The newsletter for all things clay in WA |
|
|
Vision Statement
To make Western Australia a vibrant global centre for the ceramic arts.
Mission Statement
To develop a community that nurtures understanding, practice and passion for the ceramic arts.
|
|
|
Dear CAAWA Members, Christmas is looming and many of you have been involved in intense periods of making for open studio events, markets, bazaars and end of year exhibitions. I trust that it has been a creative and fruitful time for you and that you have made many sales and developed new ideas and consolidated your practice. A lot has happened this year in terms of ceramic activity in Western Australia. Regional groups have been very active, and many groups have held workshops and activities designed to raise awareness and develop skills. The Ceramic Arts Association of Western Australia has been pleased to be associated with some of these events. |
|
|
Stewart Scambler | John Stringer Prize |
|
|
Stewart Scambler's Ceramic Ode to the Land, Yindjibarndi Country wins the prestigious 2023 John Stringer Prize. By Louise Rae @louiseraeartaus 8 December 2023 Stewart Scambler's love for Western Australia shines through in his stunning wood-fired works in the 2023 John Stringer Prize, exhibited at the John Curtin Gallery from 3 November to 10 Dec. The exhibition is an invitation-only non-acquisitive annual event for Western Australian contemporary artists. Scambler’s win in this forum is a huge validation for ceramics within a contemporary art context. Upon entering the darkly lit hallway to the exhibit, and just as your eyes are getting acclimated, you suddenly see the piece in full, and it takes your breath away. Yindjibarndi Country is 27 individual wood-fired earthen squares, arranged in a 9 x 3 landscape configuration making the entire panel 4.22 meters wide and 1.4 meters tall. Jutting up in front of this display as if to strike an exclamation point to the work is a 2.03 meter angular clay column. The display is expertly lit showing its rich colours and textures along with marks made by the makers' own hands.
Taking it all in from a distance, the contemporary and conceptual feel of the piece comes through. Upon closer inspection, the textures beguile with subtle sparkles that change and shimmer across the vast canvases of fired earth. A fine river of smooth pale green breaks across the surface giving unity to the whole.
For Stewart, this piece is about "the land and its importance both as home and driver of cultural identity".(1) “Yindjibarndi Country reflects my response to journeying in the land surrounding Yandanyirra (the Fortescue River)”, says Scambler. The works are made with local brick clay plus iron ore fines and ochres gifted by a Yindjibarndi elder. Into this he added the accumulated dust from his vehicle from road trips on the land. Showing next to the works is a short film by Matthew Bettinaglio called Stewart Scambler on the Land, 2023.(2) Filmed on 16mm film, Bettinaglio shows the laborious process by which Scambler makes the clay, creates works, and then fires them with wood he grows and chops himself on his land in York. The raw materials along with the wood-fired process creates uncertainty in the results. Scambler says, "I work with uncertainty to explore how the changes in land use and population manifest themselves."(3) These themes are timely as the Yindjibarndi people of WA’s Gascoyne Region are currently giving testimony in federal court about the importance of the land that is being mined without permission by FMG, Fortescue Mining Group. The Yindjibarndi Elders have lamented among other things that “ochre and other sacred materials used for men’s ceremonies had been destroyed and “shipped to China.”(4) By using materials from this particular Country, Scambler is engaging us in a very emotive way of the importance of the environment and the priceless connection it provides us humans. Scambler has established himself as a prominent Australian wood-fire practitioner and teacher. He has taught as a sessional lecturer for TAFE, Edith Cowan and Curtin University. He has delivered numerous workshops in Australia and abroad, and has tutored at the Fremantle Arts Centre since the early 80’s. His work is held in private and institutional collections across Australia and overseas. If you miss seeing him at the John Stringer Prize, you can catch him at the Bunbury Regional Art Gallery until January 28, 2024. That show is entitled Stewart Scambler | Naked In The Land. For more information vist: https://www.bunbury.wa.gov.au/brag/exhibitions/current-exhibitions/naked-in-the-land-stewart-scambler.
