NEW ZEALAND POTTER ‘We Promise Satisfaction’ IN THIS ISSUE SLABROLLER NEW ZEALAND POTTER THROUGH THE FILTER PRESS The best available VOLUME 33: NUMBER 3: 1991 Howard S Williams, Editorial 2 Recommended by EXPO ’92, SEVILLE 4 Peter Stichbury Editor: Howard S. Williams Louise Guerin talks to James Mack PO. Box 147, Albany, N.Z. Phone: (09) 415—9817 Variable adjustment from O-60m (21/2in) LOMBOK, INDONESIA 6 MONEY BACK GUARANTEE Advertising: Penny Evans Jean McKinnonigives an update on the Craft Project PO. Box 881, Auckland, NZ. Reasonably Priced Phone: (09) 458—831 CANTERBURY POTTERS ASSOCIATION 1 1 Available only from Furnace Engineering Cecilia Parkinson Annual Exhibition Photos Phone (09) 415—9373 THE LAND AS A GALLERY 12 Subscriptions, Pat Sinclair writes about Sue Wink's Carrington installation Publisher and Distributor: NZ Potter Publications Ltd CLEVELAND CERAMIC AWARD 1 5 PO. Box 881, Auckland, NZ. Otago Peninsula Trust’s first Award Exhibition Easy to fire Kilns for Every Purpose Suppliers of Fax (09) 393—247 Managing Director: SI DDIG EL’NIGOUMI I Pottery and Raku I Ceramic Fibre I Temp Controllers Cecilia Parkinson Special Exhibition at Pots of Ponsonby I 7 Design: Consistently Ceramics I Fibre supports I Pyrometers Cecilia Parkinson, John Parker, CITY CERAMISTS I Porcelain dolls I Fibre glue I Slab Rollers Howard Williams Jeannie and Andrew van der Putten and their pots 1 9 Better I China painting I Brick cement I Kiln Elements for Typeset by: Mills Typeset Ltd THERE IS LIFE AFTER CROWN LYNN 23 Tel/Fax: (09) 605—250 John Parker writes about Catherine Anselmi’s Ceramics I Enamelling I Gas Burners most kilns Auckland 3, NZ. I Crucible I Raku Burners I Kiln Repair and Results Paste Up: Sheena Reeves AUCKLAND STUDIO POTTERS 26 I Glass Kilns Relining Annual Exhibition Photos Printed by: I Banding Wheels 0 A variety of controllers are available. World Publications RICH IRONY Singapore Another Brian Gartside Special 28 0 Stack bonded fibre on request. I Press Moulds 0 Optional LPG Reduction in our Electric Kilns. I Extruder with Stand Copy Deadlines: 1st day of BRISBANE CERAMICS CONFERENCE 30 February, June, September Lynda Harris, Mayra Elliott and Bronwynne Cornish Issued: April, August, December Price: $8 per copy incl. GST COAL-FIRED SALT-GLAZE 34 Annual Subscription: Barry Bricke/l gives details of his Favourite Glaze $24 incl. GST Overseas Subscriptions sent KOTUKU POTTERY, WESTLAND 36

surface mail: $NZ28.50 Jan Con/and writes about this remote, but successful pottery m Advertising Rates: GST not inc. GALLERY GUI DE Display: 4 colour: A countrywide listing of pottery shops and galleries 37 W5.it? Back cover: $1650 (Min. 3 issues) CLASSIFIED AND POTTERS MARKET 38 Full page: $759. Half page: $550 Display: Black and White Inside front/back covers: $532 Full page: $485. Half page: $295 Quarter page: $179 COVER PHOTO Potter’s Market: Full page: $418. Half page: $253 Vase by Jeannie, bowl Quarter page: $154. and lidded jar by Eighth page: $93 Andrew van der Putten, see page 19. ., . . Element Support System Classified: 550 per word. Photo by: Minimum 10 words. Howard S WiIIiamS. Cash with order. m W! Gas & Electric Kilns. From 0.6 cu. ft. up to 30 cu. ft. I Kilns can be stack Finished art work must be bonded or partly built supplied or above rates will be == FURNACE ENGINEERING 1mm) in brick added to. FURNACE 6 Holmes Road, Manurewa. PRICE $8 inc. GST ENGI P.O. Box 136, Manurewa. Ph. 267—2661 ISSN 0113 - 583x A HINT CERAMICS TRADE THROUGH THE FILTER PRESS for decorators, from Libby Boyd of EXHIBITION Thames who has been maddened by An International Ceramics and Glass the continual ruination of her Forum C92 is to take place in Limoges EDITORIAL CONE CITY CLAY hundreds of pots freighted in for expensive decorating brushes, when in 1992, from 22 to 25 September. HOWAR D S WILLIAMS The New Zealand Society of Potters unpacking, selection, repacking and using latex. Having tried many There will be 5,000 sq m of stands, 220 annual convention and exhibition is to back-freighting of unselected work. cleaning agents she eventually exhibitors, 1,000 participants in the be held in Auckland over Queens The cost of this work and the extra confronted DSIR with the problem. conferences and over 6,000 Birthday Weekend, May 30—June 1, potential for accidental damage is Their suggestion was Kumclean, and international visitors. 1992. It will be one of the biggest another factor. Also many people having tried it she writes: Primarily concerned with plant and events yet in the pottery calendar as would be prepared to send larger ”No problems at last — it’s equipment for the ceramics industry, the National Exhibition will be on works if they have been accepted by marvellous stuff! Watch out though —I this year 092 is enlarging its scope by simultaneously with the Fletcher slide first. This reduces the possibility said stuff, not snuff— it has a powerful including glass-making techniques. Challenge Ceramics Award. of expensive packing, freighting and nose-ruining smell, but it sure works Major conference topics will cover All galleries in the area will also hold insurance, being fruitless in the event well on the brushes.” Promoting Ceramics; Environment special exhibitions and marvellous of the work not being accepted. ANOTHER HINT and European Standardization; things are planned What this may do for 1992 is produce for the conference for those who have work at a shop or Energy. happenings — Cone an exhibition with a far greater City may erupt in gallery, on commission. In these For more information contact: a pyrometric manner! Look proportion of overseas works, to local further in recent hard economic times, more Pia Abildgaard this issue for the NZSP works. In New Zealand, it has been advertisement than one gallery has been unable to Ceram Expo, C92 which gives more almost unknown for exhibitions to be details. continue and has faced receivership. If 27 bd de la Corderie selected this way so we are not geared this occurs, work which was on 87031 Limoges l3 up for such a system. Most other commission, been sold, but not yet Cedex countries are, so entries are likely to paid for to the artist, may slide away France FLETCHER CHALLENGE pour in from artists who are prepared into oblivion. The artist will probably CERAMICS AWARD and familiar with the process. 1992 not be paid as they are obviously less Perhaps in following years we will For the first time in the 15 years of this important than solicitors, landlords, have adjusted our thinking and be award, the 1992 exhibition will be pre- IRS working with the earlier lead times “Slab Happy”. Exhibition of slab-built selected by slide submission. Many Works on commission and not yet required — not to take that latest pot pots by Ian Firth at Pots of Ponsonby. local ceramic artists and potters will be sold, should still be the property of the out of the kiln to deliver it to the venue, SALZB RAN D taken short by this change in selection artist and reclaimable, if they are El scorching a towel wrapped around it, Salzbrand is the major international procedure, for two major reasons. correctly documented. Just be careful, on the final acceptance day. exhibition and competition for salt- RUMOUR Firstly, it brings the date of entry out there. glazed ceramics. All types of has it that there could possibly be a Botryoida/ Sail submission forward by an alarming CATALOG UES clay Michael Keighery and Moyra Elliott at objects will be considered, but they new ceramic award exhibition next amount — slides are required to be in Catalogues from Fletcher Challenge the University Club, Brisbane. See must be salt—glazed. The exhibition by year in april, held underthe auspices of Tim Currey, winner of this year’s New Zealand by 13 December — exhibitions are still available in limited article pages 30-32. the Galerie Handwerk, Koblenz the Royal Easter Show, Auckland. Fletcher Challenge Ceramics Award around the time you may be reading numbers from: will be v :- held in the 1992 northern summer; Watch your local newsletter and that of (see cover photo of our last issue) had this! The slides submitted (up to 3 Auckland Studio Potters closing date for entries is December the NZSP for further development of his first ceramics exhibition at Master taken from different angles of the PO Box 13—195 31, 1991 , while the actual work must be this potential addition to our exhibition Works Gallery in Parnell, Auckland, actual work forthe show) are then sent Onehunga delivered between March 1 and April calendar. just before he left permanently with his overseas to the designated judge for Auckland 15, 1992. The awards total DM18,000. family, to live in Australia. the pre—selection. Those artists whose The 1990 catalogue is $5 and the 1991, The organisers are: III Helen Mason has recently been to work is accepted will then be notified in $6.80. Add a dollar for p&p. Handwerkskammer Koblenz his now vacant workshop at the well- order to physically freight the work to El Galerie Handwerk Koblenz structured Moehau Community at the venue, where of course a second NEXT ISSUE . . . Rizzastrasse 24-26 Sandy Bay, 3 kms north of Port Charles screening will take place — the work ”Kiln Wasters". Salt-glazed, wood- Owing to lack of space we have had Postfach 929 on the tip of Coromandel Peninsula. must not vary too much from what the fired jug/kiln prop by Flenton Murray. to hold over two articles intended for Many of his clay objects are there to be slides portrayed. Exhibition “When Mistakes become D-5400 Koblenz this issue — John Parker’s Middle Germany discovered in odd corners. She writes: Secondly, well before the slides are Art” at Albany Village Pottery. Fire Glazes, Part II, and the Telfax: (+49) 261-398-282 “When I saw that the famous bronze sent, the work must obviously already continuation of Acme Marls’ Modern casting workshop (next session 11-17 be made and a photographer found Kiln Furniture. The NZ Potter has entry forms and January 1992) was in the same who can do justice by showing it conditions; photocopies building as Tim’s spacious and well- correctly. The best pot or sculpture can be had for El $2 from us; PO Box 147 Albany set—up pottery I began to understand can be dullsville if photographed badly some ofthe origins ofhis very personal — or conversely a mediocre piece can style. A walk on the sand of the be made to look quite stunning if the adjacent rocky cover revealed even photographer is skilled. Neither more of his sources.” extreme is helpful in this exercise. Nor KILN ELEMENT SPARES Tim is now settling in to life on Lamb are slides where a ‘product Island on the Great Barrier Reef. He photographer’ dresses up the work in can‘t wait to get his gas kiln, which he an ‘arty’ setting — draped fabrics, long NZ Wide Service — 40 Years Experience took with him, set up — the grass and tree trunks, lichen—covered PROMPT DELIVERY FOR ORDERS FROM environment is so stimulating to his stones — the piece should be shown creative eyes and hands. clearly on a plain non-eye—distractive SAMPLES OR DRAWINGS Meanwhile, at Sandy Bay there is a background. Obviously the judge is good workshop, much raw material jurying the ceramic work, not the ONLY TOP GRADE WIRE USED and two brick kilns, one small diesel photographic statement! VISA and one large wood-fired, waiting for a The reasons for changing to HISLOP & BARLEY ELEC. MASTERCARD potter. Anyone interested should write selection by slide are several, but the 57 Carr Rd, Mt Roskill PO. Box 27109 Auckland HIBBR ACCEPTED to the Moehau Community, Port main one is the sheer physical problem Ph (09) 654-292 Fax (09) 656-731 Charles, RD, Coromandel. I now encountered with having

2 New Zealand Potter No.3, 1991 New Zealand Potter No.3, 1991 3 EXPO ’92 Louise Guerin, Wellington

”The exhibition was put together with an absolute belief that the people invited to participate were capable of extending themselves so that when we take the show into a European arena, we’ll be able to stand up with stuff that’s as good aesthetically, as any of them are doing. The consideration of taking an exhibition into that environment means that it’s got to be bloody good, strong and vital; it must be seen as a statement strongly evocative of New Zealand, otherwise it’s not worth it.” So, whatwill the exhibition be saying about New Zealand? ”It’s reminding the rest of the world that even though human habitation here is young, we have found our place in our land and are able to project its strength into our art.” “It’s also reminding Europeans that materials available to New Zealanders are the same materials that they know. It’s Chrstine Boswijk N ! the same deterioration of rock and stone into clay. It‘s reminding Europeans about their knowledge of clay before they start seeing the way New Zealanders interpret it. It‘s reminding them that in terms of geological time, we once were the same continents, and we are now their antipodies — that if you drill a hole through from Spain to New Zealand it’s the same earth, same magma and the same rock in between.” Mack says he chose ceramics as the medium to represent this country in this way “mainly because l believe it is the branch ofthe arts making the strongest portrayal ofwho and what we are as New Zealanders.” And how did he come to Choose the people he chose? “Every one of them was already doing fantastic stuff and every one of them had a capability of taking the curatorial dream and marching with it to their own tune. I mean, it was absolutely imperative that every one of these people who was already great became better, for themselves and for the show, so that we can stand up in the extremely rarified Barry Bricke/I, handbuilding aesthetic environment in Spain.

