authors and photographers: vicki grima and stephen bird
[ inside my studio ]
W hen did you first use clay and what did you make?
When I was eight we had a teacher who brought in a bag of clay and we all made coil cups and then added eyes and noses etc so they were like Toby jugs. They were not fired but we painted and varnished them. Years later I tried to drink tea out of it and it dissolved.
Where is your current studio?
I have been working at Mary Street studios, St. Peters, Sydney, for almost a year now, but I also have a studio in Dundee, Scotland which I have maintained for 20 years.
Do you work alone or with others?
There are over 100 artists at Mary Street, but I work alone in my studio.
What are the essential features a studio of yours has to have?
Tolerant neighbours, bright lights and a good hi fi. A café close by is always a bonus.
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Virginia Scotchie
talks with Sue Buckle
V irginia Scotchie’s ceramic artworks blur the lines between vessel and sculpture. Her creative concerns are always underpinned by the endless possibilities and challenges of working with clay.
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Inside my Studio
Where is your current studio?
In a shed at home, which is near Mittagong in the Southern Highlands, south-east of Sydney.
What are the essential features a studio of yours has to have?A
very bare minimum might be pencils, paper and freedom from distractions
– but clay and plenty of table space and shelving are also high on the
list of priorities.
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Janet Mansfield
W e are ceramic artists, so what else matters?’. This is an altered version of a sign at a national exhibit at a recent Venice Biennale and it could equally apply to the question of the value of holding ceramic exhibitions today. As ceramic artists we need to exhibit our work in order for the public to understand it in contemporary terms. Considering the concept of an exhibition it is possible to include, on the commercial side, galleries, websites, publications including books, catalogues and magazines, retail shops, auction houses, open days in the studio, markets and fairs.
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A Survey of Ceramics | author Inga Walton
[comment]
E stablished in 1988, the biennial Melbourne Art Fair began as part of
the bicentennial celebrations to highlight the cultural contribution of
Australian artists. In addition to its invitation-only and closely
vetted selection criteria, arguably the most important contribution
made by the Art Fair is the stipulation that 80% of exhibited work be
from living artists, with only original contemporary art post-1970
admitted. It remains the pre-eminent event of its type in Australia,
allowing private and corporate collectors, dealers, curators, and
public institutions to view and acquire work from both established and
emerging artists, and to gauge the merits of that work within a broader
regional context.
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