The Sherwood Neighbourhood Centre Introduces:

Western Suburbs Clayworkers Newsletter January/February 2017

A word from our new presidentHi all,

Welcome back. Now that 2106 is “done and dusted” I hope everyone is rejuvenated after the break and ready to trade the handful of chocolates for handfuls of clay. I know I’m fired up. I hope everyone likes the occasional bad pun too.

So I have put myself back in the hot-seat for this year as the group’s benevolent autocrat. I would like to thank this year’s committee for stepping up to the task of running Western Suburbs Clayworkers and also thank the previous dedicated crew for all their effort in creating a successful 2016 last year. That means some people get thanked twice and deservedly so.

The Pantone colour of the year for 2017 is called “Greenery” (Pantone 15-0343) and their website informs us that it’s “A refreshing and revitalizing shade, Greenery is symbolic of new beginnings.” This year will be a new

beginning for WSC with our refurbished studio space. I’m in the process of painting my kitchen with a similar colour called “Tame green”. This may prove to be a superfluous task as another prediction for 2017 is that: “A massive death planet – Nibiru – is about to smash into our planet, killing us all! And there’s an alarmingly specific date predicted for the ‘rogue planet’ making its fatal rendezvous with our planet: December 2017”, according to a prediction on Zetatalks that was quoted by the free U.K. tabloid newspaper “Metro”. Hopefully the actual day won’t be until after our Christmas party. It’d be a shame to miss out on that.

We’d like to make the revamped studio the centre of activity as soon as possible. Any suggestions and ideas for things you’d like to do are welcomed and we’ll try to accommodate them. Looking forward to seeing you all soon,

Anthony.

This month's video https://www.youtube.com/watch?v=yPJ2hN1hfnY

contactsPresident Anthony Durrington Secretary Rachael Torepe

Western Suburbs Clayworkers 38 Thallon Street Sherwood 4075 Email wsclayworkers@hotmail.com

Newsletter David Bartholomew david@vcgraphics.com.au

mailto:wsclayworkers@hotmail.commailto:david@vcgraphics.com.au

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Welcome back Frank - one of our best throwers!

Anthony's cast stones

At left David's 2 pots in Feeney's Dark Stoneware and above his first commission 4 plates, 4 bowls and a serving bowl for a wedding gift - ready to bisque.

Warrandyte Pottery Expo 2017SATURDAY 25 FEBRUARY 2017 10am - 5.30pm

SUNDAY 26 FEBRUARY 2017 10am - 5.30pm

WARRANDYTE RIVERBANK OPPOSITE THE PUB IN YARRA ST

MELWAYS: 23 E11

January bits

Failed pots and what not to do!Mini-workshop 01-02-17 in the studio

From the top

2 sides to Anthony's bowl - glaze too thick and hasn't adhered to the pot well - looks great but has a few sharp points.

The bottom pot is terracotta where the underglaze has slipped where the pot was too wet to absorb the moisture in the slip.

From the top

The green underglaze and the clear glaze have not fitted together well?

The centre pot has a dust spot on the lid and perhaps a grease mark on the body where the glaze has not taken.

The bottom pot has a dramatic fail - perhaps too wet when bisqued or has an air pocket in the base

From the top

The inside of the bowl has a slip applied - cracking may have occurred in the glaze firing due to this weak point on the base of the pot.

The Raku pot has an underglaze applied under a clear and the areas are starting to spall off like a naked Raku.

Gai had some mid-fire pieces with underglaze and a clear glaze over it. The result was difficult to photograph but had small bloats and pin-holes. The clay body has been blamed for this!

If you have any other thoughts on these failures let us know!

Go to: wsclayworkers.org.au

Send us photos of your work to upload to our web page for our members to see - http://wsclayworkers.org.au/wsc-work.htmlhttp://wsclayworkers.org.au/what-have-you-done.html

Also find popular recipes by request

Find these and more on the web page now!

wsclayworkers@hotmail.com

Did anyone else see this on the ABC program Back Roads. It is a small country town, Cygnet in Tasmania. A lot of the locals are involved in artistic or alternate activities.

Everyone seems to have more than one job; so why not use your kiln for an alternate as well!

The 2017 webpage

Diane's artist profileMy name is Diane Weingott and I have been ‘potting’ for many years, starting with a Certificate of Ceramics at South Brisbane TAFE.

