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. of pounds (and later dollars), were partment of Education for the pur— training courses ceased, as the But by 9.00am when the wheel is governments on the humming to itself, this 9.00am being spent by chase of materials for the schools, students now coming out of the develo ment of art education and followed up by appointing the colleges were better trained in the start is a hand—over from the days throug training art specialist newly trained itinerant art and craft art and craft field. At its strongest when Sharon Crosbie did the teachers, and for the supply of specialists. These specialists were there were over seventy art or— Morning Programme and we materials to education boards for graduating at first from various ganisers, but today the number has could all look forward to three distribution to schools. teachers colleges and later all were dwindled to very few indeed, hours uninterrupted intellectual I am also interested to read that trained in Dunedin. In the cities some fourteen in all, distributed leasure, five days a week. Now I Thorburn believes everything where teachers college students among the various education listen to the Concert Programme began suddenly in the 1950’s. This were available they went out to the boards. However art and craft has or the commercials but it’s like is not so. In fact many years before schools while the regular teachers developed very strongly in the tea- straw really in com arison to meat. this, in the 1930’s Dr C E Beeby, were at the art and crafts courses. chers colleges, as more students I know others feel) the same and the then Director of Education, The first ofthese courses were run are coming through who have have left their wheels idle. God knows what effect the loss of her had a vision for the teaching of art at Lower Hutt, then Wellington grown up in schools where they and crafts in schools He started a and Christchurch. Then in 1946 I were encouraged and given op- has been on the Craft Industry as a scheme for training specialists in spent three months in Auckland portunities to enjoy art and craft. whole. Anyway, by 9.003.111. its art and craft by selecting a few stu— where again every teacher came hard to capture the spirit of the dent teachers with special skills and every day for one week with about thing — this tension between earth and sky — day and the air around it, gifts to undergo an extra year of 25 to 30 other teachers, who were Doreen Blumhardt training at the teachers training col— teaching children ofa similar level. But its on to making bowls, I like leges. As one ofthe first ofthese art When all the teachers had been them. They’re like breasts. and craft trainees, I had my extra through the courses there was a I have to make one hundred and year oftraining at the Christchurch week for principals followed by a forty ofthe same so as to build up Teachers Training College in 1939. week for the eleven school in— A Craftsperson Speaks stock. Yes, I do get bored. And Vivienne Mountfort trained with spectors from the Auckland yes, I’m a dreamer, an idealist and a me and Esther Archdall had trained Education Board. All those who person ofprinciple. We all are ex— the year before. attended the courses engaged As I take up my reflective pen cept for t at person who judged Beeby realised the importance mainly in practical work in paint- from amidst the unpaid bills and the latest national craft award. No ofart and craft in primary schools if ing, clay modelling, weaving and poisonous dusts that cover my this isn’t sour grapes, my piece there was to be any development newspaper puppets, with some workbench and stare at the dawn Earth and Sky XII wasn’t finished through the secondary schools. He lectures and discussion times in be— turgidly making its way above the in time, but what they thought was also concerned with the long tween. By 1949 there was a large Parriri trees on the hill my vision they were doing God only knows. term effect on the adult com— number of itinerant specialists or caught and ensnared by the cob— In fact, I often wonder what the munity and their attitude towards Area Organisers, as they were webs and cracked panes of the re- so—called experts are doing. They the arts. called visiting primary schools and cycled windows of my self—built seem to have got hold of a secret As it was wartime, james Mas— helping teachers throughout the studio, I reflect amongst many language of their own which tells terton in charge of the Christ- country. things onjust why I took up this life them that Great Art is — a whole list church teachers college art depart— I would like to add here that and sometimes with a snake-like of things I don’t understand. just ment was called for military duties, because ofthe work that I had done flicker at the pit of my stomach, when I see that they think it large and I was appointed to relieve in his from 1942 to 1949 Beeby saw fit to just how I am to get ‘out' ofit. plain bowls with decoration/ place soon after finishing my train— ask me to represent New Zealand God knows they were golden derivative ofjapan, I see an exhi— ing. It was while I was holding that together with Professor jaines years in the Sixties when I was bition of clay houses covered with osition that Beeby visited the col- Shelly at the first Art and Craft young and we had so much choice. little figures painted in flourescent Ege, was impressed with my education conference in Paris, I remember: cheese was mild, and everyone’s raving. I do get work, and asked me to come to under the auspices of UNESCO. medium and tasty. It still is in some confused sometimes, I know I un— Wellington. My briefwas to devel— The book, ‘Education Through parts ofthe country of course, but derstand earth and sky being a op art and craft activities suitable Art’, by Herbert Read, had just in the big centres you could buy the New Zealander and I know I had for introduction into primary been published, and repre— blue vein too. My generation had no formal art training, but that was schools. As it was wartime there sentatives from twenty eight coun— the luxury of doing what we what we were all trying to escape. were virtually no art materials of tries were gathered together to wanted. What somewhat surprises We didn’t want formal training. any kind in these schools, except look at the implications of some of me now, as even the hairs on my We didn’t want foreign ideas # imported pastels and small books his theories, and to compare notes arms threaten to go grey, is that so European ideas — we wanted to ex- ofdark paper for drawing into. on what was being done in our var— many of us thought making pot— press ourselves, the bare hands re— I came to Wellington in 1942 ious countries. The same year was tery was just what we wanted. It sponse to the naked clay. And we did. I tried working with others in a P.S. Paul Pretty Removals did at Membership is our life blood, co-operative but none of us liked last Contact me when I sent them a without it we will die, and we doing the book—keeping. copy of this letter and offered me seem to be heading that way. Hop— Sometimes I wish a large tele- $44, the freight from Wellington to ing for increased TRANS- vision crew led by james Mack, Auckland; hardly adequate for the FUSIONS from Q.E.II. only pro- would fight their way up my 20 time spent repairing the screen, the longs the painful day and l have mile winding dirt track and make a time taken chasing them up, con— considerable reservations as to that two hour documentary of me and sulting lawyers etc., and the loss of bodies attitude to us and wanting my guest for ‘The Harmony Be- value ofthe screen. our survival. tween Earth and Sky’ and sell the The Auckland manager said if programme around the world so my house wasn’t insured and it Yours faithfully I’d be rich and famous and know burned down, would the insurance finally that I had got it right. Actu— company be obliged to pay? The B. A. Milner ally, ifl was rich and famous I prob— analogy would be more accurate if ably would still live here and make the insurance company burned my pots, but it would be nice not to house down, would they then have worry about money and nice to any obligation? feel my life’s work had been valued and to have a yacht trip now and Art/Craft Controversy then. Well, there’s no selling out now When are we, those of us who and who would want to buy. I shall sweat and groan, going to be freed stay here until I’m a fiery ancient Aims and Ideals of this enormous obstacle of con— and am rediscovered and lionized. stantly being confronted with this If it can happen to Quentin Crisp Art/Craft differentiation. My not one ofus should give up hope. May I offer some thought on our suggestion is first of all to pick organisation in the light of actions critics who themselves are both A. Craftsperson and statements offered from the self acclaimed and recognised Council. artists. Publicity such as Bob Bassant ave to the dedicated I have been a member of our woodworfkers who made the De- organisation for a good number of sign for Living Exhibition, in his years but if you split the cost ofthe A Word of Warning Spring 1987 contribution to our magazine from my membership magazine, was destructive and then I certainly will buy the maga— uninspired. zine, but not bother with my mem— I made an exhibited a screen at the bership as I have a strong feeling of The Art/Craft hang up is a ‘Design for Living” exhibition alienation from the organisation ‘snag’, the result of an uncourage— shown at the Crafts Council in which seems to be becoming elitist ous culture, dominated by a con— Wellington during August 1987. in attitude. fused intellect and a guilty ego, Bob, Art is a living thing happen— For thejourney from Auckland Recently a meeting was held to Wellington I packed the screen ing now all around you. No one between ourselves and allied or- should insist that you should see it, well and insured it for an extra one ganisations with a view to combin— thousand dollars, although I was but if you wish to delegate such ing resources. May I su gest this appreciation always to the next told by the carriers, Paul Pretty Re- seems like a gathering ogsick ele— movals, that it was covered as a generation or so, i.e. History then phants trying to find a healthy one what on earth are you doing as a new piece of furniture under ‘lim— somewhere out there to save them critic. ited carriers risk’ for one thousand when in fact all they will do is infect dollars. the healthy one because none of Your phrase “Art/Craft/ For the return journey I de— them will give up their sectional Design Hierarchy" puts you very cided not to take out extra insur— interests. much in the ‘objective‘ camp. Ap- ance as I believed it was covered When voting I carefully read preciation of Art is a subjective under ‘limited carriers risk’. the aims and ideals ofall candidates henomenon. Artists themselves The carriers marked a cross on and gained the impression that ave no interest in hierarchial the ‘owners risk' insurance option membership and building up a matters, however, ‘recognition’ for the Crafts Council to sign, in— strong regional base were high brings with it a warm fuzzy feeling stead of ‘limited carriers risk’ priorities. I will certainly not be— which leads onto higher things, option, so technically I am not ieve candidates blurb again. and is generally quite a nice experi— ence. insured. This region recently had three Paul Pretty Removals were members of Council in its area Yours, an intolerant woodworking given explicit instructions on how none made any serious attempt to Artist. to pack the screen, and packing contact local membership, in fact materials. It arrived in Auckland we had to do the contacting — and Johathan Hearn with broken hinges, a deep split you want our support!!! and a large dent, having not been packed as instructed, or wrapped in I would like to suggest that if the material provided. we really have any serious inten— tion of continuing as a viable force, I have waited for seven weeks we get back to basics. Everything for a reply to two letters and two relies on membership and I am at a phone calls, and now feel I must loss to find out what we have done challenge the advertising of Paul in practical terms to do anything to Pretty Removals who state they encourage people to join us. The are ‘the people who care and take advertising budget is woeful. pride in their service’ and they are Forget select lists (possibly the the ‘company that takes care about most damaging action on member— your life”. ship for many years) forget li— I feel I must warn exhibitors, braries and reference centres, as furniture makers, artists or anyone we are virtually owned by Q.E.II who wants to transport a fragile add our facilities to their existing article that this company‘s attitude ones. and performance does not live up Concentrate on people, all to their advertising. people, notjust an elite few. Draw up a set of aims expected of can— Yours faithfully, didates who stand for election that are to the benefit of the organ— Harriet Lukens isation, not the candidate. ' CERAMICS

:1 * Si (2 , cf; David Garland: Rt’t’t‘ili Pottery. 1987

Finding a Voice

Henry Pim writes about the work of David Garland a New Zealander who has long been living and working in Britain.

The question of scale is important. finely tuned physical control. Pottery is that it was a hit and miss approach and l When I spoke to David Garland about his the ideal medium to create gestural work didn’t want that. I knew that you had to ceramic work, the subject soon came up. that satisfactorily resolves the problems earn it, you had to actually know what “I think scale is fascinating, particularly of scale, it is also intuitive. you were doing”. Garland was a painter in decoration. A certain mark. lets say of “When I am in my painting. I am not some while before he was a potter but he a teacup si7e works well. but when you aware of what I am doing. It is only after felt the need for more control. The pot blow it up to a big size it doesn‘t work“. a sort of‘get acquainted period that I can making process. with its specific skills Physical control of the medium has see what I have been about. . Not and limitations provides. for Garland. a much to do with the degree to which the Garland this time, but jackson Pollock structure through which he can express human body can move in an easy, re— talking about his work in 1947. the anarchic, intuitive themes that he had laxed way when working. A form or Pollock believed that by abandoning begun to explore in his paintings. mark that can comfortably be exe—uted at himself to random and automatic paint— Garland began pottery late. and has one scale may become lifeless or clumsy ing he could by—pass the intellect and ex— learned the craft by a process of dis- at another, not only because it might press a kind of natural harmony. David covery and by asking other potters for look best at a particular size, but because Garland on this subject is a trifle more help and advice. He makes plates, cups. it is actually easier to execute. Throwing cautious. “I always worried about bowls. jugs and teapots in a variety of and decorating pots that have energy and abstract expressionism: the areas of the shapes and sizes. At its best his throwing a satisfactory relationship of the parts to painting that didn‘t work. which were has a pleasing. relaxed quality. the whole is a direct process. It requires arbitrary and out of control. I was aware The handles seem to me a particularly

CERAMICS strong point. They are lively, a little Cobalt, or else a mix of manganese are not, and this is nowhere more wayward at times and somehow comple— and iron oxides are the only other decor— apparent that in David Garland’s work. ment and actually become a part of the ating materials used. They are applied at His is an exploration of the concerns of linear designs drawn on the pots them— the ‘green’ stage and then lines can be the one discipline, within the structure of selves. Some recent jugs which are par— scratched through to reveal the clay be— the other. ticular favourites of mine are made in neath. Thewvork is next bisqued, and this Garland’s bowls are paintings that two thrown sections that are joined fixes on the colour which is sometimes may sometimes be concealed by oranges together. Garland also produces match— made more intense by the application of and bananas, only to come again into full ing sets of tableware and large robust a second layer after the first firing. Wax View once they are empty. His jugs are bowls. or paper resist are part of the repertoire sculptures to turn over and explore as The work, either red or buff earthen— of mark—making techniques used, and they are washed up at the sink. In ware, is subsequently coated in a creamy lilies appear as brush strokes, as scraffito common with all usable objects, the pots slip, and decorated with oxide. Fitting and as the narrow,- untouched area be— are seen from different Viewpoints. the slip to the body has caused some tween two fields of colour, long fluent They vanish and reappear, they show problems, so he sometimes scumbles the lines contrast with short stabs or blobs. themselves in part and then as a whole. slip on in order to bind it better and pre— Garland’s decoration can be abstract, In the business of handling and use, ob— vent it from flaking off. It is a delight to making play with the scale, positioning jects can communicate to us and this is find that a technical necessity can pro— and texture of the marks, but elsewhere the special language of craft at which duce an aesthetic development. we find calligraphic figures lain across Garland excels. “There you are, with the materials the surface. IVIatisse, Kline, Picasso and Thejugs have lilies of decoration laid themselves telling you what to do, and Motherwell come to mind, but I am not on them that are a premonition of the hell’s bells you end up with something about to argue that painting and func— way that hands and eyes will travel across better. ” tional pottery are the same thing. They the finished work. The way that fields of colour relate from one side of a bowl to another may not be immediately obvious from one viewpoint. By rotating the piece in our hands (an echo of the way that it was made) we understand it more fully. I am not saying anything new, and Garland is quick to acknowledge the debt he owes to tradition. He has de— voted considerable time to the mastery of traditional forms and techniques. He has a respect for what has gone before but is the last to subscribe to the ‘they don’t make them like they used to’ school of thought. He said more than once that traditional skills can be learned. Many young people, with no special ac— ademic training or matured insight can produce work which displays a facility comparable to the products of the past. What cannot be reconstructed with any accuracy is the state of mind enjoyed by other peoples in other places and other times. The great strength of Garland’s work ~ ) _ :k..«/~~ V/‘V/‘x5 "Mr-62’? , as far as I am concerned is that it is so [73m «Luv 3 up suitable for him. The work represents his own coming of age. It shows a per— sonality that is moving (at more than one level) towards a greater integration with itself. Garland 5 eaks for those who must struggle to firitheir own voice. When things go well, as they often do, we can identify in his work both the individual voice, and the sense in which this is also the universal.

