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New Zealand Crafts Issue 24 Winter 1988

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New Zealand Crafts Issue 24 Winter 1988 oapbox CRAFTS COUNCIL OF NEW ZEALAND (INC) I wonder how much, we, the craftspeople ofNew Zealand 22 The Terrace Wellington expect the Crafts Council to do on our behalf? Phone: 727-018 I say this because from time to time I hear various 1986/87 EXECUTIVE grizzles about what “they” ought to do, or, “the trouble COMMITTEE with it is”, or, “there’s nothing in itfor me”. Seldom, PRESIDENT: though, do I hear anything such as “I’m going to get in John Scott touch and see ifI can help in some way.” 101 Putiki Drive WANGANUI 064-50997 W The attitude that the Crafts Council can take on more 064-56921 H and more work was brought back to me late last year when VICE-PRESIDENTS: I attended a meeting between representatives ofthe Anne Field CCNZ, QE II Arts Council and Allied Crafi 37 Rhodes Street Organisations —— so we could identify, discuss and maybe CHRISTCHURCH 03—799—553 solve mutual problems. Melanie Cooper Now, I’ve got to say that meetings seem to be an 17 Stowe Hill Thorndon WELLINGTON agonizing way to do anything. However, on this occasion, O4-734»887 success was achieved. Because ofthe concept ofhaving a EXECUTIVE COMMITTEE: skilledfacilitator, this weekend meeting was able to identify Jenny Barraud problems, contribute ideas as to how they might be solved 10 Richardson Street NELSON and set out “actions” to eliminate others. 054-84—619 James E. Bowman All veryfine! But there came a time, I remember, when 103 Major Drive I thought that ifanother person says “perhaps that could be Kelson WELLINGTON left to the Crafts Council” or, “the Crafts Council could do 04-672-059 W that” — I’d run screaming from the room. 04650-268 H Malcolm Harrison I think we, the crafispeople, need to stop shoving so 2/57 Norwood Road Bayswater much onto our Crafts Council. After allfizcilities,finances, AUCKLAND time, energy are not ever expanding things to meet our Owen Mapp ever increasing demands. 118 Ruapehu Street PARAPARAUMU It’s my view that we all need to be more positive and 058-88—392 pitch in and help. We need to get out there and actively try David Russell to increase membership by promoting the Crafts Council, or 174 Balmoral Drive INVERCARGILL to help in other ways, perhaps writing articles, reviews, 024-89685 news items or profilesfor the magazine. And ifthat’s too Robyn Stewart tough try SOAPBOX or even a letter to criticise this one— Weranui Road Waiwera you never know, perhaps that’s why it’s been written! NORTH AUCKLAND 65-946 Ifwe adopt a more helpful attitude towards our Crafts Alison Taylor Council then not only does it benefit, but we do too, even if 2 Frank Street ROTORUA that’s only to get those “warmfiizzies” knowing we’ve 073—478-117 stopped grizzling and actively helped sustain our very own National body. Corporate Members of Crafts Council of New Zealand AZIMUTl-l SYSTEMS LTD CUSTANCE ASSOCIATES Iv /&:,L/l/L/€/ " “:-J “ ”A“‘ - 1/ CALTEX OIL (N Z.) LIMITED / KERR & CAIN SECURITIES COMMISSION MOBIL OIL NEW ZEALAND LIMITED NEW ZEALAND TOURIST AND PUBLICITY DEPARTMENT NEW ZEALAND MARKET DEVELOPMENT BOARD MINISTER OF ARTS & CULTURE DR MICHAEL BASSETT l‘tELU ZEHLPtflD The Ct'afit Comitil otiNew Zea/and (Int) it not rexponsiblejoi' jltitenientx and opiniom~ published in NZ Craft: nor do they nerexsarily reflett the View: ofthe Crafi: Countil. Crafts Council Magazine 24 Winter 1988 Letters to the Editor Finding a VOiCC Henry Pim writes about the work of expatriate Potter David Garland Beyond East and West Jim Greig's work seen from a 7 Japanese perspeetive. JOhn craOI'd Niek Channon VlSllS Anne and John Cranjord 10 at Ngakawau Anthony Williams Clare Hardy profilex a Romantic 12 Moving Fingers by Elena Gee 14 Architectural Portfolio 15 Anne Mercer Wellington Festival Guest Ann-z 16 Wearable Art by Helen Vause 17 Stone-Bone'Shell John Scott carts admiring glances at this 18 major event. Philip Trusttum Painter 7 Flat Glam Artist, 24 a ('ltroniele by Fiona Ciaren. The New Zealand Woodturning Display Centre 26 New Directions in Fibre 27 Reg Kempton Peter Viemiik writer about a remarkable 28 Pioneer—Glaxsblower The Gentle Art company Embroidery and FabrieArt 29 IndeXing People an opinion voiced by Roy Cowan 31 “The First Thlrteen” Jean Hastedt repm‘tsfrom the Dunedin 32 held Symposium. Resources an update 34 Staff (Sm/('1' Photograph: Art Direction Bob Bassant Exufufim' Dirertar Margaret Bclicli John Crawford: Duxty’x Magir Blanket Pro/er! Co-ot'dinator jean Hastcdt Typesetting and Composition lnflurmarimi Liaison Deadline for