I am a very straight-forward, uncomplicated potter. My pottery has no hidden meanings or symbolism. I thoroughly enjoy the tactile quality of clay as it evolves from an undeveloped lump to an item I have envisioned the moment I first laid my hands around it.

The smooth rounded curves of a well-thrown piece that both pleases the eye and entices one to touch it, is my main objective and delight when it is achieved.

My pottery is made to use; to know someone is enjoying the feel and look of my creation on a daily basis, or even kept away at the back of the cupboard to be brought out on special events to hold the feast of the day, is a great joy to me. I feel a little bit of me is interwoven with the clay, the decoration and the glazes used on each pot.

I look forward to getting to know all the potters in the Western Suburbs Clayworkers and enjoying some inspirational times mucking about in mud.

PS Diane won third place in our What Have You Done for 2017 - congratulations again!

An alternate use for your electric kiln

http://wsclayworkers.org.au/http://wsclayworkers.org.au/wsc-work.htmlhttp://wsclayworkers.org.au/what-have-you-done.html http://wsclayworkers.org.au/recipes---food!.htmlmailto:wsclayworkers%40hotmail.com?subject=What%20Have%20I%20Done%202014

What’s On in & Around Brissy:Andrew Baker Art Dealer26 Brookes Street, Bowen Hills 4006. (07) 3252-2292, 0412-990-356. info@andrew-baker.com www.andrew-baker.com Wed-Sat 10.00 to 5.00, or by appt. Paintings, photographs, prints and sculptures by leading contemporary Australian, Melanesian and Polynesian artists.

BrisAsia Festival – Folds of Belongingwww.brisbane.qld.gov.au To Feb 19 Folds of Belonging. An exhibition displaying contemporary works by internationally celebrated artists – Fahd Burki (Pakistan), Motoyuki Daifu (Japan), Rirkrit Tiravanija (Thailand/USA), Shilpa Gupta (India) and collective Slavs and Tatars (Eurasia) in the City’s Vibrant Laneways Outdoor Gallery sites – King George Square Car Park, Eagle Lane, Hutton Lane and Fish Lane, 24-hours a day. Folds of Belonging is produced in association with Brisbane City Council on occasion of the 2017 BrisAsia Festival. Curated by Tess Maunder.

FireWorks Gallery52a Doggett Street, Newstead 4006. (07) 3216-1250. info@fireworksgallery.com.au www.fireworksgallery.com.au Tues-Fri 10.00 to 6.00, Sat 10.00 to 4.00. Jan 31 to Feb 25 Along the Lines group exhibition.

Institute of Modern Art420 Brunswick Street, Fortitude Valley 4006. (07) 3252-5750 Fax 3252-5072. ima@ima.org.au www.ima.org.au Free entry. Tues-Sat 12.00 to 6.00, Thurs until 8.00. Feb 11 to March 11 Fiona Tan.

Jan Manton ArtContemporary Australian + International Art 1/93 Fortescue Street, Spring Hill 4000. (07) 3831-3060, 0419-657-768. info@janmantonart.com www.janmantonart.com Director: Jan Manton. Wed-Fri by appt, Sat 10.00 to 4.00 no appt required. Jan Manton Art has a changing program of leading and emerging contemporary artists. Feb 22 to March 18 Alchemy by Gatya Kelly. Also, still/silent by Carl Warner.

Jan Murphy Gallery486 Brunswick Street, Fortitude Valley 4006. (07) 3254-1855. enquiries@janmurphygallery.com.au www.janmurphygallery.com.au Director: Jan Murphy. Tues-Sat 10.00 to 5.00 or by appt. Feb 25 to March 25 Dog Days.

Jugglers Art Space Inc.103 Brunswick Street, Fortitude Valley 4006. (07) 3252-2552. info@jugglers.org.au www.jugglers.org.au Facebook: jugglersartspace Mon-Fri 10.00 to 4.00. An artist run organisation committed to supporting artists in Brisbane.

Mitchell Fine Art86 Arthur Street, Fortitude Valley 4006. (07) 3254-2297. admin@mitchellfineartgallery.com www.mitchellfineartgallery.com Mon-Fri 10.00 to 5.30, Sat 10.00 to 5.00. Feb 8 to March 4 Director’s Choice.

