The Journal of Australian Ceramics

The Journal of Australian Ceramics - Editorial 47#3 PDF Print E-mail

 

A
month or so has passed since I returned from a pottery tour in France. Gutsy, robust, decorative and functional terracotta was everywhere we looked – in the potters’ studios, at the markets and in homes, and I, not surprisingly, have come home inspired to make some changes. One is to create a display area in my studio, rather than storing work in a box under the desk, so that visitors can see what I do. Another is to reconnect with those who buy my work, perhaps by selling at markets. What a buzz it was to talk with people about my work and then see them walk away with a piece they will love and cherish in their own homes. This memory from the Lyon Potters Market is still fresh and seductive. These connections, outside the stark white walls of a gallery setting, are worth seeking out; they teach us much about our work and why it sells. The creativity of the displays at the Potters Market was also stimulating, chosen to show the work off to its best.

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The Mixed Media focus in this issue brings together those who combine clay with other media. Terry Bouton, Sally James, Imp Hung and Monica Clonda combine clay with a range of found objects – both natural and industrial. The varied inspiration for their work makes interesting reading. Featured also is multi-media artist Pip McManus who won the 35th Alice Prize earlier this year for Ichor, a 55-minute digital video accompanied by a ceramic installation with cello music by Nic Hempel. Go to; When Ceramic Meets Video
Dr Julia Jones
, where we have supplied a link to a short (three minute) video excerpt. This is one work that is impossible to capture on a flat page.

A valuable exchange between peers is covered in the article about the ANU group who recently met in Canberra to explore printmaking techniques on ceramic surfaces. This appears to be an expanding area of interest for many ceramicists.
In our technical focus on terracotta and earthenware glazes, Jenny Orchard shares a few ideas about glazing, comparing it, not for the first time I’m sure, to cooking. Commercial glazes have never looked so good … and edible, as Gaye Collett’s earthenware creations illustrate.

I hope you, too, will be inspired to look at different ways to sell your work, play with your glazes, and embrace and enjoy the challenges ahead in this quickly changing world of ceramics! 

left to right: Honor Freeman, Julie Bartholomew and Vicki Grima at the opening of Narratives, Sabbia Gallery, August 2008

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