever since, severely narrowed my interest in ceramics. I no longer think of pushing buttons or fiddling with taps and burners. I want to burn stuff straight from the palms of my hands
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Yeats Gruin considers mentoring
S tretching out in front of me were lines and lines and piles and piles of huge brown clay urns with shining swollen bellies, small necks and lids tightly wrapped with a piece of square red cloth. As I moved closer, a rich fermented fragrant smell of rice wine was all over every pore and in every vein. This memorable scene occurred when, as a child, I visited the Chinese Municipal Winery factory where my father worked. It was also the first impression of a huge clay pot, functional, humble, powerful and authentically beautiful, which is engraved in my mind to this day. I fell in love then with the huge urns used at home for storing rice, pickling vegetables or smoking meat. This rich Chinese cultural background and, in a somewhat similar way, burdensome traditional baggage, has been carried with me through all my life, even though I left my motherland over thirty years ago to embrace the then described ‘western new world’.
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Jenny Mulcahy reports on her recent involvement with a Queensland anniversary project
L ast year Queensland was awash with a variety of activities and projects celebrating the 150th anniversary of the official recognition of Queensland as a separate colony. Many organisations received funding for celebrations specific to individual communities to mark the occasion. One such project was Q150, Now and Then: 150 years of art making in Queensland. Curated by Ross Searl,for the Umbrella Studio for Contemporary Art, the exhibition’s emphasis was on the history of art making in Townsville over the past 150 years.
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Newsflash
A one-day workshop with Christopher Sanders
This is a practical workshop which will cover some basic principles and
then move on to practical set ups. Chris will aim to demystify basic
digital jargon and clarify which cameras are most suited to studio photo
work and why. He will provide some very basic, inexpensive, but useable
lighting set ups as well as those using hot lights and flash. Students
will complete the workshop with a review of their images on screen.
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The Australian Ceramics Association
Thinking of applying for a grant? Need to know where to start?
This new workshop will cover the different types of grants and opportunities available, funding bodies and philanthropists, sponsorships and ways of supporting your arts practice.
All the advice and help you need to write that application!
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On the first Sunday morning of the month from 10am - 3pm, Eveleigh
Market hosts an Artisansʼ Market showcasing the best in Australian
independent design, art and crafts under the heritage listed Blacksmith
Workshop. The EAM is ideally situated opposite Carriageworks, the bold
new art centre dedicated to the development and presentation of the
contemporary arts.
The Australian Ceramics Association (TACA) has booked 10 stalls on Sunday 7 November 2010; 10am - 3pm. Expressions of interest welcome.
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The Art of Photographing Ceramics 1 The Basics
A one-day workshop with Caterina Pacialeo
> Download course info PDF
The Art of Photographing Ceramics 2 The Detail
A one-day workshop with Caterina Pacialeo
> Download course info PDF
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