David Gar/and um A variety of transparent glazes} here is one that is ilrfill’lllii'lvu' at the moment. Lead hirilimte 75% White earthenware (lay 25% 2% or 5% ofi'ed (lay run he added to ‘niai’ni ilp' the (glaze and help influx it.

Reprinted with kind [ii‘i'niixximl (1/3 (.‘i'inniir Reiiirn’ (Britain ). El Beyond East and West

Potter Jim Greig’s work seen from the perspective of Japanese colleague Kimitoshi Sato.

What is it like to be brought up in a that, although he grew up in a young japanese art lovers with an excellent boys” home, and in spite of such a life, or country, New Zealand, he was highly sense of beauty. A Japanese feels subtle exactly because of it, become an appreciated in japan where pottery’s waves ofjoy raising in his soul when see— unprejudiced to free spirit? What secret long tradition has always been so highly ing his unique art. He will be fascinated, lies beneath it? One will probably find it respected? Many people may suppose even astounded by the overwhelming interesting to know such a man could that he learned the traditional techniques feeling as if he were gazing at the very exist in the world. Now what if one under a Japanese master, whose patron— subtle waves conjured up in his soul in a hears this person began his life in the age brought the foreigner fame. That’s sublime and beautiful form. southern hemisphere and departed from not the case. The fact is that his art is I have once read an essay written by the earth in the northern hemisphere? quite far from the so—called traditional Takeshi Umehara our great art phil— One will quite easily imagine how pottery. A glance at the forms of his osopher. He lauded the artist highly into strange was his destiny. To put it more work will Show you what I mean. For all the skies, quite literally. Every day concretely, how do you feel if you hear that, his art never stops fascinating brought a growing esteem for his art. Jim Greig: Platter 6.50 ,\' .595 (approx)

And the final sad story. Who on earth water flow downwards? Why does plant gives us transforming quality. On the could die of a sudden heart failure with life raise itself to the sun in spite of contrary. at the bottom of Greig’s art no one else around. at a japanese inn at gravity? Why are there only curves in there lies a beautiful intuition which pro— dawn on the opening day of his first ex— water streams? And why do straight lines claims life is omnipotent in everything hibition in Kyoto. which was to be so appear in ice and snowflake? A con— and everywhere. (It is widely known important? Who on earth could win such templation of his work may stimulate that Tarkovsky had a deep interest in an unselfish destiny? More surprisingly. your interest to put further such riddles. Anthroposophy. and Greig also said he I found most of his friends unaware that Jim writes: water is the bearer of life. discovered Goethe‘s principles of trans— he was reared in a boys’ home. It means Submerged into water. we receive life. formation through the writings of that his art has claimed a great appreci— The Maori people believe water to be RudolfSteiner.) ation. quite apart from his strange life sacred: vibrant with life. What is such an organic world con— story. That is very good. But if we admit But please don’t jump to the con— cept? For example. how do white clouds that Tarkovsky’s death in Paris. together clusion that his art follows ancient New floating in the blue sky remind us ofhow with his struggle with the Russian auth— Zealand tradition. Our most critical life. namely. water behaves. leaving us orities. accelerated our interest in his problem is that. at this time of over— overcome with emotion? When we see cinematic art. it would be better for us to ripened scientific technology. we must white clouds like furrows on earth. afloat know about jaines Greig‘s death in find a method by which we can evaluate on the blue heavenly vault. we know Kyoto to let many people gain interest in from a new standpoint the idea ofsacred they result from a warm air—stream flow— his art. life manifested in almost every racial ing over a comparatively cold air— The most essential thing is. however. world concept. If art by Greig or Tar— stream. Their behaviour resembles the that his art is founded on a new basis. His kovsky should give true impulse to a forms a strong wave leaves on a sand— art has a great potential through which man. he will have no choice but to have a beach. when it overflows a weak one. we may overcome cultural and national new world concept: or at least he will Every form of plant life can be Buddha differences. For instance, let us imagine feel he has been asked to have a new one. according to Buddhism. Greig‘s art that a stone is thrown into a lake which is Their art is situated right opposite makes us realize in awe that everywhere as smooth and radiant as a mirror. It will Gieger. who has become famous for the in the world Buddha life. or to put it in a fly in the sky. drawing an invisible par— design of the movie “Alien”. and whose western term. that organic life is ubiqui- abola. and will make circle after circle on art starts with the premise that organic tous. Once a man feels its presence. the water surface with the drop point as a life can, and should be regarded as a everything in the world in the universe centre. If we could feel beauty at the “living” mechanism which is inorganic. brings it home to him. He is in constant sight. it would be beyond nationalities, His forms are created under the assump— longing for this new life. Those who because water and stone and air are tion that man cannot be creative but is know that probably feel war to be the found anywhere in the world. Why does only imitative after nature. Gieger never most idiotic act. because they truly know Jim Greig: Platter 630 x 395 (approx)

what it means to rob men of the life en— ered with stars of zodiacs invisible to the closed within their skins. It is only then eye by flying himself high into the cel— that in an individual is born a thought of estial vault. A blue sky dome with clouds peace as a decision made by his free has unseen stars, indeed. We just forget spirit. There is good reason why Greig it. . . Since then clouds have reminded received enthusiastic support from me of jim, sending me sad happiness. David Lange, New Zealand’s Prime _]im, I am sad at your loss, and at once I Minister, who has gathered our heartfelt am hap y because I have clouds as a sympathy for his anti—nuclear policy. token ofpyour memory. The work com— pelled me to think now he is creating Alames Greig Exhibition was held at great wonders of nature far behind the 11th until 27th Septem~ the Ginza from clouds. It seemed as ifthe spirit enclosed ber 1987. The exhibition was curated by within Jim’s physical body had expanded with the support of UNAC Tokyo rapidly into the cosmos, now his body is Shiseido Corporation and the New cosmos; humanity is his surrounding. I Zealand Embassy September 25th was did not know how to express my ideas the day when Jim departed from earth properly, but a passage from a book by one year ago. Personally, I very much Takeshi Umehara, who was to meetjim wish that as many people as possible may on the day he died, that taught me. appreciate his art. Ancient japanese used “kumogakure” The title of this exhibition The (hide himself behind clouds) to refer to Forms of Clouds is thrilling to me. the passing away of a noble person. I When I rushed to Kyoto at the news of wonder why I had forgotten about it? his death, I had an opportunity to see a My favourite book ‘The Tale of Genji’ vast collection of his last artistic abun— has a chapter on “kumogakure”. ‘The dance, and found a large and almost flat Scroll of the Tale of Genji’ has clouds (it means the work has a beautifully floating transcending both space and subtle undulationl) plate. It seemed to time. I find myselfseeking my lost friend me as if on a pure and shining blue sky who has hidden himself behind clouds there are white clouds shot from a jet his gentle eyes, his graceful smile. . . stream. It was as if he had picked up a part of the heavenly spheres embroid— Kimitoshi Sato John Corawfrd

Nick Channon, design tutor at Nelson Polytechnic, recently Visited Anne and John Crawford at their Ngakawau home.

Through perception, expression, re— vitations, cuttings and photographs from more successful as a result. A combin— search and sensitivity, there is an in— the press, and latterly, many drawings. ation of texture, both visual and tactile, herent vitality in the way that john Another treat lies under a work— composition, void and solid, line and Crawford approaches his work. As bench, a large disorganised pile ofjohns outline, the relationship of object to ob— Henry Moore stated, “A sculpture can recent sketchbooks, his older ones sadly ject, and most especially the colour and have a vitality within it — a pent—up en— destroyed. This work is akin to a visual its tonal value create successful ex— ergy, an alert tension between its parts, diary; a narrative of concepts, ideas and pressions of john’s own experiences of an intense life ofits own, independent of developments, with references to the Ngakawau. the object it may represent”. Several of female nude, hands, hearts, a horse The drawing produced expressly for john’s sculptures have this kind of named Dusty, a cockatoo, a dog and a claywork has similar qualities but differs power. cat. I feel that a greater emphasis on ob— greatly in its immediacy and sparseness The environment thatjohn and Anne servational drawing used in conjunction of both line and colour, and as such is work in is very pleasant and spacious, with the present gestural drawing would almost a recorded shorthand ofideas and well ordered for the systematic manu- give rise to a greater understanding of progressions with female nude predomi— facture of well crafted and considered structure. john already recognises this nant. The nude is not a fixation but has production ware, an aspect of their work and is seeking a life model in the Granity merely evolved through the relationship with which I was not familiar. In it there area. of the vase to female form in terms of is a strong feeling of progression, and a john’s present drawing falls into two curvature, profile and sihouette. This motivation to experiment, if a little categories. First and most importantly, development came about through the cautiously with regard to form. There studies that are s ecifically for his clay nude being a linear outline applied to the are some bowl forms that have been pro- work, and secon , large scale drawings surface. Gradually the profile of the duced without sufficient attention to the in colour that are works in their own decoration has begun to dictate the form relationship between curvature, rim, right. These are produced on 300 pound of the vessel and as such now promotes footring and proportion. The larger Bockinford paper with a single dye ap— the surface treatment as an inherent and bowls tend to be the more successful plied evenly by brush. The surface is intrinsic part of the structure and profile. however. john never allows anything to worked heavily with oil pastels that pro- This interaction is taken a stage further leave the workshop without his seal of duce a highly complex build up oftones when two of the slab forms are viewed approval. and colours creating bold and striking together as a related pair. The space be— There is also ample flexible room for juxta-positions. They have the semb— tween the rigid planes and their surface sculptural one—offs. Surrounding the lance ofbeing visual experiments that re— treatment creates an air of dignity and many worksurfaces are little gems of sult fromjohn’s acquaintance with lttens Inore importantly, a strong relationship Visual imagery to which john and Aime book ‘The Art of Colour’, however the to architectural structures and planes. make reference frequently. For the visi— “itten” grid is becoming redundant as the This combined with symbolism pro— tor sitting listening, the eyes start to subtlety of colour combination is more vides a major reduction of three- wander up and around the walls. It is a fully realised. The size of the drawings dimensionality to its barest elements. visual feast of exhibition posters and in— has increased to A1, becoming all the Curved contours are expressed through

10 lines and areas on flat surfaces, where the There is always the question whether surely be one that allows him freedom of edges or profiles of clay become the such influences are of relevance to expression, through a combination of most descriptive component of the someone who is already confident in the drawing, colour and clay. If asked what work. interpretation of source material. In the the key is to john’s success I would have Looking at these recent pieces, I won— end, it is the individual who determines to say, his integrity. Ask john what his der how far the reduction of expression the validity ofnew influences. work is about and you’ll get a reply not in three—dimensions can go before the One other important aspect is the role dissimilar to, “It’s my personal ex— spatial quality that still exists is lost. that Anne fulfills in the day—to—day or— pression of life in downtown Granity However, john does point out that he is ganisation of the workshop, the business with the imagination button turned up”. progressing, changing, developing and and john. He readily states that Aime is his work is experiential by nature and not his skilled apprentice, automatically Nick Shannon necessarily as successful as he would like packing and firing kilns, throwing, turn— it to be. ing, accounting, before he has even john is very aware ofhis surroundings thought to ask. A great deal of value is on a day—to—day basis and is highly select— placed on the communication between ive in terms of the recognition of viable them for the development of new ideas source material. He is therefore involved and concepts. It is this type of relation— in a conscious problem—solving approach ship that must be envied by many other that in essence draws more from the im- craftspeople. Anne’s involvement is I portance of daily life and its seemingly suspect often understated. Her most im— mundane occurrences than from the portant role is that of critic. wealth of natural form with which the john’s approach to his work is becom— Granity area is endowed. ing based more and more on self— What he consciously chooses to em— evaluation. It is this factor that impresses ploy as his observational starting point me above all else when talking with into “ways ofseeing” is a valid part ofhis john. He has the enviable ability and research and is full of personal emotion knowledge to determine with accuracy, and motivation. Talking with john, I the direction he takes in his work. His found that much of his experience of comprehension of design and his exten— other influential works is confined to an sive technical and creative knowledge excellent range of art books. I sense that combine to help him achieve a successful john’s awareness of three—dimensions, experiential approach to his work. There form, structure, volume, space and are at present many pathways open for 1 john Crawford: Rerliuiliq 15mm with Blue many other aspects of art, craft and de— john to take. Through his experience I’lmm’r. sign, would be enhanced still further and ability he will choose a path that may through experiencing the real thing. not necessarily be the safest, but will 2 john Crawford: .17” 'l‘erri'i'rx Hu/ir/ay.

I 7

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11 Anthony Williams

Clare Hardy Profiles Anthony Williams, Craftsman — Goldsmith — Romantic.

Anthony Williams is a romantic. make a pattern on the metal surface, ivory with strands of 18 carat gold hair Although New Zealand born, the while in champléve, the metal is sawn, 5 rinkled with diamonds) he intends to slightly built jeweller comes across as carved or etched away to take the en— dig) more carving. Pieces such as this quaintly British, belonging perhaps to a amel. In plique—a—jour however, there is brooch which did not sell at the Dunedin time long gone, when courtly attitudes no back—plate to hold the enamel in exhibition have been sent off to the pres— held sway, when armour clad knights place. Instead, it is suspended like a soap tigious jewellers Aspreys of London, faced fiery dragons and golden haired bubble caught in a ring. This technique, where Williams has sold on a “regular damsels waited in distress. This romantic recorded in Byzantine times, was re— but intermittent” basis over the past few attitude is reflected in Anthony Williams’ surrected by the art nouveau movement years. Having an outlet at the top end of recreation as well as his work, particu— at the turn of the century, but because it the British jewellery market has given larly that seen in an extensive exhibition is extremely labour intensive and the end him the confidence to invest consider— as at the Dunedin Public Art Gallery last result rather fragile, it is practised byjust able time, effort and money in pieces September/October. a brave few today. which would be too expensive for New It was a confident display from a man Another ancient material Williams re— Zealand. And with the tightening up of who will celebrate 20 years in the pro— surrected for this exhibition was steel. In what Williams calls New Zealanders’ fession next year. Among the thirty five the past he has confined his attention to “disposable incomes” he feels that hav— art nouveau style rings, brooches, col— precious stones and precious metals — ing access to an overseas market makes lars, earrings, pins and bracelets were pure silver, moonstones, opals, seed sense. To his frustration though, this Williams’ biggest and most flamboyant pearls, ivory, and nothing less than latest consignment to Aspreys, which in— pieces ever. As he put it: “To a certain eighteen carat gold. With the hours of extent I have let myself go.” labour, which go into each piece he feels it would be a mistake to use anything The piece de resistance was a magnifi— less. An average pin or brooch takes cent dragon brooch of 18 carat gold, about 40 hours to execute. In days gone enamel, diamonds and New Zealand by knights of the renaissance wore steel jade. A similar styled beast, an 18 carat armour inlaid with gold or silver, and gold and platinum dragonfly, featured using techniques he learnt as a student, tigers eye eyes. A careful look at the Williams has revived something of this wings of both creatures showed that ancient art. He pits the cold, hard steel Williams has used a technique rarely seen against the warmth of gold and silver and today, that of plique—a—jour enamel. The precious stones — garnets and pearls. It translucent enamel stretches like a deli— works best when kept simple as in a plain cate membrane between the ribs of the steel bangle inlaid with gold. wings. Another of the talents shown by Plique—a—jour is similar to cloisone and Williams in this exhibition was bone and champleve, two other enamelling tech— ivory carving, which he also learnt as a niques also used by Williams in this body student and has only recently picked up of work. In Cloisonne, the colour is div— again. Pleased with the results (the exhi— ided by fine wires or “cloisons” which bition included a small head carved from