Philip Bacon Galleries2 Arthur Street, Fortitude Valley 4006. (07) 3358-3555. artenquiries@philipbacongalleries.com.au www.philipbacongalleries.com.au Tues-Sat 10.00 to 5.00. Philip Bacon Galleries is the largest and most established dealing gallery in Brisbane. We have a large selection of important 19th-century, 20th-century and contemporary paintings and sculptures in stock. Feb 7 to March 4 Creatures: Great and Small paintings, watercolours, lithographs, drawings and sculpture by Australian artists from the 1880s until now.

Queensland Art Gallery | Gallery of Modern Art (QAGOMA)Stanley Place, Cultural Precinct, South Bank Brisbane 4101. (07) 3840-7303 Fax 3844-8865. www.qagoma.qld.gov.au Free entry, unless otherwise stated. Daily 10.00 to 5.00.

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GOMA:To Feb 12 Childrenís Art Centre: The Gabori Sisters: Gathering by the Sea. To April 16 A World View: The Tim Fairfax AC Gift. To April 17 Sugar Spin: you, me, art and everything – QAGOMA’s major summer show. Also, Children’s Art Centre: Mirror Mirror by Hrafnhildur Arnardóttir (aka Shoppy), and Enchanted spaces by Nusra Latif Qureshi. To May 7 Rainbow Bridge from ‘We Miss You Magic Land’ 2011 by Pip & Pop. To May 14 Untitled by Anish Kapoor. To July 30 Lucent: Aboriginal and Pacific Works from the Collection.

QUT Art Museum2 George Street, QUT Gardens Point Campus (next to the City Botanic Gardens), Brisbane 4000. (07) 3138-5370. artmuseum@qut.edu.au www.artmuseum.qut.edu.au Free entry. Tues-Fri 10.00 to 4.00, Sat-Sun 12.00 to 4.00. Visit website for programs and events. To March 5 GLASS: art, design, architecture.

Redland Art Gallery

CapalabaCapalaba Place, Noeleen Street, Capalaba 4157. (07) 3829-8899. gallery@redland.qld.gov.au artgallery.redland.qld.gov.au Free admission. Mon-Wed, Fri 8.30 to 5.00, Thurs 8.30 to 7.30, Sat 9.00 to 4.00. Feb 4 to March 14, 14 x 14: Volunteer selected works from the RAG Collection.

ClevelandCnr Middle and Bloomfield streets, Cleveland 4163. (07) 3829-8899.

gallery@redland.qld.gov.au artgallery.redland.qld.gov.au Free admission. Mon-Fri 9.00 to 4.00, Sun 9.00 to 2.00. Feb 5 to March 19 Take a seat: Corinne Colombo, and Lamentation: Karike Ashworth.

Suzanne O’Connell Gallery93 James Street, New Farm 4005. (07) 3358-5811, 0400-920-022 Fax 3358-5813. suzanne@suzanneoconnell.com www.suzanneoconnell.com Member of ACGA. Wed-Sat 11.00 to 4.00 or by appt. Specialising in contemporary Australian Indigenous art. Representing leading Aboriginal artists; works include paintings, fibre and wood carvings. Feb 11 to March 11 Old People by William Nyaparu Gardiner a solo exhibition. In association with Spinifex Hill Artists.

The University of Queensland Art MuseumJames and Mary Emelia Mayne Centre (Building 11), University Drive, The University of Queensland, St Lucia 4067. (07) 3365-3046. artmuseum@uq.edu.au www.artmuseum.uq.edu.au Daily 10.00 to 4.00. To Feb 26 Creative Accounting – Australian and international contemporary artists explore ideas around money, economic systems, perceived value, and the aesthetics of currency. UTS Art Collection. Courtesy the artists To April 2 Denise Green: Beyond and Between – A Painter’s Journey – surveys over 40 years of the prominent Australian born and New York based artist’s practice.

Webb GalleryQueensland College of Art, Griffith University Level 2 Webb Centre, 226 Grey Street, South Bank 4101.

qcagalleries@griffith.edu.au www.griffith.edu.au/qcagalleries Tues-Sat 10.00 to 4.00. Feb 9 to 25 (opening and announcement Fri Feb 10, 6-8pm) The Elaine Bermingham National Watercolour Prize in Landscape Painting.

