Vicki Grima with Narelle Howard looking on.
On Saturday 03 August we had the pleasure of a fabulous workshop with Vicki Grima at the CCPS workshop - Pinch Pots and Beyond.Vicki is a wonderful teacher. Not only were we taken step by step through her pinch pot making process, she generously gave tips on marketing our work for sale and passed on other insights from her vast experience with clay, the recent Clay Push at Gulgong, JAC and the Australian Ceramics Association.Her beautiful work can be seen at http://vickigrima.wordpress.com/Thanks Vicki, we look forward to your next exhibition
, whenever you're ready to share your new work.
Lots of interesting and exciting things the Clay Art Center is doing, and has done since its establishment in 1957. Here's some of their history from their 'About Us' page. www.clayartcenter.org
HISTORY OF CLAY ART CENTER ... A Living Legacy
Tucked away at the end of a municipal parking lot in Port Chester, New York, in a building that has a modest exterior, is the Clay Art Center. It was founded in 1957 by Katherine Choy, whose dream was to open a center for the advancement of the ceramic arts and she was joined by her friend Henry Okamoto, a respected, classic potter from California.
Katherine Choy's tragic and sudden death in 1958 left Henry to dedicate the rest of his life to realizing her dream. A lone beacon on the east coast at the time, it became a haven for clay artists, many who have had significant careers and influenced contemporary ceramic practice.
After Henry's death in 1988, Elsbeth Woody and Claudia Miller took over the reins and infused their energy into several programs, initiating the Summer Workshop Festival and opening a gallery dedicated to exhibiting ceramics.
Since 1997 Director Reena Kashyap and Associate Director Ruth Berelson have strengthened the programs aimed at advancing the mission by growing the education, exhibitions, Artist Residency and outreach programs, which are all focused "to kindle a passion for the ceramic arts and to provide a sharing community for that passion to flourish."
2007 marks Clay Art Center's 50th anniversary, and its emergence as a non-profit organization. Today it is buzzing with activity and the love for clay and spirit of community is abundantly displayed. It seems that its founders' dreams have been amply fulfilled.
Well done Wendy Gibson for selection into the Reconciliation Exhibition at the Gosford Regional Gallery - currently on until 14 July.
Make time to check out the exhibition and see Wendy's sensitive work, 'Moving Forward'.
Photo - Wendy Gibson
Congratulations also to Kylie Rose McLean for winning the Dunedoo Art Unlimited ceramics section with her
'Fat Quarters' work
- the Cobbora Holding Company Prize for Ceramics.
Photo - Steve Cummings
Thank you to all those who supported our East West Tea Drinking Traditions exhibition. We had wonderfully positive comments and sold many tea bowls, cups, tea pots and associated tea ceremony items.
During the exhibition we had some wonderful photographs taken by Rhiannon Hopley - see a sample below.
The next Central Coast Potters Society exhibition is at the end of the year in time for gift giving - November 28th to December 12th. See you then.
WOW! What a great night on Friday 5th April.
At the Gala evening for Sculpture on the Greens, Sharon Ridsdale was awarded the Delta Electricity Stipend2 for her 'Dragon's Lair Series' and Kylie Rose McLean was awarded the Chan's Art2Public Exhibition Award and Stipend for 'Fat Quarters x 8'. Both our members are on a winning streak, having recently taken home awards from the Royal Easter Show - see earlier post.
Sculpture on the Greens is located at Kooindah Waters Golf and Spa Resort
, Wyong. You can view the 54 sculptures in their beautifully landscaped gardens until Sunday 25th May, 2013. Go to www.sculptureonthegreens.net.au
for more information.Thanks Col Henry and your team for making this such an enjoyable experience and such a successful event.
Let's get thinking about next year and how we can grow a bigger festival on the Central Coast!
An addendum to the last post - Margaret Davey also had work chosen for the ceramics display. Her three beautiful raku figures sold, along with Ingrid Tristram's perfume bottles. Congratulations.
