The Journal of Australian Ceramics

Torbjørn Kvasbø commented, in his opening speech of the Clay Energy Masters Exhibition at Cudgegong Gallery (see page 92 of this issue), that the crowd at Gulgong was proof that ceramics has a future. When Torbjørn spoke of hybrid activity and hybrid solutions, several artists in this issue sprang to mind – Maiju Altpere- Woodhead using print making techniques in her panels, Zoe Churchill and her work with the Ngapartji Ngapartji indigenous theatre project, and Ben Richardson with his recently released DVD Ben Richardson - Fire Works. Torbjørn’s call to be involved in the broader ceramic community is also echoed in several articles where we cover the value of mentoring, reasons for entering ceramic competitions and guidance on writing personal statements about your work. Working with other creative people – photographers, filmmakers, theatre companies, galleries, architects, art teachers and writers - helps us all to see what ceramicists have to offer and to make the best use of our specialised knowledge. The need to reach out more broadly is clearly evident.

You may also notice a page of potters marks towards the back of the journal. I am hoping to build on previous publications of potters directories, by publishing the marks and/or stamps used by the potters/ceramicists featured in each issue. I would also like those on the Australian Ceramics Directory to add their potter’s mark to their online page. Whether you identify your work with a stamp, a handwritten signature, or a symbol, it is important that this is recorded for those who find our work (wherever that might be) in the decades ahead.
So, are you active in your practice?

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