copy for next issue Tycousc—john van l-lulst Ltd t‘irei' Pamela Braddcll 3] july 1988 Galley Dirertor Karen Ovctton Printing Roberts Print Ltd Gallery Assistant Celia Kennedy Advertising Rates Sert'elary/Typixt Christine Walters Advertising rate: and lmoleingx: Subscription and editorial enquiries: Ollit'e ASA-mam Meredith Horlor Crafts Conm‘il ofNew Zea/and, Crafts Council of NZ H PO. Box 498, l'Vt’llitigtan, PO Box 498 Tel: 727-018 Wellington LETTERS TO ' HE EDITOR and was attached directly to the marked by New Zealand‘s being puzzles me now... why didn’t we Craft Education Department of Education with the invited to participate in an inter— want to live on lazy yachts in the Waterloo School in Lower Hutt as national childrens’ art exhibition blue Pacific. sipping slightly As one who has lived through my experimental school. This was which was shown in Mannheim, woozy—making crisp and cold mar— the whole development of art and about the same time that jini Coe Germany, to celebrate the Goethe tinis? Because. though I would craft education in New Zealand, was starting at secondary level at Bicentennial. I was there and was only admit this at dawn as my from the days of Dr. Beeby, I the Hutt Valley High School. The glad to see the strong impact made hands creak at the thought of an- cannot let the opportunity pass first thing I had to do was to find by the work that was exhibited other day in cold wet clay, that is without making some comment materials with which to work. The from New Zealand. what I would like now. concerning the recent article on obvious ones were wool and clay, This is the legacy that Gordon Like the blast of a past lover and education in Volume 23 of the as well as paper, paints Tovcy inherited in 1950 when he turning up suddenly out of the ‘Crafts Magazine”. brushes I got cops of weaving became the first art supervisor blue, I stare with inner shock at the I was pleased indeed to read wool from the Petone Woollen attached to the Department of twenty years that have assed — the about the art and craft design Mill, clay from the Mirainar brick— Education. He develo ed the hills of Coromandel, the relation— courses at the various polytechnics. works, and the ends ofnewspaper scheme considerably furt er, par— ships, the children’s bare bums on They are a long overdue leap for— rolls from the ‘The Evening l’ost’. ticularly in the Maori and sec- the bare boards of the house, the ward and a coming of age in the I persuaded Buntings to make ondary schools. earth I moved, the timber I res- craft movement. I congratulate all some long handled hog fitch cued, the herbs I planted, the con— brushes and a Miramar chalk fac- By this time a number of the those who have so long been iii— area organisers including myself ferences I attended and look round volved in the establishing of these tory to experiment with making now and face the fact I am forty— powder paints that would dissolve were taking up positions in the art courses. In the past, New Zealand departments of the teachers col— five years old, with teenage sons craftspeople have been able to ac— in water. This factory later made all and I still live in a tip. kinds of paints under the name of leges and through their students quire skills and techniques, but the influences were spreading and Ah well, first things first. I do have had little 0 portunity to come ‘Chromos‘. Beeby was so pleased with the work that was coming out consolidating. During the 1950’s a like working for myself. always to grips with t e design elements number of the tutors and their have, always will. The bite in the oftheir craft. of Waterloo school that he decided to spread the idea throughout the students were becoming well— air at 4.30am when I’ve finished In Ray Thorburn’s “Lead—up" country. known in the craft field for their milking the cow and have my article in the education issue of the For six years I organised and own work. A few graduate tea— breakfast with the dawn and time ‘New Zealand Crafts’ magazine, tutored courses for teachers in chers did not stay with teaching but for a think. It’s sometimes now that he states how art is considered "fun schools in all the other education became some of the first full—time I catch a glimpse of something the in but not work”. This was hardly board areas. In each case as the craftsmen, at first mainly elusive, something of the tension official osition over the last 50 courses were completed funds pottery. and harmony between earth and years, w en hundreds ofthousands were made available by the De— During the 1960’s the specialist sky that I try to capture in my pots.
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