Robyn Stewart working on Godwanaland series New Zealand’s pavilion at Expo 92in Seville next year will have a very special focus, on New Zealand ceramics. Altogether 14 people who work in clay will be represented, along with one glass worker, Ann Robinson of Kare Kare. The exhibition will be the first major showing of New Zealand ceramics and glass in an international arena and will reflect in part the Expo 92theme Voyage in the Age of Discovery. Christopher Columbus receives particular Ann Verdcoufi’ssabe/la and erdinand of Spain attention, along with tuataras, eels, nikau palms, Pacific elements, and the activity of the earthy’s crust. “Another importantthing was that in an exhibition like this Exhibition designer and curator, James Mack, has held you do have to show the individual people, but you must Pacific navigators in focus, while drawing together also show a cohesive force that sits like an umbrella above exhibition themes. “Whether you like it or not, 1500 years at the total show, otherwise it’s just another arty farty least before Christopher Columbus did what he did, there experience. were great ocean voyages happening in the Pacific." “So the show has been looked at to reflect all those things about New Zealand‘s place and its relationship with Spain, The evidence of these voyages is ceramic, the Lapita and l have no hesitation in saying I have chosen the people culture (N.Z. Potter, Vol 31, No 3, 1989). This then ties in who do it superbly and who are best at it. All those who are closely with the past history of one ancient building still in upset about my judgement forget that I’ve been looking at existence on the Expo 92 site. It is a twelfth or thirteenth New Zealand ceramics as a non—participant for something century monastery, which in the nineteenth century was approaching 30 years and I don’t care whether they think it’s turned into an encaustic tile factory. Its beehive kilns are still big—headed or not, I now believe that We there. been around the people long enough to see those who do ceramics because Mack completed a mid—making tour of all the participants they can’t stop; those who so ceramics just to make their in early September and was very pleased with progress. bread and butter; and those who do ceramics as a dilettante “What started out looking like becoming a very good show, activity. Every one of the people in this exhibition has clay in has moved a million miles into being a show l have no their blood, for gods sake.” Photos by Louise Guerin I hesitation in saying is going to be spectacular”, he said. New Zealand 4 New Zealand Potter No.3, 1991 Potter No.3, 1991 5 LOMBOK, INDONESIA Crafts Project Update Jean McKinnon, Wellington

sustainable. The most noticeable changes are in the pots themselves. Our first impression of Lombok pots was their striking beauty and variety of form, and the sheer quantities produced by these amazing women working in little cramped spaces between their houses. Thetorms especially have a faultless integrity that is the result of generations of refinement. Each village has its range ofspecific and unique pots, each with a function and a name, and often a ritual use. The forms needed no help. Yet we began to see that these marvellous pots in no way realised their potential. No one bothered much with Jean McKinnon with Penujak potters committee on the aesthetics, burnishing was careless, everything was fired as steps of the gallery built in 1990 little as possible. Priorities were determined by economics. M Pots to be sold for a few cents or a few dollars to another villager must be made at minimum cost in materials, fuel and effort. That‘s all. Refinements were of no significance. The technical programme worked towards changing all this, by working on clay preparation, finish and firing. Pots now being made in Project villages are stronger, shinier, more richly coloured and generally have that nice ripe glow of well fired terracotta. Clay is now slaked for several days x before drying and wedging with temper sands (instead of being pounded and dry sieved, mixed with water and used Project potter bringing his pots in to the Centre almost immediately). Burnishing is given the time and effort needed to bring up a good rich shine. And firing . .. Because it was clear that clamp fired pots which reached The Sasak potters of Lombok, Indonesia, need no only 600°C were very fragile, the most technical work has introduction to readers of this magazine, nor does the been on firing. in Penujak where we built three types of Lombok Crafts Projectwhich has been working there since experimental kiln and spent a long time on trials and training February 1988. The Indonesia—New Zealand Lombok Crafts with small core groups of potters, kiln firing has now Project is part of the official development assistance become the norm, representing a major achievement. All programme of the Ministry of External Relations and Trade. kilns are variations on a simple updraught design, little more Most of us had our first glimpse of Lombok in Robyn than above—ground pits with fire boxes. When properly Stewart’s article in 1987 (New Zealand Potter Vol 29 No 1). stacked and fired the wares reach an optimum temperature Helen Mason provided an update in 1989 (Vol 31 N0 3) (800-90000) in about two hours, with excellent fuel based on a letter written by Peter Yeates who by that time economy, using wood, coconut husks, garden rubbish, rice had been working as Ceramics Adviser for six months. straw and husks. Although to us such kilns are primitive and What then has the Lombok Crafts Project been doing in uneconomic, to the Sasaks they are revolutionary and to the last three and a half years? Plenty. gain acceptance of kiln firing has been a long and frustrating We began with two New Zealanders, myself and Ann task. Ambler-Woodroffe, and one Indonesian assistant. Peter With every small departure from the normal working Yeates replaced Ann in early 1989. Jean Hastedt was to habits, whether it was clay preparation, burnishing methods replace me as Project Manager in the beginning of 1990, but or firing, a whole campaign of motivation and persuasion due to ill—health was able to stay only six months (in which was required. Pete regularly made his morning entrance to time she made valuable contributions in both technical and the office dancing a little shuffle and singing, “One step management work). Peterand I stayed on until the middle of forward, two steps back". Perhaps Sasaks aren’t much this year when we handed over to a new team of advisers; different from the rest of us in this respect. “Why should I do Bill Parr whose background is business management, Janet it differently just because you say it will be better? Even if Clougherty, a potter and ceramic archaeologist who has you can demonstrate to me that it is better I don’t want to do worked in Britain for many years, and Gail Sammons, a it because I never have before.” It’s simple. It’s human potter and teachertrom Wanganui. They are working with a nature. It can drive a well intentioned and optimistic staff of twenty—five dedicated and overworked young development adviser to despair. Indonesians, most of whom are Sasaks from the pottery A good example of this was when Pete built a domed kiln villages. in Penujak. It was wonderfully efficient and yielded lovely The Project has long since outgrown its original modest pots. But the potters wanted to tear off the dome after the and probably naive goal of improving potter incomes first few firings. Why? “We don’t like giving the responsibility through technical and marketing assistance. It has become of stacking to one person. With the open top kiln we could all a development organisation actively working not only in put in our own pots.” The last reports I heard from Lombok technical and marketing areas, but also in the equally were that, after months of discussions and many more trial important areas of community development and firings, the kiln has at last been accepted and is being fired Peter Yeates, Jean McKinnon and fire—master Sayuti Jean Hastedt with potters and participation. Significant Changes have been made in the correctly and turning out wonderful pots, at even lower cost training assista potters lives and the first steps taken to make those changes than the open—topped kilns. contined page 9

6 New Zealand Potter No.3, 1991 Photos by Jean McKinnon and Jean Hastedt New Zealand Potter No.3, 1991 7 With such difficulties we were naturally reluctant to rush as a major influence on pottery production to safeguard and POTTERS CLAY (NELSON) LIMITED into kiln building in the other two villages, where clamp foster genuine Sasak pottery forms. Our confidence that an the electric furnace co ltd firing is still the norm. We found that clamp firings could be appropriate marketing approach could make this policy PO. BOX 2096, 42 QUARANTINE ROAD, STOKE, NELSON improved by using more fuel, making sure fuel is dry, and profitable has been borne out by the preferences of an TELEPHONE: (054) 73-397 AFTER HOURS: (03) 547-3397 taking more time, but the inevitable unevenness within the increasingly sophisticated and experienced buying public, stack continues to produce some pots with underfired from the middle class of Jakarta to the interior designers of spots. The potters in these villages have seen the Penujak Europe. STONEWARE LOW FIRING STONEWARE kilns and are eager to start kiln firing. GBZ LF18 Meanwhile the Lombok Pottery Centre has evolved to From the very beginning ® RMKS GEF our approach has been to meetthis growing market interestfrom within Indonesia and nurture and promote, and in some cases revive OTAGO POLY No. 21 traditional abroad. With guidance from the New Zealand advisers, forms. That said, we did find room to tamper with tradition Indonesian staff members coordinate all aspects of the *Industrial & Hobby Kiln & Furnace NO. 18 EARTHENWARE by adding decoration to plain pots, improving on pots with business including promotion, order processing, pot Manufacturer WHITE SLAB 1100 Red ill fitting lids or badly designed handles (only necessary in production, retail sales, packing and shipping, 8080 & SCSO E2 invoicing and * Gas and Electric pots the design of which had been borrowed from management HGB & PCW RKF information. Village men have learned to manufactured metal household wares), and developing make bamboo shipping baskets and crates (designed by *7 Top or Front Loading — Top Hat or Truck Kilns PC Red some new forms. Peter), providing another source of income. An average of * Using only Imported Refractories (no cheap four to five container loads of pottery are sent off each substitutes) DISTRIBUTORS month to Bali and Java, Europe, Australia, USA and New Homecorp Mitre 10 ...... Dannevirke Zealand. Local retail sales to foreign and domestic tourists, * One Year Unconditional Guarantee C,C.G. Industries ...... Auckland local hotels and restaurants account for a significant proportion of the income. * Sigma Temperature Controller & Program- Western Potters Supplies ...... Auckland All this has meant a lot of change in a relatively short mers Western Potters Supplies ...... Hamilton period. Life has clearly improved for the potters. Women Glaze Away Potters Supplies ...... * Elements the latest breakthrough. Three to Palmerston North who formerly churned out as many pots as possible, fired four times or longer element life. No sagging Coastal Ceramics ...... Paraparaumu them as quickly and cheaply as possible and sent them off —— or growing. FIRST IN NEW ZEALAND. Bay Potters Supplies ...... Havelock North for sale would earn about $1.00 a day, for many the only Wellington Potters Supplies ...... Wellington income for a nuclear family of six, plus grandparents. Now * Spares for any type or make of kiln. Service NZ Cobcraft Potters Supplies ...... Christchurch the best potters earn more than five times that much. wide. H.L. Familton ...... Oamaru Husbands freed from the exhausting job of peddling Courtyard Pottery ...... Dunedin shoulder poles of pots around the countryside help with THE ELECTRIC FURNACE CO. LTD South Street Gallery ...... »...... Nelson decoration,finishing andfiring.Thisimprovementhasled to 73 Wiri Station Road, Manukau concrete changes like long—term debts paid off, new or City, Auckland 6 Potters Clay (Nelson) ...... Nelson Phone: (09) 263-8026. Fax: (09) 277-7481 repaired houses, kids in school, eye diseases treated, better health for both adults and children, wells that don’t dry up in P.0. Box 76162, Manukau City, Auckland. and most P/acemakers branches the hot season, and even a day of rest on Sundays. Equally gratifying to see has been an emergence of self— confidence and self-worth, creativity and pride in what they Banumulek rice storagejar. Coiled with symbolic decoration. make as they begin to understand that people out there in the wider world buy their pots for lots of money simply In the villages of Banyumulek and Masbagik Timur many because they are beautiful. pots WESTERN have always been decorated with specific traditional To gain these rewards POTTERS has required the potters to change burnished or applied patterns. Some decorations had ritual more than their potting techniques. They are now selling to significance and complex rituals associated with their a market that insists on high quality standards and SUPPLIES (1986) making. In Penujak however there were very few pots still LTD production deadlines. They have had to learn cooperation being made, none of which were deocorated. We developed and organisational skills. For their enterprise to be a style of incised decoration and a range of small domestic sustainable they must eventually own and manage Our Auckland shop has MOVED ware that would appeal to the bus loads of tourists everything. Most potters are poorly educated, illiterate and beginning to visit the village in search of souvenirs. we“ - unable to speak the national Indonesian language. To build to a NEW CENTRAL ADDRESS In an environment where the influx of “foreign" ideas up a self—managed organisation you don’t start with grows by the day, we insisted that any new form or Unit 4 / 43a LINWOOD AVE teaching book keeping and management skills, you start decoration must be derived from Sasak art. New forms were with literacy. based on modifications of older pots. Decoration In a society with an ingrained ”bottom of the heap” MT ALBERT. Ph: 815-1513 introduced, while never before produced in clay, were mentality, where poor people expect to remain poor and to borrowed from other Sasak crafts such as the incised have little power over their fate, where cooperation rarely \ patterns on bamboo containers, carved patterns on wooden extends beyond family boundaries, and where village domestic decorations and implements, and shell inlay on women do not run organisations, it is an unusual idea. wooden dowry boxes. Nothing of its kind has ever existed in Lombok. To the The rich variety of Sasak decorative arts reflect Lombok’s potters themselves it was until recently totally cultural links with Bali and Java, but is nevertheless a incomprehensible.Nowitis beginningto dawn onthemthat

5313115 distinct style that developed alongside their unique not only might it be a good idea, but just maybe it is also syncretic religion. This tradition has gradually been possible.