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Gold CoastAnthea Polson ArtShop 120 Marina Mirage, 74 Seaworld Drive, Main Beach 4217. (07) 5561-1166. info@antheapolsonart.com.au www.antheapolsonart.com.au Director: Anthea Polson. Daily 10.00 to 6.00. Feb 25 to March 11 Portraits From An Ordinary Life by Veronica Cay.

Gold Coast City GalleryThe Arts Centre Gold Coast, 135 Bundall Road, Surfers Paradise 4217. (07) 5588 4000. gallery@theartscentregc.com.au www.theartscentregc.com.au/gallery Free entry.

Mon-Fri 10.00 to 5.00, Sat and public hols 11.00 to 5.00, Sun 8.30 to 5.00. Feb 18 to April 9 Signs of the Time – a Gold Coast exclusive exhibition of world-renowned, national and local urban artists from the Collection of Ken McGregor and work commissioned by Gold Coast City Gallery. The exhibition features works from urban art megastars including; Banksy and Bambi and national and local urban artists including Sarah Beetson, Beastman and HA HA. To March 31 UnSeenGC Summer 16-17 – a dLux Media Arts touring exhibition. The exhibition is a mobile 3D augmented reality (AR) art experience, designed to introduce the Gold Coast community and our city’s visitors to some of the world’s best in AR art.

Sunshine CoastAustralian Woodfire Ceramics ConferenceSmoke on the Water 2017 Cooroy, Sunshine Coast, Queensland June 28-July 1,2017

The Australian Woodfire Ceramics Conference, Smoke on the Wafer 2017, is an international event for woodfired and other ceramic arts.

Under balmy Sunshine Coast skies, help celebrate the triennial gathering of the tribe, its stalwarts and newcomers.

web: smokeonthewater2017.com.au email: ccteinc@gmail.com

Noosa Regional GalleryLevel 1, 9 Pelican Street (PO Box 141), Riverside, Tewantin 4565. (07) 5329-6145. gallery@noosa.qld.gov.au www.noosaregionalgallery.com Director: Nina Shadforth. Tue-Fri 10.00 to 4.00, Sat-Sun 10.00 to 3.00 closed Mondays, public holidays and during exhibition changeovers.

Jan 27 to Feb 26 Taste of Art. Friends Noosa Regional Gallery presents its sixth annual group show exclusively organised for its creative members. Taste of Art presents our rich and diverse local creative voices from artists to hobbyists alike.

Stevens Street Gallery2 Stevens Street, Yandina 4561. 0448-051-710. contact@stevensstreetgallery.com.au www.stevensstreetgallery.com.au Tues-Sat 9.00 to 2.00. Feb 1 to March 29 Sculpture Now featuring sculpture from some of Australia’s leading sculptors – Mike Nicholls, Christabel Wigley, Mark Howson, Emma Davies, Marc Pascal and Graeme Altman.

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The Son of a PotterGerry Wedd was born in McLaren Vale, South Australia, in 1957. He pots and surfs in Port Eliott, South Australia. He completed an MVA (ceramics) in 2009. In 1998 he won the Sidney Myer Fund International Ceramics Award and in 2009 his work was in the Havana Bienal.

WHAT HABITS DO YOU EMPLOY TO KEEP YOUR CREATIVITY FRESH?Funnily enough it’s this idea of repetition and making and making and making. Often making the same things over and over. I don’t worry about freshness or a new creative direction, it will happen if I just keep working.

HOW WOULD YOU DESCRIBE YOU?Erratic. Driven and lazy. Easily intrigued.

WHAT PART OF THE PROCESS DO YOU LOVE THE MOST?There is a moment through any of the processes where I am not quite sure where things are going, but I’m excited rather than scared. It can be in the middle of decorating something where you lose yourself slightly and all of a sudden you feel like you’ve hit this particular point where everything is singing. That can even happen if I’m dipping a large plate. You have this split second realization that you know how to do something.

WHAT DO YOU LOVE BEST ABOUT YOUR STUDIO?The light. My studio would be a joke in potters’ circles. It doesn’t have a door. It was an old shed that was on the property and I’ve never closed it in. In the winter I will occasionally put some blinds down and I will have a heater. In the summer when it gets too hot I will drag the table out under an olive tree and work. But it’s the light. I’ve had photographers come here and they will look around the whole place for somewhere to take a photograph and we will end up back in my studio.