CCPS celebrates the successes of three of our members at the 2013 Sydney Royal Easter Show Arts and Crafts Awards. This year is particularly special being the 45th anniversary of CCPS, as well as ceramics as the feature display at the Arts and Crafts Pavilion.
Congratulations to: Kylie Rose McLean who was the recipient of two 1st prize awards - 1st in Non-Functional with her entry 'Fat Quarters' and 1st prize in Atmospheric with 'Termite Mounds' (also an exhibit in last year's Gosford Art Prize); Ingrid Tristram who took the 2nd prize award in Atmospheric with three of her beautiful naked raku perfume bottles; and Sharon Ridsdale who received a Highly Commended for her 'Littlest Dragon' piece in the Non-Functional section. In 2012 she was the 3rd prize winner in Non-Functional.
Kylie Rose McLean and Sharon Ridsdale will also have work included in Sculpture on the Greens, opening Friday 5th April.
Previous winners and CCPS members include Annette Reid and Lesley Webber.
We are very proud of our members' fabulous achievements, which highlights the enormous diversity and talent within our organisation.
Visit the Royal Easter Show, say hello to some of our members on Tuesday 26th March between 9:00am & 5:00pm, and watch the demonstrations of wheel throwing and hand building throughout the day.
You can view and purchase some of our members' work at our May exhibition - East West Tea Drinking Traditions - opening Friday 3rd to Tuesday 14th May at Studio 1 Gallery, Gosford Regional Gallery, East Gosford. Unique, handcrafted gifts for Mothers' Day. Coinciding with this exhibition will be a traditional Japanese Tea Ceremony, taking place on Monday 13th May in the beautiful Edogawa Japanese Garden.
Our Workshop is located at 1/10 Russell Drysdale Street, East Gosford, a short walk from the Gosford Regional Gallery - the Friendship Walk connects us. Check out our website for workshops and other events, as well as membership details - www.ccpotters.org or call 4324 4353.
In the lead up to our East~West Tea Drinking Traditions exhibition in May, Paul Davis and Jacqueline Clayton presented a brilliant workshop for us, focusing on Japanese tea bowls and tea ceremony.
The day was beyond expectations and although we didn't get to the clay ourselves, we were absorbed by everything Paul and Jacquie had to offer. Not only did we come away with so much knowledge on the construction of Japanese tea bowls, but insight into the tea ceremony from Paul's personal experience and a wonderful presentation from Jacquie that brought the tea traditions of China, Korea and Japan into perspective, and gave us a taste of how Europe and England came to develop their own traditions and styles.
Here is an excerpt and a few images from an article in this month's Newsletter.
“Every tea bowl has a front.”
There are many types of tea bowls. Winter bowls are narrower and therefore keep the tea warm while Summer bowls are shallower and broader and the tea cools more quickly. The most common bowls include Natsuchawan, Ido, Wan, Tenmoku and Shino.
Additional ceramic items used in the Tea Ceremony include Mizusashi - water jar/container with a black lacquer lid, Chaire - tea container with a wooden lid, Futaoki – to rest the water ladel on, and plates for Kashi Bachi - sweets.
Paul used a mixture of Keane’s Special K and Ironstone clays plus his own Kogero clay. His bowls have an asymmetrical, yet balanced presence, which is a result of how he forms the pot rather than additional treatment. He threw off the hump and also demonstrated handbuilt tea bowl techniques.
For one handbuilt bowl technique Paul placed a round slab on a turntable, which he compressed using finger marks. He then textured another slab with stretched wire and roughly folded it around and put a coil inside the base to strengthen and define the inside curve – essential to accommodate the shape of the tea whisk (see images below).
“All calibrated around the body. Items are made to comfortably hold. Everything works together - the width of the bowls,
the size of the spoons, etc.”
Jacquie gave us an illuminating presentation on Tea Ceremonies. With our East West Exhibition in mind she was looking at differences and similarities. Both East and West have tea rituals and all consider aspects such as attire, environment, ceremony and serving. Jacquie also gave a brief history of the spread of porcelain from East to West in the 15th century.