P3 degraded in the past century due to the various influences of Helen Mason’s article in 1989 was titled The Lombok modernisation, opening up to the outside world, and Experiment. It remains an experiment, but the Islamisation. experimenters are no longer New Zealanders trying to help In the past five years tourism and export trade have a group of impoverished village potters. The experimenters brought about a new demand for crafts, resulting in a are now those potters themselves, and their goal is to secure proliferation of “primitive” Sasak art that is neither attractive the dignity and lmproved quality of life that self-reliance will f nor traditional. The handicraft shops of Java and Bali bring. abound in ersatz “traditional” Indonesian art, amongst )2 HAMILTON SHOP which pottery stands out as the best example of how NOTE: The best Lombok pots to be seen in New Zealand to manufactured “tradition” excels in ugliness. In such a date will be exhibited next February at the Dowse Art Northway St, Te Rapa. climate the Lombok Crafts Project has a clear responsibility Museum, Lower Hutt. I P.O. Box 10-362, Te Rapa. Ph: 497-473 New Zealand Potter No.3, 1991 9 CANTERBURY POTTERS ASSOCIATION SOUTHERN CMYS urn ANNUAL EXHIBITION, 1991 Canterbury Museum TERRACOTTA AND EARTHENWARE CLAYS Photos by Maxine Waters O BRICK RED — Rich red terracotta 10500-11000C OX/RE strong plastic clay good for plant pots. O ABBOTS RED — Terracotta 11000-11500C OX/RE very popular versatile clay suitable for domestic ware, plant pots, handwork and school modelling. Commercially available glazes “Abbots Clear” and “Abbots Zircon White” specifically designed for this clay. O ABBOTS WHITE —- Ultra white earthenware 11000-115O°C OX/RE smooth plastic clay — fits Abbots glazes.

THE “ABBOTS” PACKAGE IDEAL FOR SCHOOLS, BEGINNERS AND PROFESSIONAL POTTERS — Abbots Red Clay, Abbots White Clay, Abbots Clear glaze, Abbots Zircon White Glaze. STONEWARE CLAYS O ABBOTS WHITE — Ultra white vitreous body. Vitrified at 1250°C. Use as a stoneware from cone 8. OX/RE o SOUTHSTONE — Rich buff coloured reduction stoneware. Good stock stoneware body 13000-132O°C RE. 0 LOW IRON STONEWARE — 1250°1300°C RE Light grey — OX Off white. Good for handwork because of long workability range. 0 OTAGO LOW FIRE — 1250°-1280°C OX/RE light buff clay popular for figurines and novelties.

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Pat Sinclair, Auckland

Sue Wink, American ceramic artist, visited New Zealand from June to August this year. The first month of her visit was spent touring the North and South Islands, visiting museum collections, experiencing the unique environment and attending the ClayAzArt conference in Coromandel— Rotorua. She also attended the fifth National Ceramic Conference in Brisbane and took a side trip to Lady Elliot Island on the Great Barrier Reef. The final month of her visit was spent at Carrington Polytechnic as Visiting Artist constructing an outdoor sculpture in the grounds. Sue teaches ceramics fulltime as Associated Professor of Art at the Central Michigan University. Her sculptures are installation—oriented; she designs site—specific works for indoor and selected outdoor locations. Inspiration for her work is derived from natural phenomena — organic systems of growth and pattern, Her of plastic, but this provided an Fractal Growth was left on location arrangements of multiple ceramic unexpected bonus for it created to weather and decay with the forms represent metaphorical patterns of condensation on the raw elements. Within the next two weeks it statements about human growth. clay and acted as a greenhouse to was submerged in grass and the clay Fractal Growth, the sculpture she promote rapid grass growth. was sinking into the soil, emphasising created at Carrington, was designed Even the autumn leaves that settled the intended impermanence of the specifically to fit within the chosen on the piece became part of the whole sculpture and its circular theme of hillside location. Alternating raw clay through the harmony of the colours of growth, decay and new growth. I leaf and clay. forms and ginger plant stems were Photos by Sue Wink arranged in random fashion between fracted channels dug into the lawn. Movement within the continuum of the 6 metre circle was suggested by placing egg-shaped pieces of a contrasting reddish—pink clay at opposing poles. The kinetic quality became a reality as you circled the piece and it changed from round to elliptical and quietly vibrated with your movement. The use of the ginger plant stems, found by chance in a nearby pile, gave rigidityand strengthtothe matrixYour surprise when you first came upon the piece gave way to fascination and absorption. It made for an easy relationship, a subconscious reminder perhaps of our own passage through the scale of time. The completion of the piece took nearly three weeks, the challenge - ”a made difficult by the rains of July. The in: it"?!\. work had to be constructed one ’\ V‘ kw" section at a time and each section ,. 3/ covered from the elements by a sheet

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New Zealand Potter No.3, 1991 17 ORIGINAL WORKS CITY CERAMISTS

Fairs of New Zealand present 'Original Works', an exhibition committed to promoting original works Jeannie van der Putten ofarts and crafts from New Zealand's talent . With over It might seem an anomaly that in our high—tech society 50 years collective experience in the creating, making people are increasingly captivated by hand—made things, and marketing of and by doing things by hand. But it seems to me a original design products in this reasonable response to a world in which cosmopolitan country, Fairs of New Zealand have actively promoted communications and peripatetic customers have made it and assisted New Zealand artists and craft people to possible for virtually identical products to be available promote and sell a wide selection of their work both almost anywhere. As country potters we were barely aware of the pot— here and abroad. buying public. That public, of whom dealers would speak in Fairs of New Zealand include among their varying tones of condescension, exasperation and objectives a commitment to provide display and sales gratitude, were kept at a distance by the buffer of shops and retailers with ‘personality’. We stayed in our rural ivory tower venues forfine arts, quality crafts and alsothe promotion and did the job, and had, I guess, an enviable life style. of imaginative and individualistic products under the The move to Auckland, to the urban confrontation of our theme of 'Original Works'. shop/workshop/house in Grey Lynn changed all that. Hardly a week goes by without some stranger falling The principle of freedom for creative people to through the door claiming they’ve been collecting our work display and markettheirworks in the manner, time and for years, naming shops and galleries no longer in place of their choosing is of paramount consideration existence. Occasionally one of these stalwarts will leave disconcerted by the change in our work, but more often will to us and we encourage the pursuit of excellence in have turned the same corners and enjoy mixing the bright their chosen fields. earthenware with 20 year old woodfired salted favourites. And who is our market? The director of a soft-ware firm For information on exhibition display and venue dates phone (09) 479 3032 buying ten slightly different staff presents; the production assistant choosing a ‘prop’ for an O/ivetti ad; the trade unionist selecting two pieces for a boardroom; the student paying offa bowl; a fringe actress treating herself and then there are the most reliable, the gift—givers. They’ve really done the ground—work! They’ve wandered through the turbid aisles of import barns, checked out kitchen and design boutiques with their reproduction Portuguese, Spanish, French and English ware, cast their eyes over the ubiquitous Italian ceramics (one million dollars‘ worth criteria of exploring the formal and expressive properties imported into New Zealand last year alone) and they’re and possibilities of the medium, and also be pleasing at the looking for the hand—made individual pieces which say level of the imagination." something about here and now. l‘m amazed that in spite of I feel we are managing to do this. the vicissitudes of life in Enzed, these people are staunch! Bruce McLean, the Scottish conceptual artist—turned- potter constantly questions the parameters deemed Andrew van der Putten necessary to define an object or event as ‘art’. He has always in spite of well meaning friends warning us of the dangers 4 - 12 January 1992 preferred the idea of art—as—process, to that of art-as-object lurking in the big cities, and reminding us of the beauties of and insists that his pots are intended to play an active part in the countryside (the only place apparently, where you’ll find their owners’ lives. He is defining pottery as a branch of real people) and on which we were about to turn our backs CERAMICS performance art! That idea appeals to me and I believe it is early in 1985, we set off for Auckland. Here, seven years on, this sentiment that many of the pot buyers I’ve described are we are not thinking of going back. John Parker (NZ) and American ceramics/mixed media artist Holly Hanessian. putting into practice. Although country living and potting has its appeal and we Oxidised gas firing at a lowered temperature has been a certainly don‘t regret the ten years we spent in Coromandel, plus breakthrough for me. I delight in decoration, ornamentation it also has serious drawbacks. I found the various farming and pattern, and colour is central to my work. type jobs which had to be done frequently, a frustrating PAINTING: PRINTMAKING: DESIGN: MIXED MEDIA: MIME: CREATIVE If find the stimulation of city life a persistent influence on experience and an intrusion into my potting time. I also find my pots. There’s a propensity of contemporary pottery, Nature quite daunting, especially if it means fighting flooded BASKETRY: GLASS: BRONZE CASTING: BOOKBINDING: MARBLING: which has a serious bent to it, a weighty and contemplative rivers (in vain) and coping with incessant winter rain. Life at cast to it, an obvious allusion to other and older cultures. | times took on a Vigil like quality, romantic perhaps, but i CALLIGRAPHY: COMPUTER GRAPHICS: PHOTOGRAPHY: MUSIC: find the 20th century more than enough to get on with. You prefer Nature to stay well within the confines of a terracotta only have to see a Peter Greenaway movie, eat a meal at planter. WEARABLE ART: FOOD AND WINE: CREATIVE GARDENS. Guadalupe, visit the Artiture exhibition and take in an Inside On the technical front, the major change has been the Out Theatre production to assault your senses to the point switch from wood firing to gas; from a large kiln which Send in now for full information on courses and tutors. where a couple of Aspro and a lie—down are in order! required 18 hours of slog to fire (thankfully once a month Although primarily drawn to the ‘container’, | no longer only) to a much smaller kiln which seems to be going all the Sum mer School Coordinator W feel that function is the first consideration of today‘s potter. time. I still relish the luxury of being ableto light up late in the Wanganui Regional WANGANUI The exploration of surface treatment, of pushing the form, Com m unity Polytechnic afternoon and turn off at midnight. RECEU©W£§K represents a whole new aesthetic. This quick turn—around has meant a much greater Private Bag, Wanganui @©MM@METY Phone (06) 3450997 POLYTECHNIC As it is put by Denis Dutton, lecturer in Philosophy of Art inducement to experiment with new clays and glazes and Fax (06) 345 2263 x ATE—T77 TIN—1T at Canterbury University, ”Pottery should fulfil the general continued page 22

New Zealand Potter No.3, 1991 19 18 New Zealand Potter No.3, 1991 ',_.‘->

Photos: Table setting, above, by Maggie Blake. Jeannie’s fish platters, below, by Jeannie. Andrew’s pots by Howard Williams.

"n"imamwmm. v .3131”1:31:I TIT-I'- : , I . ' I W I

CONE CITY CLAY MAY/JUNE — QUEENS BIRTHDAY WEEKEND PENROSE BOYS HIGH SCHOOL. GTSOUTH RD, PENROSE,AUCKI.AND 3 DAYS OF THE VERY BEST IN CLAY ACTIVITY LECTURES o FILM o DEMONSTRATIONS o FIRING I GOOD FOOD o DRINK 0 LIVE MUSIC 0 ENTERTAINMENT SEE THE NEW ZEALAND SOCIETY OF POTTERS ANNUAL SHOW AND THE FLETCHER CHALLENGE CERAMICS AWARD 1992 REGISTRATION FORMS FROM 26 DEEP CREEK ROAD TORBAY (09) 479 1582

20 New Zealand Potter No.3, 1991 New Zealand Potter No.3, 1991 21 see results fast. It also coincided with our own needs to make a different type of pot. After years of stoneware pots loosely based on Leach-Hamada tradition adapted, for CATHERINE ANSELMI: better or worse, to New Zealand conditions, we both felt strongly about making pots which were inspired by life in this country in the nineties. There is life after Crown Lynn Working from Auckland, often in touch with other like— John Parker, Auckland minded craftspeople and continually exposed to the pot buyers, plus the use of a versatile small gas kiln, eventually Photos by Robin Morrison. resulted in a total embrace of colour. ln orderto achieve the results we lowered thetemperature Catherine Anselmi is an immensely practical lady. Her most recent work has been in the area of slip-cast to 1180°C and fire in a strictly oxidised atmosphere, as even domestic ware. The acute sense of simple form is still there, a whiff of reduction adversely affects the glaze and colour Her early work was in precisely turned porcelain in simple but the surfaces now are bold explorations of colour fields quality. No longer do we rely on the kiln being ‘kind’, or glazed non-functional vessel forms. Her transition into the and brush decoration which has roots in industrial assume it to have arcane qualities. What comes out of it is raku firing of similarly severe forms gave the raku medium ceramics, but which is essentially contemporary. pretty much what went in — every mistake clearly visible. an unexpected sophistication which moved it clearly from Catherine operates a large workshop and markets her The clays we use are white burning, finely grained bodies the Orient to Middle Europe. range through stalls in Auckland’s Victoria Park Market. — Adrian Cotter’s and Abbott’s White. Occasionally, perhaps nostalgically, I use a Coromandel terracotta clay, a wonderful potter—friendly material which spontaneously . 4.7"” induces relaxed throwing. Being a dark clay, it has to be - I covered with a white slip, before the coloured stains are applied. We work in a fairly crammed space which doubles as our showroom and shop. However, we do manage to keep our work quite separate, that is, we do not work on each other’s pots as some people assume. We do share a kiln space as the glazes and stains used are the same. After years now of working with coloured earthenware, our pots have reached a point where subtle changes, often only important to ourselves, are more the case than the early dramatic ones. As compensation there is the satisfaction that we have achieved a certain fluidity in our work which hopefully reflects in the end result. Our approach to pot making is, and always has been very basic. We try to please ourselves and by doing so, the market. To be able to work like this, especially nowadays, is particularly gratifying. Long may it last. I