12 ' PROFILE cluded bone and ivory, ran into prob— a workshop at Port Chalmers, just a few lems with customers and the relationship kilometres from his present studio in St. has cooled somewhat. Williams talks of Leonards. He built it close to the house trying to break into the New York, San he shares with his wifejenny, high above Francisco or Sydney markets, and he the spectacular Otago coastline. Even cynically adds Auckland to the list, one though he lives away from the main place in New Zealand he has not been centre, there are many distractions — too able to sell hisjewellery. many, he admits: “I have terrible trouble Most of the work he turns out at his sitting down and concentrating.” St. Leonards studio is commissioned by local people who approach him to design Clare Hardy and execute particular pieces. About 95 percent of this commissioned work in— volves rings, partly because rings are so personal that people like to think theirs is unique, Williams explains. He also does trade work and exhibition pieces. Sometimes he is brought a piece of jewellery to remodel. It is a constant juggling act, says Williams. finding a market that will keep him busy with an income but not so busy that he becomes fed up with the constant demand to fill orders. While plenty are still coming in -' things are certainly tighter than they were and Williams is wondering exactly what direction the future should take. It is nearly 20 years since Williams travelled to England to study at the Birmingham School olijewellery and Sil— versmithing. He graduated with honours and also earned a fellowship and diamonds diploma from the Gemologi- 1 Anthony Williams: cal Association ofGreat Britain. Winning Brant/17 184'! Gold, Platinum, Cluixsonne the H.M. Wamuel travelling scholarship enamel, Diamonds, Pearl. enabled him to tour Scandanavia and 2 Pendant — IXrI (in/ii, Cari/ed Slcz'l, (Jin'nr'l, Visit many workshops. After three years linen cord 7 40mm, working as a craftsman in Birmingham and London, including 18 months with .3 Ring: 1817 Gold, Diamonds. English designer Andrew Grima. Williams returned to New Zealand in 4 Ring: lXi‘l W/zin' (iolrl— Amethyst. 1975. That year. assisted by the Queen 5 Bi'oarli; 18M Gold, I’lalininn, Dianmmix, ’I‘iQL'i'x Elizabeth II Arts Council, he established Ifyt', Pliqm' iij'iiiii' [Enamel Fingres

Fingers, New Zealands longest est— ablished contemporary jewellery gallery moved late last year from its premises in Lorne Street. Auckland to a much larger space in Kitchener Street, opposite the Auckland City Art Gallery. Fingers was started thirteen years ago in the small Lorne Street shop by a group ing number of promising new and The partners have carefully designed of youngjewellers, who wanted to con— younger jewellers producing exciting and assembled most of the new custom— trol the sale of their work and deal di— work, more display area was needed. made showcases and fittings themselves, rectly with the public. It has been run as a The partners were encouraging these giving the gallery a unique appearance. co—operative ever since selling the work jewellers to have their own exhibitions A commission was given to a furniture ofit”s partners currently seven, as well as with a View to stimulating more chal— craftsman Humphrey Ikin who then de— that of otherjewellers, to an appreciative lenging work. signed and made an interesting canoe clientele. In 1986, the decision was made for the shaped table in New Zealand tawa to In that time, due to the contact facil— group by the continuing demolition of serve as the counter. itated between the jewellers, the dis— Auckland and the search for new prem— Already a number of exhibitions have tinctive indigenous style of jewellery, ises began. Finally a shop was found on been held utilising the new space avail— for which Fingers is known, has devel— the ground floor ofa new building on the able. Each artist has been better able to oped, as well as the innovative use of corner of Khartoum Place and Kitchener express the style of his or her own work paua, pearl shell and other materials such Street, opposite the Art Gallery sculp— by making full use ofthe versitility of the as silver, titanium and ebony. ture courtyard. show cases and their greater ability to The gallery has grown in pace with This new gallery is twice the size of accommodate display materials. the professional development of its the old one, an unusual octagonal shape There has also been an excellent re- members. Fingers partners and exhibi— with a large glass frontage. It has a light sponse from the public who have made tors are now some of New Zealands airy feel making it completely different their way up the stairs of Khartoum Place leading craft jewellers. For example, from the old enclosed gallery, and a in their usual numbers. they form the majority of the artists pleasant view overlooking the trees of Fingers acknowledges the assistance showing in the Foreign Affairs/Crafts Albert Park. ofthc Queen Elizabeth 11 Arts Council. Council exhibition ‘Bone Stone Shell: New Jewellery — New Zealand’, now Elena Gee touring Australia. While Fingers is their home base, they exhibit their work widely throughout New Zealand and are involved in teaching their craft and other activities, such as organizing the first ex- hibition of Details the national craft jewellers and carvers group, held at Auckland Museum in 1986. For the last few years the partners had been considering moving to a larger space to accommodate an expanding ex— hibition schedule. With a steadily grow—

14 Alison Taylor Fabric Artist

The architectural firm, Sargent & Smith contacted Alison through the Art De— partment at Waiariki Polytechnic. After seeing photos of some of her work, and after Alison herself had a chance to view the available space, it was agreed that she would submit sketches of a basic idea. These were accepted. and a third of the total commission price was advanced for materials. Both parties agreed that the work would be completed within three months, and the artist would be respon— sible for the installation.

“Joy” :lNZ Bunk, Romrnn Almeriulx: Card/ward Mini/[Hg tubes utintn'yzng with/1x, towered in '1titan/[Merlin unwilling and synthetic/til;— Cnnnnissz'oned 17y: Surqen/ {I Snn'tlz, nine/«Innu' tie, [munr/ wit/I .x‘ynt/Ietn' nt and mounted on a timber Si:e: I’uurpnne/s, eat/7 2200 .\' XOOHIHI .lmme,

Rona Jarosewitch

Design Brief} To design a memorial window to be the main Feature in the Memorial Aleove, portraying the dif— ferent roles the RNZAF plays. During the 2nd World War in Britain and Europe, in the Pacific and the training at home in New Zealand. To show the whole facett ofa war, that is human suf— ca”:

fering, agony, pain, but also friendship, m. excitement, taivity. Flying, different perspectives, perception.

Almeria/x used: I-landblown full—antique glass throughout the windows. Im— ported from West Germany, England. Use ofstreaky glass, flashed glass, that is etched, painted, stained, fired, as— sembled in the leadlight technique.

Stained Glass Feature ll’ind in the Mennn'iul Venue; RNZAF .\rlu.\‘euln, I/Vigmm Altai/e ofthe new, Royal New Zen/and Airtm're illuseum, I’l'illgl'alll, Clu'isttlmre/z. Dimensions: :Wain Window 4.80m .\' 1.60m (hm/«en up into twelve panels) 2 Side l’Vindows.‘ 1.00m .\‘ 1.60m (broken up into three C/ient.‘ Royal New Zea/and Airtiirte panels rue/1), Arr/uteri: Don Dmnzit/im‘ne, Clu'istrlun't/z Cunnnission tornpleted in Mart/1 I987.

15 EXHIBITION ‘.'. ."‘ 3;! Anne Mercer “‘5. .4. ‘

Festival Guest Artist , at the Potters Shop

4.:% ‘

Wellington’s second International Fest— signs are then developed by rolling the ival of the Arts in March this year was colours into very thin slabs, cutting out celebrated by a group of local potters desired shapes and building up the col— with a special exhibition of porcelain by oured layers on a base slab. Anne Mercer, one of South Australia’s Anne has chosen to work with simple most respected ceramic artists. plate forms as they are sympathetic to Encouraged by a number of visitors the complex patterns and colour com— to their premises during the 1986 fest— binations obtainable with this technique. ival, members of The Potters Shop Co— After the form has dried in a carefully operative hit upon the idea ofinviting a controlled atmosphere to minimise guest artist from Australia to exhibit in warping, it is bisque fired, polished and their shop in Tinakori Road, Thorndon. then fired to maturity (about 1250°/ It was an ambitious venture for the small Celsius) in a nest of silica sand. Finally co—operative of Wellington potters but each piece is ‘wet and dried‘ to give a soft one which went without a hitch, thanks lustrous finish. to the dedication of Raeburn Laird who During her stay in Wellington Anne Inade all the arrangements, and UDC presented a one-day demonstration school at Murray Clayton’s Claypots Studio, Ohariu Valley. There she demonstrated in an informal and relaxed way her laminated slab techniques, using coloured porcelain which she had already prepared at home in Adelaide. Anne Mercer is currently working as a full—time studio potter and lecturing part-time at the South Australian Col— lege of Advanced Education, the insti— tute at which she completed a Bachelor of Design (Ceramics) degree in 1983 after 20 years experience of art teaching and studio pottery.

Finance who assisted with travel expenses. Mary Smith Anne Mercer’s exhibition consisted of thirty five pieces in laminated por— celain. Bugs, rabbits and irises are fea- tured in stylised patterns on her crisp, colourful slab forms. In describing her technique Anne quotes the Websters Dictionary definition of laminate — “to make by building in layers.” Individual batches of porcelain clay are prepared using body stains and the coloured de—

16 used to be very tentative. The real market is people who are excited by the work. Every year I'll get one conserva— tive woman who is willing to take a risk. She will buy something, wear it and come back converted. First though, people have to Feel confident in them— selves. There are more people around, now, who enjoy the attention they'll re— ceive wearing such a garment, and who also appreciate the sheer talent that has Baby look at you now! Wearable art has gone into making something. They are come of age in New Zealand with the now willing to pay prices that reflect style and pazazz many discerning art— that. too.” loving dressers have been waiting for. I’eter Franken. for example. is well They no longer stand back and say known for sheer outrageousness in ‘WOW‘ * they‘re buying it and they're leather and his garments this year were wearing it. no exception. Equally eyecatching was Wearable art has come down off the the handknit work of Alison Wall. Cer— walls and onto the catwalk, glamourised tainly it struck the right note with an but not compromised. The skill of those Auckland woman who bought it after who make it has a lot to do with it, but Hand dyed silk makes a vibrant lining the )arade to wear as a wedding dress. the marketing ofit has much to do with and applique for this black velvet outfit Wall, an actress, is multi—talented in the the Aucklander. l’ainela Elliott, or— from Aucklander Susan Holmes ~ an fabric Field and her liandpainted cotton original exhibitor in Hear-able Arr. ganiser of the Wearable Art parade and jackets and painted tights were equally exhibition. For Elliott and the artists. the striking. packed show at Auckland's Kingsgate Other exhibitors were Leonie Centre was the sixth and most successful Arnold. jenny Barraud. Wendy Bennett. showing yet of wearable art by New Nicola Campbell, Suzan Carter. Fenella Zealand—wide fabric artists who want to Christian. Marion Corby. (iay Cusack, put their work on the backs of their Liam Davidson, Doris de l’ont. julie admirers. Wearable Art 88 was a major Emmerson, Patricia Eruera. Robyn success for Elliott both as a Fashion Fallon, Annie Graham. jean Haininon. exercise and subsequently as an exhi— l’at Henley, Marion Hera, Meghann bition at her Compendium Gallery in Humphries, jillian Karl, Kristin Leek, Devoiiport. Rose McCrae, janet McIlwraith, Marie Craftspeople From all corners of the l’otter, Dyan l’rujean. Maxwell Riddle, country have long been making fabulous Dagmar Roehrs, Louisa Simons, Yanny garments, be they woven, knitted. Split, I’aniela Thompson, Caro Allison, handpainted, tie dyed or screenprinted. Lorene Cecconi, Suzanne Sturrock, Many have earned individual recog— Daphne Mitten and Neridah Haworth. nition and a Following of those who Says Elliott: “The range of media knew where to find them. This annual used, the creativity and the broadening extravaganza for wearable art. though. overall in recent years has been amazing. has provided a showcase and a marketing People are getting much more particular vehicle to an increasingly appreciative about finishing. about cut. I believe they public and an opportunity for fabric should still collaborate more on tech— artists to cast an eye over the talent of nique so that concepts can be well— their conteniporaries. About 35 people Alison Wall: I’aiiired cur/(m mimlurny mat and Iyrm rig/115. executed From all aspects. A fabric artist exhibited this year putting together doesn’t have to be a jack of all trades . more than 20H garments between them. they should sometimes seek out those They had worked with many different who can perfect things for them techni— materials — leather. wool, silk. cotton. cally. When that happens we will see an— Feathers, I’VC. tulle, beads, paints and other step forward. ” dyes. Some — Peter Franken. judith In the meantime we won’t see such an Wliyman. Susan Holmes. — have long exciting collection of wearable art any— been successful in mainstream Fashion where else iii the country. Elliott wist— awards including Benson and Hedges fuly concludes “I would like to see wear— awards. The old hands were joined this able art tour the country. butjust mount— year by many talented newcomers — iiot— ing the show in Auckland has always ably Alison Wall and Aime Higgins. been a mammoth undertaking.“ This annual showing of crafted cloth— ing started off quietly in a Devonport pub. Its metamorphosis into a Fully Helen Vause blown, choreographed Fashion show might seem a little out of step with the more laid back traditions associated with craft exhibiting. but “It‘s the glitter and buzz that has made it work" says Pamela Elliott. “These garments are exciting. A static exhibition would not grab the attention they deserve . . . and it would'nt be as much fun.” Elliott remembers the difficult days of Peter Franken: Primed [earlier 7 piece getting wearable art actually bought and Uri/tin" trimmed in suede. worn. “It‘s an attitude tliing. The market

17 EXHIBITIQN :5” Elena Gee: Bax (cumming Pendant, Brute/vi. linings, Blur/e {P ll’lzirz' p/mliwizpliy Michael Chittenden. Steel, rubber, lexau, pimu, n’muimn, mnnn.