It was fascinating to learn the influences that contributed to the development of the tea ceremony in Japan. There is some contention as to the origins of some of the now commonplace aspects of this tradition. Some believe elements of Catholic rituals, brought by the Jesuits to Japan, had a strong influence. Was Sen no Rikyu a Christian?
All elements of the Japanese Tea Ceremony are steeped in tradition and work together to consider the whole experience - from the planning and sending of invitations and the months-long preparation of the garden to the choice of tea bowl, vase and floral decoration. Paul urged us to consider the Central Coast environment and use it as inspiration when developing pieces for the East West exhibition.
Text prepared by Ingrid Tristram
Photography by Kylie Rose McLean
Time is flying and it's already several weeks since Keiko Matsui gave a wonderful demonstration at our Workshop (Saturday 16th February). Here is a review from our March Newsletter. Drawings & text by Ingrid Tristram.
Keiko Matsui’s demonstration of wheel thrown and hand altered pots was as delightful as it was informative. Our first demonstration for the year, it was booked out well in advance. Keiko, a new member to CCPS, introduced us to her deceptively simple techniques of throwing, altering and joining two pots, turning a bowl and decorating with oxide. In explanation to her method of cutting a ‘V’ shape into the clay and pressing the new edges together with exposed slurry, Keiko commented, she likes “the idea of an organic detail juxtaposed with a formal shape”.
Keiko works with Southern Ice Porcelain and Keane’s Porcelaineous Stoneware, which she used in our demonstration. Her favourite tools are the Mudtools’ blue, kidney-shaped sponge for pulling up clay, a long metal kidney for final shaping and sharp Tungsten Japanese turning tools. Keiko has found the Mudtools sponge holds enough water to work porcelain, and is fine enough to give a smooth surface. She prefers a measured pace when throwing, allowing better control of the clay.
The first of the two pots thrown was a squat vase shape. After putting this aside to dry, the second pot was thrown upside-down from a kilo of clay. This was a cylinder. From her training with Ivan Gluch, Keiko noted a kilo of clay, with a diameter of 11cm, should throw to 16 or 17 cm in height.
After reaching the final height, Keiko cut two ‘ V’ shapes about 4cm long from the rim of the cylinder and rejoined the edges with slurry, matching the diameter of the first vase-shaped pot. The altered cylinder was cut off two centimetres above the wheelhead because it did not need a base. When the two pots were dry enough, the first pot was returned to the cleaned wheelhead, scored and slurry added to the rim. The second pot was then inverted, scored and slurried on the ‘V tuck’ rim. The two pots were joined on the wheel using pieces of clay rather than a coil for reinforcement. Keiko continued to throw and refine the top of the cylinder until the pot was finished.
For our purposes Keiko used a blowtorch for fast drying. At home she allows her pots to dry a little, then uses a needle to mark the bottom of the pot before removing it with a wire from the wheelhead. Rather than using pieces of clay to fix her pieces for turning, Keiko uses circles of foam sponge (approx. 15mm thick) under her pots, an especially good technique for pots with irregular rims. Layers of two or three sponge batts can accommodate very irregular rims.
Keiko works with two glazes, a clear gloss and a matt white. She decorates using a brush with long bristles that hold a good amount of oxide. She demonstrated decorating with iron oxide, starting from the inside before continuing the lines over the rim to the outside. “Just let your hand go free”, she suggested, and “do not think too much”. Keiko prefers using cobalt oxide and always decorates on top of her glaze. We left with lots of ideas to try out which after all is the test of a good demonstration.
Thank you Keiko.
Keiko Matsui finishing the top of her thrown, altered and joined pot. Photography Kylie Rose McLean.
In memory of Janet Mansfield.
Janet Mansfield, 2012. Photography Greg Piper.