ANNOUNCING THE RELOCATION OE For perfect firing consistency ucl air/{s Gas Fired and Electric 24“" DAPHNE GRANT, ELSIE BISHOP * GWEN NAUGHTON. IRIS HANNAY, KATHY IARVIS, Around 1986, when she had been making pots for 10years makes clay, casts and fettles; Angela Thomas and Melanie Catherine felt she had acquired a sound knowledge of the Prince, who decorate and do studio work. Others come on a ROSIE MCGOWAN, ALAN RHODES. DAVE KING, medium and needed to create a way of making her pots earn casual basis, mostly for decorating, and with some studio DES HOWARD, AND IAN AXTELL her an income. She thought this preferable to getting work. As well as Catherine, the present part-time decorators another job and slip—casting seemed the logical answer as are Susan Firth, Pamela Lim, Keely McGlynn, Alice Smith, Cordiaily invite all who forms could be easily repeated. Also she could employ Rosanne Sullivan and Phillipa Taylor. people to assist in production and produce a volume of very “The decorators are paid by the piece, to paint their own Patent application approved on new gas kiln appreciate quality handcrafted usable table ware, vases and planters at affordable prices. designs, with some guidelines from me, as in effect I am design and ceramic fibre attachment. These “I started my own retailing at the Market because I was buying their designs. What we produce has to sell well as l and other innovative improvements will secure pottery to visit their desperate for money. After the 1987 crash, my usual have to pay wages, overheads and for materials. a kiln for the future. retailers began ordering less and were very slow to pay. I don’t think innovative art/craft and good design are Write for further information or a list of recent new shop —— the new venture *évé-9.+->-A?? Retailing my own work means I can watch, respond to and incompatible with being commercially successful. The customers near you. is situated in A even influence buying trends. I try to go beyond what the finished object is what is important rather than the process Pottery equipment a. madeto your specifications public is asking for and gauge their reaction.” used in making it. I have no heirachy of techniques, but I like or off our A price list. Although industrial methods are used to produce pots a piece to show exactly how it has been made whether by HUNTERS PLAZA #4 made by employed people, she knows that a healthy wheel-throwing, hand—building or slip—casting. working environment, flexible working hours, a variety of When I first started decorating, I realised quite quicklythat ARCADIA DEVELOPEMENTS LTD PAPATOETOE work and involvement in the whole process are essential for although I had a reasonably well developed sense of form, I [3 PO. Box 87—088 Meadowbank, Auckland 5 NZ. morale. knew very little about the application of line or colour. I have 30-9-815—0815 PHONE 277 6868 Everyone who works for her and their contribution is spent the last three years investigating ways of decorating We are behind The Trees — next to K—Mart extremely important to the survival of the business. Three forms to enhance rather than negate them.” people work full time: John Tai Tin (Ex—Crown Lynn) who continued page 25

22 New Zealand Potter No.3, 1991 New Zealand Potter No.3, 1991 23 I Daffodils painted by Susan Firth I Grapes painted by Catherine Anselmi When ceramic colours are formulated, they are ground production side; glazing and packing kilns; discussing other differently and have different fluxes added as either body, decorators work with them; development of new forms, glaze or underglaze stains. Catherine found local suppliers colours and decoration; assessing the market and didn’t have full information and didn’t know exactly what displaying and restocking the stall, which takes up they were selling. A huge amount of time was spent considerable time as the market is open 10 hours a day 7 experimenting, trying to improve colours and get rid of days a week. She is not involved in actually selling as she problems like pinholing, chittering and crawling. She now feels it is not one of her great skills. She prefers to employ imports her own glazes and colours to get more choice of people who are good at selling and dealing with the public. the mode the pigment is in and finds she has access to a “When I first went to the Market I intended keeping on as much wider range of colours, but this also means the a studio potter, making individual pieces, but I quickly expense of having to always buy in bulk. realised that slip—cast decorated ware was my real creative Six months were taken to build the studio which has been work and not just something that I had originally done as the centre of workshop operations for the last two years. The bread and butter income. ware trolleys, slip-casting benches, decorating tables and Decorating well is the hardest thing I have ever attempted various other bits and pieces, all camefrom an auction when to do. Afterthree years, I feel that only now, I am beginning Crown Lynn closed down. The studio has a 15 cubic ft and to do some really important personal work. two 20 cubic ft kilns. The white casting slip is bisqued to Of course I am influenced by everything I see. Whatever 1000 °C, painted, sprayed with a transparent leadless frit you do, observe, or think about, (and I don’t mean by direct glaze and retired to 115000. copying), becomes part of you. Specifically overthe last few Catherine refuses to take orders and does not sell years I have been drawn to very early Egyptian, Persian, wholesale. Interested retailers are simply directly to the Celtic Decoration and European Majolica. Victoria Park Market Stall. Last year a second stall was I am particularly attracted to the more extreme forms of opened in Wellington’s Wakefield Market. This went well for ornamentation and | see distinct parallels between the late a while, but ultimately closed because it was difficult to 19th century and the late 20th century interest in maintain without the constant monitoring that was more embellishment. So I am fascinated by the work of Antoni feasible for her in Auckland. Gaudi, Christopher Dresser and Charles Rennie She has recently employed a woman part—time to deal Mackintosh as well as African and Oceanic Art and with wages, bills, PAYE Income Tax, GST payments and acknowledge their influence on contemporary architecture, other paperwork. Catherine wanted to devote more time furniture, painting, sculpture and fashion. developing new forms or painting or to do something more It is really good for my present work that we are now stimulating. moving away from the modernist ethic where decoration In reality her time is now divided between: supervising the was considered inappropriate and in bad taste." I

I Capaccino painted by Phillipa Taylor I Brown bowl by Alice Smith I Pink bowl by Catherine Anselm/ I Green bowl by Susan Firth New Zealand Potter No.3, 1991 25 AUCKLAN D STU DIO POTTERS ANNUAL EXHIBITION; AUCKLAND MUSEUM 'oza' NEW ZEALAND'S COASTAL ':COMPLETE SUPPLIER . . . . KILNS .0.0.0.l o e e e CLAY .'.'.'.' GLAZES AND MATERIALS * l, L c; -.-.-.-. BULK SUPPLIES Photos by Howard Williams Peter Lange CERAMICS .e.e.e'r KILN FURNITURE POTTERS SUPPLIES e'e'e'e' WHEELS 124 Rimu Road Paraparaumu NZ Tel 058-84377 Fax 058-73107 Hours 8-4.30 Mon to Fri, 8-12 noon Sat Mail Order throughout NZ Write for free catalogue I Manufacturers of Tallsman Pottery Equlpment - including electric potters wheels & seats, baits, lotus & 15" wheelheads, banding wheel bases (takes all Talisman wheelheads), slabrollers, Stephen Bradbourne Diana Poor light pugmills, extruders, rotary & hand sieves & spare screens, test selves, plastic & aluminium woks, glaze & slip stirrers for electric drills, hand operated glaze mixers and electric spinning wheels

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WRITE OR RING FOR FURTHER INFORMATION Louise Joseph Heather Grouden Kevin Ki/sby Brian Gartside RICH IRONY has a workshop EM. ES and retail I opened my Dictionary of Cliches before I started this showroom 2km sentence. It fell open at HOW NOW BROWN COW? — west ofthe Thickness quite appropriate and quite a coincidence. It would have southern made a good title. The Brown Cow was an 18th Century motorway at way of referring to a barrel of beer and the general SISIIHG RMS+ Cciadcn Ramarama, RD meaning is ”What‘s up? What’s next?”. 3, Drury. He will Pondering on rich irony brings to mind lots of be teaching ‘ _ contradictions, contrasts and opposites. glazing at a Zinc “MTIIE — Its ironical that when the mind is engrossed and the workshop this spirit fulfilled and having a really good time, realisation summer. usually comes afterwards, when it’s over. — In the same way geniuses don’t usually realise that Zinc Rutile they are geniuses. — Some of the most expressive work comes when we are unconcious of It. Lately I have been informed that Australian clays tend to — When a person knows the answers they often keep on contain more Titanium than normal and I assume this is asking the questions. the cause of some dulling of my glaze surface, and of the — When we stop trying it often becomes clear. surface decoration when I use Rutile. So now I’m — When we want to emphasise a point it helps to say the involved In a search for a China Clay with little or no opposite. Titanium. — The more is explained, the less is understood (often) Increasing the proportion of clay to 8-10 parts is possible and ourextension of that is the most significant learning in my glaze, if a more matt surface is required. can take place outside of schools and colleges. Most of — Silica can be increased up to 4 parts with a i; my learning takes place when I am teaching. corresponding decrease In the Feldspar. — Just when it seems we’ve got things right something — Feldspar has much in common with clay and .'. 3 will remind us It‘s better not to be so sure. ”Pride comes decreasing its amount has an unnoticeable effect on the before a fall.” I am reminded of the words according to glaze. George: — Calcite Whiting and Talc are closely related and help “When you‘re green, you grow. in the melting and fusing of the glaze mixture. The When you think you’re ripe, introduction of Talc assists in the prevention of crazing You get rotten.” on some clays. — Often, the meanings are clearer when we read Edges. Some of the most interesting variations are seen between the lines. on edges and lips. Fluidity causes a thinner coating here — Changing from craft to art, changing from pottery to and beauty can be created. Temperature and soaking ceramics, labelling and changing the names of things can have an effect on this colour, as well as the seems ironical when the activity stays basically the underlying clay. same. Thickness. The application of the glaze is usually by — Irony flourishes when success comes from a glossy dipping so thickness can vary. Once again underlying photo and printed explanation while the object, pot, or clay affects the colour. Very white clays don’t yield so art remains largely unseen. much orange colour. — It’s ironical that I spend so much time creating, SIgillata. The iron content In different clays can produce making, testing and writing about glazes while dreaming silky sigillatas. about a clay and glaze that materialises ”as one” like the Rust. This is the fundamental source. To some potters, results of a long hot flame In a wood kiln. iron oxide is the most pernicious stain and much effort is My favourite Iron glaze is mixed from six ingredients and Invested in trying to eradicate this ubiquitous red and can be measured In parts, slack handfuls, cups or yellow colour. buckets in the ratio of: Celadon. A traditional Celadon is fired In reduction at 4 parts Borax Frit 4 parts dry clay 130000 and the Sigillatas to 1000°C. These are the only 2 parts Silica 2 parts Feldspar two photographs that do not relate to the Iron glaze 1 part Whiting 1 part Talc previously described. Add 840% red iron oxide Zinc Oxide and Rutile are two oxides that mix readily These parts and ratios can be varied and the glaze will with iron glazes and can give rich results when used in still melt at the temperature of 122500 I always fire as amounts up to 4%. The most beautiful blues often result quickly as possible In an electric kiln and soak for at least from a 3-4% Rutile addition to the clear glaze which is two hours. then trailed onto the basic iron glaze surface. Thin Here are some notes about the glaze. washes of a thin 50/50 Zinc/Nepheline Syenite mixture — Borax Fruits, for some reason, keep changing their over an iron glaze surface yields rich yellows and numbers. The one I use has been known as Ferrofr/t oranges. 3134, Ferrofrit 4508 and recently as Ferrofrit 4108. It Tans, och res, oranges, yellows, black, red, blue, green —— melts well and gives lively colour. My general feeling is rich colours, smooth ortextured and all difficult to find in any Borax Frit could be used, with slight difference of a packet of stain, or commercial glaze. effect on any oxide colours involved. Increasing the Rich iron can become even richer when fired a third time proportion to 6 parts causes the glaze to be more fluid. to 1060°C. — Clay seems a natural ingredient in a glaze and any A good iron glaze belongs with salt and wood firing. clay is acceptable as long as it is finely powdered. I ,They maintain a stature that fashion or trends cannot Choose to use a China clay, New Zealand Superfine was touch. It’s good to remember that these glazes don‘t my favourite for years, but after Its disappearance from belong to a specifictime— maybeto all times. Like some the local market I used an Australian clay. of the musical ‘standards’ that never seem to age. I