STONEBONE-SHELL New Jewellery — New Zealand

by John Scott

The expectant crowd waits on the lery was a unique event. Rosemary Zealand carvers and jewellers to use pavement for the doors to open. Shannon, the Director and Raewyn traditional materials in a contemporary Promptly at 6.30 they do and there’s a Smith, the exhibition co-ordinator, ac— way that acknowledges our bi—cultural glass of champagne for the guests, but cepted the responsibility, incorporating heritage and redefines our values in the still a wait. All the exhibits are covered in an opportunity for a company to become twentieth century. A recent trend in specially dyed silk shrouds. A gentleman involved in the growing art sponsorship. contemporary jewellery has been to use in a tuxedo walks towards them but Azimuth Systems Limited; information non—precious materials in such a way as ignors them, moving instead to discrete systems consultants, saw the potential of to put them in contrast with the inflated black drapes in the corners, and further close links with the arts, and as director value of materials such as gold and mystery begins. Alick Wilson stated, “we are putting diamonds”. He goes on to acknowledge Openings of exhibitions can be back something into the community that that the focus on these materials is “to “special occasions” but few reach the has supported us". establish and proclaim their real value in stature of a memorable event. Jamie Few societies are as young as New our culture”. Bull’s dancers had been waiting to reveal Zealand or have had to develop its art The work of twelve artists make up the work through a specially choreo— and cultural identity while being sub— this exhibition of forty five carefully graphed dance sequence helping make jected to such a great body of overseas selected pieces. Questions have been this opening worthy of such an im— imagery. Finding art which speaks about asked why the work of other fine New portant exhibition. New Zealand and which captures the in— Zealand artists working in these media ‘Bone Stone Shell: New Jewellery fluences of both internal and external in— was not included. Where for example — New Zealand’ is an exhibition put fluences is liable to either miss the mark was the work ofthe traditional carvers in together under the auspices of the Crafts or project a traditional Maori flavour to greenstone or the bone carved in the Council of New Zealand having been contemporary work. Bone Stone and Maori tradition. In the context of these commissioned by the Ministry of For— Shell avoids both and comes as close to selected works, such pieces would have eign Affairs to tour the Pacific Basin over the heart of New Zealand and it’s art as appeared incongurous in that they would the next three years. The Ministry does any exhibition 1 have had the good for— speak of a past tradition. The selectors not normally show exhibitions in New tune tO see. Kobi Bosshard, James Mack and Edith Zealand prior to their departure to over— john Edgar as curator writes, Ryan, along withjohn Edgar, have been seas venues so the opportunity to launch “A growing awareness ofour place in the consistent in their commitment to ensur— the exhibition at the Crafts Council Gal— South Pacific has led a number of New ing the language of the works chosen

18 ' HIBITION

age, and the timeless simplicity and beauty of the natural materials is coinpel— ling. I found myself returning more and more to look for further secrets in the treasure boxes. While Elena Gee’s boxes are bolted shut ensuring the viewer can peek but not touch, small lidded boxes by Dave Hegglun carved from blocks of beef or moa bone are empty and suggest more as to what they may have once contained. Hegglun’s love of the land reflects both in his sensitive use of the material and in the imagery he carves into the surfaces. Land Alive, carved from bone and goat horn has a rocky landscape covering the surface fusing into a face at either end. It’s easy to get the impression of the guardians of the land watching in all directions to ensure this landscape is preserved. Roy Mason’s work has an elegance and a sophistication almost inherent in the use of mother—of—pearl. Mason com- ments as to how his designs attempt to utilise the whole shell and each piece is cut and then linked together to form either bangles or necklaces. His Sun of Man neckpiece, bangle and brooch all fit speaks about materials John Edgar: (Inning Stone and the land. together within each other and create a Paul Annear’s Aijqillite, llr’l'rlgzuxlmped .imnz' in box. fivejade works are ele— piece ofhigh fashion elegance. Similarly. gant in their simplicity and design. The Alan Preston uses large expanse of Half Moon breastplate Michael Couper: Kirk/aria with argillite jade, pebbles, nylon. Smilllm‘j steel, silver. polished shell to form his neckpieces and beads evokes a feeling ofa universal cul— ture, while there is the reference to decay and a past. Hamish Campbell has three finely carved bone necklaces. The detail in the Clasps and the cord attest to a passion for the place of technique and craftsmanship in arriving at a total work of art. The Horse Necklace was initially the most satisfactory of the pieces, though rather incongruous, being the only image in the whole exhibition which was not indigen— ous. However, on closer study the owl with its wings widespread and it’s feet tucked up suggesting vulnerability and life energy, becomes more and more appealing. It’s the sort of piece you would expect to assume a real per— sonality. These works are all minor en— gineering marvels, being made from a number of pieces fitted together. The Fish’s body for example, is in six seg— ments linked together. Fortunately these works, like those of Inia Taylor, avoid the culatural cliche's of so much of today’s bone carving. Taylor’s work, four necklets and a curled fish in whale bone and paua, are lively fish forms caught by a mouth full ofcord. The illustration in the catalogue has them struggling in wet sand — an image cap— tured and reflected in the display stands ofthe exhibits. Elena Gee’s use of “industrial flotsam andjetsam” to form small treasure chests for pieces in the perspex covered boxes are works reflecting Gee’s distinctive style. Her use of disused pieces of Inach— inery as storage boxes I initially find dif- ficult but intriguing. The contrast be— tween the inorganic leftovers of a dis— carded symbol of the modern mechanical

19 EXHIBITION Photography: Julia Brooke-White Copyright: Crafts Council ofNew Zealand Courtesy ofthc Ministry ofForiegn Af/hII'S.

I John Edgar: “Cracking up”, Coins ofthe realm. 5 Creywaeke stones surrounded by (opper set in Kwila box.

2 Paul Annear: Halfmoon breast platei Jade, Argillite beads, linen.

3 Hamish Campbell: More orle Necklace BeefBone, Waxed Nylbn thread.

4 Paul Mason: Ceremonial Braeelet, Ciallo Sienna, sodalite, mother ofpearl, silver.

5 Dave Hegglun: Land Alive 1. Beefbone, Goat horn. EXHIBITION

1 Inia Taylor: Fish. Whale bone, ebony, paua.

2 Alan Preston: Breastplate. Mother ofpearl, oyster, Ata, Van.

3 jenny Pattrick: Flight ofbirds ring. Gold, Fund, Vermeil, 951‘ Gold.

4 Warwick Freeman: Stone Flake Necklarc Argillite Flakes, Oxidlsed Silver

5 Ray Mason: Enigma Bangle, Enigma Emblem. Island Mussel, Mother ofPearl.

21 .. _ ‘ EXHIBI N

necklaces has sharp angular design with and simple designs, continues to create what appear as teeth forming the central some ofthe best work being produced in decorative detail. This contrasts with a contemporary New Zealandjewellery. softer rounded necklace, where small The work oftwo artists remains. The pebbles are interspersed with the darker two large ceremonial bracelets by Paul stone and suggest a softer personality. Mason, extremely large and clearly very heavy, were seen by another artist as re— Necklaces also provide the substance flecting Mason’s sense of for three works by Warwick Freeman, humour. One shows the raw unworked surface of the some of the most successful in the exhi— stone, either suggesting through use. it bition. While suggesting an almost has been damaged or that the raw surface African flavour in their design, with their of a stone is but a rough promise of the spiralled clasp. the total congruence be— colours and hues below the surface once tween material and the chosen design is polished. These are bold works and in apparent. One, made up of small slate some ways capture the essence of what chips, suggests a prehistoric civilisation this exhibition is about. and a test of the timelessness of the material is that this piece of work is I have left the work ofjenny Pattrick totally appropriate in today’s society. until last as I felt I may have bestowed Similarly, his necklace made of small upon it all the superlatives. In the past I paua pieces carefully polished. drilled have often felt some of Pattrick’s work and tied together in five consecutive was overly elaborate but these works I strands is highly successful but the neck— find totally satisfying and stunning. lace made of small chicken bone pieces I’attrick has four rings entitled Flight of interspersed with oxidised silver is a real Birdsrings, combining paua and precious gem. By oxidising the silver he makes it metals. The paua has been polished and look like some cheap metal such as lead sensitively fixed to suggest large, almost and mixed with the dull tan chicken flying fish forms leaping from one‘s bone, one has the suggestion ofa worth— hand. less strand of children’s beads. However All these works have been given a it is this reality, and the fine workman— treatment that can only attest to the truly ship which helps produce one of the professional stance taken by the exhibi— $32: most resolved pieces of work in the exhi— tion co—ordinator and designers. The bition. Freeman’s attention to detail and catalogue itself is a substantial tribute to design considerations, linked with his the book designers art. Each artist is approach to the use of simple materials shown in a chosen environment and one

Alan Preston: Bang/c, Pmm, Coronur, Silver. Paul Annear: Sruor, jaa'r bracelets. His bangle in Mother—of— l’earl, oyster, coconut, silver and gold is a wonderfully crafted artefact which just so happens to be a bangle. Preston man— ages to use various coloured shells and rope ties in a way that reflects more of the influence of the greater Pacific than just the New Zealand context. This reference to the greater Pacific is constant in the work of john Edgar. I always have the feeling with john Edgar’s work that they are ancient arte— facts of some great seafearing nation. The simplicity ofhis Compass in Neph— rite jade relate closely to his “Cracking Up” Coins of the Realm. These five discs superbly worked in stone sur— rounded by copper have a metamorphic quality through the changing design. They constantly suggest to me some ancient message or some past culture. The holes without cords in his Cutting Stone and Amulets again suggest a his— tory that has survived the decaying of the cords. Of the works in this exhibition, Edgar’s reflect most strongly the ocean ant the great voyages ofthe people who make up the Pacific rim. Michael Couper conibinesjade, argil— lite, pebbles, paua, stainless steel and silver in his three stunning necklaces. He has managed to take a raw pebble and through careful attention to design com— bine it with other immaculately finished stones to produce a jewel. One of his

22 1 Elena Gee: Box {Mimi/ling Brurr'let and Ring. Aluminum. [mil/I. pr'lrlilr'x and Flax.

2 jenny Pattrick: Hug/II (if/lint: rings: (;\7I({})illl11, I'ermuil. ‘lrlgu/rl.

.5 Paul Annear: Bird/Army kirk/arc jade. Carrie/Iran. HIM/HT ”.7 pearl, linen.

work by each artist is shown in full professionalism and the art of this colour through sympathetic photog— country, it is a standard and an example raphy by Michael Chittenden. For me which can only enhance New Zealand’s one ofthe features ofthe catalogue is the stature in the Pacific. use of ortraits to introduce each artist. Too offen we see the work of a New Zealand artist without having any idea of John Scott what they look like or the environment in which they work. The portraits by John Daley are superb works of art in themselves and Suzy Pennington is to be commended for raising the standard of catalogue production in this country. The design work in the catalogue has been translated throughout the exhi- bition with individually sculptured dis- plays for each collection of work. De— signer ]onathan Custance has sculptured small discrete “landscapes” on which each piece is displayed. These display cases with their attention to detail have been built with lighting fixtures and are designed in such a way as to collapse so that work can be packed for overseas travel. I find it difficult to fault this exhibition although I’m sure faults will be found but Blur/c e; White P/mrqgmplzy as a total concept, as an example of the .3 Michael Chittenden

23 28—38) beginning: “Hail. thou that art highly favoured. . Neither of these Trusttum designs have been carried out in glass as yet. In 1983 Trusttum was also com— missioned to design two sanctuary windows for the Anglican Church of St Thomas in Fendalton. Christchurch. He was later asked to provide designs for two further windows in the nave areas. with complete freedom in designing these four windows. The 1983 pair rep— l resent Christ's hands and those of the apostle Thomas. who put his fingers in Fiona Ciaran chronicles Philip Trusttum’s Christ‘s wounds. because he did not be— lieve that Christ had returned from the work in glass Crucifixion. Trusttum traced his own hands and arranged the images as though they were in the small rectangular trays used by craftspeople to the paint on glass Philip Trusttum first designed flat ing the notes of The Magnificat chant in a kiln. Although these windows are glass in 1980. The Magnificat. a painted used in liturgical mass. (Neumes were not painted and fired. the spatial arrange- and fired window for the Lady Chapel in prototype musical notes used from the ment of the pieces in the kiln—trays dur- the Roman Catholic Cathedral of the 9th century onwards in Gregorian chant ing work on The Magnificat stayed in Blessed Sacrament in Christchurch, was ‘scores’. These were brought to Trusttum’s mind. The designs also relate made as part of the Cathedral’s 75th Trusttum’s attention by Dorothy closely to the paintings of hands on chip— anniversary celebrations. This was no Buchanan who composed a piece to be board and firewood that Trusttum had ordinary window and represented an im— played at the windows unveiling cere— been doing at the same period as these portant development from most previ— mony.) The placing of the neumes windows. ous indigenous flat glass art. This echoes the incorporation of Hebraic The north sanctuary window facing window was experimental. embodying a script in the Jerusalem Windows. the sun is a bright, predominantly red style of work from which Trusttum Trusttum also included twelve small and ochre piece offset by deeper blue. rapidly diverged while paring down his stars around the edge of his design to green and purple. In the south sanctuary. ideas on flat glass design. denote the tribes oflsrael. a cooler more reflective and more The Magnificat is the song of Mary Trusttum began the commission by loosely—structured window was made. the mother of Christ (Luke 1.46 to 55). executing six drawings done in gre'se Instead of using clear glass as in the back— sung after the Annunciation and the crayon on paper. These were all vari— ground of the north lights. white Ger— Visitation. It is a hymn of praise and hap— ations of the same design and he relates man ‘opak‘ was chosen to surround the piness beginning: “And Mary said, My them most closely to his car drawings of brighter pieces of glass. The north sanc— soul doth magnify the Lord . As a 1981). The motif of a Rover tail—light is tuary window on the left facing the altar theme. it has been depicted rarely in partial inspiration for the triangular contains left—hand images and the south stained glass. shapes in the centre of The Magnificat. window. those of the right hand. Trusttum was given the subject inat— He also views the designs as a throw— Trusttum designed and then executed ter but allowed free interpretation. with back to some of his 197(1‘s paintings be— these windows in close collaboration the only proviso being that the darkest cause of the fractured quality that the with Christchurch glass artists Suzanne colours used in the work were to be at leading gives. lohnson and Ben Hanly at their studio. the base so that the icon in front of the Trusttum painted the glass mostly ~This was to be the beginning of a fruitful window would still be seen clearly with his fingers. prior to firing Ap— working relationship that has continued below it. The resulting of Magnificat is proximately three—quarters of the to the present. Trusttum first made composed of rich. variegated coloured window was painted and tired twice. He maquettes using Gasson paper pasted glass that leads Lip into a blaze of bright picked the glass coloursjointly with glass onto white cardboard. He then discussed and lighter hues towards the centre top. artist Graham Stewart who cut the glass, the manner ofexecution with Hanly and The circular area can be equated with fired the paint on in a kiln and then Johnson and they jointly chose the col— heaven and relates to renaissance paint— leaded up the windows component ours and modified and developed the ings ofthe Assumption ofthe Virgin. At panels at his Christchurch studio. Be— panels as they were fabricated. the bottom the crescent moon represents cause they were unable to obtain just the Trusttum's style and manner of flat Mary and her name is written in lead right hue of blue glass. both artists de— glass design from the work for St. across the base area. cided to double—plate certain areas by Thomas” onward is related to the con— Before designing the window leading together two pieces of glass. siderable body of flat glass designs by Trusttum looked at photographs of the The Magnificat was installed in August Henri Matisse who used his 'decoupage‘ Jerusalem Windows. which are a series of 1981. (paper cut-out) technique to make of twelve panels. each representing a Trusttum's next work in flat glass de— maquettes for his windows. In this way Jewish tribe, in the synagogue at the sign came in 1983 when he was coni— he was able to arrange areas of pure Hadassah—Hebrew University Medical missioned to design two abstract colour to his taste. Matisse painted the Centre in Jerusalem. They were de— windows for the new St. Patrick‘s colour onto the paper anti then cut out signed and made over 1959 to 1961 by Roman Catholic church in Napier. The the shapes. Trusttum began by using Marc Chagall and Brigitte and Charles subject matter of both were Marys ac— commercially—coloured paper then Marq. The Magnificat shows stylistic ceptance of the Annunciation and St. changed to painting paper as well. to ob- traces of Chagall's work as a result. Patrick. Trusttum based his design for tain the hues that he wanted. Interest— There is the same imposition of an exist- the first window loosely on the treat- ingly Chagall was also exposed to Ma— ing. strong architectural grid in a ment of drapery that he had seen in tisse’s fiat glass designs when the former window of classical shape. A centralised paintings by Piero della Francesca. Es— settled at Vence and the latter was work— circular motif appears in several of the sentially. it depicts Mary‘s clothes and ing on the famous cycle for the Domini— Jerusalem Windows as well. At the top interspersed through them are the words can Chapel of the Rosary there from Trusttum has placed neumes represent— spoken by the Angel Gabriel (Luke 1‘ 19—18 to 1932. GLASS and johnson conceived the idea for an exhibition of flat glass designed by an iii- vited group of seven New Zealand painters. Artists in Glass toured New Zealand in 1985—86 and included panels by l’liilipa Blair, Nigel Brown, Debra Bustin, Patrick Hanly, Ralph I-Iotere, Claudia Pond Eyley and Trustrum. (See ‘Art New Zealand’ 39 Winter 1986, pages 35—37). Trusttum’s three panels from the ex— hibition included an early trial panel for the south window in St. Thomas’ called appropriately enough, St. Thomas’ Fingers. The other two panels, Kite and Fly Swat, are based on two applique murals that were designed by Trusttum and made for the Rotorua City Council in 1985. The imagery is based on Maori fibre art and the choice of subject matter relates to Trusttum’s recent interest in woven, sewn and embroidered works. Kite and Fly Swat reveal a shift of focus in his glass work. The designs are pared down to essential components and the colours ofglass chosen are very low—key. They also relate to Japanese bamboo and screen art. Not all of the subject is con— taiiied within the frame; only a part is shown. In 1987 Trusttum, Hanly and johnsoii created the huge stained glass canopy for the Unisys House on The Terrace in Wellington. Again the design was iii— spired by the Indian necklace from New York. When talking about his work, Trusttum voiced his concern about the attitudes of people who are unable to un— derstand that a painter can design and co— fabricate fiat glass, or that it is per— missible for a person well—known in one medium to shift to another or become a mixed—media artist. History and tradition are on his side and like many other 20th century paiiit— Philip Trusttum, Ben Hanly & Suzannejohnson ers involved in flat glass, Trusttum does —» Stained glass 1983. MS! Thamas’ Anglican Church, Fendalton, not View it as a fleeting experiment but as Chn'stchurth. a serious commitment. The future looks bright for Trusttum, Haiily and Johnson in glass. The idea of using the ‘pure’ colour in confined to a few cracks. Had the slieet— glass appeals to Trusttum and he has not ing been more securely attached to the Fiona Ciaran painted its surface since. The two sanc— building frame, it is possible that the tuary windows at St. Thomas” celebrate windows would have remained the beauty of the glass itself. Trusttum untouched. further explored this theme in two later Trusttum’s more recent designs have windows for the east walls ofthe naves at all been secular. Four residential St. Thomas’. Finished in 1984 these were windows were completed in 1985: one based on a third design made as a possible large living room window through idea for the first sanctuary windows. The which the garden can be seen; a stair blue glass in these has been acid—etched landing window; and a door panel and in places The designs bear some re— door surrounded in opaque glass for semblance to Matisse’s first project privacy. These are all variations on a maquette for the apse windows at Vence theme inspired by an intricate metal entitled Celestial Jerusalem. Trusttum necklace from India that Trusttum used some of the left-over painted paper bought in New York. It has central from his 1981-82 Tennis series of works, rosettes or flowers linked together like for the maquettes. chain—mail. The four windows relate In mid 1985 the St. Thomas” windows closely to what the artist terms his were vandalised. Fortunately the vestry ‘jewellery’ or stencil works on walls, that committee had had the foresight to iii— at one point covered the interior of his stall external, protective polycarbonate Christchurch home. He started this style sheeting over them. Although a concrete of work in 1982. block was thrown at them damage was After working with Trusttum, Hanly