IF I WANTED TO BECOME A FULL TIME POTTER WHAT ADVICE WOULD YOU GIVE?I think there are two clear paths. One of them is to obviously learn the skills to a point at which you can sell things and you find out what the market is and in a very methodical way you aim towards that market. You go to the galleries, you go to the shops. Or you take those skills and interests and let them embed themselves in what you are making. Then you will make things that are of you, that I think tend to be the things people are interested in. It’s all time and it’s all making.

http://thepotterscast.com/80

This article and images are taken unashamedly from the Potters Cast webpage. I first saw Gerry on the ABC documentary - Mambo: Art Irritates Life.

http://thepotterscast.com/80

Scratching the Surface: A Guide to SgraffitoThe word sgraffito is derived from the Italian word graffito, a drawing or inscription made on a wall or other surface (graffito also gave us the word graffiti). Graffito is past participal of sgraffire, which means “to scratch.” So the word sgraffito basically means to scratch and create a graphic or an image. In ceramics, sgraffito is a technique of ornamentation in which a surface layer is incised to reveal a ground of contrasting color.I use sgraffito to get a clean line without masking or rulers, and I do more cutting than scraping. I use a handmade tool that is thin and cuts smoothly. I cut when the piece is stiff leather hard, which makes straight lines possible. If the piece is bone dry, the cut will be jagged and brittle. If the piece is too soft, the tool raises the edge of the cut and makes a higher ragged edge.Fig.1, Fig.2, Fig.3 spraying underglaze/engobesIf your clay has grog in it, or anything coarser than fine sand, you won’t get a smooth cut. I use a rubber-tipped air tool and a soft cosmetic brush to blow or brush off the cuttings. The cut pieces are still moist enough to stick if you touch them to the surface, so they should be removed frequently. You can use a thin coat of wax resist to protect light-colored areas from dark cuttings. The wax resist will burn off in the bisque.

CAUTION - Overspray is hazardous. The engobe spray contains silica, which can be harmful if inhaled.

Wear a mask, and make sure your booth has an exhaust system.Fig.4 Place the platter on a foam rubber chuck on the wheel and create the center spiral as the wheel turns.I use an automotive-detail-type spray gun to apply engobes and glazes. It has a smaller fan size than the full-size gun, has good volume and is much faster than an airbrush. It’s a high volume/low pressure (HVLP) gun and it produces less overspray. I use a large HLVP spray gun for the cover glazes because of its high volume.I use a matt and a shiny glaze to cover the engobes on the face of the pieces and these two glazes are what I call “color friendly.” To get as many colors as possible, they have to work with the chrome-tin colors, i.e., the reds, pinks and purples. The molecular recipe has to have three times more calcium than boron for these to work. They have that ratio and will produce the right color with all my engobes. I do use barium for what it does for the colors and for the matt. The potential problem with it has to do with the heavy metals and the possibility of leaching. From what I can find out, if a glaze has less than 15% barium in the percentage composition, it will not promote leaching. From the tests I have done, the glazes that I now use do not promote leaching when used over the engobes. I do use a liner glaze for liquid containers and I don’t use the solid color glazes on eating surfaces.Fig.5 Move the platter to a banding wheel and work freehand.I spray very wet, as if I’m pouring on a small stream of the glaze or engobe on the piece. The engobe sets quickly because the leather-hard piece can absorb some water, but too much engobe and the piece can collapse. If the engobe is too thick, it makes the color and the glaze crawl. Set the fan for a tall oval and overlap the spray by 50% with the piece on a banding wheel turning smoothly through the spray. Practice spraying with paper plates so you can cover the plate smoothly with no bare spots or dusty areas.The four colors of this color set are Black, French Green, Chartreuse and Crimson and are applied from dark to light (figures 1–2). The spray adds water to the piece and it must dry to the leather hard state before it can be carved. When dry enough, store the pieces on cloth on top of plastic, and and place cloth over them to prevent condensation from the plastic marring the color (figure 3).Fig.6 Scrape off large areas last using the flat side of a rib.First I create the center spiral and circle using a foam rubber chuck on the wheel (figure 4). All the other lines are done freehand on a banding wheel (figure 5).The scraping of the larger white spaces is done last, when the piece is even harder. I try to take off only the layer of color (figure 6). I use the the tool tip to make a sort of ditch that you can scrape to or from to make the larger white areas. I use the flat side of a rib to make the larger cuts.Fig.7 Cross-hatching is done with a serrated tool.