New Zealand Potter No.3, 1991 29

v, Fourto five milllion dollars may have been spent by the time producing designs that are simple, memorable and elegant gave me a room key and managed to squeeze yet another BRISBANE the prototypes have been produced so by this stage the using four or fewer colours! A number of their designs are drop of dry white out of the casket. design cannot be altered. now in production, however only for the conservative El In July several New Zealanders independently Industry is always profit—led rather than design-led, with hospitality market rather than for the general retail market. Moyra Elliott: Travelling north from Sydney to Brisbane travelled to attend the Ceramics Conference in technological improvements bringing down the unit price The lower end of the market was not seen as economically for two days wasn’t as interesting as I had expected — the Brisbane. Here, Aucklanders Bronwynne Cornish and and opening up whole new markets. With high pressure viable as the company cannot compete with cheap Asian Pacific Highway certainly wasn‘t, as it was just gum trees Moyra Elliott share their informal jottings on the casting it is now possible to cast small pieces of dinnerware imports, which even when loaded with 100 percent duty, still by the thousand all the way. Also, instead of perfectly goings-on, and Lynda Harris from Hamilton looks at in less than one minute and the printing of decals has cost out at 20 percent of an Australian produced article. reasonable placenames like Ngongotaha and Waipukurau one specific aspect of the conference agenda. become totally automatic. This makes smaller companies One of the most popular seminars during the conference there were outlandish names like Mullumbimby and much less competitive and in the future we could see the must have been Earning a Living from the Arts with standing Murwillumbah. The other difference was dead kangaroos production of industrial ceramics solely in the hands of a room only in the lecture theatre. No magic formulas here for instead of opossums! III Arts Industry Interface few large companies. An interesting point was made that instant success, but a few thoughts from one of Australia’s while most ceramic companies have in—house designers leading ceramists, Greg Daly. ”Do you enjoy making pots? Bronwynne: Day 1. Located a friendly face in the auditorium and settled in to hear the keynote Lynda Harris, Hamilton they are more likely to employ an interior, fabric or graphic One needs to take care in making a pot and that will show. addresses. designer rather than consult a ceramic artist. Do you believe in the work you do and its quality? What Chairwoman Penny Smith from Tasmania introduced the speakers This was the theme for the week-long National Ceramics New York designer and ceramist, Dorothy Hafner designs market are you seeking and can you create that market? and also the workshop demonstrators who showed slides of their work. An excellent introduction as it Conference hosted by the Queensland Potters Association for leading American (Tiffany) and German {RosenthaU Maybe the local craft shop is no longer the right place to gave a good insight as to what at Griffith University in Brisbane last July. Ceramists, manufacturers. Coming from a Fine Arts background, market your work, but perhaps a retail store is." was available. designers, architects and manufacturers gathered to Dorothy began to design functional porcelain dinnerware in Su Hodge who has been involved in marketing crafts III Dorothy Hafner was very N.Y./N.Y., a real go-for-it lady explore the relevance of this theme for whereas the limited editions after she realised the potential of the ware stressed that there is the need to be professional in one‘s who made anything seem possible. I liked her attitude — collaboration between artists and industry is accepted as she made for her own use. Her shapes and decoration are approach. This combined with personal commitment are she seemed to personify in many ways what the commonplace elsewhere in the world, it is not so in lively, highly personal and constantly changing in response essential ingredients for success in the marketplace. In the conference was about. She operated more as a designer Australasia. to what she is seeing and hearing at any one time. For many current economic climate in Australia, as in New Zealand, than a maker, employing a team of artisans who slipcast, The intention of the conference was to examine the years Dorothy has maintained staff in her New York studio to we can no longer expect the halcyon days of a few years ago decorated and fired her designs which were basically potential benefits and possible disadvantages of produce pieces for her dinnerware collections, but due to when anything sold. domestic ware. She talked sense and seemed organised professional interaction between individual artists and the pressure of many other design commitments she has Until recently potters have made a product and expected and creative in a practical way. industrial manufacturers and architects thusthe list ofguest recently decided to discontinue making studio ware. the public to buy it. That is not how the industry approaches III speakers reflected these concerns. When initially commissioned by Tiffany, she was asked to marketing. Firstly, they look for a gap in the market, then David Queensbury of Queensbury Hunt Designs based in The keynote address to the theme was given by Penny design tableware that reflected her country’s character. Her manufacture a product to fill it. There is now a need to learn London, and ex-head of the Royal College ofAn‘, spoke Smith, lecturer in ceramics at the University of Tasmania. pieces at that time were hand-built, but she soon saw the new skills, put more thought into design and take on a more convincingly in well—modulated tones about Global With her husband John, she runs Design in the Round, a need for skills and techniques to slip—cast them. The entrepreneurial approach. Design. I was not altogether convinced by his rhetoric, furniture and ceramics production, design and consultancy ‘language of industry‘ needed learning so she could retain The full conference programme from nine to five, often personally enjoying the differences engendered by a business. For many years Penny has realised the potential control over the final product, keeping it exactly how she left very little time to take in the workshops and exhibitions change of locality. Being ‘global’ seems to involve lots of that working with industry can offer and her own studio envisaged, ratherthan it being left to the imagination of the running concurrently on campus. The Griffith University faxing and setting up factories in Third World Countries — mould maker or technician. campus is set in bushland about ten kilometres south of production tableware has benefitted by adapting and using this was the larger overview. industrial ceramic processes. Other skills followed — mechanical drawing, plaster Brisbane and offered welcome respite from the often heady carving and model making, artwork III To date in Australia the ceramics industry has only made preparation for decals, lectures. Brisbane was basking in sunny, twenty degree- Moyra: Interesting to hear David Queensbury talking and most tentative approaches to artists — Bristi/e in Western importantly, selling an idea toa client. Perhapsthis plus days so it made one wonder why more New Zealand about his London design firm. He was obviously the PR is a testimony to what can be achieved Australia now produces a few Australian designs on its with a lively potters hadn’t taken advantage of the cheap airfares to man and salesman — very articulate. I wanted to ask him imagination and tireless hospitality ware. Also there is often a negative response to energy for as Dorothy puts it ‘you escape the cold, frosty mid-winter days back home. why the Fioyal College ofArt now doesn‘t produce gotta keep yourself entertained’. Australian made products in the marketplace and a lack of In addition to the lecture programme there were about ceramic artists of the calibre of Fritsch and Britton, but confidence in producing designs with an Australian identity. A contrasting low key approach was given by Karl and twenty exhibitions held either on campus or in Brisbane instead has a few students only, working on industrial The industry tends to cling to what is safe, familiar and Ursula Scheid from Germany who both lectured and galleries, so there was never a dull moment with exhibition design. Wish I had. economically sound. demonstrated at the conference. They are renowned for openings to attend, galleries to visit, the launching of Janet [I Any new product or design is very expensive to produce high quality craftsmanship and purity of form of their high— Mansfield’s new book Salt Glaze Ceramics, a ‘barbie’ (of Queensbury talked a lot about Global Design, but he and as there is always the potential to lose money, fired stoneware. Since 1979 they have collaborated with course) and an evening of Greek food and dancing where really meant White Western Style. innovative design takes second place to economics. Rosentha/to design their Campana Studio line. Bristi/e plates were ceremonially smashed. [I Experience shows that most commercial potteries therefore Karl has found that using the slip-casting technique in In this article it has only been possible to focus on a few Bronwynne: Karl and Ursula Scheid of Germany, do not keep up with current trends, often producing industry led to new ideas and changed the direction of his aspects of the conference programme. Overall, the presented an interesting combination of designer/makers. uninteresting or shoddy ware. Penny believes that small own studio work. In Germany, manufacturers commission conference was well worth attending and succeeded as the From their slides I could see a simplicity of colour and line scale workshops offer the opportunity for more flexibility studio potters to design for them, a tradition in Europe organisers had hoped, in being thought-provoking. that spoke of many years of working with a material, and therefore greater creativity. Well designed, resulting in industry and potters developing in parallel. Although here in New Zealand we do not have a ‘ceramics combined with the weight of a strong tradition. The area environmentally sound products with a strong cultural The Swiss—born potter, Sabina Teuteberg, uses semi- industry‘ to work with, there are undoubtedly many areas in they came from in Germany had historically specialised in identity may be the key to the future. industrial techniques to produce her tableware with a hand— the design and ceramics industries from which we can salt glazed Bellarmines. The view of an industrial designer in Europe was offered operated jigger and jolly, which she demonstrated at a learn. I [I From listening to Rod Bamford and looking at his slides, I by Lord David Queensbury, a senior partner in Queensbury workshop. A pre—cut slab decorated with colourful clay decided to follow through his workshop processes. He Hunt Design Consultants. This company designs for inlays is pressed onto the mould. The jigger and jollying talked at length about his extruding process of building up Rosenthal, their subsididary Thomas and various process spreads the clay around the form, altering the The National Ceramics Conference, Griffith blocks and explained how his Domestic Trophy series had international companies which manufacture ceramic pattern so there is always an element of accident and University, Brisbane been inspired by the couple—next—doors‘ ”domestics“. This bathroom fittings, glass and ceramics. surprise in the resulting piece. This adoption of an industrial Bronwynne Cornish: Arriving in Brisbane and stepping off series had a demented, but delicate look — somewhat as When producing any product, design is unavoidable. process allows her to achieve the quality she wants, in that the plane, I sniffed the air in anticipation. New territory — though they had been sculpted in beaten egg whites. However just because large numbers of a particular article the patterns flow over a shape in a way a painted design sell, it does not necessarily follow that it has been well cannot. balmy warmth and Frangipani. I took a taxi to Griffith campus — a good choice as the One of the bonuses of the conference was being designed. QueensburyHuntdesign forthe mass market and The sole ceramic tableware manufacturer in Australia, taxi driver, true to type, turned out to be a great raconteur. domiciled on the campus. Griffith is a really special place, are aware of their responsibility to produce good design, Bristi/e, was represented by its Managing Director, Stewart set as it is amongst native Australian bush. Early morning designs with which the consumer will feel at ease. Therefore Knott. This company produces tableware for government, He told me racy little stories while driving at breakneck speed through nighttime Brisbane freeway traffic. The walks were rewarded by unexpected birds with a designer must come to terms with the commercial world, hotel and restaurant markets. Ceramists Sandra Black and unaccustomed songs. whereas an artist does not need to work forthe marketplace. Jill Smith, have recently been asked by Bristi/eto design for sandstone escarpments spot—lit along the banks of the With the increasing technology now available, it is difficult its middle to upper market niche, in direct competition with Brisbane river remain with me. Lots of good discussion over mealtimes. The Panel to set up a new design without a high capital investment, and European tableware manufacturers. [I The Hub at Griffith University is aptly named. A weary, but Discussions in the auditorium made direct interaction the role of the designer becomes increasingly important. Their brief was to capture the vibrancy of Australia by welcoming band of workers greeted and registered me, difficult. The University Club became a bit of a haven. 30 New Zealand Potter No.3, 1991 New Zealand Potter No.3, 1991 31 Good to see students from all over Australia, at the Bronwynne: Technology and Innovation was one of the conference — I met some while playing darts one evening panels I most enjoyed. Particularly Michael Keighery’s — Fosters improved some of the dart playing, but mine slides of his performance in his other life as one of the definitely deteriorated. Torch Bros, Making an Art Form out of Pyromania. And El his marvellous Kookaburra laugh. Camping in bush hut overnight somewhere halfway El between Sydney and Brisbane was a new experience. The Moyra: Arts/Industry Interface included being talked to by absence of electricity meant that quick checkups on captains of industry about why their designs were so The D wse Art Museum mysterious noises immediately outside couldn’t be made. I popular (and of course, the best). Found it pretty baffling EST. 1987 collects the fine arts in mat? just prayed it was wallabies, not goannas. myself, particularly the Villeroy and Boch representative. er_ia|s traditionally associated With El El Manufacturers of Quality Clay the crafts. Very interesting session on Craft Critical Writing, Janet NZ doesn’t have a premium on roadside kitsch — while $400 per tonne incl we have the giant Kiwifruit and the huge L&P bottle, the Mansfield editor of Ceramics, Art and Perception, talked GST Pacific Highway harbours restaurants cunningly disguised of too much Artspeak; affectation and adulation — too as enormous oysters or prawns (and not a drop of ocean many superlatives and a danger that the writing becomes Business (03) 614-7751 in sight all the way — they were surrounded by gum more important than the works under discussion. Richard O’Leary trees)‘ The giant oyster — half open with vertical panes of El glass — looked like a massive set of false teeth. Other Ken Leveson — a critic and professor of ceramics at AH. (03) 614—7577 eating houses were modelled on Ayers Rock, or Monash warned of a very real problem in Australia, that of simulating a colossal pineapple, or a big banana — which the ceramics/craft dealer having a role as a writer, critic — (Winchester — Hanging Rock Road) didn’t bear comparison with anything! a resurrector or destroyer. He spoke scathingly of the Art Museum hours - III non-practitioner being a critic and of ’humble-pie’ writing, R.D.12, Pleasant Point, New Zealand Bronwynne: I wore boots while walking around and kept a careful not to offend. Writing should be analytical and not Monday to Friday 10am — 4pm Bernies Clay is a recently established business situated weather eye out for snakes. No, I didn’t see one, but was subjective, and rarely address technique. Writers have to Saturday, Sunday and public holidays on a large natural deposit of amused at a group of people one night, admiring a be clear whether they are writing for a general, or a raw clay. 11am — 5pm possum in hushed tones. specific audience. Subjective writing of the order of “I Our aims are to produce a quality product and maintain El didn’t like clumsy form strong lift from the base Lower Hutt City Centre Moyra: First day started well with introductions of all the should disappear — descriptive writing is not necessarily a constant supply for many years to come. 695—743 guests, who each made a short statement about their bad, but is not criticism. .V 1_ .- $4 3“,.‘ y. . "5 work and workshop intentions together with slides, so that Jenny Zimmer, also from Monash was cheerful and ' No order too large or too small. it was possible to start the many choices to be made — positive and didn’t believe a critique made any difference. Good freight rates available. what to attend/drop-in—on/disregard. She hoped writing was due to an urge to contribute to the culture and not just an ego trip. Theory and interpretation All Enquiries Welcome III are essential to every field of human endeavour. Karl and Ursula Scheid were at the launch of Janet Robert Bell, crafts curator of the West Australian Art Mansfield’s new book on salt glaze. They presented her Gallery stated that not being published barely hinders the with a Bellarmine shard (on a piece of string) that they progress and art of pottery. Ceramics speak to us from had dug up in their back garden in Germany. A touching history and we’d have a lot less pottery from the past to moment. look at, if it had been subjected to criticism. [I Moyra: Small scale industrial practices of 10-20 people III were talked of as being one means of making a national HEATHERS CERAMIC STUDIO LTD Another session looked at education and relevant cultural and economic contribution. Makes sense I issues in that area. Yet another was on marketing with suppose, but the context was odd when viewed alongside sensible advice on all levels from Crafts Counci/through to the obvious push by the Australian art schools to get P.O. Box 92 personal. ceramics considered seriously as ART. National Distribution Centre Napier III How to avoid absolute personal disaster — Geography, Brian Gartside was there and very pleased with the Job and Relationship — never change all three at once! Ford Road positive response to his glaze column in the NZ Potter. [I Onekawa 7mg?“Q Pity he had to travel to Brisbane to discover that people Bronwynne: Eggggn do actually read it. Moyra was very popular as "Queen” of the fig‘om Fletcher Challenge. She was a great ambassador as usual, Bronwynne: Joan Campbell’s talk made us all sit up and but we both felt sorry we hadn’t set up a stall with take notice, as did her ceramic sculpture which takes catalogues and a sweepstake for next year’s judge. Greg Leading Importers of Ceramic pride of place in the centre of a new shopping mall. Daly claimed Jeff Mincham had Correctly guessed who the judge was going and Craft III to be, two years in a row! We decided Products/from USA The bus tour left heads spinning — with 23 exhibitions that before his entry is accepted next time, he has to submit his guess sealed in a plain brown paper envelope! around the city — how many objects made from clay can 7;? 1mm Duncan and Paragon Electric Kilns you look at in in one day? Milton Moon’s quiet ‘Australian El Zen’ salt glazed bush pots remain vivid in my memory. I found the conference very rewarding — a heady mix Automatic, Manual and of good company, thought provoking discussion, great Digitally controlled. Moyra: Impossible to see all of the 28 shows on around stuff to look at and plenty of socialising. the town — of the ones I saw, most were of mixed quality; Thanks Brisbane Potters for a monumental effort for fine strong work through to frankly boring — perhaps five fabulous days. You’re Good Blokes. 1/2 cu ft— 11 cu ft upto Cone 11 ineptly curated. Each was curated around a theme. South El Single Phase Australian Ceramics Today. Pots from the Top. Decorated Moyra: A very good conference with plenty of interesting Clay. The Teapot Show. The Vessel As Art. Firing Now socialising, but also much more ’meat’ than we Full range of Duncan Products Exhibition spaces ranges from a converted department customarily experience here in NZ. The natives were store’s top floor to the magnificent Queensland Art really friendly — its an experience to be recommended — Glazes, Underglazes, Kilns, Acrylics, Gallery (courtesy of Joh Bielke Petersen). next one is in Adelaide in 1993 —— start saving! I Brushes and Tools.