25 The New Zealand Woodturning Display Centre

An agreement to stage a New Zealand aware of every master of woodturning \X/oodturning Display Centre at the ‘out there’, and should there be any per— l’utaruru Timber Museum was finalised son (s) interested in the advantage of by the I’utaruru Woodcrafters Club and having work in the display centre, a sub— the Museum Committee in late 1987. mission for consideration would be It is proposed that this will be a per— welcome manent display of the work of some of Lockable cabinettes, plate glass front— New Zealands best woodturning, and ed have been designed of dimensions 1 what better place for such an exhibition metre square X 600 mm deep. Sub— than a timber museum; particularly one missions will need to be ofa size to fit which is rapidly developing into a The name and locality of the turner will nationally unique centre of timber be displayed with the piece plus details of memorabilia. wood used. Owners value of the piece To start the exhibition an invitation to should be submitted for insurance pur— submit a piece was sent to woodturners poses. Any piece accepted will be on known to us for their excellence in loan to the centre for 12 months after crafts-manship. The response has been which time a turner may withdraw or gratifying. Obviously we cannot be replace his exhibit if he so desires. Access

26 at?» we I Marg Bartos: A511 500 .\' 410 mm fabrics. She was Visited by Hunter when New Directions they were both learning about batik and 2 Bill Butler: Container. developing the technique of painting 3 John Lister: “A View llii‘iiirg/i " in Fibre with dyes and incorporating wax for new Riikizia Liiliiiriiiiiii Burl 7 220 .\' 2.70 mm effects. Malcolm Harrison prepared a large scale piece to command one wall of the Fisher Gallery. Harrison‘s quilts have established him as one ofNew Zealands leading exponents of this craft. Increas— ing in size and complexity. Harrison also draws on a wide range of sources to Contemporary New Zealand and develop his motifs. He doesn't only Australian fibre art became the focus at make quilts — the Dowse Art Museum in the Fisher Gallery. Pakuranga during Lower Hutt recently purchased his May. The show was curated by Auck— wonderful collection of dolls The land artist Carole Sheplieard and the Family. artists included Inga Hunter. Carole Jenny Hunt‘s wall weavings are now Davis. Malcolm Harrison, jenny Hunt. breaking ground as they redefine pre— Suzy Pennington, Adrienne Rewi. Kate conceived iiotions of fibre art in relation Wells and Maureen Lander. to painting and sculpture. Hunt, who has Guest exhibitor. Australian Inga been working with fibre since the early Hunter. and her work were brought to sixties. recently completed a Fine Arts New Zealand with the assistance of the degree. Her pieces combine the Craft Dyers Guild ofNew Zealand. Inga wrapping and binding of forms with the Hunter has been a fibre artist and tutor addition ofthe colouring oftlieir surfaces since 1973. In 1974 she founded the Batik with paint. These forms are then as— Association of Australia (now known as sembled and arranged on the wall. the Batik and Surface Design Association Suzy l’eimingtoii‘s reputation as a of Australia). As well as batik. Hunter textile artist is also rapidly growing. In also makes and explores the uses of 1984 she produced a commissioned work handmade paper. With this her work for the new Arts and Commerce faculty varies and diversities as much in its type building at the University of Auckland. ofsubject and its use of material. Since then demand for her work has iii— ‘Craft Australia‘ described her: creased. l’eiinington works slowly. She “Hunter cannot be solely linked with says of her work: “I want my work to batik. She acquires techniques avidly. have a feeling ofsereiiity and calm”. and with a solid methodology, then Adrienne Rewi has had a busy year with an exhibition at the Sarjeant Gallery to the exhibition will be free of charge to makes them work for her to achieve col— in Wanganui and at the Hastings City members of the National Association of ourful surfaces. While she may still use Cultural Centre. The work in progress Woodturners New Zealand, Inc. Any resist techniques such as wax resist or for the Fisher Gallery was a large scale further information can be had from shibori, she can also choose from among three dimensional installation in cast ‘Display Centre’. C/— Box 152. transfer printing, painting dyes. smock— paper. Putaruru. iiig, stitching, beading and making and Kate Wells is a meticulous worker in The Putaruru Timber Museum is casting paper, as examples. Her tapestry weaving. A graduate from the situated on an elevated area on Highway Aquarium series calls these diverse Wellington Polytechnic School of De— One overlooking the village of l’utaruru skills into use, as a myriad of underwater sign she lias also spent time at the Vic— some 60 Kins from Hamilton to the forms come to life in fibre and fabric”. torian Tapestry Workshop in Mel— North and 80 Kms from Taupo in the Hunter showed six works from the bourne. For her “in tapestry one is free South. The complex supports a tea Robes of the Imperium series, dis— to design expressively (and) one of the rooms, a licenced conference room, a playing her magnificent ability in the aspects of tapestry weaving that excites picnic area and superior comfort skills of composition and execution of me is the combination of spontaneity and facilities. final form. As she says: “ the hard bit... is preciseness”. Numerous buildings house exhibits where the idea doesn’t always work, and Continuing the use of the Sculpture and photographic displays pertinent to has to be modified. I am not one ofthose Court, Auckland artist Maureen Lander the timber industry in the central New people who has to draw ideas, I have to has prepared a large suspended work for Zealand, bearing in mind that this was use actual materials to develop my ideas this space. A recent graduate ofthe Elam the area of the first plantings of the pine properly”. Hunter is a prolific worker. School of Fine Arts, Lander has also forests in 1924. Currently energies are Apart from producing her artworks she gained a strong reputation as a pho- being directed toward reconstruction of is the author of numerous dye leaflets, tographer. She produced work for the the Minginui (Bay of Plenty) steam mill, craft articles and columns for the ‘Fibre inaugural exhibition of the newly com- the last ofits kind to be operational (All Forum’ magazine. As a lecturer and pleted Waikato Museum of Art and His— the parts are in storage on site.) workshop tutor she is always in demand to share, demonstrate and instruct her tory — Te Whare Taonga O Waikato. deep understanding oftextile working. E] Ken Sager The other exhibitors included in the exhibition showed equally their dedi— cation, diversity and individuality of approach to their craft. Carole Davis is best known for her batik work. For— merly working from Auckland, Davis has moved to Sydney where she con- tinues making textile works. Davis began working in embroidery and sew— ing and then moved into screen printed

27 . . .~'1_

Reg Kempton

Peter Viesnik reminisees about Reg Kempton who set up new Zealand’s first glass blowing workshop.

In September 1987 Reg Kempton great grandfather who established The an army service and on his return to the died in Thames at the age of 90. Rela— Albert Glassworks in Vauxhall, London. factory he decided in the late 1920’s to set tively few New Zealand craftspeople In 1913 Reg started work in his father’s up in partnership with his brother, have either heard of him or are aware factory, The Southwark Glass Works, Cedric Kempton, the Nazeing Glass that Reg established this country’s first which produced glass fittings for gas and Works in Hertfordshire, which still glass blowing workshop in Nelson back electric lighting and hand drawn tubing, flourishes today. Here again the main in 1960. This was a considerable feat in also supplementing these production products were hand drawn tubing and itself but especially so considering that items with blown artware such as vases, instead of gas light fittings they had a he was 62 years of age at the time, an age posey bowls and paperweights. He re— contract with Mr. Eddie Swan of Edi— when many start their retirement and called in a newspaper feature how he swan Lights to make the glass bulbs for leisure years. Reg was always a hard started as an iron boy whose task was to that firm. This writer recalls Reg des— worker, even to the extent of renovating get the blowing irons ready for the foot— cribing how, in the Depression years, an old house in Thames not long before maker. The footmaker helped the ser— they actually blew the light bulbs at his death. To go back to his origins, he vitor, the purity boy prepared the little lightning speed, working very close to was born in London in 1897 and at the jobs, and the servitor helped the gaffer the furnace! With the Depression and the age of fifteen he became the fourth who was the master glass blower and Second World War looming, Reg as generation of Kemptons to enter into the leader of the team. The First World War managing director of Nazeing Glass glassblowing industry. The first was his interrupted his glass blowing career with Works retrenched and specialised in hand blown glass, mainly for the American market. This continued throughout the war and in 1948 he de— cided to emigrate to Australia with the intention of starting a glass factory in Tasmania. Making a few attempts he became disenchanted with the bureaucracy ofthe then Tasmanian State Government and decided to try New Zealand, and even— tually in Nelson in 1960 managed to pro— duce his first articles from an oil fired furnace and coke lehr in the Nelson suburb of Stoke. A few years later, around 1963, he constructed a small studio in the quiet countryside of Havelock South, Marl— borough Sounds Because he had dif— ficulty in getting pots from England due to import restrictions in those days, he finally made his own from clay he col— lected from the Golden Bay area. Although rather crudely shaped, the pots stood up to the required temperatures and, due to the pureness of the clay, did not leak any impurities, and again he used oil firing for the furnace and coke for the lehr. The latter were constructed from bricks obtained from the Blenheim Gas Company who had demolished an old retort. So at about seventy one years ofage he started blowing glass again, and every few weeks he lit up his furnace and with the help of his wife, Ellen, and his assistant, Derek Boland, managed to turn out hand blown glassware and in a very small way managed to market the artware from Dunedin to Auckland. He continued to blow glass from this Louise Day: Wall hanging "Pi'walcawaka5" small studio until he was eighty four, when he had a minor stroke and decided to live in the North Island closer to his family where he settled in Thames until his death. Reg visited my workshop in Devon— port a few times and provided us with a very useful Victorian optical mould which we still use frequently. His son, Gentle Art Company Lex, who lives in Auckland makes the comment that his love ofthe glass was so great that even at ninety his family had to Embroidery and Fabric Art restrain him from catching a bus or try- ing to hitch a ride up to Auckland to again try his hand at blowing glass at our studio! in the studio glass Reg was a pioneer The Gentle Art Company is a group fabric manipulation to develop several served as a formative in— movement and ofnine women who began regular meet— wallhangings. These all show her fluence and encouragement to those of ings in 1986. All the members completed textural interests and her meticulous care hot glass work was an us who felt that London City and Guilds Embroidery in finishing. occupation demanding the energy of Part 1 during 1984—86 with Helen Mar— Kerry Barber’s inspiration comes youth and requiring a large amount of shall at Newlands College. Finding that from her garden. Her years as a Dental capital to set up. He built his workshop the course developed their individuality Nurse show her love of fine detail and in Nelson using minimal resources and and stimulated their creative urge, they her study of floral art is reflected in her locally attained materials and derived decided to continue working together. imaginative stitching. pleasure and satisfaction from his Their Exhibition In Stitches was the june Brunsden’s draughting back— labours. Reg fired up for four days a result. Held at Turnbull House, Welling— ground shows in her manipulation of month in his eighties, limited more by ton, during the International Festival of shapes and development of interesting the price of oil than by his age. He re— the Arts during March, and attracting patterns. She also has a strong interest in mains an inspiration to us all. large crowds, it showed the varying colour. styles they have developed ranging from Jean Rothwell has combined her Peter Viesnik the traditional to the experimental with a Home Economics background and a pre— lively use of colour and fabric, some— vious hobby of painting to develop her times in non-traditional ways. distinctive embroideries of surface Louise Day has combined a study of stitchery. the New Zealand bush and her love of Margaret Scott has recently been

29 1 Catherine Ellis: Cyrlmze Quilt “Raja 1801111658"

2 Bridget Chapman: lili/l/uuraq. ”ll’illaws at Turn/ref in Ala)!"

.5 Margaret Scott: "Bax Riley"

4 Margaret M. Hurst: “Pennsylvania Winter".

5 Cynthia Wright: “Dre Hedemmns

6 Kerry Barber: Flower Boxes.

7 Jean Rothwellz HandkerchiefSat/let.

studying the yarious stitches of old Hedebo and has used this technique to decorate several items. She also enjoys playing with colour. Cynthia \X/right has been bringingT the old lace technique oii Carrickmacross into the modern scene. Her masks com— bine .1101” two loyes. music and embroidery. Bridget Chapman is a deyotee of the se‘.‘.]!1g machine and she makes hers do things the rest of us only dream about. She literally paints with the machine. Catherine Ellis recent tyyo year stay in Fiji has influenced her embroidery: in both colour and texture. Her yibrant use ot‘colour has been heightened. Margaret M. Hurst is an American now settled in New Zealand: Marge has her science background to call oniyyhen she manipulates triangles into colour and shape patterns for patchwork.

