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Adelaide, South Australia

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Contents

Welcome 1

Keynote speakers 4

MC/Chairs 6

Conference timetable 8

Keynote addresses, panels + presenters 18

Chairs, panels + presenters 26

Demonstrators 36

Exhibition program 40

Masterclasses + workshop 44

Trade Fair participants 45

Conference, workshop + event locations 46

Maps 47

Acknowledgements 50

We c mo eWelcome to Adelaide and the 2012 Australian Ceramics TriennaleThis is the third National Ceramics Conference hosted by the South Australian ceramics community and we are excited and proud to present Subversive Clay.

The aim of the conference is to bring together leading international and national ceramic practitioners, educators, collectors, critics and theorists to celebrate cultural diversity in ceramics.

The diversity of the conference program, presenting exhibitions, workshops and events has resulted through the enthusiasm and commitment of the South Australian ceramics community. A wonderful team of volunteers has spent many dedicated hours of hard work to ensure the success of Subversive Clay.

This conference is generously supported by our sponsors, in particular the Australian Government through the Australia Council and the South Australian Government through Arts SA. Special thanks are also extended to Craftsouth, AC Arts and UniSA, for their organisational support of the event.

On behalf of the Conference team we eagerly anticipate your presence in Adelaide and I trust you will be engaged and enlivened by the program of speakers, demonstrations, exhibitions and activities that make Subversive Clay.

Peter JohnsonChair 2012 Australian Ceramics Triennale Steering Committee

Anton Reijnders, Stack 14aOpposite: Penny Byrne, Fukushima SymphonyCover image: Akio Takamori, Alice in Black Dress, Alice in White Dress (detail)

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Can clay really be considered to be subversive? There was a time (which I remember) when subversion in clay simply meant using any commercial clay body, colourant or additive, let alone making any changes to an object post-firing. Any part of the process, which was deemed ‘un-claylike’, was seen as subversion. Subversion in current practice must be, well, subversive; that is, almost hidden.

In this case ‘subversive’ refers to those works, artists or activities that challenge current assumptions about ceramic (clay) practice. The closest clay related subversive activity I can think of in current practice is that of wood firers. The very act of digging, making with and firing (in wood ash at frightening temperatures) a clay body that hasn’t gone through the filtering and adjusting of commercial bodies is tantamount to subversion in challenging the prevailing commodified approach to much studio ceramic production.

Ceramics has always had its share of subversive characters; think of Bernard Palissy throwing all of the kitchen furniture into the firebox to try and reach temperature or Josiah Wedgwood funding Darwin’s outlandish theories on evolution. Numerous practitioners from Lucio Fontana to Peter Voulkous to Hella Jongerius have brought a subversive approach to the making and understanding of ceramics.

‘Adelaide is an ideal setting for a Stephen King novel, or horror film. You know why all those films and books are always set in sleepy conservative towns? Because sleepy, conservative towns are where those things happen.’ Salman Rushdie

Maybe Rushdie’s observation posits Adelaide as the perfect host for a ceramics conference titled Subversive Clay. For a relatively small town Adelaide has been the site of much progressive if not exactly subversive social change. In the 1970s

our State Premier Don Dunstan cut a subversive figure strolling into Parliament in pink flannel shorts. In 1968 he made an election promise to set up craft workshops in Adelaide. Although he lost that election he made good of the promise when returned to government in 1970. In 1979 Dunstan on his retirement became the subject of a figurine/sculpture entitled Ma Don Na by ceramic enfant terrible Mark Thompson who maintained a studio at the Jam Factory. Thompson was one of a number of subversives working with clay in Adelaide whose work eschewed the Leach-influenced aesthetics dominating ceramics at that time in Australia.

Adelaide is an ideal ceramics conference town, small and easy to navigate. Most of the conference activities and exhibitions are within a stroll or free tram ride from the conference site. The main partners in organising and presenting the conference; Craftsouth, UniSA, AC Arts and JamFactory Contemporary Craft and Design, are all nestled in the arts precinct in the west of the city.

Subversive Clay brings together a group of international ceramicists whose work serves to challenge preconceptions about the ceramic object and its position in the domestic and public sphere. Their collective works traverse the gamut of current ceramic craft practice, from table to museum, from concept to cabinet. The keynote presenters, Akio Takamori, Anton Reijnders, Clare Twomey and Penny Byrne each bring divergent approaches to clay as a medium, each challenging our attitude to it (the medium and the making) in some way. It is an exciting (and mildly subversive) program which is guaranteed to challenge and inspire anyone with any interest in ceramics.

Gerry Wedd Potter

Craftsouth is proud to present Subversive Clay, 2012 Australian Ceramics Triennale in collaboration with the South Australian ceramics community. The Steering Committee has developed a thought-provoking four-day conference that opens up opportunities for discussion and debate, along with a vigorous program outside of the lecture theatre that supports sector development through masterclasses and demonstrations. Adelaide’s public and private galleries are also contributing to the event by presenting a major exhibition program that celebrates the diversity of ceramics by national and international creative practitioners.

I commend all of those who have volunteered their time in the planning and delivery of this significant event, their commitment has been outstanding.

Craftsouth assists creative practitioners in South Australia by providing professional development services that support sustainable practice and developing unique projects that create new and diverse audiences.

We have provided administrative services for the conference and were able to engage Amy Sierp-Worth to manage the event in collaboration with the Steering Committee. She has done an outstanding job in bringing together all elements of the program. Her proficient management skills, thoughtfulness and generous spirit have all contributed to its success.

It has been a pleasure to work with the Steering Committee, especially the Chair, Peter Johnson, and the numerous sub committees who have worked tirelessly to bring you these action packed four days and nights of all things subversive.

The generous assistance of the University of South Australia Art, Architecture and Design and TafeSA Adelaide College of the Arts have provided the conference with outstanding facilities and valuable in-kind support on all levels.

I would also like to thank our funding partners, especially Arts SA, for seeing the value of this conference, and for funding so many different elements of the event, helping us deliver a rich and diverse program.

Rae O’ConnellExecutive Director Craftsouth, Centre for Contemporary Craft and Design

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Masamichi Yoshikawa, Kayo (long rectangular ancient Chinese house – inspired sculpture with blue-white Seihakuji glaze)

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Clare Twomey (UK)

Skill: Its Legacy and its Future Born in 1968, UK, lives and works in London, UK.

Clare Twomey is a British artist and a research fellow at the University of Westminster who works with clay in large-scale installations, sculpture and site-specific works. Over the past ten years she has exhibited at the Victoria and Albert Museum, Tate, Crafts Council, Museum of Modern Art Kyoto Japan, the Eden Project and the Royal Academy of Arts.

Within these works Twomey has maintained her concerns with materials, craft practice and historic and social context.

Clare Twomey’s installations have the social and historical context in which the installation is created as their point of departure. Often they only exist within these frameworks. A number of her installations disappear or perish in the course of the exhibition period as part of the work. Often the onlooker’s mode of behaviour is conceptually included in Twomey’s works. This, for example, applied to the artwork Conscience/Consciousness (200�), in which Twomey had covered the floor of the gallery with very thin ceramic tiles which broke when trodden on.

Clare Twomey is actively involved in critical research in the area of the applied arts, including writing, curating and making. She has developed work, which expands the fields’ knowledge of larger scale installation works.

Penny Byrne (AUS)

Diverging Practice, Shifting Ground, Cross Disciplines Penny Byrne is a visual artist who meticulously reconstructs manipulated figurines from damaged and antiquated ceramic objects into artworks that wield a political message. The use of fragile ceramics contradicts the political messages evident in her work. Byrne’s satirical viewpoint confronts a number of contemporary political issues that presents an ongoing inquiry into popular culture and international politics. Her training as a ceramics conservator informs her practice.

She has completed a Bachelor of Laws (LLB) at La Trobe University, Melbourne 1997, a Bachelor of Art (Fine Art Ceramics) at RMIT University in Melbourne, 1987 and a Graduate Diploma (Ceramics and Glass Conservation and Restoration) at West Dean College in the United Kingdom, 1990.

She has exhibited internationally and extensively in Australia. Solo exhibitions include Plausible Deniability, Sullivan+Strumpf Fine Art, Sydney (2011), Penny Byrne: Commentariat, Deakin University Art Gallery, Melbourne (2011) and Penny Byrne, Mantelpiece, Linden Centre for Contemporary Art, Melbourne (2006). Byrne’s work was featured in the group shows Clash: Contemporary Sculptural Ceramics, Newcastle Region Gallery, Newcastle (2011), Thing: Beware of the Material World, Art Gallery of Western Australia (2009) and Horror – Come Darkness, Macquarie University Art Gallery (2009). In 2010 Byrne was the subject of the documentary for the ABC TV program Artscape. Byrne’s work is currently being exhibited in a solo exhibition at the Museum of Australian Democracy, Old Parliament House, from 2011-2012.

Anton Reijnders (NL)

Recent developments and future directions Is it safe outside the refuge? Reijnders is acclaimed internationally for his ceramics exhibitions and commission work and his work is represented in many collections throughout Europe, Asia, Australia and the US. He uses simple forms such as spheres and cones to create poetic still life arrangements, frequently combining clay with other materials such as wood, cloth and newspaper. The arrangements of these objects are constructed to contest and undermine perceptions of the fragility of fired clay.

From 1987–200�, Reijnders headed the European Ceramic Work Centre (EKWC) in ‘s-Hertogenbosch, Netherlands. In this role, he collaborated with many international artists, designers and architects, challenging the possibilities of the ceramic process and facilitating the realisation of their experimental projects. He also assisted in developing new clay materials and technical processes which have been incorporated into important contemporary architectural projects.

Reijnders currently teaches at the Gerrit Rietveld Academy, Amsterdam and is the author of ‘The Ceramic Process’, an encyclopaedic work commissioned by the EKWC and an important text in the field of ceramics.

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Akio Takamori (USA)

History, Culture and Identity Akio Takamori, born 1950, Nobeoka, Japan, lives in Seattle, studied at the Musashino Art University in Tokyo before apprenticing with a traditional folk potter in Koishiwara, Japan. He came to the United States in 1974. Akio Takamori studied at Kansas City Art Institute, receiving his BFA in 1976. He earned his MFA from New York State College of Ceramics at Alfred University in 1978.

His work is represented in many public collections, including the Carnegie Museum of Art, the Los Angeles County Museum of Art, the American Craft Museum, Victoria and Albert Museum, London, UK, George Gardiner Museum of Ceramic Art, Toronto, Canada, the Shigaraki Ceramic Cultural Park, Shigaraki, Japan, and the Ariana Museum in Geneva, Switzerland.

He was awarded National Endowments for the Arts grants in 1986, 1988, and 1992. In 2001 he was awarded the Virginia A Groot Foundation grant and in 2006 he received the Joan Mitchell Foundation Award. Akio Takamori is professor of art in the Ceramics Department at the University of Washington.

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Jeff Mincham (AUS) Inspired by his childhood home in the Coorong, as well as his current home in the Adelaide Hills, Jeff Mincham’s work has had a resounding impact on the contemporary studio ceramic movement in Australia.

Mincham undertook five years of formal training under such luminaries as Milton Moon and Les Blakebrough, and first exhibited in 1976. In 2009 he was instated with the title of ‘Living Treasure’ through Craft Australia, and in 2011 was awarded a Member of the Order of Australia (AM).

Mincham’s work has a recognisable landscape quality which is inspired mainly from his view from his studio, the weather patterns, seasons and farming lands nearby. He is mostly known for his hand built clay bodies and multi-fired glazes that paint a literal or abstracted sense of landscape across or around the form. He sometimes employs deep textural marks that hint at the landscape they are inspired by, and his palette meanders from deep copper greens, rusty reds and soft creams, with contrasting pockets of black.

Over his thirty year career in ceramics he has sought to explore and adopt traditional techniques and processes, and feels that this is an essential part of his practice.

Robert Bell (AUS) Dr Robert Bell AM has been Senior Curator of Decorative Arts and Design at the National Gallery of Australia since 2000, responsible for contributing to its policy, collection development, exhibitions and research programs in Australian and international decorative arts, craft and design.

Born in Perth, WA, he holds a PhD from the Australian National University and writes and lectures regularly on crafts, design and the decorative arts. He was awarded the Centenary Medal for services to the decorative arts in Australia (200�); the Australia Council Visual Art Board Emeritus Medal for service to the crafts in Australia (2005); and made a member of the Order of Australia for services to craft, design and museums (2010). He is Patron of Craft ACT, Adjunct Professor of Design in the University of Canberra’s Faculty of Arts and Design and an elected member of the International Academy of Ceramics.

Janet Mansfield (AUS) Janet Mansfield has been a potter for more than forty years. She trained in ceramics at the National Art School, East Sydney, in 1964 and 1965, and has exhibited widely in Australia and overseas. She is represented in most major public collections in Australia and her work has appeared in many publications around the world. She has been an invited participant in symposiums, conferences and as a juror in many countries.

A member of the International Academy of Ceramics since 1982 and currently president, Janet Mansfield has received a number of awards for ceramics since 1986. In 1987 she was awarded an Order of Australia Medal for her services to art. In 1990 she received the Emeritus Award for art from the Australia Council. She has also received a number of Lifetime Achievement awards from the USA, the UK, and in 2004 she was awarded a Doctor of Letters from the University of Tasmania.

She has written a number of books on ceramics. She was publisher/editor of the journals Ceramics: Art and Perception and Ceramics Technical, international publications of high quality and is now publishing books on ceramics under the name Mansfield Press.

For many years she has worked in the salt-glaze and wood firing ceramics aesthetic, giving workshops and lecturing internationally on this subject.

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Paul Scott (UK) Paul Scott is an artist, author and educator known for pioneering research into the graphic development of vitreous surfaces. His characteristic artworks can be found in public spaces and collections around the globe – including the V&A, London, the National Museum, Stockholm, The National Museum of Art Architecture and Design, Oslo, the Museum of Art and Design in New York, and in Vietnam as part of the Hanoi Mosaic Mural.

He was awarded a PhD by Manchester Metropolitan University in 2010, and is currently Professor 2 at the Oslo National Academy of the Arts (KHiO) Norway. He has recently finished a complete re-write of the seminal text Ceramics and Print which will be published in December 2012. He is currently working with the National Museum of Art Architecture and Design Oslo, curating an exhibition of printed landscape patterns, examining their historical geographical and cultural connections as well as contemporary manifestations. He recently chaired a conference on �D ceramic printing at the V&A in London.

Paul Scott is a founding member of AIR (Artists Interaction and Representation, the UK’s largest representative body for artists) and member of the International Academy of Ceramics.