References: 2023 John Stringer Prize pamphlet, (2023), Stewart Scambler Artist Statement Bettinaglio, Matthew, (2023), Stewart Scambler | On The Land • 16mm Bolex Film, Youtube https://www.youtube.com/watch?v=97W3oGNuUGk 2023 John Stringer Prize pamphlet, (2023), Stewart Scambler Artist Statement Yindjibarndi Nation News, (2023), Before the Federal Court, Yindjibarndi Bristle With Pride and Determination, ISSUE 03 | NOVEMBER 2023, Website https://yindjibarndi.com.au/wp-content/uploads/2023/11/Final-YAC-Newsletter-October.pdf
|
|
|
Sandra Black | WCC APR Craft Master 2023 |
|
|
Congratulations to Sandra Black who has been named WCC APR Craft Master 2023! The Asia Pacific Region Craft Master Program, initially launched in 2008 for China only, has expanded its coverage to the entire region, honouring craftsmen with over 30 years of professional practice for their outstanding contributions to the development of crafts. The final jury meeting, held from November 5 to 7, reviewed 66 pre-selected entries from six sub-regions of the Asia-Pacific region. An international jury, consisting of 11 members, evaluated each application based on five endorsement criteria: extraordinary contribution to field, sustainable practice, international recognition, continuous learning, and international collaboration. 60 remarkable winners emerged, each meeting a minimum of three of the stringent evaluation criteria, with a breakdown as follows: Central Asia– 9, South Pacific (comprising Australia, New Zealand and South Pacific islands)– 9, South Asia– 7, West Asia – 8, Southeast Asia – 7, East Asia – 20. Beyond individual acknowledgment, this program acts as a beacon for promoting and preserving traditional crafts, spotlighting global artisans and their invaluable contributions. By emphasizing sustainability, continuous learning, and collaboration, the program champions environmentally conscious craftsmanship, cultivating a united and dynamic global craft community. Sandra Black WCC APR Craft Master 2023 A ceramic artist with an extraordinary history of contribution to practice, Black is one of only 9 nominees to be awarded in the South Pacific region. Referenced in over 20 books as a leading practitioner using porcelain. Has been teaching since 1971 and giving workshops in Australia and internationally since 1980. Developed porcelain and bone china clay bodies in collaboration with clay chemists Mike Kusnik & Dr Owen Rye CV lists 10 workshops in New Zealand, 18 in Canada, USA and China Artist in residence in Jingdezhen, China four times (2010,2014, 2016, 2018) India, Maihar, Madya Pradesh 2015 Delegate at 1st International Ceramics Symposium Artists Village 523 Haian China 2012 First person to work exclusively in porcelain in Western Australia. Winner of NZ Fletcher Challenge Award 1988 Curated exhibitions with international artists from Canada New Zealand and Japan International Collections: institutional collections in New Zealand, Tokyo, Japan, New Guinea, Idaho USA, California, USA, Canada Is represented in every major State and Territory institutional collection throughout Australia. Served 2 years as inaugural President of the Clay and Glass Association of WA and 25years as Committee member of the Ceramic Arts Association of WA
Further information: Sandra Black sandrablack@westnet.com 0407 985 028 Jude van der Merwe, VP WCC APR jude@judevdm.com 0408 954 363 |
|
|
MUD Workshop | Narayani Palmer |
|
|
Pit Firing Worshop By Judy Nastov The recent MUD event, held at Liz Berrys' property and led by Narayani Palmer, centered around an exciting pit firing workshop. This eagerly anticipated event boasted a full roster with 12 participants, making it a resounding success. The first afternoon was dedicated to preparing the pots destined for the barrel pit. In miniature Sagers, attendees experimented with various colorants, wire, coffee grounds, seaweed, banana skins, and more. Once the pots were meticulously arranged within the barrel, they were layered with substantial logs, wood chips, and sawdust. As the sun dipped below the horizon, the fire was ignited, initially releasing billows of smoke. Soon, the flames settled into a mesmerizing, glowing sphere. Gathered around, participants shared a delightful meal of soup, chili con carne, wine, and snacks, fostering a relaxed atmosphere filled with lively conversation. Eventually, as the fire burned down sufficiently, a lid of tin sheets was carefully placed over the barrel, marking the end of the day, with plans to return the following afternoon in eager anticipation of the