Bridget Chapman

'4‘

30 Indexing People

by Roy Cowan

On reading Crafts Index, Ins and dissent after acting; never was there a potters an association with and under- Outs by Peter Gibbs, ‘New Zealand statement of principles before selection. standing of graphic art forms is needful. Listener”, March 26th, and also a draft of In fact there wasn’t an agreed language Anyhow such activities by C(TNZ might a poll being distributed to Crafts Council defining principles. In spite of these dif— be seen as a way of extending contacts members: The CCNZ had sought to set ficulties the NZSP has continued to co- and meeting crafts producers who might up a crafts index ofmembers whom they here. The exhibition forms the centre— become members—invited. Could the could recommend for patronage. A piece of a gathering with elections, dis— CCNZ make a progressive move to— notice was published calling for entries. cussions, demonstrations and cele— wards an invited membership, with In what was intended to be a first cut, brations. A strong sociability and the qualifications or proved attainments? only those of “unquestioned ability” management identical with the meinber— Originally the NZSP operated with a were taken, and the rest were stood ship make for stability. limited ‘entry on test’ membership, but down Response was patchy and after In these respects the CCNZ is less within the part—federated array ofassoci— selection, inadequate. A second cut had closely bonded; a higher degree of em— atioiis pressure for direct entry suc— even less success. There were citicisms pathy and diplomacy is required. The ceeded. This gave the society a higher of the principle or the procedures and structure is more open to a “managerial subscription revenue. I note that the some members withdrew information revolution", in this case attending a drive Crafts Council still solicits members or resigned. Now the members will re- towards standard setting in which some ‘unqual’, but it does have room to man- ceive a new proposal with choices in— members get run over. In the ‘Listener’ oeuvre, subject to finance studies and at cluding abolition of the index. The in- Peter Gibbs, and, as reported some other present in somehope that the new craft coming President, while saying that he speakers, land epithets on the heads of studies will bring through a generation disapproves of the index in its present dissidents, but how would the potters of younger qualified workers. form, affirms an intention to set a very feel if, having had an entry rejected they It was really a stroke of fortune that high benchmark. This looks straight— were also barred for a term ofyears? The the Leach tradition came to New forward; in practice there are mounting regulations for the index include “time Zealand at a time when it was fading in difficulties. frames” of five years, what happens to Britain. Derived from japanese peasant Like the CCNZ, the New Zealand the excluded? The approach offers some pottery, centred on simple domestic Society of Potters (NZSP) was formed simple options but two multi—staged ware forms, thrown, marks of making upon an open call for members, who options are of Byzantine complexity; this expressed, with simple glazes based on came mainly from regional pottery is asking for secessions. materials around, restrained or no deco- clubs, with a high content oflearners. A I recall the early enthusiastic days of ration. The relatively high firing, pro— draw was the chance to show in the aii— the World Crafts Council, the crops of moting interesting fusions, accidents of nual exhibition, and the national exhi— joiners and the supermarket—like exhi— heat flow or atmosphere could add inter— bition held in a different centre each bitions, crafts of all kinds and all stand- est. The practice was enhanced by direct year, with changing selectors. In the ards, indeed very like the present art and contacts with japan, and other methods early years there was some uniformity of craft scene overseas. That era is incor— giving a high place to kiln effects such as product, mainly domestic ware or house rectly seen as a primitive state antedating Raku and Bizen were adopted, and the and garden embellishments, with the dawn of reason; the truth is that there random fire burns and carbon stains of methods and aesthetics as set out by Ber— two complementary states, the Diony— low fired wares such as those of Nigeria nard Leach. It was fairly easy to prefer sian as against the Apollonian. Born in are still about. An art in which intention the teapot that poured cleanly against the the one, the CCNZ struggles towards vies with recognition. Classic utterance: one that weighed a ton and dribbled. But the second! The machinery is defective, ‘I just throw clay and fire together and selection was inconstant, sometimes idi— proferred new machinery may not iin— see what happens!” osyncratic. The selector who was on to prove relations. Should there be some People may be short on art, but a nat— form (undefined) which hardly any pots ause to rethink strategy? Should there ural sensibility is common and what the had; the selector who refused all pots be regional exhibitions possibly in co- writer Fiona Kidman observed as a phys— with a particular glaze of American ori— operation with local groups. When the ical quality of the pots distinguishes a gin, or the gallery official only interested New Zealand Academy first held the New Zealand style which will probably in “Art" and only one potter had it. Also Sculpture Pottery and Graphic Arts endure, which has produced some the size of the cut varied greatly from show it found a gain from the ensemble masterpieces. However, the world year to year. Selectors sometimes face effect of the three media. Certainly for changes.

31 of Madam Fine Arts One by—product of what was a rela— tively stable and prosperous period was conservatism. With time. a well— established group of seniors. leading potters and taste—makers arose. the natural selectors of exhibitions or ofeach other as required, and with this serene scene, a small but constant stream out— wards of younger potters of promise. looking for fresh air. Also came peri— odicals from overseas with pictures of far—out pots like the quasi—two- dimensional works of Alison Briton and Elizabeth Fritsch referring to jugs of beakers but aligned on a slant to the im— age, in the manner of TV graphics in electronic tension. Easy to join the trend by copying. I’ll leave comment to Strav— insky: “The poor artist borrows, but the good artist steals!” In New Zealand the Leach tradition served well in an ambience very short of art experience and skills. Within the nu— merous Short schools that went with the movement one found enthusiasm and ac— tivity, but any venture into the science or calculations that underlie ceramics was hard going, and so often, the approach to drawing was fearful or timorous. At the life stage of adult educationees, progress becomes very difficult. When later por— celain became available the weakness of drawing and a related inability to relate to styles such as Kakiemon, Nabeshima Ceramics “The First or early European Majolica is just sad news. In Britain the full effects of the ex— Thirteen” panded art design and crafts teaching to diploma or higher levels are now visible. A brochure to hand from the South Bank Jean Hastedt reports from the Ceramics Crafts Centre, a shop near the Festival Hall rather like our potters co—ops, has Symposium held in Dunedin at the beginning of eighteen contributors in a very wide the year. range of crafts. Average age in the twenties. Least grade of eduction, BA Hons. Last November the Crafts Coun— On 29th January, thirteen of New from those in which they would nor— cil launched a touring exhibition with a Zealand’s leaders in their chosen field — mally, in the comfort of their isolated manifesto—catalogue. An extract from ceramics, assembled in Dunedin at the studios. It was interesting that only two the preface, by Ralph Turner, head of Otago Polytechnic School of Ceramics. out of the thirteen ceramists were using exhibitions: ‘Young furniture makers, The event was conceived, by the Queen the wheel, the rest being involved in jewellers and metalsmiths are showing Elizabeth II Arts Council, The New either hand work or slip casting. incredible dexterity and imagination Zealand Society ofPotters and the Crafts Melanie Cooper worked entirely when recycling scavenged materials and Council of New Zealand and it was the with the wheel and was also the only obsolete artefacts of yesterday. There is initial step in planning for New ceramist using porcelain clay as her youth’s reaction against everything that Zealand’s involvement to feature as the medium. She chose to work on ruby is thought normal, tasteful, safe, middle— “country in focus” at the prestigeous lustre bowls and the challenge of adapt— aged or middle—class. A lot ofthe work is FAENZA International Ceramics Con— ing to the idiosyncrasies of the kilns also anti—art, craft and design. There are corso to be held in Italy in 1991. A great would not have been an easy one. few dovetails and no compromises. Style accolade indeed, as it will be the first Merilyn Wiseman experimented for al— and nostalgia, love of the primitive and time a non-european country has been most the entire three weeks using new theatre take precedence over traditional invited to exhibit at such an event. methods of mould making, as a direct values’. Neil Grant the Head of Department at result of unkind air transportation from the Polytechnic was the symposiarch: re— Auckland! and with new techniques and Roy Cowan sponsible for materials, equipment, new firing methods. She eventually ex- firing, facilities etc; Jean Hastedt was the hibited some very fine sagger fired Co—ordinator and Colin Haynes the pieces. Deputy Director of the Queen Elizabeth Chester Nealie worked with both II Arts Council, the Facilitator. wheel and hand made ieces, the latter The first few days found the ceramists being large footed slab orms, with great involved in making pieces with which presence. He was to be seen in the dead they were familiar, but then the different ofnight salting a fibre kiln which was due environment together with the chal— for demolition but still had some firing lenge of adapting to unfamiliar kilns life left in it. found them working in different ways Robyn Stewart and Bronwynne Cor—

32 nish both prospected for clay locally and ceramic fibre lining which was a land— Rtvltyn SIei/un'l used with some success. a local clay from mark on the campus for the last week or Whare Flat tip area. producing exhi— so. and was a wonderful sight in the bition pieces of burnished whare and latter stages of firing in the early hours of large coiled work respectively. the morning. The firings caused much Ann Verdcourt assembled an instal— interest to the local residents and college lation of some thirty cones using all the students. even the local fire brigade many available firing schedules. ex— members were sufficiently interested to perimenting largely with surface check on our progressll textures and colours. while Phillip Richard Parker exhibited a group of Luxton constructed large sculptural both small and larger vessels using for work in heavily grogged clay. two pieces him a new technique of cutting the piece being approximately twelve feet tall. from a solid block of clay — then attend— posing a firing challenge as a team of ing to the inside oftlie piece at the leather workers were called on to construct a hard stage. The resulting effect being a rocket shaped kiln: * steel mesh with great freedom of form. This new direc—

tion will involve him for many months in new and exciting work yet to come troin his Kaeo workshop. l’eter Lange too suffered from air transportation ofhis plaster moulds. but a wander about the local beaches and pavements of the city brought forth a new series of work with a local flavour. His work is entirely slip cast and as— scmbled being either wood or sagger fired. ~lulia van Heldeii‘s fragments took off in a new direction as with the ex— change of collected knowledge amongst the ceramists — new work and methods were touched on and experimented with. Rick Rudd. a master at Raku Firing. worked on large figurative land forms and his piece he left at the college will inspire many oftlie students on the cam— pus. Meanwhile botli Christine Tliacker and Moyra Elliott worked on known forms. but experimented with colours and surface treatment giving their work a new quality and excitmeiit. An exhibition of work in progress was held at the end ofthe Symposium at the Carnegie Gallery in Dunedin and ran for four weeks with many local people showing great interest. It is to be hoped that such a gathering of ceraniists forming a master class will be the first of many, as the opportunity for technical and philosophical exchange is an invaluable one. The thirteen potters involved wish to thank the Queen Eliza— beth II Arts Council for their funding of this event.

Jean Hastedt

33 Techniques in Terracotta Africa in Antiquity ll w Quentin Bell The Arts ofAneient Nubia and the Chatto é} I’Vitldlls', 1983 Sudan The Essays Costume Brooklyn lluseum, I978 The Resource Centre Bags and Purses (The Costume Accessories AUSTRALIA Series) of the Crafts Council”, Vanda Foster Batstord I982 The Artist Craftsman in Shoes (The Costume Australia Accessory Series) jade Pollard Pry, 1972 The Resourt'e Centre operates a eatalooue, book, periodiral june Sit/anti Sam Byrne — Folk Painter and slide library, The t‘ataloeues and books are auailablejor Batstord, 1982 of the Silver City hirej‘or 2 uteeles at a rost ({(‘«§.7.0()i Creating Work by Ross AIoore The slide sets are auailablofor hire at the eost ofS'7. 70 to Dar/id Naulls Penguin Books. 1985 members and 810.00 to non—members, Craft Australia: Year Book 1984 The periodit‘a/s are subsrribed to or reeeiued on ext/range, All CRAFT — BUSINESS periodieals are indexed and artirles thought to be ofinterest to C'rafis Counril offl-iustralia, 1984 members are mentioned in this set‘tion oft/re magazine. Artist Beware Craft Australia Year Book, Periodieals are not amtilablejor loan. Houieuer members are ArIirhael JIr‘Cann PhD. 1985 most roe/route to peruse thenr and artieles (an be photoeopied at 1979 Crafiworleer's .N'Iarleet Crafts Countil ot'Australia. 1985 the east of25e‘ a page plus SAE. Art Galleries and Museums Colonial Crafts of Victoria: Copies oft/1e (atalooue, boo/c, periodieal and slide library in New Zealand Early Settlement to 1921 analogues are available on request. Keith W. Thomson NIurray ll’alleer (Ci/est Curator) Reed 1981 Cratts Couneil ot‘Australia, 1978 Art Within Reach Pioneer Crafts of Early {CATALOGUE OF BOOKS Artists and traffworleers arehiteets and Australia patrons in the making ofpublie art. .\1urray Walker Edited by Peter Townsend. Crafts Counril ot'dustralia 1978 Published by Art AIont/zly in BASKETRY The Kiln Book, 2nd Ed. Twelve Australian by Ie‘rederirle L, Olsen tollalnn‘ation with the Arts Couneil of Great Britain and the Crafts Countil Craftsmen A 8 C Blot/e Published 1983 Basketry for Beginners I984. Patrieia Thompson Hilmary Carton The Living Tradition of The Business of Art Angus and Robertson, 1973 Benton Ross, 1984 Maria Martinez, Pueblo Lee Euan Caplin (Ed) Yearbook of South Australia Pottery Family Prentit‘e-Hall, t\'eutjersey, 1982 Crafts, 1986 Susan Peterson Published by Crajts Countil ofSouth BOOKBINDING Kodansha International, 1977 Careers in Crafts Patrieia Carnier Australia Designer Bookbinding 1974 Lucie Rie Kogan Page, London, 1983 Crafts Countil United Kingdom john Houston (Ed) Crafts Countil (England), 1981 The Export of Craft NEW ZEALAND London. 1974 W G T Wiggs Moulded and Slip Cast Crafts Council ofNew Zealand Art Facts — Information Pottery & Ceramics CERAMICS A Guide to Fundraising about the Arts in New Dal/id Cowley Zealand Bats old, 1984 By Penity Earnes Ceramic Colors and Pottery S/iortland Publisher, Auelelana' 1978 by Neil Scotts Decoration The New Potter’s Lewis Holden Guide to Arts Marketing jenny Neale Kenneth Shani Companion Keith Diggle Department ofInternal Ajjairs, 1987 Praeger 1968 Tony Bi'rles Rhinegold, London, 1984 Collins, 1982 Craft New Zealand; The Art Ceramic Sculpture Six Making it: A Guide to Artists of the Craftsman A New Zealand Potter’s Successful Craft Retailing Dorreen Blumhardt/Brian Bra/3e Peter Von/hos Dictionary Tim Nash-jones Reed, 1981 john Mason Teehniques and materials for the Millereel: Press, Ontario, 1982 Kenneth Priee South Patifit by Barry Brieleell The Pioneer Craftsmen of Robert Arneson Reed tVIethuen 1985 Resource Manual for a New Zealand Dar/id Cilhooly Lrvrng Revolution (3. L. Pearce Rirhard Shaw NZ. Potters, Their Work Virginia Loouer Collins, 1982 Rirhara' Marshall and Suzanne Foley and Words Ellen Dearon Whitney A/Iuseum ofAmeritan Art Please Dorren Blumhardt (Ed), Charles Esser Touch: A Survey of 1981 Brian Brake (Photos) Christopher Moore the Three-Dimensional Arts in New Zealand Clay and Glazes for the Reed, 1976 The Visual Artists and the Potter Peter Cape Pottery for Pleasure in Law Collins, 1980 Daniel Rhodes Australia and New Zealand Shane Simpson Chilton 1957 The Law Boole Company Ltd, Elizabeth Lissaman Sydney, 1982 The Craft of the Potter Reed, 1969 CRAFT — ETHNIC Mieltael Casson BBC 1977 Pottery: The Technique of CRAFT— GENERAL Throwing Palestinian and Costume Early Japanese Ceramics Jewellery 29 john Colberle American Craft Today Batsford 1969 Poetry oflhe Physieal Yedida Kalfon Stillman Early Japanese Ceramics 1 Ameritan Crafts Counril, 1986 University ofNew Mexieo Press, Modern Japanese Practical Pottery & 1979 Ceramics 1 Ceramics Folk Traditions in Japanese Modern Japanese Kenneth Clark Art Ceramics 2 Studio Books, 1964 International Exhibitions CRAFT — EDUCATION Electric Kiln Pottery: The Foundations, 1978- 79 Complete Guide Restoring Fine China Craft New Zealand Emmanuel Cooper Illuriel White AFRICA A Study ofthe Craft Industry. Batsford, 1982 Batsford, 1981 Ct‘afispeople and their training needs. Africa in Antiquity I — by Neil Stotts, Imaginative Pottery Studio Ceramics Today The Arts ofAneient Nubia and the Peter Mounsey, Dar/id Harvey Edited by Emmanuel Cooper and Sudan Voeational Training Couneil, A {7 C Black, 1983 Eileen Lewenstein The Exhibition Wellington 1983 34 1982/83 National Directory Design in Sweden, 1985 Creative Crafts with Wool Mary Gostelow’s of Shops/Galleries — Swedish Institute and Flax Embrordery Book Shows/Fairs by iMolly Dunean Penguin, 1978 Design from Scandinavia A. H. 8 A. TV. Reed Published New Zealand Business No. 14 1971 Twentieth-Century Who’s Who — 24th Edition A seleetion ofthe best produrts in Embroidery in Great Britain Dyeing for Fibres and fitrniture, textiles, lightfittings, to 1939 applied art and industrial design Fabrics PERFUMERY Constance Howard Folk Traditions in Japanese Editedjanet De Boer Bats/owl, 1981