Jeff Mincham, South Lagoons Vessel with TeabowlJanet Mansfield, Bowl Paul Scott, Scott’s Cumbrian Blue(s) Artisancam Tree

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ACArts DorritBlackBuilding JamFactory Othervenues

10am–5pm Bus Trip to Southern Vales, departs from UniSA, Hawke Building, North Tce

10am–5pm Bus Trip to Adelaide Hills departs from UniSA, Hawke Building, North Tce

10am–4.�0pm HYPERCLAY: Contemporary Ceramics, Clay at the Edges Teachers Workshop JamFactory 19 Morphett St, Adelaide

12–5pm Registration Ground floor, Kaurna Building UniSA, entry on Fenn Place

5–6pm Earth Works: Contemporary Indigenous Australian ceramic art publication launch and Christine Nicholls floor talk Flinders University City Gallery North Tce, Adelaide

5.�0–7.�0pm Ngayuku Ngura, Ngayuku Tjukurpa: Our Place, Our Stories Ernabella Arts exhibition opening South Australian Museum, North Tce, Adelaide

6–7.�0pm Subversive Clay exhibition opening BMG Art, �1–�� North St, Adelaide

Thursday 27 September

Please note: Program subject to change

Stephanie Outridge Field, Heated Words Bruce Nuske, Blue Set

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Friday 28 September UniSA UniSA UniSA ACArts DorritBlackBuilding JamFactory BarbaraHanrahanBldg DorritBlackBuilding

8am Registration Kaurna Building, UniSA, Fenn Place

9am–5pm Trade Fair Ground floor, Kaurna Building

9.15–10am Welcome to Country Welcome – Peter Johnson, Chair, Ceramics Triennale Steering Committee and Rae O’Connell, Executive Director, Craftsouth MC/Chair – Janet Mansfield Allan Scott Auditorium Level �, Hawke Building, 55 North Tce

10–11am Chair – Janet Mansfield (AUS) Keynote Address – Anton Reijnders (NL) Recent Developments and Future Directions Allan Scott Auditorium

11–11.�0am Morning break

11.�0–12.�0 Keynote Speakers in conversation with Janet Mansfield on Subversive Clay Anton Reijnders, Clare Twomey, (UK) Akio Takamori (USA), Penny Byrne (AUS) Allan Scott Auditorium

11.�0am–5pm Demonstrations Demonstrations Demonstrations Delegates Slide Talks Johanna DeMaine Bronwyn Kemp Helen Fuller Refer to notice board and Klaus Gutowski and Merrilyn Stock and David Pedler Ernabella throughout the day

12.�0–1.�0pm Clay Lineage exhibition opening Kerry Packer Civic Gallery, UniSA

1.15–2pm Post Skangaroovian exhibition opening with artists in conversation SASA Gallery, ground floor, Kaurna Building, UniSA

12.�0–2pm Lunch

2– �.�0pm Sustainable Practice – Oxymoronic or Axiomatic Looking Outside the Box Chair – Janet DeBoos Chair – Greg Daly Cathy Keys, Ben Richardson, Clarissa Regan, Tania Rollond, Liz Stops, Rod Bamford Graham Hay, Amy Kennedy Allan Scott Auditorium

�.�0–4pm Afternoon break

4.00–4.�0pm Reclaim – Ben Richardson

4–5.15pm HyPeRCLAy: Contemporary Ceramics Chair – Danielle Robson Stephen Bird, Jacqueline Clayton, Rod Bamford Allan Scott Auditorium

5.15–5.�0 Closing – Janet Mansfield Allan Scott Auditorium

5.�0–6.�0pm Vitrify Alcorso Ceramic Award winner announced

6.�0–8.�0pm SuBVErT exhibition opening and Conference launch

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ACArts DorritBlackBuilding JamFactory BarbaraHanrahanBldg DorritBlackBuilding

8am Registration Kaurna Building, UniSA, Fenn Place

9am–5pm Trade Fair Ground floor, Kaurna Building

9.15–9.�0am Announcements – Peter Johnson MC/Chair – Robert Bell (AUS) Allan Scott Auditorium

9.�0–10.�0am Skill: Its Legacy and its Future Keynote Address – Clare Twomey (UK) Chair – Robert Bell Allan Scott Auditorium

10.�0–11am Morning break

11am–12.�0pm Philosophical and ethical Directions Chair – Robert Bell Gerry Wedd, Jacqueline Spedding, Julie Bartholomew, Clare Twomey Allan Scott Auditorium

11am–5pm Demonstrations Demonstrations Demonstrations Delegates Slide Talks Laura McKibbon (CAN) Jackson Li (CHINA) Mark Heidenreich Refer to notice board and Philip Hart and Andrew Bryant and Stephen Bowers Ernabella throughout the day

12.�0–1.�0pm Lunch

1.�0–2pm The Fascinating World of Covet and Pursuit of Porcelain the Traditional Potters of Laos – Leslie Ferrin (USA) – Tony Martin

2.15–2.45pm Not Just elephants and Horses! Body and Clay – Adil Writer (INDIA) – Lucille Nobleza

1.�0–�pm Team effort – Installation and Collaboration Chair – Stephanie Outridge Field Fiona Fell, Kris Coad, Gwyn Hanssen Pigott presented by Stephanie Outridge Field, Anton Reijnders (NL) Allan Scott Auditorium

�–�.�0pm Afternoon break

�.�0–5pm Notes from the Departure Lounge Chair – Owen Rye Yuri Wiedenhofer, Neil Hoffmann, Steve Williams, Rowley Drysdale Allan Scott Auditorium

�.�0–5.15pm Lighting Fires and Building Futures Chair – Bruce Nuske Liz Williams, Jan Guy, Prue Venables, Jane Sawyer, Gus Clutterbuck

5.15 –5.�0pm Closing – Robert Bell Allan Scott Auditorium

5.�0–6pm The Journal of Australian Ceramics 50th Anniversary Celebration Allan Scott Auditorium

Saturday 29 September

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UniSA UniSA UniSA ACArts DorritBlackBuilding JamFactory BarbaraHanrahanBldg DorritBlackBuilding

8am Registration Kaurna Building, UniSA, Fenn Place

9am–5pm Trade Fair Ground floor, Kaurna Building

9.15–9.�0am Announcements – Peter Johnson MC/Chair – Jeff Mincham (AUS) Allan Scott Auditorium

9.�0–10.�0am History, Culture and Identity Keynote Address – Akio Takamori (USA) Chair – Jeff Mincham Allan Scott Auditorium

10.�0–11am Morning break

11–12.�0 Culture and Identity Chair – Jeff Mincham Avital Sheffer, Vipoo Srivilasa, Yi-Hui Wang (TAI), Akio Takamori (USA) Allan Scott Auditorium

11am–5pm Demonstrations Demonstrations Demonstrations Delegates Slide Talks Graham Hay Gerry Wedd Prue Venables and See notice board and Jan Howlin and David Ray Sandy Lockwood Ernabella throughout the day

12.�0–2pm Suitcase Sale – Pot Market! UniSA courtyard

12.�0–2pm Lunch

2 – �.�0pm Shameless Self Promotion Chair – Brian Parkes Robyn Phelan, Anna Maas, Fleur Schell, Leslie Ferrin (USA) Allan Scott Auditorium

2 – �.�0pm Interrogating Ceramic Histories: Graduate Student Research Panel Chair – Patsy Hely Sally Cleary (PhD, RMIT) Cathy Franzi (PhD, ANU) Trevor Fry (PhD, SCA) Clarissa Regan (PhD, SCA) This panel is sponsored by

The Australian Ceramics Association

�.�0–4pm Afternoon break

4–5pm Learning Against the Tide Chair – Alison Smiles Local, national + international student panel

4–4.�0pm Usually Reliable Saucers – Peter Lange (NZ)

4.45–5.15pm Taste of Sanbao, Bamboo, Tea and White Stone – Jackson Li (CHINA)

4–5.�0pm Critwriticaling: a discussion about wat’s write and rong about critical writing in contemporary ceramics Chair – Vicki Grima Peter Wilson, Damon Moon, Moyra Elliot (NZ), Altair Roelants Allan Scott Auditorium

5.�0–5.45pm Closing – Jeff Mincham Allan Scott Auditorium

8.�0pm Rock the frock... Frock up and be ready to dance plus kiln filler parcel pass! Garage Bar, 16� Waymouth St, Adelaide

Sunday 30 September

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Clare Twomey, Specimen (detail) Opposite: Liz Stops, Investigations into ColonisationGus Clutterbuck, Kamula Tjuta (Flour-tin series)

UniSA UniSA UniSA ACArts DorritBlackBuilding JamFactory BarbaraHanrahanBldg DorritBlackBuilding

9am Registration Kaurna Building, UniSA, Fenn Place

9am–5pm Trade Fair Ground floor, Kaurna Building

9.45–10am Announcements – Peter Johnson MC/Chair – Paul Scott (UK) Allan Scott Auditorium

10–11am Diverging Practice, Shifting Ground, Cross Disciplines Keynote Address – Penny Byrne (AUS) Chair – Paul Scott Allan Scott Auditorium

11–11.�0am Morning break

11.�0 –1pm Fragmented Grounds, Divergent Practice 11.�0am–�pm Chair – Paul Scott Delegates Slide Talks Arun Sharma, Stephen Benwell, See notice board Steve Davies, Penny Byrne Allan Scott Auditorium

1–2pm Lunch

2–2.�0m Stoneware? Developing vitrified ceramics at 950° Celsius – Brett Smout

2.45 –�.15pm What 20 seconds can do! – Greg Daly

2–�.�0pm Working together: Indigenous Australian Ceramics as Collaborative Partnerships? Chair – Christine Nicholls Alison Milyika Carroll, Tom Miller, Darryl Pfitzner Milika, Janet Fieldhouse Allan Scott Auditorium

�.�0–�.45pm Short break

�.45 – 4.15pm Willows, Windmills and Wild Roses, Landscape, Pattern and Promiscuity – Paul Scott (UK) Allan Scott Auditorium

4.15 –5.15pm Conference wrap-up Keynotes, MC/Chairs and others Announcement for 2015 conference Allan Scott Auditorium

Monday 1 October

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Keynote Address Anton Reijnders (NL)

Recent Developments and Future Directions Is it safe outside the refuge?The first thing that comes to mind when describing the development of ceramics in the last few decades is a vast increase in diversity. Ceramics has evolved from a medium having a fairly homogenous identity to a medium with a seemingly infinite amount of identities. At the same time the opposite thing took place related to ceramic education. We have seen that many ceramic departments have shut down or have merged with fine art or design disciplines. The number of students wanting to study ceramics has dwindled. More recently artists in residence programs are under pressure as well. What will the future bring? Who knows? In this presentation I will try to analyse the underlying logic behind (recent) overlapping developments in the arts, design and on a socio-cultural level. This analyses might shed light on possible future developments as well as the position of (ceramic) education in this.

MC/Chair – Janet Mansfield (AUS)

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Keynote Speakers in conversation with Janet Mansfield on Subversive Clay Four major ceramic artists are coming to Adelaide for Subversive Clay to speak on the first day. They have been well chosen to represent what this conference intends, to challenge us to think in new ways and not blindly accept ceramic tradition. The first speaker is Anton Reijnders from the Netherlands. He is well known internationally as an experimenter with materials and processes in ceramics and has assisted many sculptors to realise their ambitions using clay as a primary medium. His own work is sculptural, often using multiple pieces to make installations. Also speaking on the first day is Penny Byrne from Australia. Penny has an enquiring mind and while she is a qualified ceramic artist prefers to collect found objects including figurines, assembling them to make a social statement. Confronting us with her tableaux she is able to make a case for her ideas about humanity. Clare Twomey, from the UK, believes that we change our behaviour according to the space we occupy. Different locations, different spaces, public and private, she believes, can change our perceptions of who we are. Akio Takamori, originally from Japan and now teaching at the University of Washington School of Art in the US, experiments with proportion for poignant effect. He abandoned the vessel form, in which he celebrated the human body, to concentrate on the figures themselves. He depicts the body in all its expressive and emotional attitudes. These speakers will take part in a discussion about their ceramic practices and how they see the future and ways of maintaining a contemporary art practice.

Chair – Janet MansfieldPanel – Anton Reijnders (NL), Clare Twomey (UK), Akio Takamori (USA), Penny Byrne (AUS)

Sustainable practice – oxymoronic or axiomatic? A.S. Byatt, the English novelist once said in horror, ‘I do not decorate my novels with science!’ when it was suggested by an interviewer that a current fashion for science might have been one of the reasons for using a scientist as a character in her (then) latest novel. Although Byatt may not have been guilty of this crime, it seems possible today that many art practices do indeed ‘decorate’ with sustainability – as does advertising, business and commerce.

What this panel aims to explore is just what we might mean by a ‘sustainable practice’ and how we might meaningfully go about engaging in such a pursuit as ceramic artists and educators.

Chair – Janet DeBoos Panel – Cathy Keys, Ben Richardson, Liz Stops, Rod Bamford

Looking Outside the Box The broad vision of this panel, will examine how we interact with clay as a medium. From digitally creation, collaboration and promotion to, asking if technology is central to ‘good work’. We live in a world surrounded by digital devices, how important is touch still to us, we touch a screen, but ceramics! Is a cup still one of the most personal objects we most touch and use in our daily life. Do we need to fire our work? Are there still boundaries? These are some of the questions the panel will be addressing.

Chair–GregDaly Panel – Clarissa Regan, Tania Rollond, Graham Hay, Amy Kennedy

HyPeRCLAy: Contemporary Ceramics HYPErCLAY: Contemporary Ceramics is a provocative and engaging exhibition of work by eight Australian artists, who each push the material boundaries of the medium. Launched in Sydney in late 2011, the exhibition is travelling to twelve regional and metropolitan venues over two and a half years, and is on exhibition at JamFactory, Adelaide during the Subversive Clay conference.

In this panel discussion, Stephen Bird, Jacqueline Clayton and Rod Bamford discuss their work in HYPErCLAY and consider new possibilities for ceramic practice in the 21st century.

Chair – Danielle RobsonPanel: Stephen Bird, Jacqueline Clayton, Rod Bamford

Reclaim In early 2011 Dutch artist Alexandra Engelfriet came to Tasmania to speak at Woodfire Tasmania 2011 in Deloraine.

Before that event we developed a framework for Reclaim – an installation at the School of Art in Hobart.

ReCLAIM = 1 artist + 5 tons of clay + 3 days The Reclaim video is a collaborative project by Alexandra Engelfriet and filmmaker Glen Dunn with support from UTAS and The Tasmanian Polytechnic.

Ben Richardson – Presenter

Friday 28 September

From top: Greg Daly, Dappled Roderick Bamford, Fuddling ManoeuvreAnton Reijnders, Stack 10b

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Keynote Address Clare Twomey (UK)

Skill: Its Legacy and its FutureClay that is bound in history and contextual dialogues with skill, material and cultural interpretation is the landscape in which we understand and decode our practice of contemporary ceramics.

In a world of changing economies and transience in skills centres there is a large question of ownership of skills. Many who now see ceramics courses closing and industrial centres in decline have deliberated this question. However, if looking beyond this initial confrontation one can see a long history from Jingdezhen to Stoke on Trent and back to Limoges that speaks of the lasting impact of skills, knowledge and the capacity to learn and share that encourages ceramics to be a constant thread through history.