The following is taken from The Australian Ceramics Association facebook page.https://www.facebook.com/pages/The-Australian-Ceramics-Association/212941652061603
Thank you to Jane Sawyer for her lovely words: Vale Janet Mansfield. Bereft and sad we will be for a long, long time. Janet was so supportive of my work from when I was a young aspiring potter - and everyone I know says the same thing. She was a true hero with a warm down to earth nature, a love of red wine and humorous chats, a sparkle in her eye and a mother figure to all. We Australian potters all have so much to thank her for - she put us on the world stage and represented us everywhere. She was editor of Pottery In Australia and Ceramics Art & Perception, a true can-do character organising Gulgong events and so much more. Such loss and sadness is ours today and for a long, long time.
The following is taken from The International Academy of Ceramics.http://www.aic-iac.org/archive/obituary/2013/mansfield2.html
JANET MANSFIELD O.A.M.
Janet Mansfield was born in Sydney, Australia and studied ceramics at the National Art School, East Sydney Technical College during 1964-65.
Her lifetime in ceramics ended in February 2013, after a struggle with cancer. Her achievements added up to several lifetimes’ worth: potter, exhibitor, writer, editor and publisher, judge and jurist, diplomat, traveller.
She was highly regarded in the field of art ceramics in Australia and her considerable contribution to that art has been acknowledged by awards including an honorary Doctor of Letters from the University of Tasmania in 2004, and the Australia Council for the Arts Emeritus Award in 1990. This is a distinction awarded to few Australian artists in any medium. The even greater honour of the Medal of the Order of Australia in 1987 is recognition of her value to the nation. Her international contributions have been widely recognised at the highest level, for example by the award of honorary membership by the US ceramics organisation NCECA in 2003. She is one of few non-citizens of the USA to receive this honour.
Within Australia and later internationally she was in constant demand as a speaker and judge of competitions. She organised a series of events in Gulgong, the small town near the family farm Morning View. These gatherings, famous among Australian ceramicists, have helped expand the network of contacts which have led to the internationalisation of Australian ceramics.
Mansfield served as editor of the magazine Pottery in Australia of the Australian Potter’s Society - and as the president of that organisation (1976-1989). Subsequently she was active in the Crafts Council of NSW (President 1972-73) and later the Crafts Council of Australia where she was an Executive Member 1971 to 1975.
Subsequently her courage in the face of risk was well illustrated when she started up the magazine Ceramics Art and Perception in 1990. The challenge was getting a new magazine out there and viable. The risk was compounded by styling it from the beginning as the international ceramics magazine. Eventually she took Australia to the world through this and her subsequent other magazine Ceramics Technical. Her authorship of six books (the latest, Ceramics and the Environment was published in 2005) on Australian and international ceramics was enriched by her broad acceptance of a diversity of ceramic styles, an asset which helped her become a successful publisher and editor. Her publishing company Mansfield Press was her most recent venture with several books published.
In the role of diplomat she has unequivocally been the most important figure in Australian ceramics, working as an agent for international exchange. In her wide travels she participated in international juries, symposia, conferences and workshops, ultimately becoming president of the International Academy of Ceramics from 2006 to 2012. Her friendly personality helped create opportunities for contacts between ceramicists internationally.
She worked as a ceramicist through all these other activities, with 35 solo exhibitions in Australia, Japan and New Zealand, and involvement in group exhibition in more than 20 countries. Her work is represented in most Australian public galleries including the Australian National Gallery, and internationally including USA, Hungary, Japan, UK, NZ, Canada, Norway, Czech Republic, Germany, Switzerland, China.
Elaine Olufsen Henry, current editor/publisher of the international magazines Ceramics Art and Perception and Ceramics Technical, has said:
"The international contributions that Janet Mansfield made to the ceramics community are unprecedented and unsurpassed. Combining her love of the ceramics field worldwide with her affinity for words and language, Janet was able to change the world of ceramics publication and elevate it to a new level. This does not even touch on her many accomplishments and teachings as a ceramics artist. We have lost an international treasure. Her devotion to ceramic art, personal vibrancy, intelligence and generosity of spirit made the work of makers, thinkers and writers throughout the world feel more connected, thoughtful and meaningful."
Janet Mansfield is survived by her husband Colin and four adult children Neil, Gayle, Elizabeth and Claire.
Dr Owen Rye