Creative Leisure - Glen Art Flax and Linen Ideas for Canvas Work Pownall, International Exhibitions Foundation Patrieian Baines iMary Rhodes North American Indian Making Bedcovers, Duvet Batsford, I984 STENCILLING Designs and Table Covers Embroidered Boxes Eva Wilson Dorothy Gates Jane Lemon Art Of Stencilling — Lyne le British Aduseuni Publirations, 1984 Penguin, 1985 Batstord, 1984 Grire Making Curtains, Pelmets Embroidered Boxes and FURNITURE and Blinds other construction CRAFT— GENERAL Dorothy Gates techniques Cane and Rush Seating Penguin, 1985 jane Lemon Art within Reach IMargery Brown Making Cushions and Faber, 1980 Batsford, 1976 Published by Art Mausuly Loose Covers The Batsford Tischlermeister Jahn Craft Films, an Index of Dorothy Gates Encyclopaedia of Donald L Stooer Penguin, 1985 Embroidery Techniques international Films on San Antonio II/Iuseum Assoeiation, Crafts 1978 Making Lampshades Gay Snlifi Kay Salz (Ed) The arts and (rafls produred in Texas Dorothy Gates Bats,ford 1984 Neal—Selzuinan Publishers, New (mostlyjiirntiure) in the nineteenth Penguin, 1985 Needlepoint Bargello York, 1979 [entury Playschool Patterns: Toys by Dorothy Kai'stner Crafts Conference for and Clothes to Knit and Bell 8 Hyman Ltd, 1983 Teachers, 1982 Report GLASS Sew Organised and sponsored by the joy Gammon FELTING Crafls Conneil (UK) in assoriation The Techniques of Glass Bell and Hyman, 1983 with the Soeietyjor Eduration Engraving Swedish Textile Art Creative Feltmaking through Art _]onathon Matt/lam and Peter Dreiser Kay Donald Edna A/Iartin and Beate Syd/iofl‘ Kangaroo Press, 1983 The Crafts of the Modern Batsford, i982 Liber Parlay, 1979 World Textile Printing Rose Slivka (Ed) JEWELLERY LACEMAKING Horizon Press, in (ollaboration with by Hazel Clark the World Crafts Couneil, New Kumihimo Jewellery The Creators 2 Bobbin Lacemaking York, 1968 (Text in japanese) British A/Iasquel‘ade Pamela Nottingham In Praise of Hands: Marble Book, 1979 (10 British Designers show their Batstord, 1983 work tojapan) Contemporary Crafts of the The New Jewellery Trends: Bobbin Lace Pattern World Traditions by Tiny Zu'aal—Lint Octavio Paz by Peter Dormer and Ralph Turner BATIK Forward by Pamela Nottingham New York Graphie Society, 1974 Thames and Hudson, 1986 Batsford. I984 Lyne Le Grice’s — Art of The Dyers Art Stencilling Ikat, Batik, Plangi MAORI LEATHER WEAVING by Lyn Le Grite by jaek Lenor Larsen Penguin Books, 1986 mm Nostrand Reinhold, 1976 Taaniko, Maori Home Tanners Handbook Hand-weaving Shell Craft june Vivian Traditional and Modern Glen Pouinall, Reed, 1976 Batik joyre Ronald Smith Wellington 1975 Miep Spee Ortapus, 7975 Leather in Three Kangaroo Press, 1982 Textiles - Report of the Dimensions KNITTING Textiles Conference Rex Lingwood Batik, Fabled Cloth of Java Ortober 1984 Van Nostrand Reinhold, 1980 Inger MeCabe Elliott Organised by the Crafts Council Viking, 1984 A Machine Knitters Guide (U.K,) to Creating Fabrics PUPPETS by Susanna Lewis andju/ie DYEING Weissman CRAFT — MATERIALS Lark Book 1986 Hand Puppets and String Dyes from Plants of The Knitwear Revolution Puppets Australia and New Zealand Adhesives and Coatings: Alenkes W’aldo S Lane/raster Suzy Science for Conservators, joyee Lloyd Penguin, 1983 Book 3 Dryad Press, 1960 Reed, 1971 Scottish Knitting Craft Counril (England), 7983 Making and Playing by Helen Bennett Artist Beware — The Marionettes james McMahon EMBROIDERY You Knit Unique Hazards and Precautions in Harrup, 1957 Lee Anderson Working with Art and Craft The Batsford New Zealand Wool Board, 1985 Materials Encyclopaedia of Aliehael A’Ie Cann SILVERSMITHING Embroidery Stitches Watson-Guptill, i979 Anne Butler PATCHWORK Metamorphosis: Recycled British Silver in the Batstord, 1983 New Designs for Machine Materials in Craft Huntington Collection The Cross StitchBook Patchwork Katharine Nix (Ed) Robert R Ward (Comp) A'Iary Gostelow IIIuriel Higgins Crafts Countil oft/1e A4C. T, Inn, Huntington Library, 1978 Batsford, 1982 Batstlird, i983 1980 Embroidery and Nature Patchwork FABRIC AND FIBRE ARTS jan Messent Al/eril Colby DESIGN Batstord, i983 Batsfiird, 1976 Design in Sweden British Craft Textiles Four-Way Bargello The Craft of Patchwork Lindkuist Lennart (Ed) By Ann Sutton by Dorothy Kaestner by Edna Wark Swedish Institute, 1977 Bellew Publishers, 1985 Bell 6} Hyman Ltd, rev. 1983 Batsford Published, 1984 58 Dyeing with Napthol 96 Philips Studio Glass QUILTING Dyes (No date) Award 1985 52 humane ._ Napthol dyes are cold water azoie 102 Philips Studio Glass The Quilters Album of dyes, They have the potentialjor use Award Blocks and Borders OF SLIDE SETS" in a variety ofrrafts. This kit is 1986 46 jinny Beyer YKT?W”TTW“ ’._ i direrted to a wide range of 110 Glass Modern British Bell 8 Hyman, 7982 eraltspeople. Work 18 Series Number of 61 NZ Academy of Fine Quilting Number Slides Arts Fabric & Fibre Averil Colby Bats/old, I978 Exhibition 1981 27 JEWELLERY/ENAMEL BASKETRY A selettion ofwork entered in this Quilts to Wear exhibition. 4 Australian Jewellers (No Virginia A very 82 Some Australian 65 Lois Morrison: American Bell 57 Hyman, 1982 Baskets — 1982 22 date) 24 Fabric and Fibre Artist Seleetion ot-(urrent work. Shows the diversity Ql‘eontemporary 1982 24 Australian baskets 26 Twentieth Century SPINNING . Documents her New Zealand 83 Floating Forest — An exhibition. Shows sofi stulpture. Jewellery from the Environmental Sculpture Ptorzheim Museumtxo The Ashford Book of applique banners and trapunto work. 1 982 41 date) 63 Spinning 66 Skin Sculpture 1982 27 A visit to Arnhem Land influenced Shows ivorleji‘om 190.7 to 1976, but by Anne Field A selettion ofworksjrom an US basket maker Doug Fur/is to mostly woi‘kfi’om the 1960's and Reed Methuen Publishers, 7986 Australiasian show oijewellery and ereate a monumental basketry wearable art. 1970’s. The Ptorzheim M’useum) environment whieh he entitled The Germany, sperialises entirely in Hand Woolcombing and 69 Shared Fabrics Art Spinning Floating Forest, He says “I wanted jewellery. to be surrounded by the textural Workshop 1982 24 by Peter Teal 27 Looking at Jewellery (No density oft/1e materials". Doruinents a shared workshop with Reed lVIethuen Published, 1985 date) 31 113 Woven Basketry (No four batikists and one (alligrapher/potter. Seleetedpieees by Australian ratalogue) I 6 jewellers WEAVING 77 First Steps in Felting 1982 15 28A William Harper: FABRIC AND FIBRE How to rreatefeltfabrirfroni unspun Recent Works in Enamel The Art of Tapestry 1978 29 josephjobe fleeee 3 Embroidered clothes by Cloissone by American enanielist Thames and Hudson] 1965 79 The Wollombi Farm William Harper. Heather Joynes 1976 30 Series — Works on Fabric Beyond Craft the Art of “I have tried to ereate garments that 28B Ellamarie and Jackson Fabnc by Heather Dorrough: The have embroidery as an integral part of House 1983 24 Woolley: Enamel and Mildred Constantine {Ejaek Lenor the design) in simple styles. " “These embroideries are an attempt Plastic 1972 10 Larsen 8 Sculpture in Fibre 1982 Four slides ofenamels, six slides of /an Nostrand Reihold to convey my lovefor a partieular 43 plate”. Tee/iniques used are mar/zine plastirs Exploring Colour and Record ofa US exhibition that set embroidery, flzbrie dyeing, fabrie 37 Contemporary Design for Handweavers out to doeunientjorms treated entirely applique, padding, quilting and American lndian Jewellery trapunto. Molly Dunean and George Bull without looms. (No date) 66 Reed, I 978 17 Fibreworks — an 84 The Wollombi Farm Series — The Works on 45 Stone Cutting and The Technique of Weaving exhibition held at the Setting Fabric by Heather (No date) 44 john Tobey Cleveland Museum of Art Slides are contented with some ofthe Batsfin‘d, I983 (No date). 77 Dorrough: The Place 1983 lesser known elements oflapidary 24 The Technique of Woven Intermztional Exhibition Cabouthon stones are eovered but not “I have attempted to illustrate some traditionaljaeeted stones. Tapestry 20 Betty Beaumont: 3D oft/1e many aspetts ofthis partieular 56 Objects to Human Tadeh Beutlieh Fibre Workshop (No date). 40 plate”. Tee/miques asjor set 79. Scale Batsjord, 1982 No notes. — Parts I, II, III 1980 72 93 Heather Dorrough — Australian jewellery. A Weaver‘s Life: Ethel 23 Fabrics to Finery: Self Portrait 1982 48 85 Robyn Gordon’s Mairet 1872-1952 Handcrafted clothes by “A series ofmid-life reflections, twaigot Coatts Dawn de Vere & Pat whit/i erupted as a way ofdealing Jewellery 1981 35 Crafts Council (England). 198.3 Grummet (No date). 32 with a dilemma, ofworking through, Cordon’sjewellery is made ofplastit De Vere and Grunt/net are and analysing, personal thought and aims ‘to exploit a slice oOth Victorian Tapestry Australian jabrit andfibre artists proeesses and emotions. ” rentury teehnology to express Workshop something ofmy own environment”. 24 Cloth Art 1975 24 99 Craft Dyers Guild First Australia Cloth Art was an exhibition Annual Exhibition 21 100 New Veneers: New Jewellery 21 comprising patrhwork, mar/line 108 Australian Wearable embroidery and applique by Dawn 101 1985 Compendium WOOD Fitzpatriek and Lee A/Ii'Groman held Textiles 34 in Sydney 1975. Gallery Exhibition of NZ Jewellery, Stone, Bone James Krenov Worker in 38 Batik Artist — Noel Wood Carving & Metalsmithing Dyrenforth 1978 24 33 james Krenov Dyrenforth is a leading UK batikist. GLASS Van Nostrand Reinhold, 1981 These slides reeord his 1978 103 American Jewellery exhibition in Australia. Now 57 Woodworking with New 35 Mel Simpson Glass (No An exerting survey ofrontemporary Zealand Timbers 39 New Directions in Fibre date) 20 (No date). 24 handmadejewellery by 57 artists. Alike MrDermott Blown glass by New Zealander Mel Reed Alethuen Publishers, 1985 Shows how Australian era/tspeople Simpson. NO notes are re-defining whatfibres mean to Fine Woodworking: Design them through exploration of 43 Images in Stained KNITTING Book Three materials, teehniques and expressions. Glass 1978 30 Taunton Press, Ine. Works by Australian Cedar 46 Heather Durrough at Prest 25 Knitted Images 1978 USA. 1983 47 Contemporary 558 Photographs ofthe best work in the Bonython 1976 48 Glass 34 wood seletted by the editors ofFine Slides show mat/zine embroideries 1 978 79 Australian eontemporary knitting Woodworking Magazine. whirh investigate the possibility of Seleetion oftontemporary Ameriean textiles being wearable and able to be glass 75 Hand and Machine displayed as art works. 48 New American Glass: Knitting (No date) 18 MAORI 57 Soga Discharge Dyeing Focus West Virginia 1977 Contemporary British knitting. (No date), 22 79 81 Brilliant Handknits Maori Artists of the South Sega is a dark brown dye which can 1982 24 Pacrfic be distharged in sueeessively lighter 54 Tony Keupfer of The knitting ofRuby Brillian who by Katerina .Mataira shades bark to white. Indonesian lnglewood: Handblown uses many Australian motifs in her I984 terhnique. Glass 1980 18 knitting. 36 73 Ceramics ll: Domestic 97 Woodenworks — Five LEATHER Australian Crafts Pottery 1983 18 Contemporary Crafts Board ofthe Australian Contemporary British doniextie Craftsmen 50 Couneil/Cratia‘ Couneil o/iAustralia pottery. 68 Leather 1982: America, 109 The Fine Furniture of Australia 7978 Australia, Canada 1982 52 86 25th NZ Society of A Survey ofreeent work Englishman Christopher (3 [opiesl A Seleetion ofslidet amenzbled by Potters Annual Exhibition Faulkner 35 Canadian leatherworher, Rex 1983 32 The Bowl Lingwood 87 Elsa Rady 1983 20 lVor/d Crati‘i~ Couneil GENERAL London 1978 MAORI CRAFT Elia Rady is a US poreelain potter — AUSTRALIA who toured New Zealand in 1983, The Bowl — Asian Zone 72 Feathers and Fibre 5 Contemporary Australian Crafls Countil ofAnxtralia 1982 39 90 Fletcher Brownbuilt Pottery Award 1984 75 Craftsmen (No date) 48 Australia (2 t‘opies) 95 Fletcher Brownbuilt 34 Australian Crafts: Pottery Award 1985 52 Pottery, Fibre (No date) 20 Craft Focus 2 PAPER 81 pieeex ot‘erattworh Seleetett'ji'oni 105 Spheres Exhibition 74 appro.\‘inIa/e/y 900 ,x‘lia'ex are An invited exhibitionji'ont member: represented in thi; rataloeue 42 Handmade Paper (No GENERAL — NEW ofthe New Zealand Soeiety of ZEALAND publixhed by the Ontario Craft: date) 26 Potterx, South/and Altlxe’tttll and Art Counril Gallery, Innerrareill, 8-23 Canada .\7onentber I986. 18 Festival of Crafts Craft New Zealand 106 Fletcher Brownbuilt ’78 138 POTTERY Queen Elizabeth [I Art}. Connt'il of. Pottery Award 1986 108 National exhibition oreanixed by the New Zealand/21,1111ixtry oilioreion Crafts Countil 107 Fletcher Challenge an“): 1 Joan Campbell at Work Pottery Award 1987 125 33 Crafts Invitational New Zealand 1978 1979 29 (No date) 30 Te Maori Held at the Conett-Brewx/er Gallery Auxtralian potterjoan Campbell New Zealand Aradeniy ofliine Art; nnzhe: rahu pots. Her worhplare and WEAVING 50 The Bowl 1980 — Mixed Srn/pture Pottery and (Jraphir Art, work it shown. Media 1980 24 19731ilux 1979 6 NZ Society of Potters 2 Magdalena Abakanowicz in Australia 1976 30 55 NZ Academy of Fine The Architect Exposed. National Exhibition 1978 32 Arts Craft Exhibition 1 983 9 Peter Voulkos: A 7 Forms in Fibre 1977 19 1979 18 lli’ellinoton City Art Gallery Retrospective 1948-78 81 10 Women Artists: Fibre 63 Lombard Award The Great New Zealand Peter Von/hm~ l1<1_x'pt'Paul Soldner demonstrates the rahu STATES OF AMERICA I’az'i/‘ie members oft/re World Craft: pt'ot’t’SS 70 10th Lausanne Tapestry Couneil Ceramists: Biennial 1981 23 32 Three 53 Penland Craft School New Zealand Crafts Gronberg, Leedy, Williams 76 Weaving lll: Rugs Exhibition 1980 35 Queen Elizabeth 11 Arts Conneil of 21 (No date) 1983 18 No notes New Zealand (No notex) 105 Small Tapestries:A Netti Zealand 1972 51 The Bowl: Ceramics l Scottish Weavers (2 topics) GENERAL 1980 24 Exhibition 1980 43 New Zealand Crafts, 1972 Seleeted eeraniiesfl'mn the 1980 Bowl (2 (opiex) eotnpetttzon 92 Photographing WOOD 52 The Bowl: Ceramics II Craftwork — A Course for Treasures from the Land, 1980 Crattspeople 42 1985 112 Design For Living 48 (It'tifi‘jfi'fllll New Zealand Selerted terainitsgtroin the 1980 Bowl 98 Furniture Designs from (ontpetttton 40 Woodpieces by Heintz the School of Art 40 World Craft Council, 1970 60 Third Mayfair Ceramic Moritz (No date) 18 New Zealand Axian Exhibition Award 1980 48 44 Queensland the Mayfair Ceramic Award is a Woodcraftsmen 1978 30 BOOKBINDING biennial acquisitive Australian Slider SllUtt’ a wide range ofwooden award. artielex CATALOGUE OF Designer Bookbinders, 1979 62 Recent Ceramics Part 1 49 Young Americans: 4 CAATOGUES and II 1979 Wood 1977 23 .53." "" L Seleeted Australian ecramitxfroin a EMBROIDERY touring exhibition 89 Making a Chair — Pearl Artisan 78 Furniture Embroidered Boxes and 71 Fletcher-Brownbuilt Dot Canadian Craft: Count‘il Workshops 18 other Construction 1 982 92 Canada 1978 A slide set demonxtrating the main National travelling exhibition of Techniques 72 Fletcher-Brownbuilt stage: in the making at a (onteniporaiy Canadian (rafts ‘ jane Lemon 1983 105 plank—bathed rhair in ash wood. (Z (opier) Faber C” Faber, 1980 Queen Elizabeth II Arts Council of Palestinian Embroidery by JEWELLERY Maori Symbolism, 1984 Shelach Weir A contemporary view IVew Zealand New Zealand 1972 Trustees ofthe British Museum Australian Jewellery Definitive exhibition ofmodern London 1970 Crafis Board ofthe Australian METALWORK Italian sculpture A village Arab crafi Council/Department ofForeign Cutting Edge Aflairs Skin Sculpture, 1982 ENAMELLING Australia, 1982 Kentucky Arts Commission U.S.A,,1981 FABRIC AND FIBRE Recent Works in Enamel, Classical Jewellery An exhibition ofwork in metal Museum ofArt, Rhode Island School Art to Wear 1977 Metalwork — Contemporary William Harper ofDesigrt Crafts Council of U.S.A., 1976 Southern Plains Indian America/International Paper Oklahoma Indian Arts and Crafis Company FURNITURE Contemporary Jewellery, Co—operative New York, 1983 1983 U.S.A., 1976 Handmade Clothing (see also woodwork) The Americas, Australia, Europe Towards a New Iron Age Alan Peters, Furniture andjapan Fabric and Form ‘ Victoria and Albert tMuseum Crafts Council ofBritain maker Impulse and Response London, 1982 London, 1982 Cheltenham Art Gallery and Goethe Institute/Queen Elizabeth II An international display ofivrought An exhibition oftextile artfi'om Museum. Arts Council ofNew Zealand ironwork. .Britain 1986fi4rniture made in Alan Peters New Zealand, 1983 and his Felting workshop by the designer An exhibition ofcontemporary MUSICAL INSTRUMENTS assistants. jewellery Crafts Council ofAmerica The Harmonious Craft New York, 1980 New Handmade Furniture international Jewellery Arts Traditional and contemporary work American Crafts Council Exhibition 1976 — Tokyo Renwick Gallery oft/1e National New York, 1979 Triennial Collection ofFine Arts, Smithsonian Wool and Beyond American fitrniture makers working Institute Exhibition in hardwood Siebu Museum ofArt/Nihon Keizai Washington, D.C., 1978 Shimbun American musical instruments Handweavers and Spinners Guild of Paint on Wood japan, 1976 Victoria Australia, 1981 Smithsonian Institute Pressfor Jewellery International PAPERMAKING Renwick Gallery National Collection First Australian Fibre Conference ofFine Arts American Craft Museum II Douglas Morse Howell Washington DC, 1977 New Zealand, 1984 TEXTILES — WEAVING Contemporary Trends American Crafts Council New York Decorated American fimiiture since 1982 10th Biennale International the 17th century The Jewellery Project A retrospective exhibition. of Tapestry 1981 Crafis Council ofBritain Lausanne GLASS London, 1983 POTTERY New departures in British and Woven Images, 1981 Americans in Glass European work 1980-83 American Clay II — Traditions in Weavingfiom Leigh You/key Woodson Art JEWELLERY U.S.A. Elements of Direction Indonesia Ii/Iuseum Meredith Contemporary Art U.S.A., 1984 American Craft Museum II Fibre Space — 11th New York, 1984 Baltimore, U.S.A., 1982 International Biennial of Contemporary Australian Contemporary American trends Ceramics 86 Tapestry Glass — 2nd National Glass New Departures in British Contemporary works in clay. An International Centre ofAncient and Biennial Jewellery exhibition curated by Chester Nealie Modern Tapestry Wagga Wagga City Art for the Govett-Brewster Art Galler Lausanne, 1983 Crafts Council ofEngland and Wales October 1986, in association with tie Gallery/Australian Crafts Council London, 1983 Australia, 1983 New Zealand Society ofPotters |.C.A.M.T. International Directions in The 4th Tokyo Triennial — Contemporary Australian International Centre ofAncient and International Jewellery Modern Tapestry Glass Art Ceramics Lausanne Art Gallery of Western Exhibition Crafts Board ofthe Australian An explanation UfI.C.A.IM. T. Australia/Australian Consolidated japanjewellery Designer Association Council (C.I.T.A.M.) Industries japan, 1979 Sydney, 1982 Australia, 1982 The 8th International The 5th Triennial 1983 — Studio Ceramics Today Biennial of Tapestry Johannes Schreiter 1980 international Jewellery Potters 6th Edition International Centre ofAncient and Exhibition Director ofthe work ofmembers of Kyohei Fujita’s Free Blown Modern Tapestry japanjewellery Designers the Crajismen Potters Association of Lausanne, 1977 Glassware Association Great Britain japan, 1981 japan, 1983 Victoria and Albert Museum 1983 The 9th International Notfor hire Elena Karina, A Sense of Biennial of Tapestry National Glass Biennial KNITTING International Centre ofAncient and the Sea [Modern Tapestry Wagga Wagga City Art Gallery, Oakland tMuseum 1985 Creative Knitting —— Mary Lausanne, 1981 Walker Phillips U.S.A., 1980 Pacific Glass, 1983 Porcelain vessels and drawings Poesia An Diseno: Fresno Arts Centre Artesania Texil Mazahua Y New Glass Review 3 U.S.A., 1984 Explorations within a Landscape Otomi The Coming iMuseum ofGlass The Knitwear Review Estado Libre Y Soberland Robin Hopper New York, 1982 British Crafts Council Mexico London, 1983 Canada, 1978 New Glass Review 4 Exhibition catalogue and knitters Porcelain by Robin Hopper Miniature Textiles 1978 — The Corning Museum ofG/ass source book. Fletcher Brownbuilt Pottery 3rd International Exhibition New York, 1983 A Machine Knitters Guide Award — 1986 British Crafts Centre Pacific Glass ’83 London, 1978 to Creative Knitting Fletcher Challenge Pottery Govett-Brewster Art Gallery Tapestry. Henry Moore and Susanna E. Lewis 8jitlie Weissman Award — 1987 New Zealand 1983 Lark Books, 1986 West Dean An exhibition ofcontemporary glass Michael Cardew Edwardjames Foundation/Victoria Philips Studio Glass Award MAORI CRAFTS Crafis Advisory Committee and Albert li/Iuseum New Zealand Society ofArtists in London, 1976 London, 1980 Exhibition of Maori Crafts, A collection ofessays Glass/Philips New Zealand Limited Weaving an Art Form New Zealand, 1985 1972 Tauira Crafts Centre The work of Alison Britton Auckland Museum and Institute Sculptural Glass Tokomaru Bay British Crafis Council New Zealand, 1984 London, 1979 Tuscon [Museum ofArt Feathers and Fibre Yoruk U.S.A. 1983 Rotorua Art Gallery SCULPTURE Museum ofArt, Carnegie Institute Sculptural Glass — Vol 2 New Zealand, 1982 U.S.A., 1978 Tuscon Museum ofArt A survey oftraditional and Scultura Italiana The nomadic weaving tradition ofthe U.S.A., 1983 contemporary Maori craft Auckland City Art Galleryfor the Middle East, 38 Become a member of the The aims of the Crafts Council and you will benefit from the Crafts Council opportunity to:

* To represent craftspeople on a national * Submit work for sale in the Crafts Council Gallery — the showcase for the very best of New Zealand craft basis -— on favourable terms * Participate in the Gallery’s exhibition programme * To lobby for and negotiate on issues * Participate in the Crafts Council’s Corporate affecting craftspeople lVIembership Scheme * Provide slides and information on your work for in- clusion in the Resource Centre’s slide library for use by * To provide a comprehensive informa- architects, designers, Government Departments and tion service of resource material on all Corporations aspects of the crafts * Submit slides and/or photos of your work for inclu— sion in the Crafts Council’s “Architectural Commissions ” Portfolio * To facilitate communication between * Receive information on workshops/lectures organised craftspeople for visiting craftspeople As well you will receive: * To promote the image of New Zealand * Four issues of the “New Zealand Crafts” magazine. * “New Zealand Crafts” is the only New Zea/and craft publication which covers all the crafts and keeps people in touch with what is happening in other crafts. It car— * To ensure the availability of appropriate ries feature articles, profiles, reviews of exhibitions, Crafts Council news and views. craft training and education * Bi—monthly “Crafts Council Newsletter” And you will also benefit from: * To arrange discussions, lectures, * All the developments which the Crafts Council are workshops and other activities to pressing for; for example craft education at an advanc— instruct and stimulate craftspeople and ed level * The stimulation, support and inspiration that comes the general public from belonging to a body with a variety of members who share common ideals

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/—\ /—\ /—\ EXHIBITION of NEW ZEALAND National CONTEMPORARY FURNITURE The Library Auckland Museum 2—1 8 September Bookshop Millwood 1988 Outdoor This national Gallery Exhibition will be the Centre premier showcase in Books 1988 for new furniture designed Ltd Print and made in New Antique engravings Books Zealand. Prints Suppliers 0 top Old maps Designers and grade leat ers, Paintings Furniture Makers in dyes and tools Specialists in the all Antique engravings disciplines, working Tumbidl Library in all media, are Stockists of hand Old maps invited to exhibit. reproduction prints made New Zealand Application forms craft leatherwork The Foyer available now from: National Library Building 291b Tinakori Road Thorndon Justine Olsen Molesworth St Curator, Applied Arts Wellington Wellington Auckland Institute 288 Jackson Street New Zealand New Zealand and Museum Petone Telephone: (04) 743-124 Telephone: (04) 735-176 Private Bag Phone: 683 494 Auckland 1. \___/ \__/ \_—/ 4o NEW ZEALAND

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