Through the research that I undertake as a Research Fellow at the University of Westminster and the questions I address as an artist, I am fundamentally involved in craft practice. I am tied to the negotiation that is required to make craft and clay skills relevant and desired as a material to the wider visual arts landscape of contemporary art and cultural engagement.

This paper will explore the ownership of skills, authenticity and making practices that expose and explore these notions in contemporary clay and craft practice.

MC/Chair – Robert Bell (AUS)

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Philosophical and ethical Directions Each of the panellists in this session contributes to a new understanding of the potentially subversive relationships between ceramics production and notions of manufactured and natural beauty.

Jacqueline Spedding will discuss representations of nature in contemporary ceramics and popular culture. She will focus on the image of the bird, and how this recurrent motif in ceramics represents our understanding of our relationship to nature.

Gerry Wedd will discuss a ‘history’ of subversion in ceramics and how that history has informed and changed current approaches to the medium, while speculating on how this will play out in the future of ceramics.

Julie Bartholomew will discuss consumer culture, specifically the relationship between female identity and global branding. She will challenge the professed alliance between critical commentary and anti-aesthetics and argue that ceramics, its materiality, processes and traditions, has an immense capacity for subversive dialogue while drawing from a rich history of aesthetic beauty.

Clare Twomey will join the panel following her keynote address, ‘Skill: Its Legacy and its Future’.

Chair – Robert Bell Panel – Gerry Wedd, Jacqueline Spedding, Julie Bartholomew

Team effort – Installation and Collaboration This panel includes well credentialed and experienced Team Leaders as well as Team Players when it comes to the Team Effort critical to installation and or collaboration. Their various perspectives explore dramatically different approaches in their practises; their work and how they involve, engage and collaborate with artists, arts industry professionals and others including consumers and audience.

All depend on the critical importance of context as intrinsic to their work be they permanent, temporary, transitory or site specific. A common aspect is the combination of separate elements to create the whole but in the end it is as Anton Reijnders comments, ’their willingness to collaborate and their knowledge and input (which) is essential. In the end it is getting people motivated for a project that it is crucial to the successfulness’.

Chair – Stephanie Outridge FieldPanel – Fiona Fell, Kris Coad, Gwyn Hanssen Pigott presented by Stephanie Outridge Field, Anton Reijnders (NL)

Notes from the Departure LoungeThis panel is not about woodfiring, it is about divergent thinking and creativity – qualities which keep any art alive and without which there is only stagnation. The presenter’s work diverges far from traditional ideas about woodfiring and collectively points to directions not considered by ceramicists with narrower horizons. Yuri Wiedenhofer makes fire sculptures that invoke suggestions of ceremony and ritual. Neil Hoffmann fires rocks to create powerful sculpture, primitive, dark and brooding. Steve Williams is difficult to predict. He might discuss accessing creativity via lateral thinking. Rowley Drysdale works in a variety of ceramics media using a distinctive approach to materials.

Chair – Owen RyePanel – Yuri Wiedenhofer, Neil Hoffmann, Steve Williams, Rowley Drysdale

Lighting Fires and Building FuturesPanel members will present a lively variety of philosophical viewpoints and relate ceramics educational experiences that will be relevant and familiar to many and certainly of interest to all. Individual topics will address the critical role and current status of ceramics education and training in Australia, both in the public and private sector as well as community art programs, unique workshop experiences, inspirational teachers, methods of delivery and much more. The presentations will conclude with an invited audience response and exchange with panel members.

Chair – Bruce NuskePanel – Liz Williams, Jan Guy, Jane Sawyer, Gus Clutterbuck, Prue Venables

The Fascinating World of the Traditional Potters of LaosExplore, with the aid of photography and video, the fascinating lives and techniques of the traditional potters of Northern Laos. These prolific potters use a highly effective coil-and-throw method to produce very large pots with the only power provided by their wives. The work is then fired in very large underground ‘cave’ kilns.

Presenter – Tony Martin

Not Just elephants and Horses!It was in Gulgong at Clay-Edge that a ceramic-knowledgeable person came up to me and said, ‘I am so glad I saw this presentation. I thought you only made horses and elephants in India’ ...indeed we make a tad more than that... ;-) since then I make it a point to showcase a bit of the thriving contemporary ceramic scene in India wherever I travel with my claywork.

Presenter – Adil Writer (INDIA)

Covet and Pursuit of Porcelain Leslie Ferrin, director of Ferrin Gallery presents an overview of gallery programs and exhibitions that engage artists, curators and collectors in a deeper understanding of contemporary art practice and how history informs the present. Included in the presentation will be works by artists the gallery represents, Chris Antemann, Christa Assad, Molly Hatch, Giselle Hicks, Sergei Isupov, Mara Superior, Jason Walker and others featured in COVET and Pursuit of Porcelain and museum collections related to the projects, Museum of Fine Arts Boston, MA; Metropolitan Museum of Art, New York; The Clark, Williamstown, MA among others. Included in the presentation will be images of the exhibition process from beginning to end including research in museums, artist studios, gallery installations and art fairs.

Presenter – Leslie Ferrin (USA)

Body and ClayThis will be the story behind the photography in my exhibition Body and Soul. I have captured unique images of ceramists from over thirty countries engaging with their own work using a variety of clays from the country we are in at that time.

Presenter – Lucille Nobleza

Owen Rye, Dark Bottle, Ash runs

Saturday 29 September

Gus Clutterbuck, Mosaic Landscape

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Akio Takamori (USA)

History, Culture and Identity‘On a street in Xian, I saw a man who looked exactly like one of the Han clay figures in a ceramics book. A photo of the dead in a war zone makes me wonder about connections with others. These figures and images are supposed to represent a collective of people, history, and culture, but when I look at historical images and objects of antiquity, my entire self imagines being a particular person in the image or using those everyday objects. What is the value of an individual in history? I am drawn to the paradox that an anonymous person is also a specific person. These humble artifacts in the museums are both very anonymous and personal, and they are moving for that reason.

I apply the same idea to my figurative sculptures. The inspiration of the image comes from an individual, but the figure is also an image of a time and culture values. It is interesting to view people from a collective perspective and also as individuals that we know. I feel that I understand the identity of the individual figure that I create, and I know that in time, it will represent a collection of unnamed people.’ – Akio Takamori

MC/Chair – Jeff Mincham (AUS)

Culture and IdentityThe evolution of ceramics as a means of expression in the latter part of the twentieth century and the position it now holds in the art environment of our times has radically altered the nature of ceramic practice. In the pursuit of ideas, clay offers a vast array of possibilities, however it is the forces at work on our thinking both consciously and unconsciously that shape the outcomes. It is hardly surprising therefore that the complex issues of culture and identity have emerged as challenges for the contemporary ceramic artist.

With the help of a diverse group of highly experienced practitioners who have developed unique and powerfully expressive bodies of work, the issues of identity and the complexities of cultural experience will be examined in this session. The role of the ceramic medium as an ‘active agent’ in the often contradictory atmosphere of our times and the contribution that it can make to our understanding of the things that shape us, are issues confronting the contemporary practitioner.

With the guidance of the panel’s considerable reservoir of experience, some current and future challenges for ceramics will be explored.

Chair – Jeff MinchamPanel – Vipoo Srivilasa, Yi-Hui Wang (TAIWAN), Avital Sheffer

Shameless Self PromotionThis panel session will focus on the importance of marketing and promotion in maintaining a successful practice. Today, artists and those who represent them have almost limitless access to the global community and yet most practices are sustained by a small number of well developed personal relationships. The panellists will reflect on personal experience to discuss the ‘who, how and why’ of successful promotion including the use of online social media and participation in a variety of events, exhibitions and competitions.

Chair – Brian ParkesPanel – Robyn Phelan, Anna Maas, Fleur Schell, Leslie Ferrin (USA)

Critwriticaling: a discussion about wat’s write and rong about critical writing in contemporary ceramicsCome and join us for an active discussion on critical writing in the ceramics field. In this quickly changing world, where digital publishing makes it possible for anyone to communicate their thoughts and opinions online, how can readers and writers of ceramic matters sort through the plethora of words to find honest, well-written, analytical writing on ceramics? What makes a good critical writer and what questions should they be addressing? What are the challenges? Our panel is made up of makers, writers, educators and curators who will address these questions and invite your comments.

Chair – Vicki GrimaPanel – Peter Wilson, Damon Moon, Moyra Elliot (NZ), Altair Roelants

Usually Reliable SaucersThis quick-fire digital slideshow will take the viewer rapidly through forty years of poking clay to see if there is any wit or wry reference lurking inside. I use adolescent thought processes, cheap tricks and clumsy sleight-of-hand to entertain the punter and myself. Mostly I use an irony clay.

Presenter – Peter Lange (NZ)

Taste of Sanbao, Bamboo, Tea and White Stone ‘Sanbao’ in Chinese means three treasures. Sanbao porcelain stone, so-called white gold, has played an important role in Chinese ceramic history since the Song dynasty in Jingdezhen. It has been processed the same way for over one thousand years by the many water-powered hammer mills in the Sanbao Valley. Bamboo, a symbol of longevity and vital element of Chinese culture, has for centuries been used to make tools and brushes for working with porcelain. Green tea farming around Jingdezhen can be traced back to the Tang dynasty and it is the essence of everyday life and spiritual need. The way of tea picking and making is part of life at Sanbao and Jingdezhen.

We all embrace the opportunity to share and exchange, we are able to work with white porcelain and enjoy friends from all over the world. That is the spirit of Sanbao.

Presenter – Jackson Li (CHINA)

Interrogating Ceramic Histories: Graduate Student Research PanelThis Panel provides an opportunity for postgraduate students to present and discuss their higher degree research project. Papers will detail individual practical and theoretical investigations being carried out at a number of different institutions and each will reference their own practical/contextual/theoretical/historical framework. The Panel aims to give an insight into the breadth of research in ceramics currently being carried out nationally while giving students the chance to engage in conversation with others interested in their particular research focus.

Chair – Patsy HelyPanel – Sally Cleary (PhD, RMIT) Still Life in the 21st Century

Cathy Franzi (PhD, ANU) Australian Flora and Ceramic Decoration: from Nationalism to Environmentalism

Clarissa Regan (PhD, SCA) Traces, Fragments and Shapeshifting: the Human Body in Australian Ceramics

Trevor Fry (PhD, SCA) White King

Learning Against the TideHear our panel discuss what it means to study in such a unique discipline of contemporary art. Come be a part of discussions and see what other institutions are doing and what may be happening outside your training institution. See images of student work from around the country and overseas!

Chair – Alison SmilesPanel – Selection of local, national and international students

From top: Vipoo Srivilasa, Mummy Cat and urn Akio Takamori, Boy in red Cap and Shoes Patsy Hely, Adelaide Jug

Sunday 30 September

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Keynote AddressPenny Byrne (AUS)

Diverging Practice, Shifting Ground, Cross Disciplines Penny Byrne is a visual artist who meticulously reconstructs manipulated vintage ceramic figurines and other found materials into artworks that, whilst often satirical, also wield a powerful political message. She has completed a Bachelor of Art (Fine Art Ceramics) from RMIT University in Melbourne, 1987, a Graduate Diploma (Ceramics and Glass Conservation and Restoration) from West Dean College in the United Kingdom, 1990, and a Bachelor of Laws (LLB) from La Trobe University, Melbourne 1997.

She has exhibited internationally and extensively in Australia. In 2010 she was the subject of a documentary for the ABC TV program Artscape. Her work is currently being exhibited in a solo exhibition Political Porcelain, at the Museum of Australian Democracy, Old Parliament House, Canberra.

In her Keynote Address she will discuss how the cross disciplinary nature of her academic training and her ongoing career as a highly regarded specialist ceramics conservator informs her practice as a contemporary visual artist.

MC/Chair – Paul Scott(UK)

Fragmented Grounds, Divergent Practice Archaic and modern, powerful and fragile. Meticulous reconstructions, manipulated figurines, and stripped romanticisms. Inner visions, popular culture, international politics and unintelligible worlds.

Data-words, letters, numbers, material and satirical contradictions.

Images, imitation marble, tourist souvenirs and dances between realities.

Equations, resin charioteers, busts, heads, potters wheels and odd shaped lumps.

Visual deconstruction, heroic figurines, sliding scales and varying degrees.

Sculptures, narratives, abstractions and absurdities.

Painting printing, borrowing and modelling.

High culture, appropriation, remediation and re-animation.

Four artists whose works variously construct, depict and dissect the figurative – Stephen Benwell, Penny Byrne, Steve Davies and Arun Sharma – in conversation.

Chair – Paul Scott (UK) Panel – Arun Sharma, Stephen Benwell, Steve Davies, Penny Byrne

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Ceramics as Collaborative Partnerships?Prior to colonisation there was no vernacular tradition of Indigenous Australian pottery on mainland Australia. In practice the introduction of ceramics to Indigenous Australians has meant collaboration with non-Indigenous people. The first really systematic attempt to do so occurred at Hermannsburg in the early 1960s, when a Lutheran missionary, working with two local Arrernte men, built a kiln, thereby starting a small cottage industry that continues to flourish to this day. This panel will explore the various kinds of collaboration involved in Indigenous pottery making, without tiptoeing around ‘hard’ issues – for example, whether or not such so-called ‘collaborative partnerships’ actually take place on a level playing field.

Chair – Christine Nicholls Panel – Alison Milyika Carroll, Darryl Pfitzner Milika, Janet Fieldhouse, Tom Miller

Stoneware? Developing vitrified ceramics at 950°CelsiusEver wanted to fire below 1000oC and produce a strong pot that won’t leak? This subversive presentation covers the development of experimental clay that fires at raku temperature but has the porosity, strength and appearance of stoneware, and uses low fire ash glazes. Includes recipes for experimentation and energy saving.

Presenter – Brett Smout

What 20 seconds can do!How a lustre glaze changes from a clear glaze into a yellow/gold glaze in 20 seconds. A visual look and examination of the development of lustre glazes, with video of the change as it occurs in the kiln in real time. Documenting a research project on lustre glazes.

Presenter – Greg Daly

Willows, Windmills and Wild Roses, Landscape, Pattern and Promiscuity A story of confected landscapes, their travels through media, material, cultures, geographies – and an exploration of their contemporary re-animation.

Presenter – Paul Scott (UK)

Penny Byrne, Crude Steve Davies, Companion Planting in Flagrante (Caught in the Act) Stephen Benwell, Statue

Carlene Thompson, Tjulpu (bird)

Monday 1 October

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Roderick Bamford is a lecturer in the School of Design Studies, College of Fine Arts, University of New South Wales. His works traverses the fields of art and design, drawing on experience in the field of ceramics, digital technologies, and related media. For a number of years his artwork investigated the aesthetics of tension between development, redundancy and waste, in exhibitions such as urban Debris at the National Gallery of Australia and Insensible Landscape at the Kohler Company in the USA.