There will be some edges that can be felt, and glazes will break away from these edges, but the glaze will fill in to make it smoother than when cut. Small nicks and cuts can be patched, but the spray overlaps are very hard to color match, so it is best to avoid mistakes! When almost bone dry, use 0000-grade steel wool to lightly smooth some of the cuts and to remove small bits of color.Cross-hatching is another way of exposing the white of the porcelain and is done with a serrated-edge tool (figure 7). I add black dots of engobe using a squeeze bottle. When all the carving is done, the piece is air-dried then bisque fired, then a clear satin matt or a shiny glaze is sprayed on the front and solid color glazes on the back.Detail of trimming tool with ferrel removed and watch-spring cutter formed to desired contour.

ToolsMy sgraffito tool tips are made from the main spring of a pocket watch. The spring metal is thin and strong, doesn’t have to be sharpened and keeps the same feel as it wears away. To make the tip, cut a piece of spring, heat it with a small torch and bend it to the shape you want. A small rounded point is used for the line cutting tips, and a broader rounder tip for large cuts. Glue the tip with Elmers glue into the brass ferrel of the trimming tool and allow it to harden. Lightly heating the ferrel softens the glue and the ferrel can be removed and another tip glued into the tool. For ribs, cut them with tin snips from sheets of metal and flatten the edges, making two square edges for scraping (do not sharpen the edges). You can also cut serrated-edge ribs with the snips.

Anther great story from ceramics arts daily an endless source for tips and ideas

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Tools

http://ceramicartsdaily.org

TOOLKIT 1 Anna-Marie Wallace - Made of Australia Topic: Running a successful ceramic manufacturing business. Place: RQAS, 162 Petrie Terrace, Brisbane. When: Sunday 19 February at 1.30 pm. $30 M $55 N-M

TOOLKIT 2 Stephen Clark – ahagoodthinking Topic: Preparation for a successful grant application. Place: RQAS, 162 Petrie Terrace, Brisbane. When: Sunday 19 March at 10.00 am. $25 M $45 N-M

AGM Place: RQAS, 162 Petrie Terrace, Brisbane. When: Sunday 19 March at 1.30 pm.

TOOLKIT 3 Su Brown Wallace Rockhole Project and Crowd Funding. Place: BVAC, 140 Weller Road, Tarragindi. When: Sunday 21 May at 1.30 pm. $30 M $55 N-M TOOLKIT 4 Raku Firing Day Place: BIA, 14 Grafton Street, Windsor. When: Sunday 18 June 9.30 – 4.00 pm. $65 M $85 N-M Smoke on the Water International Woodfirers’ Conference Place: Cooroy, Sunshine Coast. When: 28 June – 1 July

Exhibition Early Influential Woodfirers of our Region Place: St James Hall, Cooroy When: 28 June – 1 July.

TOOLKIT 5 The Ian Currie Memorial Glaze Workshop Speaker: Greg Daly Place: BIA, 14 Grafton Street, Windsor. When: Sunday 6 August 9.00 – 4.00 pm. $100 M $130 N-M

ANNUAL MEMBERS EXHIBITION & SILICEOUS AWARD Place: BIA Metcalfe Gallery, 14 Grafton Street, Windsor. When: 3– 16 August 9.00 – 4.00 pm. Opening: Saturday 5 August 6.00 pm – Award announcement.

TOOLKIT 6 Complex Mould Making Place: BIA Ceramic Studio, 14 Grafton Street, Windsor. When: TBC $100 M $130 N-M Christmas Gathering - Artist in Residence Reports Place: BVAC, 140 Weller Road, Tarragindi When: Sunday 26 November 1.30 pm.

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172017 CAQ ToolkitsDon't forget as a member group of CAQ, WSC has the right to enrol 2 of our members at any CAQ event at member rates

Ceramics ConferenceAustralian Woodfire

Go to the Ceramic Arts Queensland webpage for more info - https://ceramicartsqld.org.au

https://ceramicartsqld.org.au

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