32 New Zealand Potter No.3, 1991 Traditional Bituminous Coal Kiln Firebox (Kiln atmospheric food for the growing trees. Go back to school COAL FIRED SALT GLAZE chamber and study the carbon cycle. Full-fire mode — Trees convert C02 into biomass such as wood. When you Barry Brickell, Coromandel coal banked up burn wood, you are releasing the sun’s condensed energy against arch which caused this transformation in the first plafce. Coal is condensed biomass — it is wood and other plant material Well-known for my unbounded enthusiasm for coal-fired Now, about this special richness of coal—fired salt—glaze. \ /\ which has been compressed under millions of tonnes of salt—glaze, I remain determined to outlast those who accuse Bituminous coal from Greymouth/Buller coalfields of the stream-deposited silt for millions of years. During this huge me of ranting and raving about something unfashionable South Island, contains titanium as well as iron and other . M squeeze, water has been driven out and the carbon content and idiosyncratic. minerals in its ash. During firing this ash rains down on the _;Throati increased. A higher carbon content means a higher calorific Oh yes, this almost forgotten technique which gives the pots in the same manner as with wood—firing, but with a value — the heat content of the coal when it burns. The .2', l l change from biomass to coal is a geological process, that is, ultimate in richness of glaze colour and texture in subtle difference in results. Wood ash does not contain the , I stoneware, is much too strong a part of our colonial ceramic colour-forming minerals so characteristic of coal ash. An 7 l it takes millions of years. tradition to be ignored. unmistakable warmth and beauty permeates the pots from l The stages are: wood, stems and leaves (biomass) —> peat l was born at the very time that enabled me to see, first the titanium-iron salt—fluxed ash of the basic salt-glaze — a I a Iignite (brown hydrous coal) —> sub—bituminous coal (our hand, the last of it in spectacular action at those huge round hue perhaps best described as a finely crystal—Spangled most common coals, such as Waikato and Southland) —> kilns at places like New Lynn, Auckland, where “heavy clay mahogany yellow—brown of unending variation, even on one bituminous coal —* anthracite. Geologically speaking, products” such as glazed drain pipes, tiles and bricks were pot. It is also very responsive to slight ridges, finger marks, Aotearoa (New Zealand) is a young country, so we have no made. undulations or designs in the clay, which gather the fluxed true anthracite coal. There is an interesting pseudo- In those years, the first potter I ever met, Len Castle, was ash in a manner that emphasises the pattern. anthracite coal at Roa, Westland. It was formed from having his big classical thrown pots richly salted in the coal— If properly fired, no pot is boring, even if it has a bad form! bituminous coal by volcanic heat. Such coal is almost pure fired kilns at Crum’s Brickworks. It was a long time before I Like any good salt-glaze there is also the bonus of natural carbon and is less use to potters as it burns with an intense, was able to start doing the whole thing myself, but Mirek colour and texture variation all around the pot. And then the One brick length : but short flame. Smisek was already experimenting with the method at a hand of the Almighty might come in and cause rich, darker 9 inches (228mm) It is our bituminous coals from the Westland—Buller area Nelson brickworks that he managed before he became NZ‘s brown goobs of molten glaze offthe kiln arch to land in “just that are so very special. The best of them, mentioned earlier, first full-time stoneware potter in the late 1950s. the right place” on the pot. It takes a number of firings to has a very good calorific value, a low ash content (less than The first coal—fired salt-glazed kiln built by a studio potter achieve this build—up of dripping glaze on the arch bricks. 2%) and a very strong coking ability. As it burns it goes in this country was probably my big round one at All this splendour is dependent upon achieving a really through a sticky, swelling stage, emitting an almost sweet- Coromandel, in 1964. Mirek’s oil drip—feed one was turning good cone 10 temperature in the kiln; there is nothing worse smelling smoke with lots of long yellow flame. Yes, it does out splendid pots which were pioneering in their day and and more deadening than to open the kiln and find make quite a lot of black smoke when the fire is disturbed by legendary now. There is scarce mention of coal in the everything dulled with a lifeless grey—green—brown—yellow poking, but although it looks terrible, it is only carbon or western tradition of salt—glaze, except for passing references slime trying to pass as a glaze. Such pots can be refired in an Firebars: soot. For diplomatic reasons it is not a good thing to do coal- (see ref 1 and 2). ordinary stoneware kiln and they will usually respond in a mild steel, firing salt—glazing in suburbia, letalone downtown; pollution My reasons for loving this type of firing, lie in both the brilliant way; I am used to this and call it “annealed salt- square section, is the rave these days. wonderful richness obtained with the glaze and the nitty- glaze”. Or else, borax (up to 10 per cent) may be added to the 30mm sq, Finally, an historical view of coal-firing industrial ceramics gritty of firing the kiln with such a smelly, aromatic—burning salt to improve the gloss in case the kiln fails to reach cone 1m long in New Zealand is perhaps of some interest. Salt-glazing fuel as bituminous coal. There is nothing namby—pamby 10. Neither of these tricks gives the real answer, and herein was big business in our early days; bricks, tiles, drainpipes about it; smoke, fire, sweat, work, clinker — and if you get it lies the challenge. and culverts, ink and storage bottles, crocks, gardenware, right, RESULTS. Ordinary coal is not required; it must be With the C/ayAzArtconference in Rotorua looming up for sinks and even urinals. Fired in huge round or rectangular coking coal, usually known as bituminous coal. Not all this past June, I was asked to set up a pre—conference salt- kilns, they had a richness of colour and texture in the glaze, bituminous coals will coke however, so when asking for the glaze firing here at Driving Creek, Coromandel. This was though it was not appreciated then. Bland is the word that not only describes the modern plastic or sanitised ceramic right stuff, one must order bituminous, coking coal. intended as a sequel to the kiln I built at Flagstaff, Arizona in and baking soda (sodium carbonate and bi—carbonate, see products which replaced them; it also describes the manner Most young people will never have seen coke, except for 1968 for the ceramics department of the Northern Arizona ref 3) in the right firebox. This mixture had been used in a in which they are made. that Yankee stuff that comes in bottles and cans — real coke University, under Don Bendel and Joel Eide. previous firing with perfectly satisfactory results in both Lucky was I as a youth, to experience the drama and is the equivalent of charcoal when wood burns, an Despite a lot of research, good bituminous coking coal fireboxes. A difference in colour and hue could later be fascination of peeping actively around the dark and intermediate stage between fresh fuel and final ash. Most was not available from anywhere in the whole ofthe USA, so discerned in the glaze on the bricks of the kiln walls just shadowy kilns of the old Amalgamated coals burn straight to fine ash which builds up on the firebox we ended up firing the kiln quite successful on wood. above the firebox throats. Brick & Tile Co’s works at New Lynn, watching the sweaty nightshift fireman grate and blocks the draught, causing the fire to go dull and The new kiln at Driving Creek was built as a repeat of the There was little chance to really analyse the results on the stoking all those hungry, glowing, sucking fire-boxes on his lifeless. The coke that forms as bituminous coal burns, is Flagstaff one, with the good help of George Sempagala, our pots because of the general excitement among all those predictable rounds. I followed him, missing nothing, lumpy, like black pummice and allows the draught to suck visiting potter from Uganda, and Andrew Hope, a resident present at the opening, and the rapidity of the removal of learning heaps, including new four-letter words whenever freely through the fire—bed, thus creating a true student from the Otago Polytechnic ceramics course. We everyone’s pots from their positions in the chamber. his shovel hit the side of the firemouth by mistake. incandescence; white—hot, like a blast-furnace. had a good firing, despite a broken shelf near the bottom, However, I was able to come to a few conclusions. The coarse salt went in the same way as the coal, but with A coal—fired kiln requires a good wide chimney stack and which tilted one whole bung of pots against the bagwall. A Firstly, sodium chloride brings out the darker iron colours an extra thrust to get it right in, where it crackled and spat generously proportioned flues to give a strong natural row of experimental “bagwall beakers" was reduced to in the clay body and ash. The carbonate salts are obviously until the next shovel of coal clammed up the glowing, draught, perhaps more so than a wood—fired kiln. With coal, fused lumps by the intense heat and fluxing, but these more fluxing and enhance the celadons. This is also furious hole. The fresh coal smoked silently, grimly. I waited working up to a full cone 10 temperature, the draught passes happenings were taken in good faith as an offering to the reflected in the way the glaze runs; more runny with until he thrust the long iron rod into a spyhole — a breaking entirely through the grate or fire—bars, and as little as spirits of fire and salt. carbonate; a little more “orange peel” with chloride. Why, | of his rhythm. Withdrawing a glowing test-ring and putting it possible is allowed through the stoking hole. This is why the The coal we burned was Webbs from Stockton opencast just don‘t known — one would think that sodium is sodium. on a ledge to cool, he would do something quite coal is banked up against the firebox opening after every mine near Westport, owned by Goa/corp. For North Maybe it is to do with acidity levels affecting surface tension indescribable, then have closer look. Should I take it home stoking (see drawing). Smaller lumps of burned-out coke Islanders it is available in bagged form from Waikato Coal in the slowly forming viscous glaze. Sodium chloride is with me? ”Do the whole thing yourself one day boyo, and that drop through the fire—bars should be incandescent- Supplies Ltd, Box 11—102, Hillcrest, Hamilton, whose main obviously powerfully acid; one only has to suffer the acrid that too." white with the strength of the draught. This is a good customers are blacksmiths. They had never heard of it as a white fuming “smoke” from conventional salt-glazing to see I did, Indeed, I still do. I indicator of the “health” of the fire. kiln fuel, but in the days of local gas—works, such coal was this. Carbonate salts are pollution-free; instead of Too much stoking and poking can dull the fire, as it breaks commonly available throughout the country. This is the coal hydrochloric acid gas out of the stack, one only gets carbon up the coke lumps into finer material that slows down the we are exporting to Japan; it is one of the world‘s top quality dioxide (C02) reasonably harmless stuff. References: draught. If clinker (fushed ash) forms, it too will block off the steel—making coals and is internationally acclaimed. Carbon dioxide is getting a bad name these days because 1 Salt-Glazed Ceramics, by Jack Troy. (Watson Guptill draught and have to be removed. This is a hot, sweaty and salts. The effects of different there is a sort of political movement afoot to reduce the Publications Ltd 1977). Doulton Potteries, Lambeth, difficultjob, as one must thrust a long, heavy steel poker into It was decided to use the pre—conference salt—glaze firing levels of it in our atmosphere. Well, if we were to plant more England. Page 37. the underneath of the searing hot fire, to try to break it up. as an experiment to compare the effects of different sodium forests instead of ripping them out all overthe world, carbon 2 The Martin Brothers, Potters, by Malcolm Haslam. The answer is to obtain a coal of low ash content, which will salts on the glaze. With two fireboxes we used common salt dioxide would cease to become a problem causing the (Richard Dennis, 1978). Page 147. be described later in these notes. one and a mixture of washing (sodium chloride) in the left ”greenhouse effect“. Instead it would be a major source of 3 Salt-Glazed Ceramics, by Jack Troy. Page 133.