Bamford has been awarded commissions and residencies, participated in exhibitions and presented numerous lectures internationally. As President of the Crafts Council of NSW he led the establishment of the respected journal Object Magazine. In 1999 his studio received an Australian Designex Award.

Bamford’s research explores relationships between virtual and material ecologies, exploring how our engagement with designed objects and the meaning they embody is mediated by technology.

Julie BartholomewDr Julie Bartholomew is an artist and educator in ceramics. Her practice is based upon a long-term interest in contemporary issues including consumer culture, particularly the relationship between female identity and global branding within the context of western and eastern cultures. Recent work explores the precarious existence of threatened Australian birds and flowers.

The industrial technologies of mould making and casting are transformed within Julie’s practice to become tools for sculpture and installation. These technologies allow her to ‘sample’ and manipulate bodies and objects from life in order to explore conceptual intent and generate associations that are integral to the processes and ceramic materials used.

Julie has participated extensively in exhibitions and residencies in Australia and abroad and has been the recipient of numerous awards. She completed her Doctorate in Visual Arts at the COFA, UNSW.

Stephen BenwellStephen Benwell was born in Melbourne in 195�. After �0 years of professional practice as a ceramicist, Benwell returned to study in 200� to complete a Masters of Fine Art at Monash University.

Benwell has exhibited regularly since 1975 in almost thirty solo exhibitions. He has also participated in many group exhibitions both in Australia and overseas. In recent years he was awarded the Inaugural Deakin University Contemporary Small Sculpture Award (2009) and the Sidney Myer Fund Australian Ceramic Award (2010). In 2010 he was also a finalist in the Hobart Art Prize and the Fletcher Jones Art Prize and included in Bravura: 21st Century Australian Craft, Art Gallery of South Australia. Heide MoMA will curate a survey of his ceramics scheduled for 201�.

His work is characterised by hand built vessels where painted, glazed surfaces display an individual iconography. Equally central to his current work are a series of statues based on Greco-Roman sculpture.

Stephen BirdStephen Bird was born 1964 in Stoke on Trent, England, and lives and works in Sydney, Australia and Dundee, UK. He studied fine art at Duncan of Jordanstone College of Art in Dundee, and post-graduate studies at Cyprus Art College. He has worked in a variety of mediums including drawing, painting, printmaking, sculpture, animation and ceramics.

Drawing reference from the 18th- and 19th-century Staffordshire tradition of the figurine, Bird subverts and imbues contemporary narratives exploring themes as broad as politics, religion and the everyday. His experiences working in countries such as Thailand, India, Scotland and Australia are evident in his work, which directly references a global view of archetypal themes of love, death, birth and life with an element of humour, social comment and political satire.

Sally ClearySally Cleary is a Melbourne artist. She began her PhD at RMIT University in 2007 investigating the re-interpretation of still life in the 21st century. Sally is also a lecturer at RMIT University in Object-based Practice. Her current work consists of mixed media sculptures, installations and photographic works.

Sally has a long-standing interest in architectural ceramics, which stems from twenty years of working in the area of public art commissions and wall-based ceramic applications and exhibitions. From 1992–2000 she managed her own business, specialising in custom designed tiles and public art works.

Gus Clutterbuck Gus Clutterbuck is a South Australian ceramicist, community arts worker, arts administrator and educator.

Since living with his family on the Anangu Pitjantjatjara Yankunytjatjara Lands for fifteen months from 2009, Clutterbuck’s practice has examined perceptions toward remote desert communities. Casting ceramic forms from thrown away objects collected during this period – old tin plates, car mufflers and other ‘rubbish’ left disintegrating in the landscape, hishis work contemplates the disjuncture of Indigenous and non-Indigenous cultures.

‘My sculptures are based on observations of this continuing cultural collision and aim to be free of value judgment; they simply discuss the experience of being there at this point in time.’

Kris Coad Kris Coad has been a practising ceramicist for over twenty years, dividing her time between her studio practice and being an educator at RMIT Melbourne and Hong Kong.

Kris produces ceramic pieces for exhibition, a translucent porcelain tableware range for selected retail and pieces for commission.

In 2002, Kris was awarded a Master of Fine Art by Research RMIT. During the same year she was the only Australian honoured at the Sydney Myer Fund International Ceramic Award, Shepparton Art Gallery. Kris has exhibited in over seventy exhibitions and her work has been

acquired for public collections including Icheon World Ceramic Centre Korea, Parliament House Canberra, Manly Museum & Art Gallery and private collections within Australia and overseas.

Greg DalyMember of the International Ceramic Academy, Geneva. Represented in over 75 National and International collections including National Gallery Australian, Art Gallery of Greater Victoria, Canada, Victoria and Albert Museum, UK, Ariana Museum, Switzerland, Faenza Ceramic Museum, Italy, Ceramic Museum Vallauris, France, Saga Prefectural Art Gallery, Japan, State art galleries of Victoria, Western Australia, Queensland, Tasmania, Northern Territory, Powerhouse Museum, NSW, Australia. Over 76 solo exhibitions, �7 national and international awards. Over 150 group exhibitions, Japan, Lithuania, UK, Canada, France, Croatia, Spain, Portugal, Turkey, Czech Republic, Taiwan, USA, New Zealand, Egypt, Italy, Germany, Greece, Korea, Poland and throughout Australia.

Steve DaviesSteve Davies is a professional ceramic artist and has a Masters Degree in Visual Arts (Ceramics) from Southern Cross University, a Graduate Diploma in Visual Arts (Ceramics) from Monash University, a Diploma in Applied Arts from Charles Sturt University and a Bachelor of Education. His works are held in public collections in Australia, Korea, Japan, China, Thailand, Taiwan, Lithuania, Croatia and Austria.

His works represent a dance between reality, inner visions and the outside world, exploring the increasing disconnection between nature culture and the modern day work life. They suggest a figurative power to embody thoughts and emotions that may have their origins in childhood, but are not childish. Recognising parts of ourselves – our secret selves, our unexpressed dreaming selves, they represent a journey from headspace to reality. Encoded with manifold layers of data-words, numbers, images and equations, these works present a visual metaphor for our desire to find meaning within the complexity of contemporary culture.

Alison Milyika Carroll Alison Milyika Carroll is the Director of AAnanguku Arts and sits on theku Arts and sits on the board of Ernabella Arts where she represents the APY Art Centres.

Milyika was born in 1958 on Ernabella Mission, now known as Pukatja Community, where she continues to live and work. Her artwork reflects her identity as a contemporary and senior Pitjantjatjara/Yankunytjatjara woman.

As well as being a public leader, Milyika is a respected artist working across multiple mediums. Her batik and ceramics are held in public collections, nationally and internationally. In 2010 she was awarded an Australia Council grant to undertake a residency within the Ceramics Department at ANU. The resulting work was exhibited in Canberra and collected by the National Museum of Australia and the Art Gallery of South Australia.

Jacqueline Clayton Jacqueline Clayton’s work spans disciplines and definitions of practice. Over the last two decades she has engaged questions on the role of objects in representations of place and self. Since 2006, Jacqueline has extended this investigation to incorporate adaptations of industrial manufacturing processes, equipment and materials to support sustainable, onshore design and production of one-off’ and limited-run ceramic objects that incorporate environmentally appropriate innovations in clay body formulation, firing and production processes.

Jacqueline trained in Japan at Saga College, Kyoto and the National Art School, Sydney after completing a Bachelor of Asian Studies at the Australian National University.

In addition to her academic role at the College of Fine Arts, University of NSW, she maintains a personal creative practice and is principal of the design and production studio, Press to Play.

From top: Amy Kennedy, Vibration Series Sally Cleary, Nest #5 (assemblage detail)Steve Davies, still from animation, What are you laughing at

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From top: Janet DeBoos, Hybrid Places covered jarJanet Fieldhouse, Basket

Janet DeBoos After completing a science degree at the University of Sydney in the 1960s, Janet DeBoos studied under Peter Rushforth at East Sydney Tech 1970–71. She then taught at Canberra School of Art for four years, returning to Sydney to teach at various suburban TAFE colleges as well as East Sydney, before resigning to finish writing the glaze section of Handbook for Australian Potters (her third publication) and start a production pottery (Brindabella Pottery) with her partner Michael Wignall. She is currently Head of Ceramics at Australian National University School of Art. Over the last sixteen years she has become a regular visitor to China, engaging in projects with industry as well as undertaking residencies and teaching (China Academy of Art). She has also inaugurated a biannual trip to China for students from the ANU Ceramics Workshop to the porcelain capital Jingdezhen.

Rowley DrysdaleAwarded the Peter Voulkos Medal for things he’d forgotten he’d done, and not particularly well, Rowley Drysdale is a mediocre man always at his best.

He has been making clay objects for at least thirty years which he fires, thereby ensuring any embedded miscalculation, misappropriation, misery, hangs around.

He is a regular visitor to China, Japan and Korea. In 2011 he was invited to the World Ceramic Biennale to participate in the international workshop program at Yeoju, Korea. He is returning later this year as part of another ceramic exchange.

Renowned for never having spoken at a ceramic conference about his own work, Drysdale may well get off the mark (with a snick through slips) in 2012.

Moyra elliot (NZ)Moyra is an independent writer and curator with a specialty in ceramics. She writes for journals and contributes to books and catalogues. She is a curator of exhibitions for regional, national and international applications. She is active as an advisor for governmental institutions, exhibitions and competitions and speaks on aspects of ceramics in teaching institutions, art galleries and at conferences. Moyra was appointed to the inaugural Board of Objectspace in 2004 (national centre for object-making/design for NZ) to 2010 and now contributes as Special Advisor for Programming. She is a member of the International Academy of Ceramics and foundation member of Craftworkers – a regional think-tank for writers, theorists and curators involved with the media of crafts.

She is co-author of Cone Ten Down, a substantial book on the history of New Zealand studio ceramics between 1940 –1980, published in 2009. Research for her second book on New Zealand studio ceramics 1980 –2010 has commenced.

Fiona FellFiona Fell has a commitment to the material of clay and has for many years addressed issues integral to the genre of figuration in ceramics. Her recent work and research engages collaborative practices of an interdisciplinary nature, concentrating on continuous materiality in dialogue with media-based art forms such as film and photography. Fiona has been a professional artist for over fifteen years and an educator at tertiary institutions for over ten years. She has received several international grants and exhibits widely both nationally and Internationally. Fiona is currently Head of Department in �D studies, sculpture/ceramics at Southern Cross University, Queensland and is represented by Watters Gallery in Sydney.

Janet FieldhouseJanet Fieldhouse’s work is an expression of her Torres Straither Torres Strait Islander heritage: the material culture, material culture, rituals of social and religious life, and artefacts which are created to fulfil the functional and spiritual needs of the peoples of the Torres Strait.

She uses natural organic products, such as clay and porcelain, imbued with ideas from her individual journey, interaction with family and life stories about her culture.

She has examined the techniques used by women weavers from the Torres Strait Islands in the production of fibre baskets, then recreated the process in porcelain. She has also been inspired by Torres Strait dance and the armbands worn by dancers to decorate themselves.

She has been exploring the ritual of scarification (tattooing) which is no longer practised today. Scarification on the head, body and limbs was considered beautiful and central to rituals that young girls went through on reaching puberty, or a symbol of mourning only on young women. It was also used on newly married and a ritual for magic.

Leslie Ferrin (USA)Leslie Ferrin is founder, owner and director of Ferrin Gallery. Established in 1979, Ferrin Gallery is internationally known as a contemporary gallery specialising in ceramic sculpture and studio pottery. The gallery works closely with private collectors, institutions and the media as a source for works by both established and emerging artists through curated exhibitions, partnerships with other galleries and participation at international art fairs. Located in the culturally rich Berkshires of Western Massachusetts, the gallery is equidistant from New York City and Boston. In addition to the gallery, Ferrin is founder, director and co-owner of Project Art in Cummington, MA. Established in 2007 and co-owned with sculptor, Sergei Isupov, Project Art offers year round and short term artist residencies and studio rentals in a restored 8000 square foot, 19th century former mill building.

Cathy Franzi Cathy Franzi has a background in science including botany, which along with her experience in outdoor education informs her ceramic work. She began production throwing at Aiston Park Pottery, Adelaide in the 1980s, also working for Margaret McCaul and for Stephen Bowers, throwing his Andamooka range.

Extensive travel with a focus on ceramics followed, highlights including staying with potters in northeast Thailand, visiting historic sites in Iznik, Turkey, working with potters in Ireland and England and visiting gallery and museum collections.

A residency in Duffcarrig Camphill Community in Ireland for eighteen months involved Franzi in teaching adults with an intellectual disability while running the pottery workshop. She completed her MVA in 2010 and currently is a full-time PhD candidate in the Ceramic workshop at ANU.

Trevor FryTrevor Fry is a Sydney based artist currently engaged in PhD research in ceramics at Sydney College of the Arts. His topic is the relevance and potential of concepts of primality and vital force in contemporary ceramics. Trevor has exhibited in artist run situations in Sydney for many years and between 200� and 2007 he was a member of the Wild Boys art collective who created gay happenings and performed radical drag in public space. Originally a figurative painter, he undertook studies in History, Art History and Fine Arts in New Zealand, studied video and animation at the College of Fine Arts, UNSW (Cofa) in 2001, and in 2011 completed his MVA in ceramics at SCA. In his performance videos, drawings and abject installations he has played with transgression using confronting sexual imagery and excess. More recently he has applied this aesthetic to ceramics with the production of large-scale and intensely decorated coil-built sculptures which he has exhibited as part of unruly and chaotic installations incorporating video, clay detritus and other material.

Vicki Grima My ceramic practice is squeezed between my positions as Editor of Journal of Australian Ceramics (JAC) and Executive Officer of The Australian Ceramics Association (TACA).

As Editor and EO I am in daily contact with the ceramics community, with my focus on representing the diversity of ceramics practice in Australia through our Journal and offering support to the sector via TACA’s membership services. In this rapidly changing

digital world the challenge is to maintain relevance to the new ways of working, whilst also honouring the rich history of ceramics practice in Australia.

Jan GuyJan Guy is an artist, writer and lecturer in the ceramics studio at Sydney College of the Arts, the visual arts faculty of the University of Sydney, Australia. She maintains a broad practice and interest in ceramics with a specific focus on sculptural and installed works. While her personal research is presently concerned with relationships between the haptic senses and virtual spaces, she has an ongoing interest in feminist art practices and craft and design theory. Guy has been an advocate for the growth and continuation of Australian ceramic arts through writing for national journals and major exhibitions in the field, including ‘Celebration’, the catalogue essay for the 2000 Australian Ceramics Association exhibition and the 2006 SOFA catalogue.

In 2009 Guy was a member of the organising committee for the 1st Australian Ceramics Triennale. She also established CELSIUS, an online peer-reviewed journal for the disciplines of ceramics, glass and jewellery and object design.

Dr Patsy Hely Dr Patsy Hely is an academic and a practising artist. She completed her PhD ‘Ceramic Objects and the Articulation of Place’ at the Australian National University in 2007. Studio and allied research interests include colonial ceramics and ceramics, place and identity. She is currently Graduate Coursework/Honours Convenor at the ANU School of Art.

