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New Zealand Potter Volume 8 Number 1 August 1965

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New Zealand Potter Volume 8 Number 1 August 1965 / v WEKSNISEK-POITER OBE-Dip.WondCraflCoundl 170 Weggery Drive West Waikanae Beach Aotearoa, New Zealand Tel/Fax 04 293 5429 .~_'VV_o|ume 8 Number | Aug. I965 ew Zealand " ”fitF'l V E _s H-l L L ,| ‘N G s MIREK SMl/é/EK—OBE—PO'ITER 170 Weggery Drive West Waikanae Beach Aotearoa, New Zealand Tel 04 293 5429 [J I b, NEW ZEALAND POTTER vdL’. a no.1 C 0 N T E N T S EDITORIAL ........ ...... ... Page 2 PHOTO CREDITS ...... .............. Page 2 EXHIBITIONS....“ .....---=o-...... ...... Page 3 KILN MANAGEMENT — Roy Cowan.. Page 10 LONDON NEWSLETTER - Kenneth C1ark..... Page ll CHANGING CLIMATE..... Page 20 QUEEN ELIZABETH II ARTS COUNCIL............. Page SHOJI HAMADA. ....... .. Page 27 BOOK REVIEW ~ James K. Baxter......... assoc. Page 37 GLAZING OF EARTHENWARE n 0.0. Stephens.. Page 4O LIFE MEMBERS ....... .. .g..aoa.... Page 43 NEW ZEALAND SOCIETY OF POTTERS INC.... Page 47 THE AUCKLAND SCENE « Martin Beck.. ,. Page 48 NINTH NEW ZEALAND POTTERS' EXHIBITION. ..... Page 49 TWO SCHOOLS OF THOUGHT — Helen Mason..... Page 51 POTTERS.. ........... .. , , a . Page 56 EXHIBITIONS EDITORIAL For the first time, both Auckland and Looking at the other crafts represented Wellington Potters' Associations have in the two local exhibitions it seems made a consistent effort to include to us fair to say that they are at the crafts in their Annual Exhibitions. stage we were at when the first New The Wellington Exhibition in fact was Zealand Potters' Exhibition was the means of starting off the New organised in Dunedin. Some very good Zealand Branch of the World Crafts work is being done, particularly in January 2Q — 30. Pottery by Len Castle, Council. The effect has been increased weaving (the most organised so far), Doreen BIumhnrdt, Helen Mason, with public interest in the whole show and a but there is no unity of standard. paintings by Tom Esplin at the Globe consequent fillip to sales. As one of Theatre, Dunedin (for the Dunedin the purposes of an exhibition of this It is as well to remember how much hard Festival). kind is to attract and educate poten— work and unrelenting discipline has‘ tial buyers this must benefit all con- gone into putting the potters where cerned. they are today. It has not been easy March 22 — April 2. Pottery by Paul to establish the New Zealand Society of Melser, paintings by Colin Broadley, The two Craft Conferences held in Potters and formulate its constitution. at the Centre Gallery, Wellington. Palmerston North and Auckland did good All craftsmen have a great deal in Extract from the Centre Gallery News— work in preparing the ground and making common and by all means let us co- letter: ”Of his work, Paul MeIser people aware of the various crafts that operate. But the great problem of the says: '1 have always been interested Paul Melscr are being followed in this country. In crafts which still remains to be solved in domestic ware and have worked countries such as ours, where crafts is: Where does the standard begin? largely within the Leach tradition, other hand, much more SOphisticated in natural The potters have been facing are not indigenous but are the this fact producing stoneware with a variety of his approach to pottery, but a concen— for some years now. It would outcome of an affluent society with be a pity glazes. Lately I have begun experi— tration upon Small items robs his dis— time on its hands, pottery is usually to lose the hard—won ground. The menting with ceramic sculpture, using play of impact. There is, however, a the first to get established. Certain— choice is between immediate popular spheres, cylinders and bowls in com— standard of craftsmanship present which the potters are the support, or the more politically ly in New Zealand bination. With some pots I have con— is much to be admired.” difficult first to have a national unity and an struggle for standards which contrated on producing patterns of annual exhibition which imposes its own will in the long term win durable light and shade using holes, angles and Times” respect. T.E. inuOtago Daily standards. textures; with others, pure simple forms. My main interest in sculpture has been in creating forms unassociated May 10 — 21. Pottery by Patricia with natural objects. Many of these Perrin, Prints by Kees Hos, New Vision PHOTO CREDITS sculptural pots are purely decorative, Gallery, Auckland. ”For Patricia but they derive from the utilitarian Perrin, making pots is not only a skill, ware in their basic shapes.” it is a creative adventure between hands, Cover: Pots by Shoji Hamada made and fired in April 14 — 20. Pottery by Barry Wellington: Photo: Doreen Blumhardt Brickell, Carl Vendelbosch. Paintings by Colin McCahon, Robert Samson, Michael Page 3: Top Ans Westra Bottom Christopher