results. The second afternoon was met with great excitement as one by one, the pots where unearthed from the ashes and gently unwrapped them from their individual Sagers. The unveiling revealed stunning colors on almost every piece, prompting enthusiastic exclamations and appreciation from all present. As the afternoon drew to a close, Narayani shared her expertise on how to cleanse and polish the pots, achieving a beautiful, high-gloss finish. With the creative work complete, some attendees opted to linger, enjoying a fruit platter or a relaxing cup of tea to conclude this memorable MUD session. Heartfelt thanks were extended to Narayani Palmer for her skillful guidance in pit firing, to Liz for her warm hospitality and gracious property, and to the diligent CAAWA MUD committee for expertly organizing this exceptional event. |
|
|
Cannery Arts Centre | Bernard Kerr |
|
|
Bernard Kerr's Ceramic Figure Sculpture Workshop Leaves Lasting Impressions at Cannery Arts Centre By Katie Witt, Cannery Arts Centre Renowned ceramic artist, and CAAWA President, Bernard Kerr recently brought his expertise to the Cannery Arts Centre in Kepa Kurl-Esperance, leaving a lasting impact on local potters during his three-day intensive Ceramic Sculpture course. From September 23 to 25, Kerr served as the artist in residence, guiding twelve local potters of varying experience levels through the intricacies of creating human and animal pottery sculptures with armatures. The workshop proved to be highly anticipated, with participants eagerly absorbing Bernard's knowledge and working diligently to bring their sculptures to life. The artistic endeavours ranged from finely crafted human figures to whimsical animal creations, including a charming sheep and an enigmatic owl. Bernard Kerr's teaching style captivated the attendees, and the overall experience left them elated. One standout aspect of Kerr's visit was his admiration for the Esperance Pottery Club, overseen by experienced potter Krystal Obschonka. The club, which has been a hub for pottery enthusiasts for over 40 years, has experienced a recent resurgence, boasting a membership of over 60 individuals. The facility is well-equipped with two new operational kilns, a small kiln for gold lustre, six pottery wheels, a slab roller, and ample workspace for 20 people. Krystal runs regular courses in hand building and wheel through the Cannery Arts Centre. Krystal Obschonka expressed gratitude for the opportunity to host Bernard, stating, "We were very fortunate to have someone of Bernard's calibre to impart his knowledge to our members." The sculptures are in various stages of completion, with some even starting new sculptures. The Esperance Pottery Club and the Cannery Arts Centre look forward to future collaborations with CAAWA, and are working towards the 2025 Triennale. This residency came about through the CAAWA Regional Network, facilitated by Bernard, and in discussion with Cannery Arts Centre representative Katie Witt. Participants paid for attendance to the workshop, and the residency was subsidised by sponsorship from the Esperance Ag Fund, disbursed by the Fremantle Foundation. The Cannery Arts Centre is supported by the Shire of Esperance and Regional Arts WA. Photos courtesy of Katie Witt: Left: Krystal Obschonka, Right: Vicky Oversby |
|
|
Australian Ceramics Triennale | 2025 |
|
|
Expressions of Interest now OPEN! For more information and to apply please visit Here. |
|
|
Reminder to post your event to TACA |
|
|
Do you have information to share with TACA (The Australian Ceramics Association) members?
We want to share your event, exhibition, opportunity or workshop in TOUCH CLAY WEEKLY. Members love to see what’s happening in ceramics and to feel connected and inspired.
Email us the following information 2 WEEKS before the event.
Opening DAY DATE MONTH TIME
Event START DATE and END DATE
Artist NAME
Event NAME
Description A brief description of the event - max 2 sentences
Location SUBURB, NAME OF COUNTRY
Contact PHONE NUMBER or EMAIL if applicable
Website URL e.g. https://australianceramics.com/
Image ARTIST name, NAME of work, PHOTO credit; minimum image size 600px wide; images of work are preferred (for Events a flyer is acceptable)
Opportunities / Position Vacant / For Sale etc A brief description + contact details & website
|
|
|
PYRE is published quarterly. February, May, August, and November. We are looking for stories! Please email through articles, reports and other newsworthy items may be sent to: Louise Rae, Editor pyre@ceramicartswa.asn.au |
|
|
|
|