34 New Zealand Potter No.3, 1991 New Zealand Potter No.3, 1991 35 GALLERY GUIDE Pots by Sue Pidgeon and Ian Dalzell Entries for this listing cost $15 7 boxed $20 ~ (incl GST) for up to 25 words. Cash ROTORUA with order, to NZ Potter, PO Box 881, Auckland. Next deadline 1st February. STUDIO 4. 33 Eruera Street, Rotorua. Wide range of crafts, glassware, bronze Photos by Jan Con/and weaving, gold and silver. jewellery, woodware, silk scarves, pottery — stoneware, KOTUKU POTTERY, WESTLAN NORTHLAND porcelain, pit fired, raku, domestic, exclusive gifts made by New Zealand crafts NORTHLAND SOCIETY OF ARTS i Reyburn House Gallery, Lower Quay Street, people. Phone (073) 460—242. Whangarei. Monthly exhibitions of artists, craft people and various media — Hours: MANAWATU Tues—Fri 1030—400, Weekends 1—4. Jan Conland, Coromandel SANSON POTTERY AND GALLERY. Main Highway, Sanson. Producers of NORTH AUCKLAN D individual handcrafted domestic and decorative pottery. Carmen & John Hackshaw. Open 7 days. Ph (063293) 517. first 10 years pots produced were mainly ash- PALMS GALLERY, Wayby, Pottery, wood, glass. Resident potters: Barry, Barbara, For the Scott and Arran Hockenhull. Open 7 days (09423) 7125. Turn left 500m off S.H.1 POTTERS VAULT CO—OP SQUARE EDGE. Church Street, Palmerston North. glazed domestic stoneware and terracotta planters. The 15km north of Warkworth. Decorative and domestic ware, pit fired and raku pieces made by nine members. Phone (063) 82—211. Pottery went up at the gate, pots were on WARKWORTH CRAFT GALLERY CO—OPERATIVE Cnr Baxter and Neville St. Sign Kotuku Excellent selection of local pottery, woodwork, weaving, jewellery and clothing. RANGITIKEI PLAINS display and sold from the workshop. Open 9.30-5.00 daily. Phone (09425) 8790. VILLAGE GALLERY. State Highway One, Hunterville. Fine glass, pottery, porcelain, paintings and wood. Phone Anne Powell (0652) 28—461. Rita Davies has since left, and the pottery has expanded to AUCKLAND had ALICAT GALLERY, 36 Jervois Road, Ponsonby, ph (09) 786—874. Open 6 days, fine TARANAKI include a coal-fired salt—glazed kiln. The local sawmill selection of NZ pottery, paintings and custom framing. THE POTTER'S GALLERY COOPERATIVE, Centre City, New Plymouth. Quality Closed down, but another excellent resource was available pottery and woodware by Taranaki leading crafts people. Phone (06) 758—3873. and Ian was ANDREW and JEANNIE VAN DER PUTTEN POTTERY, 3 Surrey Crescent. WAIRARAPA nearby - cheap good—quality coking coal, Grey Lynn. Makers of colourful decorated earthenware and designer ware. PAUL MELSER POTTERY, A wide range of domestic ware in six standard glazes. All . . Open 6 days, Monday to Saturday 10am — 6pm. Phone (09) 7657168. pots handmade and woodfired. Norfolk Road to Mt Holdsworth, Wairarapa. Ph (059) already familiar with salt glaze. 83‘788. Most of the bricks were salvaged from the demolition of ART AND SOUL, 434 Mt Eden Rd. Open 7 days. Pottery, glass, wood, knits, silk, WELLINGTON jewellery, flax kits. Many craftspeople not represented elsewhere. Phone (09) 606— CAPRICORN GALLERY, 155 Jackson St, Petone. Handblown glass and studio in Christchurch and the kiln was built 918. the Austin Pipeworks pottery from leading NZ Potters, silk scarves, jewellery. Open 6 days to 1pm by Ian and his students on an Access Scheme and ARTISAN CENTRE, Potters Co—operative, Broadway Plaza, Newmarket, Auckland. Saturday. Ph (09) 5240465. Decorative and domestic ceramics. Buy original work direct from CLAYPOTS by Murray Clayton. Gallery and studio open the first weekend of every Training Scheme. Now domestic ware and 10 experienced potters. Open 6 days. Employer—based month or by appomtment. Wide range of glazed pots. Takarau Gorge Road, Ohariu large handbuilt vase forms are fired in the coal kiln, while the Valley. Phone (04) 784e080. used for sculptural terracotta gardenware. CITY CERAMICS, 7O Mackelvie Street, Ponsonby. Hand made colourful studio CLAYSHAPES GALLERY, 236 Oriental Parade, Wellington. A wide selection of fine wood kiln is pottery, domestic ware and individual pieces by Jeff Scholes. Phone (09) 764— NZ crafts. Pottery. woodturning, silk scarves, jewellery, bone carving, hot glass. slab 107 or (09) 760—458. ' / . . 1‘ 't‘ , Sue Pidgeon now works at the pottery making Open 7 days,10am—6pm. Th4 : z I..‘ K‘s-rm I... . - 531‘s"- ». . . . and dragons. She also decorates COMPENDIUM GALLERY, Victoria Road, Devonport. Ph (09) 445-1577. Open 7 CRAFT COUNCIL GALLERY. 22 The Terrace, Wellington. Open 7 days for the dishes, porcelain earrings purchase of craft pieces days/evenings. Greatest selection of quality NZ crafts anywhere — ceramics, executed by New Zealand's finest craft artisans. Regular using porcelain and iron slips. More and exhibition programme. Phone (04) 727—018. South Island West Coast of the ’603, when the Ian’s large crocks jewellery, clothing, glass and woodware. Picture the HYDE PARK CORNER, Te be put into marketing in these hard GALLERIE LA POSTE, former Takapuna North Post Office, corner Hurstmere Rd Horo. Craft Village, Museum, Garden Centre and Coffee hours and more effort has to Lounge. Sells pottery, windchimes, most liberal idea was keeping the pubs open after and Earnoch Ave. Excellent selection of top New Zealand artists, painting, pottery, garden ornaments, fountains, sculptures. Holds times, which hasn’t been the case in the past, but exhibitions occasionally. Open Tuesday»Sunday,10am—4.30pm. ‘art’ was pretty scenes in picture frames of horse racmg or economic mixed media and sculptures Exhibitions change monthly. Phone (09) 486—1702. they are surviving. MALCOLM WARR STUDIO GALLERY, 26 Parata Street, Waikanae. Ceramic views often of a place on the other side of the world called Sculpture by Maree Lawrence and original prints by Malcolm Warr. Open Monday— up or One asks why only Ian and a very few others from those GARTSIDE STUDIO POTTERY, Kerns Road, 2km west of Ramarama off ramp Saturday 9am—5pm. Telephone (058) 35—060. ‘home‘. Most jobs were in the business of ripping Auckland Southern Motorway. Phone (09) 294—8970. ground—breaking days of Yvonne Rust have remained to MIREK SMISEK AND PAMELLA ANNSOUTH POTTERY, Main Highway, Te Horo. ripping out the raw resources of trees, coal, and gold. Open every day. Wide range of domestic, decorative and sculptural pieces in take up her inspiration and put it to work. Other potters from IAN FIRTH GALLERY, 15 Valkyria Place, Birkenhead. Fine art and sculptural stoneware and saltglaze. Enter Yvonne Rust, newly—appointed art teacher at Grey ceramics in stoneware and terra—cotta. Individual commissions are a specialty. around the country were attracted to the outstanding Phone (09) 4834285 Mon—Sat 10am—5pm. PAEKAKARIKI POTTERY, Pots by Neil Gardner e from fine glazed planters to vases High School, with tremendous enthusiasm for stimulating and domestic ware. Visitors welcome, 65 Wellington Rd, Paekakariki. Phone (058) scenery and resources of the Coast, but few stuck it out. in KERAMOS ARTS CRAFTS, Henderson Square. Henderson. Phone (09) 838—6174. 28—396. young people Her crackling energy whirled them up into Pottery, wool hangings, cane, pure silk scarves, jewellery, sheep skin slippers from communities where ideologies were so different, and major leading crafts people. PARAPAHENALIA CRAFT GALLERY. 22 Marine Parade, Paraparaumu Beach. Fine the realms of modern artists such as Picasso, and down to crafts 7 pottery, glass, wood turning, screen and hand painted clothing, jewellery, markets so far away. LOPDELL HOUSE, Waitakere Arts and Cultural Centre, three galleries, two craft handmade wooden childrens toys. Phone (058) 84—022. learning basic art and craft skills, then pushed their VlSlOn working studios, craft shop. Open 7 days 10am—4.30pm. Phone (09) 817-8087. In Ian‘s case, the practical skills of a farming background REIKORANGI POTTERY and Riverside Animal Park, Ngatiawa Road. Waikanae. Jan out into their environment which she saw as having beauty MASTERWORKS GALLERY, 8 York Street, Parnell. Phone (09) 309—5843. Ceramics, and Wilt Wright invite you to experience a country environment. Open 7 days, were a great advantage in surviving the rural isolation and glass, fibre, wood, jewellery. Superb selection of New Zealand's best. Open Mon. to 9.30am-5pm. Ph (058) 35—146 (Tea Rooms). in its own right, something not to be flattened or chopped Sat. economy. He would say they work longer hours than most THE POTTERS SHOP. Kirkaldie and Stains Building, Johnston Street, Wellington. up. She could see another future for West Coast young PETER & DIANE STICHBURY, 948 Great South Road, Manurewa. Pottery in a Phone (04) 738—803. A co—operative potters gallery offering their pots of excellence people, always with several projects on the go, but the pleasant bush setting up R.O.W. Wide range of decorative domestic stoneware in a direct to the public. crafts based on local resources. . range of glazes. “Open Weekend”, at home first weekend December. people; producing fine . . . ' Phone call of usmg pottery is constant. appreciated (09) 266—8072. NELSON Out in the community, she preached the gospel SOUTH STREET GALLERY. Cnr Nile St West and South St. Here Nelson potters sell in POTS OF PONSONBY, 298 Ponsonby Road, Auckland. Ph (09) 760—145. Craft co? Earlier this year there was a very successful exhibition a wide variety of functional and imaginative work in historic surroundings. pottery, started a craft outlet, and leased part of operative gallery offering a wide range of quality handmade domestic and decorative local clay for Rust’s Exhibitions are shown in the upper Gallery. and her friends. Greymouth of Ian Dalzell’s pots and Yvonne pottery and other crafts. an old brewery to make a studio for herself WAIMEA POTTERY. When in Nelson visit Waimea Pottery at Craft Habitat, SUNPARK GALLERY, Main Road, RD 2 Albany. 8kms north of Albany village. paintings. I Richmond, to view a fine collection of lustred and domestic ware by Paul Laird. One of these was Barry Brickell who came from Excellent selection of fine pottery and ceramics. Open 7 days. Phone (09) 415—9373. WEST COAST Coromandel in 1969 to spend 9 months making pots, TEXTURES CRAFT GALLERY, ASB Arcade. Hurstmere Rd, Takapuna. Phone (09) 460—877. Selection of fine NZ craft concentrating on fibre, wearable art and flax. COAST CRAFTS, 47 High St, Greymouth, West Coast. Ph A/H (027) 6102. Weaving a round coal—burning kiln and experimenting With Exhibition space available to potters. Open 7 days. studio and outlet for local pottery and crafts. Specialising in handwoven scenic building wallhangings. West Coast raw materials. THE BLUE STUDIO, 434 New North Road. Kingsland. Home of the Out of the Blue original, modern, bright ceramics by Brendan Adams. Ph (09) 896—376. HOKITIKA CRAFT GALLERY CO—OPERATIVE, 25 Tancred Street, Hokitika. Multi— Yvonne’s great surge of new ideas brought a shock wave media gallery offering wide selection of quality craft works from top West Coast craftpersons. Open 7 days. of opposition from the entrenched locals. She found little THE POTTERS GALLERY, 209 Hinemoa Street, Birkenhead. Phone (09) 418—1263. Fine range of porcelain, domestic and decorative pottery, silk CANTERBURY support amongst the school staff, and some parents warned scarves and kauri woodware. All by leading crafts people. Open 6 days. ARTISANS GALLERY, 45 Rue Lavaud, Akaroa. Open daily 10am—5pm. Ph (03) 304— dangerous influences 7514. New Zealand fine craft and craft art, studio pottery, ceramics, woodturning, their children to keep away from the THE RICH EARTH, Auckland’s Crafty Place to shop, 106 Picton Street, Howick. weaving, furniture, jewellery, original casual clothing, silk, glass. Orders/ Yvonne’s studio. Some of her students Pottery, hand crafted kauri. lead lights, china painting, leatherware and knitted commissions taken. emanating from garments. Phone (09) 534—2321. self—employed, sticking BARRHILL VILLAGE CRAFTS, Old School, Barhill, Sunday 2—5pm, for New Zealand however, began to realise that being WALNUT COTTAGE, Main Road. Orewa Restaurant, BYO, Devon Teas and woolcrafts, woodturning, pottery. Ph (03) 302—1720. Lunches. Fine Crafts, paintings and pottery. Closed Mondays except Public and making the most of its resources as she BARRHILL CRAFTS, McMillan St. Methven,Sunday—Friday10.30am onwards. with the Coast Holidays. Phone (09) 42676523. encouraging them to do was a viable option. was WAIKATO COURTYARD POTTERY, 69 Rutland St, Christchurch. Ph (03) 355—5933. One of these students was lan Dalzell. From a 3rd CADEAU STUDIO, 115 Alexandra Street, Hamilton. Domestic and Decorative Specialising in quality pottery, glass and silks by New Zealand craft people. for a 1- pottery, weaving. handspun and mohair knitwear, bone carving. woodware, Wayne Open Moahurs 9.30—5.30pm. Friday 9.30~8pm. Saturday 11—2pm. generation West Coast family, he left High School Sinclair’s paintings and silk. Made by well known New Zealand crafts people. Phone Polytech then came (071) 389—096. CAVE ROCK & SALAMANDER GALLERIES. The Arts Centre Christchurch. Forfine year design course at Christchurch NZ crafts and works on paper. Phone (03) 365—1634. remained but EXPRESSIONS — The Museum Shop, Waikato Museum of Art and History, back to the family farm. There he might have Hamilton. The finest New Zealand pottery, glass, jewellery, silk, books, prints, cards. EASTSIDE GALLERY. Specialising in quality pottery, woodwork, fabric craft, in stories) and the Phone (071) 395—100. paintings, silk scarves, woollen garments, weaving. 724 East Street, Ashburton. Ph for circumstances (always a wild card (053) 89-550. Open 7 days, 9.30am—5.30pm. FIRE & FORM. Chartwell Square, Hamilton. Eleven potters and one woodcarver. germination of Yvonne’s ideas. Wide range of domesticware and decorativepieces. Monthly exhibitions by NZ MAINLY POTS, 95 Main Rd, Redcliffs, Christchurch. A co—operative of local potters. classes craftspeople in various media. Phone (071) 556—638. Colourful domestic and decorative pots and crafts. Open every day. Enquiries: Lis His mother, Annette, took up pottery at the night (03) 844—1000. in- COROMANDEL and bought an electric wheel. lan began to throw pots SEVERAL ARTS, 807 Colombo Street. Christchurch, Phone (03) 669—264. ALAN RHODES POTTERY. Situated at Whenuakite, 23km south of Whitianga. Fine NZ art and crafts since 1960. Open Mon—Thurs 10am—5pm. Fri 10am—6pm. Sat 10am-1pm. between milking 120 cows. Firing the pots was done by Stoneware and pitfired pots. Studio attached to the gallery, visitors always welcome. SOUTH CANTERBURY building a wood—fired kiln using the Brickell Dutch Oven EASTERLEY, Ocean Beach Road, Tairua. Specialising in quality pottery and garden ware. The shop and garden open to the public from dawn till dusk, daily. COUNTRY CRAFTS MAKIKIHI INC (1977). St Andrews Co—operating Parish, Makikihi. design. The flues and chimney were a little too small which For quality pottery, woodcraft, woodwork, leather work. Open Monday-Saturday 10am— MINISTRY OF WORX, Craft Gallery, Waikino. Haven of crafts including jewellery, 4.30pm or on request. Enquiries Noeline (03) 689—5708 or Pam (03) 686—4731. made it difficult to reaching 1,3000C but he succeeded by wood‘turning, soaps, perfumes. Specialising in stained glass and pottery. John and Trish MacReady. Ph (07) 86377720. Closed Saturdays. MARLBOROUGH into fine kindling for the last 100°C. MACMILLAN GALLERY (MHJ). Pottery, paintings, bronze sculpture, terracotta bird splitting the wood PENINSULA GALLERY. Showcasing the Peninsula‘s finest arts and crafts. Pottery, baths, feeders, etc. Commissions. Open 7 days, 10am—5pm. Cnr Inkerman Street and Many years after Yvonne had left the Coast dispirited by flowers and carved kauri. Monday—Saturday, QamASpm. Albert Street, Whitianga. Ph West Coast Road, Renwick, Marlborough. (0843) 657224. battle against school and community, lan made the uphill SALLY VINSON AND JOHN TAYLOR, Central Pottery, Charles Street, Coromandel OTAGO the decision to become afull-time potter. In 1980 he and Rita Township. A wide range of brightly coloured majolica earthenware domestic ware. Beautifully appointed cottage to let. Open every day from 9am75pm. Phone [08) 435—171. DUNEDIN POTTERY. Specialising in locally produced domestic and Davies built a potting shed and living space, and a 2- decorative pottery. Plus pottery supplies,clay, glazes, tools etc. Open 7 days. of WHAKATANE 201 Stuart Street, Carnegie Centre, Dunedin. Phone (03) 477—1163. chambered, down—draft, wood-fired kiln on a small block THE RED BARN. State Highway 2, Whakatane. 7 minutes from Whakatane Post land purchased from the original farm. Office. Featuring locally made pottery and wide range of other crafts. Open 7 days. TANGIBLES, 207 Thames Street, Oamaru. Phone (03) 43478825. Joel Squires. New Zealand Potter No.3, 1991 37 36 New Zealand Potter No.3, 1991 CLASSIFIEDS FINE CRAFT AIRBR USH WORKSHOPS TO RENT Tutor — George Ellis For rent inh19l92P hortne inciludinlg two vsgheelrs, kil‘n and ttwo logmshand PHOTOGRAPHY (National Instructor for Paasche Airbrush Co.) spinning W ee. rivae ar en, 0086 0 eac an moun ains. ne OUI‘ - from Wellington and Palmerston North. Write to Jan Calkoen RD. 31, Levin. 9 35mm Slides and We stock a Comprehensive Range of WANTED TO BUY medium format transparencies Airbrushes and Compressors Large silicon carbide shelves. 15 x 20 or similar. Mike and Lynn Spencer, Kaihihi Road, Okato, Taranaki. Phone (06) 752—4351. Fine Pottery & Crafts and Colours HOWAR D S WILLIAMS WANTED Enquiries and Visitors Welcome Mintech 150 Fire Clay. Phone: Peter Vendelbosch (03) 5208024. Motueka. PO. Box 147 St. Lukes Mall, Auckland, NZ. Albany Ph. (09) 863-265 RAINBOW STUDIOS FOR SALE 29 Linwood Ave, Forrest Hill, Auckland 10 LTM 4 Cult. electric kiln for sale single phase front loading, good condition Ph (09) 415-9817 plus EMC programmer, model 480, thermocouple, $2,750. Phone Josita OPEN 7 DAYS Phone (09) 4106—327 Napier (06) 835-7271.