I enjoy the rare times I spend in my studio in Botany surrounded by factories and close to the airport and the port yet nearby to many beautiful beaches. It is a small, quiet and peaceful space surrounded by a busy city. Nature is a constant inspiration – irregular repetition, delicate intricacies and inherent patterns which create and define the form: small time + small space = small work.

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Neil Hoffmann Neil Hoffmann lives and works in Reedy Marsh in northern Tasmania, having moved there from Victoria to establish his ceramics art practice in 1981. His distinctive work is mostly sculptural in emphasis, with wood firing currently his preferred method. Found dolerite rock from his immediate forested surrounds is frequently incorporated into fired works. Neil recently convened Woodfire Tasmania 2011 in his home town, Deloraine.

Amy KennedyAmy Kennedy graduated with a Bachelor of Arts (Fine Art) Honours from RMIT, Melbourne, in 2006. In 2008 Amy undertook a three month residency at the European Ceramic Work Centre, The Netherlands and was awarded The Freedman Foundation Travelling Scholarship for Emerging Artists. She was a finalist in The Emerging Makers Award at the 2011 International Ceramics Festival, Aberystwyth, Wales. Most recently Amy was awarded a 2012 residency at the Anderson Ranch Arts Centre, Colorado.

Taking inspiration from forms and structures of the natural world, Kennedy creates sculptural works in which fine paper-thin leaves of glaze material are assembled to form layered objects. Working with delicacy and movement she aims to create works that are seemingly made and found simultaneously.

Cathy KeysCathy Keys is a Queensland artist mostly known by the ceramic sculptures she creates using the ancient technique of hand coiling.

After a short-lived but gallant attempt at holding down a ‘real job’ full time, she studied ceramic hand-building part-time and has never looked back.

Her current ceramics practice is inspired by observing the interactions of people and environmental phenomena in the Australian landscape. More recently she has been exploring mark-making and larger installations of ceramics and mixed media. Cathy’s artwork is supported by place-specific research and writing concerned with questions of culture and meaning.

Peter Lange (NZ)I work with clay, brick and fire in no particular order of preference. I’ve been working with clay for over thirty-nine years, one of the rash of stoneware domestic potters who sent columns of diesel smoke into the countryside of New Zealand in the 70s and 80s. By the time things got tight in the late 80s I was experimenting with slip-casting and moving towards sculptural objects. At the same time I became intrigued by the different forms that kilns could take and began a period of exploration of fire as a performance medium. Ten years ago I started building with brick, and this is currently the major part of my working life – no firing but a lot of dust and glue. I relax by making a batch of mugs or building a ridiculous kiln.

Anna Maas Anna Maas is the Managing Director of Skepsi on Swanston Gallery, which has operated from Swanston Street in Melbourne for fourteen years. The gallery specialises in the exhibition and sale of Australian studio art, with a strong emphasis on ceramics.

Anna is dedicated to the promotion, familiarisation and appreciation of ceramics, the support of early career ceramic artists and informing the collector. She has built a loyal and enthusiastic following for ceramics through successful exhibitions that are informative, inspirational and curious.

She is presently involved in the establishment of a private Australian Ceramic Museum and Gallery in Melbourne. Anna and her team curate ceramic exhibitions at different locations throughout Melbourne.

Tony MartinTony Martin was born in Sydney, spending his early years in Fiji, New South Wales, Western Australia and Victoria. He became fascinated with ceramics during tertiary studies, going on to earn a Master of Fine Arts degree at the University of Notre Dame, Indiana and a Master of Art Teaching at Andrews University, Michigan.

His career has been entirely focused on different facets of ceramics, as a professional studio potter, tertiary lecturer, in industrial research and development, ceramic material supplies and currently in technical

and anthropological research specialising in indigenous pottery communities. His studio work has been, in general, thrown high-fired stoneware and porcelain specialising in copper red and dry glazes.

Tom Miller My history is as a primary teacher in government schools. As part of my teaching in Primary, Special and Aboriginal Schools I have involved students in ceramics wherever possible.

I studied ceramics at university (Wattle Park Teachers College) as part of my Art course. In the years 2000–07 I coordinated a ceramics program at Ernabella Anangu School on the Pitjantjatjara Lands.

We constructed a purpose-built shed with equipment and kiln. In cooperation with the Ernabella Arts Centre we employed a ceramicist who worked at both facilities.

Over the years we engaged artists-in-residence and my presentation includes footage of Lincoln Kirby-Bell working with students at Ernabella.

The aims of the program were enjoyment, developing ceramic skills, encouraging future employment at the Arts Centre and achievement of secondary SACE.

Dr Damon Moon PhD Damon Moon has an extensive track record as a writer, curator and exhibiting artist spanning twenty-five years. He has been the recipient of numerous grants and awards, including a project grant from the Australia Council in 1996 and the MF & MH Joyner Scholarship in Fine Art from the University of South Australia from 2001 to 200�.

As well as working in the field of ceramics, he has been involved in the contemporary arts, curating an internationally successful exhibition of Indonesian contemporary art seen at such venues as the Australian Centre for Contemporary Art and the Ivan Dougherty Gallery in Australia, the Hiroshima City Museum of Contemporary Art and Ludwig’s Forum in Aachen, Germany. This work was supported by the Australia Indonesia Institute and derived from an Asialink residency undertaken in 1998.

His articles have been published in refereed and general journals, including Journal of Australian Ceramics, Ceramics, Art and Perception and Craft Arts International. He recently contributed a chapter to Cone Ten Down – studio pottery in New Zealand 1945 – 1980 (lead authors Moyra Elliot and Dr Damien Skinner) and his work is held in numerous collections, including the Tasmanian Museum and Art Gallery and the Queensland Art Gallery.

Lucille NoblezaLucille Nobleza has made a transition to photography after a lifetime of ceramics and glass. She documents events and artists across Australia, China and Europe. Along the way she has extended her photography to create an art of her own, collecting personal and unique images of ceramists responding intimately with their own work. This record includes ceramists from over thirty countries. Her work is published in books in China, France and Holland and magazines internationally. In recent years she has had solo exhibitions in Holland, Poland, Italy and a collaborative

Dr Christine Nicholls Dr Christine Nicholls is a writer, curator and academic working in Australian Studies at Adelaide’s Flinders University. She has published twelve books and is well published in the field of Indigenous Australian artistic practice. In the 1980s Christine Nicholls spent many years living at Lajamanu, a remote Aboriginal settlement in the Northern Territory, working first as a linguist and then as the Principal of the local bilingual Warlpiri Lajamanu School.

Christine Nicholls is currently the General Editor of the highly regarded peer reviewed international journal Australian Art Education as well as the Australian Editor of two high circulation visual arts magazines, Asian Art News and World Sculpture News, based in Hong Kong. She has curated numerous art exhibitions. Christine is currently working on several books about Indigenous Australian art for Thames and Hudson.

Bruce NuskeBruce Nuske has combined a ceramics practice and visual arts teaching career spanning forty years. He has taught a wide range of subjects at tertiary level with a specialised focus in ceramics and drawing. An abiding passion for teaching the importance of drawing as an integral component of the creative process and of the application of these ideas to design and production, continues to inspire and inform many students at Adelaide College of the Arts and JamFactory in South Australia.

Bruce maintains an active and well recognised ceramics practice with participation in many ceramics exhibitions and surveys both locally and internationally. He is represented in all state gallery collections within Australia and in private collections in Australia and overseas. His work has been exhibited in COLLECT at the V&Aat the V&A Museum, London, and purchased for the, and purchased for the Duke of Devonshire, Chatsworth, UK.

Stephanie Outridge Field Stephanie Outridge Field has an extensive and diverse arts practice, working in the contemporary ceramics field for over thirty years.

Since graduating with both undergraduate and post-graduate degrees from Sydney College of the Arts in 1980, she has worked with ceramics in a range of capacities: as an exhibiting artist, in public art commissions, collaborations with other artists; as an artist facilitator with community, teacher and as a project coordinator.

She has exhibited in group and solo exhibitions in Australia and New Zealand. She has established a community ceramics workshop designing and fabricating public ceramics for corporate and government clients.

Stephanie has a long and distinguished career in the education sector in the development of arts and community cultural development programs in Queensland and contributes articles to national and international ceramic art publications.

From top: Bruce Nuske, Tea Wear I and IINeil Hoffman, ScupltureFleur Schell, Poe and the GrubVicki Grima, 87 spoons (detail)

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a joint commission between himself and Stephen Bowers (then Ceramics Head at the JamFactory) included South Australian ceramic artists Jo Crawford and Jo Fraser as well as well-known Kaurna/Ngarrendjeri artist Muriel van der Byl. While Darryl Pfitzner Milika is in fact the copyright holder for this work, he maintains that he does so in trust on behalf of all those who worked on it as well as the Aboriginal community at large: at the time (opened in February 1995) it was the largest Australian commission for any public artwork directly under the control of an Indigenous artist, also including a formal consultative process with local (Kaurna) representatives as part of its initial development.

Robyn PhelanCritiques on ceramic, craft and art history, a sense of place and formal sculptural issues inform my work.

When making, each form begets the next, until groupings are formed. The process of choice and composition of the final display is highly considered and crucial to the personal narratives I wish to convey.

Each object makes obvious the marks of the skilled hand on clay with craft knowledge as the foundation of my material practice. I use the traditional technique of ceramics. Pinching and coiling of stoneware and porcelain is finished with a variety of artist made stains and glazes. My fundamental and familiar forms perform as honest, cultural signifiers.

Clarissa ReganClarissa Regan is an artist/writer from Sydney. She holds a Master of Visual Arts from SCA (2009) and a Bachelor of Fine Arts (Honours) from the National Art School (2006). She is currently a PhD candidate at the Sydney College of the Arts, Sydney University, and has been awarded a post-graduate scholarship to undertake research into her project examining the effects of digital screen culture upon contemporary society. Clarissa is a practising artist whose work incorporates print transfer techniques in her ceramics, as well as figurative forms. She both writes and works in the ceramic art field, and delivered a conference paper at the NZ Society of Potters Annual Conference in Auckland in 2011. She has exhibited widely in NSW.

Ben Richardson Ben Richardson has been designing and making his distinctive works for over twenty years after being introduced to woodfiring techniques by renowned potters Les Blakebrough and Gwyn Hanssen Pigott. He was a part-time lecturer in ceramics at the Tasmanian School of Art in Hobart 1985–1995. During this time he directed and implemented the early prototype stage of the development of Southern Ice porcelain with Les Blakebrough.

His professional practice focuses on woodfiring and the use of indigenous raw materials in a place-based approach to craft making. In 2011 he won the inaugural Vitrify Alcorso Ceramic Award with his exhibition Placed, a series of place-based work using local clays and glaze materials. He currently pursues a professional practice in ceramics at Ridgeline Pottery, along with teaching commitments at the Tasmanian Polytechnic.

Danielle Robson Danielle Robson is a curator and creative producer of contemporary art, craft and design. She currently holds the position of Creative Program Producer at Object: Australian Centre for Design, where she curated HYPErCLAY: Contemporary Ceramics and is currently developing Object’s next major creative program CuSP: Designing for the Next Decade. Danielle co-curated SafArI 2012 and SafArI 2010, the ‘unofficial’ fringe event to the Biennale of Sydney. She has written for various arts and design publications, and has extensive experience in curatorial, project management, exhibitions management, communications and programming. Danielle has undergraduate degrees in Law and Media Studies, and a Master of Art Administration from the College of Fine Arts, University of New South Wales.

Altair RoelantsAltair Roelants is a freelance arts writer and from London who relocated to Sydney in early 2010, currently writing for a range of national arts publications about Australian contemporary visual art and ceramics.

Altair has a particular interest in ceramics in the context of the history and memory of objects, and how they resonate and translate in contemporary arts practices and circulate in the every day. She is also a lover and hoarder of ceramics – a fascination which stems from her childhood collections of blue and white china shards unearthed from her grandmother’s garden in East London. Altair studied Art History and Contemporary Visual Culture at Goldsmiths College, University of London, gaining First Class Honours BA and The Visual Cultures Department Award for Excellence in Academic Achievement 2004–2006. She has worked in the visual arts for over a decade, collaborating on a broad range of artist, exhibition and text based creative projects.

Tania Rollond Tania Rollond is a Sydney based artist who makes ceramics and drawings, and often combines the two. She studied design at Curtin University, ceramics at the National Art School, and most recently completed her Master of Fine Arts (by Research) in drawing at College of Fine Arts (UNSW). Currently a Lecturer in Ceramics at NAS, she has been teaching and exhibiting ceramics regularly since 2001. Working between representation and abstraction, she makes drawings on (and about) objects to explore questions of recognition and meaning.

Owen Rye Owen Rye is an Australian ceramicist and a well-known leader in the woodfire movement. His contributions to the field are well recognised, having worked in many aspects of ceramics including archaeology, teaching postgraduate students, making and exhibiting woodfired work in Australia and internationally, delivering workshops on woodfiring, curating exhibitions and organising conferences. He has also contributed articles for many ceramics magazines and publications including his recent book The Art of Woodfire.

His work is represented in public collections in USA, China, Korea, Germany, France, and many Australian collections including the Australian National Gallery and state galleries. He is a member of the International Academy of Ceramics.

Brian Parkes Brian Parkes has been Director of the JamFactory in Adelaide since April 2010. He spent ten years prior to this as Associate Director and Senior Curator at Object: Australian Centre for Craft and Design. He curated several important exhibitions for Object including the landmark survey of contemporary Australian design, Freestyle: new Australian design for living.

In 2007 he was one of ten curators invited by Phaidon Press, London to contribute to & Fork, which profiles 100 emerging product designers from around the world.

A graduate of the Tasmanian School of Art in Hobart, Parkes has a significant and unusual background in both the creative and commercial spheres within museums and galleries. In the 1990s he managed the merchandising and retail operations at the Museum of Contemporary Art, Sydney (1998 –2000) and the National Gallery of Australia, Canberra (1995–98).

Darryl Pfitzner MilikaDarryl Pfitzner Milika, who is of Kokatha Indigenous heritage has worked as a professional artist for almost three decades now. Well known as a mixed media artist, philosopher and raconteur, Milika has developed a diverse artistic practice that includes painting and sculpture as well as smaller works in which he utilises precious stones, found objects, and other flotsam and jetsam, often making strongly social/political statements wrought with a trademark sense of wry or subversive humour. Pfitzner Milika’s work is included in many collections and has been displayed in numerous solo and group exhibitions.

In the current context, during 199� and 1994 Darryl Pfitzner Milika acted as the Designer, Project Director and Principal Artist for a collaborative group project that involved the creation of a ground and wall-based large scale metal and ceramic work, a sculptural installation entitled Yerrakartarta that stands in the forecourt of Adelaide’s Intercontinental Hotel. This project,

Jane SawyerJane Sawyer holds a BEd (Art) and an MFA by research (Ceramics) from RMIT University, Victoria. Professional experience includes traineeships with Andrew Halford, Sydney (1982–85) and Shussai-Gama, Shimane, Japan, (1985–87). Her studio practice is based in Melbourne, Australia.

