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A ny critical appraisal of the work of David Pottinger needs to take
into account the fact that his artistic expression is firmly rooted in
the craft of ceramics. This may seem obvious but the power of his work
is its dedication to a tradition and a technique that is thousands of
years old1 in the service of new ways of examining the volume and
surface of hand-built forms.
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Sumi Skellam discusses the recent work of Inga Svendsen
I nga Svendsen is an emerging ceramic artist and an adoring cat owner
who lives in Newtown and studies at the Ceramic Design Studio, Sydney
Institute of TAFE,
Gymea campus. Prior to her foray into ceramics,
Svendsen secured an Honours degree in fashion and textile design at the
University of Technology, Sydney and worked for over a decade from her
textile design studio in Kings Cross.
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Janet Selby ponders on the market you have when you are not having a market.
I n late August 2009, I was invited to display my
Buddhist-related ceramic sculptures at the Buddhism and Psychotherapy
Conference1 at the Sydney Masonic Centre. In the tea room, I
would display years of my work to an audience of sympathetic, focused
and enthusiastic people – calm and compassionate therapists from all
over Australia.
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