SUMMER SCHOOL Summer Art and Pottery Workshop, Five days from January 3rd. Lots of Glaze Projects and Firing. Write to Brian Gartside, Kern Road, Ramarama, Drury RDS. Phone (09) 294-8970. NEW ZEALAND POTTER Try HOLDFAST CLEAR GLUE WORK WANTED for Hondcroft Work German female potter 8 years experience stone/earthenware, good 1992 SUBSCRIPTIONS throwing would like to work and travel in New Zealand, arriving January 1992. Please write to: Hiltrud Poeplau Bahnofstr 28, 5416 Hillscheid, . . . or select from Germany. Phone 0264 2323 Germany. New Zealand $24.00 — 3 issues other HOLDFAST SUNDAIDK Overseas $28.50 surface mail ADHESIVES. GALLERY BACK ISSUES: New Zealand STATE HIGHWAY 1, ED], DAM HAT, Alli/ANY, AUCKLAND. [09] 11097373 mom: 130 ELLIS STREET, Volume 29 to 31 Potter, PO. Box 881, Auckland, AND CEDAMICS $6.00 each incl p+p PO. Box 881, 5’”;m ' PO. BOX 4206, PINE DDIIEDY New Zealand Write with cheque to: Auckland. E 0-7-847-5540. HAMILTON. cram DADNNSON JOHN DADKED

THAMES FIRST Hllll -- BEIImnIII'I FIRST [HDICE SOCIETY OF ARTS Mouldcraft FIRST IN LIGHTWEIGHT CONSTRUCTION .“ i—fr fi "- Ceramic Design Two people can easily lift this kiln to move or transport in your car no expensive Original models flue required - fire in the open then back into storage SUMMER EXHIBITION blocks FIRST IN RIGID CERAMIC FIBRE LINING IAN 17-FEB 2 1992 r cases The best ceramic fibre for a potter's kiln « better able to take the knocks and & “ vacuum clean PRIZES FOR . mouldmaking

FIRST IN PERFORMANCE TO1300o Pottery Painting Souvenir No other burners match ours for speed and easy operation — half a cone evenness Entry forms from — . Bruce Yallop guaranteed Old North School Gallery work 878-650 home (09) 817-7875 FIRST INNOVATIVE PATENTED DESIGN Tararu, Thames This is the first true downdraft kiln to convert to updraft operation for gentle ' biscuit firing - again we were first to design and make the modern Zircon slip cast flue system. We are continually improving this design - our first is 1000 Moyra Elliott Barbara Hockenhull firings old and still going strong Barry Hockenhull NORTH SHORE Peter Lange FIRST IN GAS KILN TRAINING Renton Murray Only we give you professional training in all aspects of gas kiln firing - be Rosie Murray HIRE CARAVANS & TENTS reduction or oxidation firing, safety, maintenance and Peter Oxborough confident in stacking, Cecilia Parkinson even glaze analysis Andrew van der Putten 105 Wairau Road, Takapuna Jeff Scholes LAST IN EXPENSIVE KILNS Heather Skeates our price - 12 months warranty and excellent Robyn Stewart No other kiln of this size beats Peter Stichbury Special Rates after sales service Margaret Symes for BP Gas — $1850 incl. G.S.T. Howard Williams 6.0 cubic foot two burner POTTERS The LPG Authority 3.6 cubic foot one burner - $1495 incl. G.S.T. Merilyn Wiseman Enquire further for information on our range of production kilns up to 60 cub ft Ph. 415—9403 PliL 444-8343 MASTER Open 7 days 9 am-5.30 pm FILLING REflmnBH nEuElaEnTs [In 58 Athens Road Onehunga, Auckland

634 3311 studio potters” Phone NO. from 27.3.92, ”The gas ki/n specialists - working exclusively with New Zealand Potter No.3, 1991 39 ' JULIA BROOKE-WHITE A I- I- E R Y 8 FineArtéCmfi Photography

ART WITH A DIFFERENCE Shop 8 — Hilary Square Bldg Orewa Ph. (09) 426-6971

HIBISCUS COAST GALLERIES LTD PO. Box 27490 Wellington Telephone 0-4-385 4606

WELLINGTON PO1TERS SUPPLIES T The Old Dairy Factor All pottery requirements I- NZ and Imported Clay, low—cost porcelain m S A. w

A ents Cobcraft & FE kilns Cowley wheels and Patter-y i,, fifiifiTfifi g ' equipment, Blythe’ stains. Crafts _ I Sheepskins Specialist element service: Replacement elements for all kilns. ' Also element upgrades for kilns with uneven heat, slow firing, souven'rs or with short-life elements. Station Road, Waimauku Village OPEN 7 DAYS 2 caShmere Avenue, Khandallah! 25 minutes drive from Auckland. Wellington. Telephone (04) 791'211 Opp. Muriwai turnoff. Mon-Thurs 10am to 5pm L Ph; (09) 411-8665 Fri-Sat-Sun 10am to 6pm 1 WESTLEY INSURANCES LTD.

Westley Insurance are a firm of Insurance Brokers who specialise in Insurance for small businesses and in the individual. We administer the New Zealand Society of Potters Insurance Scheme and would be happy to consider your business either as an individual or a group. We suggest you drop us a line and allow us to discuss the Benefits with you.

P.O. Box 33-655, Takapuna, Auckland 9. Phone No. (09) 486-1283 Fax (09) 489-8011

50 ANZAC AVENU E RD S S AUCKLAND MELVILLE FAX (09) 393-247 :ELEBPTIéiié (09) 798—665 B RID GMAN & C O ' CHARTERED ACCOUNTANTS lNTERNATIONALLY PANNELL KERR FORSTER ~ ASSOCIATES THROUGHOUT NEW ZEALAND. Manufactured by

ARE PROUD TO BE SUPPORTING “NZ POTTER” model . & ASSOCIATED CRAFTSPEOPLE IN NEW ZEALAND now has musmcnnManufacturing 1/2hp motor 40 New Zealand Potter No.3, 1991 124 Rimu Road, Paraparaumu, New Zealand Phone (04) 298-4377 Fax (04) 297-3107 Available from your local potters supplier. coon“ Coarser-‘55: a

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