Sawyer was an Australian exhibitor at COLLECT, at the V&A Museum, London in 2009. Her work is represented in many collections including in Australia and in Denmark and Japan. Sawyer is an experienced teacher at all levels of education from primary, secondary and tertiary through to community education. In 2012 she expanded her private classes into what is now known as Slow Clay Centre. She employs other artist-teachers, and runs guest artist workshops and forums to spread the love of all things ceramic.

Fleur Schell Fleur Schell’s home and studio are in North Fremantle, Western Australia.

‘Using porcelain I love to make sentimental objects that are rich in detail, playful and familiar. I am drawn to objects that provide us with individual recognisability, especially those essential objects that are instrumental to our daily rituals. I relish the discipline required and the challenges presented in making an object using porcelain. ... Through the sharing of clay knowledge I have been introduced to people and places that have profoundly enriched the lives of our family and I.’

In 2005 with her husband Richard Hill, Fleur Schell founded SODA – Sculpture Objects and Design Australia, an international ceramic residency and studios in North Fremantle.

Arun SharmaArun Sharma was born and raised in New York State and now lives in Sydney. He holds a MA Ceramics from University of Wales Institute (UK), a MFA from the University of Washington (USA), and a BFA from Alfred University (USA).

He has lived and worked as an artist in Canada, Japan, Australia and most recently the UK where he was awarded a US-UK Fulbright grant to research the Fragmented Figure at the National Centre for Ceramic Studies at the University of Wales Institute in Cardiff.

Sharma’s autobiographical artwork revolves mainly around the figure. He examines birth and death and their relationship in the overall schema of human life. He is also interested in the relationship clay has to the human body, both physically and metaphorically. Using emotively beautiful work he elevates the viewer’s senses by drawing them into a world beyond the familiar, all the while presenting identifiable themes.

Arun Sharma, (de)composition man

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Avital Sheffer Avital Sheffer grew up in Israel and arrived in Australia in 1990. Her lifelong engagement with multifaceted Middle-Eastern cultures, history and design leads her inquiry into fundamental human concerns of materiality and spirituality, origins and the contemporary, language and memory – complexities and dilemmas she explores in her work.

Since 2004 Sheffer has held many solo exhibitions in Australia, the UK and USA. Her work has been exhibited at COLLECT, Art London, SOFA NY and Chicago and she has participated in numerous invitational group exhibitions and competitions and won several awards. In 2006 and 2008 she received Australia Council grants for new work. Her work is held in public collections in France, the UK, USA and Australia and features in many art publications, the latest being The Pot Book by Edmund de Waal.

Alison Smiles As an emerging artist, the main area of my practice involves sculptural ceramic work that explores the gaps between the art object and the intangible world of human relationships. Having recently completed my final year of Bachelor of Visual Arts at the University of South Australia and also the University of Sunderland, UK, as part of a student exchange, this opportunity has afforded me the ability to explore my work in a practice-based process, enriching my work and helping me to question and develop my practice further.

Brett SmoutBrett Smout started making pottery at a community night class when he was seventeen, on the back of the whole earth movement. He had long hair. He says that in those days being a potter meant you were one of the good guys. Now, at age fifty five the hair is gone and he wonders if that is still true, if it ever was. His doctoral research at the Sydney College of the Arts investigates the possibility of vitrifying studio ceramics below 1000° Centigrade.

Jacqueline SpeddingJacqueline Spedding is a practising artist based in the Blue Mountains, 100 kilometres west of Sydney.

She studied visual arts, majoring in ceramics, at Sydney College of the Arts where she completed her Bachelor of Visual Arts and Postgraduate Diploma in ceramics before going on to complete a Masters of Fine Arts in 2011.

Before undertaking her MFA, she worked at Sydney College of the Arts managing a digital archive project from 2007 to 2010.

Her current research is concerned with how we view our relationship to the natural world. The entrenched view that nature exists separate and distinct from culture is one that she continues to question and explore in her work.

Liz Stops Liz was introduced to ceramics when she began studying Contemporary Visual Arts at Southern Cross University in 1991.

In 2007 she embarked on a PhD project, entitled Carbon Credits, in which she developed works representing an understanding of her local, colonised landscape, contextualised within a worldview of an environment-at-risk. Carbon Credits was motivated by a conviction that it would be possible to maintain a practice that incorporated a strong procedural ethic of sustainability. She was awarded a PhD in 2011.

Liz teaches casually in the �D Studio at Southern Cross University and in Ceramics at Lismore TAFE.

Vipoo Srivilasa Thai born, Melbourne-based artist Vipoo Srivilasa works mostly in ceramics, exploring similarities between the cultures of his native home, Thailand and his adoptive home, Australia. His work is a playful blend of historical figurative and decorative art practices with a healthy dose of contemporary culture.

Using blue and white colour, he creates complex narratives through highly decorated images applied to the surfaces of ceramic forms. His work requires an intimacy in which the key elements of the drama are often found in unusual places within the forms themselves.

Vipoo’s work features in many public collections such as the Shepparton Art Gallery, Victoria; Art Bank Australia, Melbourne; Tasmania Museum and Art Gallery, Tasmania; Toowoomba Regional Art Gallery, Queensland and The Art Gallery of South Australia.

yi-Hui Wang (TAIWAN)Yi-Hui Wang was born in Keelung, Taiwan. She first began using clay as a medium when she undertook a BFA at the National Taiwan University of Arts. She gained an MFA degree at Taipei National University of the Arts and completed her PhD at Sydney College of the Arts, Australia, in 2009.

Wang is an artist and educator and is currently Assistant Professor of Department of Arts and Creative Industries at the National Dong Hwa University, Taiwan. As part of her research she makes ceramic objects and installations investigating the relationship between the material and body in the comprehension of the historiography of ceramics and contemporary art. Her creations reflect concepts of gender identity and a dialogue with a multicultural interaction which translates the meaning by itself into art form without human language.

From top: Liz Williams, Subversive Ladder (detail)Vipoo Srivilasa, Mickey’s Masquerade

yuri Wiedenhofer Yuri Wiedenhofer is best known for his fire sculptures, structures that utilise fire to invoke suggestions of ceremony and ritual. Apart from this thought provoking aspect, the structures are ingenious and inventive and the fire performance itself can have considerable beauty. Yuri’s work has won Australian sculpture awards so it clearly crosses art traditional boundaries.

At its simplest, his philosophy insists on a thorough technical understanding of the ceramic process. Yuri has resisted and engaged the world at his feet for as long as he knows. He pulls at triggers to fire the neurons, dredging the memory of lived experience.

Liz WilliamsThere are experiences in life that stay with one and continue to grow in significance and for me being taught by Paul Soldner has been such an experience. Soldner was an inventor, artist, philosopher and all of these aspects of his life flowed seamlessly together into the inspirational and great humanitarian teacher that he was. He died in February 2011 after an extraordinarily creative and influential 89 years. I have chosen Soldner’s ‘Subversive Teaching Style’ as the content of my paper.

Steve Williams Steve Williams has blended his enthusiasm for education with his woodfired ceramics passion for over thirty years. He moves freely between making sculpture and functional vessels and often incorporates non-clay materials into his work. He has demonstrated his non-conventional approaches to making at conferences and festivals in Japan, China and Australia. Steve enjoys the challenge of making work in unfamiliar environments... new places, new objects and stories to tell.

Steve transferred as Head Teacher from Wagga Wagga to Great Lakes TAFE, North Coast Institute in 2007. With a particular interest in design, Steve introduced ceramics into the Aboriginal Design Program which he established in 2010. As an educator and artist Steve thrives on establishing learning environments that challenge individuals and establish personal direction and invention.

Dr Peter Wilson Peter Wilson began making pots at high school and has been developing and refining his work ever since. His first exhibition was in 1977. He has exhibited and worked internationally and undertaken a research fellowship in Faenza, Italy, visiting professorships in Lahore, Pakistan and residencies in Rufford in the UK and in Canada at Burlington. He currently teaches at Charles Sturt University in Bathurst and works from his studio in the same city.

In his work, he values a strong sense of design and craftsmanship and appreciates the inherent ‘effects of the fire’ unique to ceramics.

Adil Writer (India)Adil Writer is an ‘architect-turned-potter’ from Bombay. His studio, Mandala Pottery, is in the international community of Auroville in south India, where he, with his three partners, form a production unit making functional ceramic-ware and large scale ceramic murals. Adil’s ‘studio ceramic’ work is stoneware wood-fired to cone 10. The red dot often featured in his work is inspired by street architecture and roadside shrines of south India... where installation art is practised daily and innocuously by simple people, ‘with faith in their hearts and a light in their eyes’. Adil shows his work internationally. ‘I am appalled at how little is known internationally about the thriving ceramic scene in India. My talk for obvious reasons is titled ‘Not Just Elephants and Horses!!’ ;-)

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rs Stephen Bowers Stephen Bowers works in Adelaide, using hand crafting and backyard image-making to decorate pots, borrowing ideas from printed calicos, comic illustration, copperplate engraving, stencils, television, textiles, wallpapers, old printed pottery and woodblocks. His work is represented in several collections, including Wingfield and Norwood/Payneham Council Hard Rubbish collections. While it might be conjectured that his work examines histories of designed and pictorial environments (both interior and exterior) and makes reference to depictions and fragments of natural histories (illuminating, sometimes obscuring, the overlaps, collisions and borders that lie in the twilight zone between the actual and the imagined) he is (in fact) working on a prosaic, if inconsiderable and dispersed tumuli of crockery.

Andrew Bryant Andrew will demonstrate various influences and techniques that have informed his work. Large platters and spirals deconstructed and re-joined, terracotta coil pots, unglazed textured surface bearing marks and irregularities.

‘I tend to work intuitively allowing the clay to determine the forms as I coil rather than start with a pre-determined concept. I like to challenge my skill in building forms that push my clay to new possibilities sometimes the coils of clay feel thread like and akin to knitting… variable tensions either tight or loose… I like the clay as a tactile and responsive material… it has therapeutic qualities for me. I have always collected objects, now I make my own.’

Johanna DeMaine Born in Rotterdam, Holland, Johanna came to Australia in 1954 with her parents and siblings as economic refugees. The family settled on the Sunshine Coast, Queensland, where she completed her education before training as a high school teacher in Brisbane.

Between 199�–98 Johanna obtained a GradDip Vis Arts, MFA, BEd and completed a BA majoring in Computer Based Art and Design. This provided the foundation for the shift in her work to using cross-discipline techniques as well as specialising in overglaze.

In 2008 Johanna undertook a residency in SanBao, Jingdezhen and then in 2010 attended the Summer School at Jingdezhen Ceramic Institute, China, to study traditional overglaze enamelling.

Helen FullerI have been a practising visual artist exhibiting since 1979 after I graduated as a painter from the South Australian School of Art, Adelaide. I have pursued a career across art disciplines from painting, photography, installation to assemblage. In 2009, I joined a suburban pottery class and rolled my first coils of clay, this is now the basis of my current studio practice. I see my forms as blank �D surfaces on which I paint with underglaze, oxides and porcelain slip. I am more concerned at challenging the clay to build with and to creatively explore new forms than to be bound up with technical perfection. I enjoy the process rather than having a predetermined outcome and am keen to learn more about the clay as I progress… As John Cage said, ‘Out of the work comes the work’.

Klaus GutowskiKlaus Gutowski was born in Oberhausen, Germany in 1968, and migrated to Australia in 1999. Since graduating from the Adelaide College for the Arts in 2009 he was chosen as a finalist for the �0 Concurso Internacional de Ceramica de l’Alcora in Spain 2010, whilst also having his first solo exhibition Haute Culture with Peter Walker Fine Art, Adelaide. In the same year he received the Raffen Prize at the Helpmann Academy Graduate Exhibition. Since then he has had several group exhibitions, including the Lust exhibition at Brenda May Gallery in Sydney 2011.

Klaus currently works from his studio at JamFactory Contemporary Craft and Design in Adelaide, and lectures at the Adelaide College for the Arts. He was recently awarded a mentorship with ceramic artist Akio Takamori through the Ashington Mentorship scheme.

Philip HartPhilip’s pots are hand thrown and often decorated with a fiddly inlay technique, whereby the decorative motifs are carved out of the wet clay and in-filled with coloured slip then scraped, sanded and smoothed. The porcelain clay is vitreous, translucent and stony hard. Some pots are wrapped about with images of decorative threads, vines, wire and stitching representing the patterns that surround our everyday lives. Other vessels are decorated with patterns that reference oriental ceramics, pop art and action painting.

He works from his Eden Hills home workshop and when he is not making queer things in the shed he can usually be found baking cakes, cooking lasagne or running around after the kids.

Graham Hay Often interpreted as being marine inspired, he describes his work as ‘a futile attempt to illustrate a dynamic sociological perspective of the Arts and Crafts’. Much of his inspiration comes from a childhood spent herding animals, working as a professional political lobbyist, observing closely unique Western Australian native plants, and maintaining a 10,000 artist and craftspeople database for two decades.

Mark Heidenreich Mark will demonstrate his remarkable skill and technique and provide a glimpse into the world he inhabits. Terra Villa Pottery is situated in the heart of Adelaide and is a magical discovery. It is the result of a life committed to acquiring knowledge and understanding in order to make beautiful pots, finely crafted and well designed. Many of them made for outdoor use, impressive in their scale and beautiful in their form suggesting a careful and very personal understanding of the rich history of form that exists in the clay tradition.

From top: Johanna DeMaine, Being and BecomingMark Heidenreich in his workshop Jackson Li, Horse series No. 2

Jan HowlinMy ceramic practice is centred on two fundamental issues, form and meaning. While I’m naturally attracted to certain physical characteristics – curvature, fluid line, fineness, asymmetry – my overriding interest is in the potential of clay to be transformed into expressive three-dimensional objects that primarily speak with their form rather than through the application of surface imagery. The ideas behind my work are diverse, and as such I have no style, nor a recognisable body of work. I generally hand build, enlisting whatever techniques I can use or develop to suit my ends whilst also endeavouring to achieve high standards of craftsmanship.

Bronwyn Kemp Pots and stuff, art, ‘Dylan Thomas was a Buddhist’, my new tag.

I’m completely addicted to watching Pina Bausch videos on YouTube thanks to Wim.

Growing potatoes, keeping them in the dark, wrapping things in clay, setting fire to stuff, burning things including the toast.

Sometimes they are about the same ideas or processes or materials or spaces or drawings, and other times, more to do with play or grandiose ideas that engage the political and philosophical brain.

Moving through time and space. Wonder.

Jackson Li (CHINA)For me, working with clay is something like my mother cooking in the kitchen, she has spent her life time repeating the same tasks, shopping and preparing, using different produce and spices from the local market and putting them together in her own special way. Just like myself working with clay materials, oxides and glazes. She has passed on her knowledge and love so that we can enjoy the best meals!