Bede Eaton, at the Globe Theatre, Dunedin. Page 4: Christchurch ”Star" ”The pottery from Barry Brickell of Page 7: Healy Studio Coromandel has all the dash and vitality Page 8: Graeme Storm of youth, impaired only occasionally by Pages 15 - 17: Kenneth Clark Pottery craftsmanship or a fault in Page 18; John Mason a lapse in form. His best work has the vigour of Pages 27 — 33: Georg Kohlap pottery shapes. Carl Page 37: Elwyn Richardson early English Vendelbosch of Geraldine is, on the Page 43: Otago Daily Times Page 48: Bernd Taeger Pat Perrin's Exhibition 3 clay and firing. Her recent interest June 14 - 25. Wellington Potters' in slab pottery has given her work a Association Annual Exhibition together great sculptural feeling. She uses a with work of New Zealand Members of the combination of wax resist and a wood ash World Crafts Council, Centre Gallery, pots, jugs and bowls; among the latter While most of the work by exhibiting glaze almost exclusively. The most Wellington. Rachel Rose for her good sense of colours potters is earthenware Oswold Stephens, striking point about Miss Perrin's work ing and Juliet Peter for her fine feeling Lila Coker and Beryl Jowett have produced is that she has developed her technique — of form and texture deserve mention. some first—class stoneware. Shape and Modern trends, tempered by their utility and it is an impressive one — completely particularly glaze have always been the and purposefulness,prevailed in the com; strong points in Otago pottery but decor- out of her own resources. She has not bined showing of Wellington Potters' and Dr. 0.1:. Bell ”Arts in Wellington" ation still lags behind. This is not travelled overseas to absorb new ideas Members of the World Crafts Council and is willing to stretch her own surprising since many potters achieve some (the President of both is Mrs. N. feature in ”Home and Buildin g ” ma g azine, competence at throwing and glazing, but capability, and the possibilities of Berkeley, an artist in her own right). decoration takes a special kind of skill clay, to daring lengths.” In spite of the limited space available and sensitivity. at the Centre Gallery the over 300 B.B. in the ”Herald” objects were well and harmoniously June 14 — l8. Otago and Southland There are many outstanding pieces in this arranged by Doreen Blumhardt. They Potters' First Exhibition, Otago Savings exhibition, and its popularity with the June 13 — 18. Pottery by Warren comprised pottery, screen printing, Bank Chambers, Dunedin. ”From the tex— public has already been shown by the large Tippett, Several Arts, Christchurch. tiles, enamel,wood and metal work Renaissance the tradition has existed among number of sales already made on the first ”This exhibition contains what I consid— which Peter Sauerbier's that bankers are regarded as good patrons (Auckland) two day." er the best work I've produced to date,” "Tiki" figures were the most original. of the arts. It is interesting to note Mra Tippett said. "I that the Otago Savings admit very read- Muriel Moody's sculptures are always a Bank continues ily there are a lot of influences in it. this honourable tradition by T.E. "Otago Daily Times" June 16. pleasure to see as are the ceramics of inviting the I'm quite happy that these influences Otago and Southland potters to exhibit Doreen Blumhardt and of Helen Mason; the their craft in the are here and that I'm building up for artistic horizon of both has been en— head office in Bowling Street. myself on what's been before me.” The larged by their sojourn in Japan. exhibits, thrown or press—moulded, range In the short threeuyear existence of the in size from 20 inch bread crocks to tiny Nan Berkeley showed some fine batik work Otago and Southland Potters Group this The Auckland Festival Crafts Exhibition faceted trinket boxes and include a wide and enamelled slightly over—decorated occasion is an important milestone, for Auckland Museum - May — June 1965. selection of both domestic and decorat— bowls of agreeable shapes. Whilst the this is the first time it has held a ive ware. Four main glazes have major exhibition. been pottery part of the exhibition was on the Weeks of planning lie Here was an exhibition interesting not used: Tenmoku, black behind the collection breaking away to whole of consistently high standard the of 177 exhibits, only for the general standard of work rust on prominent now tastefully edges; rich brown same cannot be said of the Craft Council's displayed on hessiana displayed so dramatically, but also for clay glazes; covered tables wax resist; and pale offerings which were of uneven merit. I in the bank foyer. a brave attempt to combine the crafts of grey—blue colours, mostly pottery, weaving, metal work and jewelln decorated in understand that a stricter selection is iron or cobalt Some 29 potters from Oamaru to ery; the exquisite bookbindings blue.
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