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Sandy Lockwood was born in London and lives and works in the Southern Highlands of NSW. Since 1975, she has been working with clay, and wood-firing and salt-glazing since 1980. Sandy’s ceramic works have been widely exhibited and are represented in public and private collections throughout Australia, UK, USA, Europe, Korea, China and Japan.

Sandy’s work has been published in journals and books and she has presented papers on wood-firing and salt-glazing and demonstrated in Australia, UK, USA, Japan, Taiwan and France. Sandy holds a Masters in Visual Arts and has taught at a number of tertiary institutions including the National Art School.

Laura McKibbon (CAN)My practice combines a line of functional work with limited series and one-of-a-kind exhibition pieces as well as regular participation in artist residencies. I personally handcraft my work through every step and incorporate photographic, computer and printmaking techniques in my surface decoration, developing narrative through image and pattern. My interest in graphic imagery, composition and the semantics of cultural imagery has greatly inspired my practice, and my work has developed alongside my interest in print techniques.

Born and raised in Vancouver, BC, Laura McKibbon has been working in clay for the past eight years. A self-taught ceramic artist with a background in science, printmaking and photography, Laura’s distinctive line of hand-built ceramics reflects a love of modern design, a dedication to quality and ultimately, function.

Laura continues to exhibit regularly and her work has been collected internationally. Her inspiration comes from the world around us, highlighting the unique personal experiences we have, in the hopes that this moment will resonate with others, and they will bring their own story to the work.

David PedlerI graduated from Underdale College in 1987 and have been making a living from ceramics for the past twenty five years. I became interested in mould making as a means of achieving the precision of form that I liked, and this has led to a focus on slip casting, jiggering and ram pressing. I decorate with slips and clear glaze, or use coloured glazes.

Being able to make reasonable volumes of tableware has also allowed me to supply local restaurants. As well as my ceramics studio in Moonta, Meg Caslake and I run a hot glass studio in Uraidla in the Adelaide Hills. Since 2011 I have been ceramics Program Manager at the JamFactory.

David RayMy forms are inspired by 18th-century European factory ware, I recreate the fragile and baroque nature of that period. I predominately use porcelain which is temperamental during the making process. I will be passing on my twenty years of hand-building techniques. Creating dynamic forms which are gestural and defy gravity.

Merrilyn StockI have always had a graphical approach to ceramics. My work in majolica was inspired by the broad colourful palate that low temperature techniques make available. Recently I have been expanding my ceramic knowledge into the use of, high fired decorative porcelain, wood fire clay bodies, wood firing, gas firing and the industrial use of ceramics.

Early in my ceramic career I worked on an archeological dig in Thailand for the Art Gallery of South Australia. This experience put ceramics in a historical perspective for me, both culturally and artistically. Recently I returned from Turkey, inspired by the exquisite decoration applied to Iznik tiles.

Ceramics can reflect the status of a civilisation, its use in large scale architecture is a time capsule of cultural expression. As a 21st century ceramic artist I am continually reflecting and using the wealth of ceramic history to create my own ceramic language.

Prue VenablesA search for simplicity and quietness, an essential stillness, motivates my work. The making of functional pots, the exploration of objects to be held and used, alongside a search for new and innovative forms, provides a lifetime of challenge and excitement. I enjoy the contradictory nature of these pieces – where the sprung tension of the throwing remains clear but the origins of forms are uncertain. I have a particular interest in the making of functional objects. The work contains references to 18th and 19th century English industrial pottery as well as to more contemporary and familiar metal and plastic vessels.

Gerry Wedd Gerry was born in 1957. Hewas born in 1957. He studied jewellery making, painting, drawing and ceramics in which he has a Masters degree. In 1991 he began designing for Mambo Graphics, beginning a relationship which continued until 2006. He has worked in consultation with a number of community groups to produce graphics and public art works. Gerry exhibits nationally and internationally and has work in many public collections including the Australian National Gallery and the Powerhouse Museum in Sydney. In 1998 he received the premier prize at the Sidney Myer Fund International Ceramics Award. In 2009 his work was exhibited as part of the Havana Bienal. In the same year he was the subject of the SALA monograph.

From top: Prue Venables, Black bottle and bowl Laura McKibbon, Cityplatter

From top: Merrilyn Stock, Amulet BoxGerry Wedd, Three Jars (detail)Graham Hay, Ten by ten (Parental Style Series II)Andrew Bryant, Anatomy of a Woodfired Vase

40 41

HyPeRCLAy: Contemporary Ceramics Walter Auer, Roderick Bamford, Stephen Bird, Jacqueline Clayton, Andrea Hylands, Addison Marshall, Pip McManus, Paul Wood

7 September – 20 October

Artists reception 6pm Fri 28 Sept JamFactory workshop

JamFactory Contemporary Craft and Design Gallery One 19 Morphett Street, Adelaide

Mon – Sat 10am – 5pm, Sun 1 – 5pm

Map 2 and 3 #6

Creative Directors Choice Gwyn Hanssen Pigott, Louise Boscacci, Amy Kennedy, Susan Robey, Helen Fuller, Bruce Nuske, Sandy Lockwood

7 September – 20 October

Artists reception 6pm Fri 28 Sept

JamFactory Contemporary Craft and Design Gallery Two 19 Morphett Street, Adelaide

Mon – Sat 10am – 5pm, Sun 1 – 5pm

Map 2 and 3 #6

Vitrify Alcorso Ceramic Award Stephen Bird, Tania Rollond, Neville French, Julie Bartholomew

7 September – 20 October

Artists reception 6pm Fri 28 Sept Announcement of Alcorso Ceramic Award winner

JamFactory Showroom19 Morphett Street, Adelaide

Mon – Sat 10am – 5pm, Sun 1 – 5pm

Map 2 and 3 #6

JamFactory Ceramics Studio Associates: Alison Smiles, Ulrica Trulsson, Hilary Jones, Wayne McAra, Sophia Phillips Staff: Prue Venables, David Pedler

�1 August – 20 October

Artists reception 6pm Fri 28 Sept

JamFactory Atrium 19 Morphett Street, Adelaide

Mon – Sat 10am – 5pm, Sun 1 – 5pm

Map 2 and 3 #6

Post SkangaroovianGus Clutterbuck, Jo Crawford, Margaret Dodd, Nicole Greenslade, Klaus Gutowski, Philip Hart, Bronwyn Kemp, Bruce Nuske, Maria Parmenter, Freya Povey, Gerry Wedd

4 September – 12 October

LAUNCH 6pm Wed 26 Sept Artists in conversation 1.15 – 2pm Fri 28 Sept

SASA Gallery Kaurna Building, City West campus University of South Australia Cnr Fenn Place + Hindley Street, Adelaide

Mon – Fri 11am – 5pm

Map 2 and 3 #1

Clay LineageGus Clutterbuck, Margaret Dodd, Peter Johnson, Mr Li Jiang, Marie Littlewood, Wayne McAra, Jeff Mincham, Milton Moon, Mr Wang Hao, Liz Williams, Mr Jiang Xiong Wei, Takeshi Yasuda

14 September – 17 October

OPeNING 12.�0 – 2pm Fri 28 Sept

Kerry Packer Civic Gallery Level �, Hawke Building University of South Australia 55 North Terrace, Adelaide

Mon – Fri 9am – 5pm Conference weekend 9am – 5pm

Map 2 and 3 #2

Irrational and Idiosyncratic Khai Liew and Bruce Nuske

� August – �0 September

Gallery 3 Anne & Gordon Samstag Museum of Art Hawke Building University of South Australia 55 North Terrace, Adelaide

Tue – Fri 11am – 5pm Sat + Sun 2 – 5pm

Map 2 and 3 #2

Punters Cup All delegates

27 September – 1 October

Level 4, Dorrit Black Building University of South Australia George Street, Adelaide

Fri – Sun 10am – 5pm

Map 2 and 3 #3

SUBVeRT Stephen Benwell, Stephen Bowers, Penny Byrne, Rowley Drysdale, Lesa Farrant, Helen Fuller, Patsy Hely, Peter Johnson, Janet Mansfield, Sandy Lockwood, Anton Reijnders, Paul Scott, Liz Stops, Akio Takamori, Clare Twomey, Yuri Wiedenhofer, Masamichi Yoshikawa

19 September – 4 October

OPeNING 6pm Wed 19 Sept

Light Square Gallery Tafe SA, Adelaide College of the Arts �9 Light Square, Adelaide

Mon – Fri 10am – 5pm Conference weekend 1 – 5pm

Map 2 and 3 #5

Offspring Maria Chatzinikolaki, Anna Couper, Susan Frost, Klaus Gutowski, Wayne McAra, Sunshine March, Stephanie James-Manttan

24 September – 4 October

AC Arts Foyer Adelaide College of the Arts �9 Light Square, Adelaide

Mon – Fri 10am – 5pm Conference weekend 10am – 5pm

Map 2 and 3 #5

Exhi

bitio

n pro

gram

entry Mark Valenzuela

27 September – 26 October

OPeNING 6pm Thur 27 Sept

Nexus Gallery Nexus Multicultural Arts Centre Lion Arts Centre Cnr North Tce and Morphett St, Adelaide

Tue – Fri 10am – 5pm

Map 3 #7

earth Works Contemporary Indigenous Australian Ceramic Art Group exhibition

1 September – 14 October

FLOOR TALK by Christine Nicholls 2pm Saturday 22 September Launch of Earth Works publication 5pm Thursday 27 September

Flinders University City Gallery North Terrace, Adelaide

Tue – Fri 11am – 4pm Sat + Sun 12 – 4pm

Map 3 #8

Highlights from the 2011 Indigenous Ceramic Art Award Group exhibition

1 September – 14 October

Flinders University City Gallery North Terrace, Adelaide Tue – Fri 11am – 4pm Sat + Sun 12 – 4pm

Map 3 #8

Ngayuku Ngura, Ngayuku Tjukurpa Our Place, Our Stories Alison Milyika Carroll, Renita Stanley, Pepai Carroll, Carlene Thompson, Tjimpuna Williams, Derek Thompson, Ngunytjima Carroll, Dickie Minyintiri, Atipalku Intjalki, Tjunkaya Tapaya, Tjariya Stanley, Ungakini Tjangala, Niningka Lewis, Pantjiti Lionel

27 September – 7 October

OPeNING 5.�0–7.�0pm Thur 27 Sept

South Australian Museum Australian Aboriginal Cultures Gallery temporary exhibition space North Terrace, Adelaide

Mon – Sun 10am – 5pm

Map 3 #9Danie Mellor, Totem

From top: Philip Hart, BinaryLesa Farrant, Marginata

42 4�

Keramika Maria Chatzinikolaki, Sally Gibson-Doré, Alison Smiles, George Zacharoyannis

OPeNING 6 – 8pm Fri 28 Sept

20 September – 6 October

Art Images Gallery �2 The Parade, Norwood

Mon – Fri 9am – 5.�0pm Sat 10am – 5pm, Sun 2pm – 5pm

Map 3 #21

Renaissance of Progressive Thinking Klaus Gutowski

20 September – 7 October

OPeNING 6 – 8 pm Wed 19 Sept

Peter Walker Fine Art 101 Walkerville Terrace, Walkerville

Thur – Sat 11am – 5pm

Map 3 #22

Tooled Stephanie James-Manttan, Susan Frost, Charmain Hearder

14 September – �0 September

OPeNING 7 – 9pm Wed 26 Sept

The Geoffrey Stapleton Gallery 95a Prospect Road, Prospect

Wed – Sun 11am – 4pm

Map 3 #23

Serendipitous Play Studio Potters SA members

22 September – 1� October

OPeNING 2pm Sat 22 Sept

Studio Potters SA 54 OG Road, Klemzig

Wed – Sat 11am – 4pm

Map 4

SURFACe John Ferguson

OPeNING 2 – 4pm Sun 2� Sept

22 September – � October

Gallery J 10 Lincoln Avenue, Manningham

Daily 11am – 5pm

Map 4

Up Front Various artists

Shopfronts, West End, Adelaide

View all hours

Map 3 #16

Touched Sally Gibson-Doré

5 – 29 September

Urban Cow Studio 11 Frome Street, Adelaide

Mon – Thu 10am – 6pm Fri 10am – 9pm Sat 10am – 5pm, Sun 12 – 5pm

Map 3 #17

110 Stories Tall James Edwards

25 September – 1� October

OPeNING 5 – 8pm Thurs 27 Sept

Council of Objects 248 Grenfell Street, East End, Adelaide (opposite Tandanya)

Tue – Thu 10am – 5.�0pm Fri 10am – 8pm, Sat 10am – 5pm Open Sun �0 Sept 11am – 4pm

Map 3 #18

From Clay to Being Jane Sabey

1 August – 1 October

T’Arts Textile and Arts Collective Gays Arcade, Adelaide Arcade Adelaide

Mon – Sat 10am – 5pm

Map 3 #19

Stephen Benwell: Ceramics Stephen Benwell

19 September – 21 October

OPeNING 6pm Wed 19 Sept

Greenaway Art Gallery �9 Rundle Street, Kent Town

Tue – Sun 11am – 6pm

Map 3 #20

Exhi

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From top: Janet DeBoos, Expanded Korea VaseKlaus Gutowski, Waiting for the stormAvital Sheffer, Chalcos I

GraduatesNational survey of recent ceramic graduates

Peter Austin, Ursula Burgoyne, Michael Carney, Alice Couttoupes, Cass Edney, Steve Gollop, Jan Howlin, Robyn Hosking, Janetta Kerr Grant, Esther Konings-Oakes, Thomas Mason, Tracey Mitchell, Briony Milverton, Julie Pennington, Loretta Picone, Daniel Qualischefski, Anh Thu, Haydon Youlley

27 September – 1 October

OPeNING 6.�0 – 8.�0pm Sat �0 Sept

Queens Theatre Corner Gilles Arcade + Playhouse Lane, Adelaide

11am – 5pm 27 Sept – 1 Oct

Map 3 #14

Germinate South Australian emerging ceramic artists

27 September – 1 October

OPeNING 6.�0 – 8.�0pm Sat �0 Sept

Queens Theatre Corner Gilles Arcade + Playhouse Lane, Adelaide

11am – 5pm 27 Sept – 1 Oct

Map 3 #14

Toast Merrilyn Stock

27 September – 1 October

OPeNING 6.�0 – 8.�0pm Sat �0 Sept

Queens Theatre Corner Gilles Arcade + Playhouse Lane, Adelaide

11am – 5pm 27 Sept – 1 Oct

Map 3 #14

Domestic Disturbance Nicole Greenslade, Sophia Nuske, Jarred Pruis, Alison Smiles, George Zacharoyannis

27 September – 1� October

OPeNING 7pm til late Thur 27 Sept

Magazine GalleryClubhouse Lane (just off Hindley Street), Adelaide

Mon – Fri 10am – 7pm Sat 10am – 4pm, Sun closed

Map 3 #15

enduring Forms Bob Connery, Janet DeBoos, Merran Esson, Simone Frazer, Neville French, Suvira McDonald, Catherine Reid, Avital Sheffer

Also a special showing of new works by Milton Moon

20 September – 4 November

OPeNING 6.�0pm Thur 20 Sept

Aptos Cruz Galleries 147 Mount Barker Road, Stirling

Mon – Sat 10am – 5pm Sun + public holidays 1 – 5pm

Map 1

One Lump or Two? Sandra Black, Mollie Bosworth, Marianne Cole, Alison Cooper, Jenny Denton, Irene von Budewitz, Philip Hart, Jane Robertson, Jane Sabey, Helen Taylor, Jan Twyerould, Janette Loughery

21 September – 14 October

OPeNING 6 – 8pm Fri 21 Sept

Bamfurlong Fine Crafts �6 Main Street, Hahndorf

Mon – Sun 11 – 5pm

Map 1

Pushing Boundaries Anne Mercer, Peter Sinclair, Lesa Farrant, Violet Cooper, Marie Littlewood, Andy Wilson, David Woolaway, John Colman, Geraldine Krieg, Kerry Rochford

22 September – 10 November

OPeNING �pm Sat 22 Sept

Red Poles McMurtrie Road, McLaren Vale

Tue – Sun 9am – 5pm

Map 5

The lost works of Philip Warren Ceramics by John Ullinger

Goes live Friday 28 September

www.johnullinger.com John Ullinger’s recent pottery explores notions, influences and aesthetics of the Arts and Crafts movement and Victorian romantic poetry.

Skangaroovian Funk: Revisited Olive Bishop, William Clements, Aleks Danko, Margaret Dodd, Bert Flugelman, Paul Greenaway, Bill Gregory, Tim Moorhead, Bruce Nuske, Ron Rowe, Ian Smith, Mark Thompson

22 September 2012 – March 201�

Art Gallery of South Australia Gallery 19a, North Terrace, Adelaide

Daily 10am – 5pm

Map 3 #10

Traces Maria Chatzinikolaki, Roger Hjorleifson, Pramod Kumar, Silvia Stansfield

5 September – 18 November

Migration Museum 82 Kintore Avenue, Adelaide

10am – 5pm Mon – Fri 1 – 5pm weekends + public holidays

Map 3 #11

Sky, Land and Beyond: expanding identity Darryl Pfitzner Milika

28 September – 11 November

OPeNING 6pm Fri 28 Sept

Tandanya – National Aboriginal Cultural Institute25� Grenfell Street, Adelaide

10am – 5pm 7 days

Map 3 #12

Australian Ceramics Triennale: Subversive Clay Kirsten Coelho, Bruce Nuske, Prue Venables, Liz Williams

27 September – 20 October

OPeNING 6 – 7.�0pm Thur 27 Sept

BMGArt �1-�� North Street West End, Adelaide

Opening 6 – 7.30pm Thur 27 SeptTue – Sat 11am – 5pm Conference weekend Fri 28 + Sat 29 Sept 11am – 5pm Sun �0 Sept + Mon 1 Oct 2 – 5pm

Map 3 #13

44 45

Akio Takamori (USA)

Drawing on the Surface of the FormInternationally renowned Japanese figurative ceramic artist, Akio Takamori, will be hosting a three-day masterclass which will take place inwill take place in the days just prior to the conference.

Akio’s practice is conceptually and technically innovative and he will introduce participants to new ideas and skills. The masterclass will be hands-on and will include extensive discussion and demonstration. Akio will create a vessel form and a figurative sculpture with stoneware clay, and will draw and paint on the surface of the works by applying underglazes.

Date: Monday 24 – Wednesday 26 September

Time: 9 – 5pm

Venue: Ceramic Studio Adelaide College of the Arts

Hyperclay Contemporary Ceramics Clay at the edges: Teachers Workshop

This one-day workshop will focus on how contemporary artists are using clay in unconventional and fascinating ways.

Following a tour of the HYPErCLAY exhibition with the show’s curator, Danielle Robson, the day will include two workshops led by renowned artists Stephen Bird and Jacqueline Clayton.

Roderick Bamford will then provide a presentation of digital mediation in ceramic practice including a demonstration of the �D ceramic printer.

Date: Thursday 27 September

Time: 10am – 4.�0pm

Venue: Ceramic Studio JamFactory Contemporary Craft and Design

Masamichi yoshikawa (JAP)

Masamichi Yoshikawa, born 1946 in Chigasaki City, is one of Japan’s most prominent artists.

He has gained worldwide recognition and has exhibited his works internationally. He has become recognised for his white and blueish style of ceramic artworks. His work often plays with surface texture, pattern and scale, varying from large installations to small objects.

This three-day masterclass with Masamichi is a rare opportunity to work with a renowned artist. The class will explore Masamichi’s practice of working in porcelain at both small and large scale, covering a variety of techniques including handbuilding and throwing.

Date: Monday 24 – Wednesday 26 September

Time: 9 – 5pm

Venue: Ceramic Studio JamFactory Contemporary Craft and Design

Masterclass Masterclass WorkshopAdelaide Potterswww.adelaidepottersclub.wordpress.com

Australian National Universitywww.anu.edu.au

Bernd Pfannkuche New Ceramics The european Ceramics Magazinewww.neue-keramik.de

Ceramics: Art and Perception /Technicalwww.ceramicart.com.au

Clayworkswww.clayworksaustralia.com

Jackson Li Sanbao Ceramic Art Institute Chinawww.chinaclayart.com

Keane Ceramicswww.keaneceramics.com.au

Prior Industries L&L Kilnswww.priorindustries.com

Studio Potters SAwww.studiopotters.com.au

The Journal of Australian Ceramicsaustralianceramics.com

The Australian Ceramic Associationaustralianceramics.com

The Pug Millwww.pugmill.com.au

Walker Ceramics Feeneys Clay & Cescowww.walkerceramics.com.au

Trade Fair participants

Mast

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asse

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orks

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Akio Takamori, Alphabet people series Masamichi Yoshikawa, kayo Roderick Bamford, Fuddling Manoeuvre Masamichi Yoshikawa, Tamamayu, installation view

Jacqueline Clayton, rilke and the Autoclave

46 47

Locations of exhibition and conference events

B37

Strathalbyn

McLaren Vale

Meadows

Willunga

Hahndorf

Mt Barker

Norwood

A10

Prospect

A13

Port Noarlunga

A1

M1

Gulf St Vincent

Port Willunga

Adelaide Airport

ADeLAIDe

MAP 2 Adelaide – University of South Australia, AC Arts and JamFactory

Conference venues Registration Kaurna BuildingGround floor University of South Australia City West campus Cnr Hindley Street + Fenn Place,

Map 2 and 3 #1

Speakers program Allan Scott AuditoriumLevel �, Hawke Building University of South Australia City West campus 55 North Terrace, Adelaide

Map 2 and 3 #2

Speakers program Barbara Hanrahan BuildingRoom BH 2-9 University of South Australia City West campus 55 North Terrace, Adelaide

Map 2 and 3 #4

Speakers program AC ArtsGround level Adelaide College of the Arts �9 Light Square, Adelaide

Map 2 and 3 #5

Kerry Packer Civic GalleryLevel �, Hawke Building University of South Australia City West campus 55 North Terrace, Adelaide

Map 2 and 3 #2

Workshop venuesHyPeRCLAy JamFactory Contemporary Craft and DesignCeramic Design Studio Level 2, JamFactory 19 Morphett St, Adelaide

Map 2 and 3 #6

Demonstrators JamFactoryCeramic Design Studio Level 2, JamFactory 19 Morphett St, Adelaide

Map 2 and 3 #6

Demonstrators AC ArtsCeramics Studio Basement level Adelaide College of the Arts �9 Light Square, Adelaide

Map 2 and 3 #5

Demonstrators UniSADorrit Black Building University of South Australia City West campus George Street, Adelaide

Map 2 and 3 #3

Delegates Slide Talks UniSACeramics Studio Dorrit Black Building University of South Australia City West campus George St, Adelaide

Map 2 and 3 #3

Conf

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North Terrace

Light Square

Wes

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Mor

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Philip St

Currie St

Hindley St

AC Arts Light Square

Gallery

Barbara Hanrahan Bldg

3

2

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1

6

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Dorrit Black Bldg

Hawke Bldg

Kaurna Bldg

JamFactory

7Nexus

Event locations Bus ToursDepart from University of South Australia Hawke Building North Terrace, Adelaide

Map 2 and 3 #2

ROCK THe FROCKGarage Bar 16� Waymouth Street, Adelaide

Map 3 #GB

Trade FairGround floor, Kaurna Building University of South Australia City West campus Cnr Hindley Street + Fenn Place, Adelaide

Map 2 and 3 #1

Suitcase Sale UniSA courtyard Adjacent to Allan Scott Auditorium University of South Australia City West campus

Map 2 and 3 #2

Gra

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Gra

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Live

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Geo

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Cla

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Port Rd

Glenelg

Manningham

Stirling

Klemzig

Walkerville

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MCLAReN VALeMain St

Kangarilla Rd

McMurtrie Rd

Strout Rd

Red Poles

< Adelaide

A13

Willunga >

Tatachilla Rd

Victor Harbor >

MAP 3 Adelaide, Walkerville, Prospect, Kent Town and Norwood

Wakefield St

The ParadeRundle Mall

Grenfell St

Kin

GW

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St

Kin

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Rundle St

From

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River Torrens

Botanic Park

Light Square

Hindmarsh Square

Whitmore Square

Hurtle Square

Hindley St

Botanic Gardens

SOUtHterrACe

Wes

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Tce

Wakefield Rd Kensington Rd

Mor

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Currie St

Hackney Rd

Botanic Rd

ADeLAIDe

NORWOOD

NORTH ADeLAIDe

Victoria Square

elder Park

Bartels Rd

Dequetteville Tce

Fulla

rton

Rd

Hut

t St

Pul

tene

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Magill Road

Lefevre Tce

O’Connell St

Jeffcott St

Hill St

Ward St

Tynte St

Archer St

William St

Kin

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Ave

Melbourne St

Frome Rd

Wellington Square

North Tce

Payne

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< Glenelg

Rymill Park

Finniss St

Park Tce

Pennington Tce

Rundle Rd

Rundle St

Mon

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1734

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War Memorial Drive

< Adelaide Airport

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Adelaide Oval

KeNT TOWN

1 Locations of conference venues, exhibitions, workshops and events

Waymouth StGB

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MAP 5 McLaren Vale – Red Poles

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Walkerville

Tce

Pro

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Mai

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Rd

Robe Tce

Stephen Tce

Main North

Rd

North east R

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Stephen Tce

Ascot Ave

North east R

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OG Road

Muller Rd

Payneham Rd

PROSPeCT

WALKeRVILLe

Stephanie James-Manttan, Iced Vessel and Beakers

23

MAP 4 Gallery J, Manningham + Studio Potters SA, Klemzig

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21

Ham

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Studio Potters SA

Gallery J

Regency Rd

A10

River T

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ySpecial thanks to Amy Sierp-Worth, Subversive Clay Project Manager + Director, Worth Gallery Stephanie James-Manttan, Project Assistant

Conference Steering Committee: Peter Johnson – Chair Stephanie James-Manttan – Secretary Rae O’Connell – Treasurer Jan Twyerould – Program Liz Williams – Masterclasses/Demonstrators Joanne Crawford – Exhibitions John Ullinger – Marketing Jane Sabey – Trade Fair Gus Clutterbuck – Indigenous Program

Craftsouth Centre of Contemporary Craft and Design is the major partner of Subversive Clay, 2012 Australian Ceramics Triennale

Supporters

Funding Partners

Program Partners

Sponsors

A big thank you to our volunteers and supporters: Anne Robertson, Anh-Thu-Vu, Aaron Lim, Alison Smiles, Amelia Castellucci, Bob and John Bennett, Bobbie Barwick, Bruce Nuske, Camille Rich, Charmain Hearder, Christy Kobelt, Deborah Odell, Dick Richards, Ebony Heidenreich, Edwin Relf, Eija Murch-Lempinen, Gaia Morigi, George Zacharoyannis, Gerry Wedd, Grant Hancock, Guy Ringwood, Harriet McLeish, Hilary Jones, Holford family, James Edwards, Jane Burbidge, Jane Robertson, Jessica Harrison, Joy Furnell, Julian Tremayne, Kaitlyn Strawbridge, Kirsten Coelho, Klaus Gutowski, Laura-Ellen Runnalls, Lauren Abineri, Lauren Mustillo, Leo Neuhofer, Leonie Westbrook, Lesa Farrant, Dr Lewis O’Brien, Llewellyn Barnes, Madeleine Deere, Mandy (Carolyn) Gould, Maria Chatzinikolaki, Michael Carney, Michael Edwards, Minnette Michael, Nadja Maher, Nicole Greenslade, Phil Hart, Prue Venables, Rachel Penn, Dr Robert Lyons, Robert Tran, Rosemary Milton, Sally Gibson-Doré, Samantha Porter, Sandra Elms, Sandra Sharma, Sonali Patel, Sophia Nuske, Sophia Phillips, Stephen Bowers, Sunshine March, Susan Frost, Tamara Hahn, Tania Kunze, Trisha Trezise, Ulrica Trulsson, Vicki Grima, Victoria Bowes, Victoria Rew, Maria Parmenter, Viesturs Cielens, Wayne McAra, Yates family.

Trade Fair participants and sponsors

sandra elms design

www.studiopotters.com.au

Subversive Clay fundraising Platter Project

Thank you to all our Platter Project artists: Alison Arnold, Amy Sierp-Worth, Angela Walford, Brian Parkes, Bruce Nuske, Christina Gollan, David Pedler, Eliza Piro, Elodie Barker, Emma Hack (body artist), Gus Clutterbuck, Helen Fuller, Helen Taylor, James Edwards, Jane Burbidge, Jane Reilly (Channel 10), Jane Sabey, Jo Crawford, John Ullinger, Klaus Gutowski, Maria Chatzinikolaki, Maria Parmenter, Michael Angelakis (celebrity chef), Merrilyn Stock, Peter Goers (ABC Radio), Peter Johnson, Peter Sharrock, Phil Hart, Philip White, Poh Ling Yeow (painter, celebrity chef [set]), Prue Venables, Rae O’Connell, Randall Sach (glass artist, plastic surgeon), Ruby Sierp, Simon Bryant (celebrity chef), Simone Kennedy, Tom Moore, glass artist), Stephen Bowers, Stephen Yarwood (Lord Major), Susan Frost, Silver Stansfield, Di Longley (printmaker), Greg Mackie, James Dodd (graffiti artist), Hon John Hill MP (Minister for Health and Ageing, Minister for Mental Health and Substance Abuse and Minister for the Arts), Ulrica Trulsson

Donated work: Bruce Nuske, Gerry Wedd, Jeff Mincham, John Ferguson, Liz Williams, Peter Johnson

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Grant Hancockphotographer