volume 7 number 2 feb. 1965

New Zealahd POTTER M «(M/922K I / \ I NEW ZEALAND POTTER VOL. 7 NO. 2 “4/ ALfl/{U C 0 N T E N T S EXHIBITIONS ISSUE

EDITORIAL ...... Page 2

PHOTO CREDITS ...... Page 2

EXHIBITIONS ...... Page 3

SUNG KILNS OF CHUN AND JU — Rewi Alley ...... Page 8

CABBAGE AND BEANCURD — Rewi Alley ...... Page 9

GLAZING OF EARTHENWARE - O.C. Stephens ...... Page 11

PRIMITIVE POTTER'S WHEEL - Ray Chapman-Taylor ...... Page 16

NEW ZEALAND CRAFT CONFERENCE ...... Page 16

WORLD CRAFTS COUNCIL ...... Page 17

CRAFTS IN THE U.S.A. — Mary Hardwick—Smith ...... Page 18

FUNCTION AND FORM - Barry Brickell ...... Page 21

CHANGING CLIMATE ...... Page 26

HANS COPER ...... Page 27

8TH NEW ZEALAND POTTERS' EXHIBITION ...... Page 29

VISIT OF SHOJI HAMADA ...... Page 41 CORRESPONDENCE ...... Page 44

BOOK REVIEW ...... Page 45

A KILN DESIGN — Roy Cowan ...... Page 45

NEW ZEALAND SOCIETY OF POTTERS ...... Page 53

POTTERS ...... Page 57 EXHIBITIONS EDITORIAL

Now that the constitution of the New we hope that the interests of the serious NEW ZEALAND SCULPTURE, POTTERY AND Zealand Society of Potters is formally potters will not be overlooked. .The GRAPHIC ART passed we have a sound basis of viewpoint of the committed potter is New Zealand Academy of Fine Arts, organisation, one which has evolved different from that of the casual potter August 22 to September 13, 1964. naturally out of the needs of potters and we feel that a distinction and their local societies. In the pro~ must be kept in mind. cess we have all learnt a great deal about the workings of democracy and of This magazine, during most of the seven politics and should be better citizens years of its existence, has acted as a as a result. contact point for potters and has been the means of keeping the Annual Exhibi— The Society will ensure that matters of tion together. At times we have been national importance are given a fair nearly swamped by the burden of adminis— hearing, and also provide a measure of tration, simply because there was no protection for those taking the respon— one else to do it. The initiative for New Zealand sibility of administration and for the forming the Society came from us: it Academy of Fine Arts Exhibi— the purpose of "applied art" is obvious tion of New Zealand Selection Committees of future national was the logical stage of development to Sculpture, Pottery even to the most obtuse. Secondly, from and Graphic Art, exhibitions. It should also, at the safeguard the common interest. However August 22 to September the artist's point of view, it is a dis— 13, 1964. This is Annual General Meetings, provide a venue we have kept our independence because we now established as ciplined, strictly regulated craft to an annual show for the discussion of controversial believe in the flexibility that comes well worthy of support by which he returns after the flights of potters. The three matters and for the airing of criticism. with freedom and the individual effort. media offset each fancy and the doodling of abstract art. other in a manner A lively Annual General Meeting denotes It is with great relief that we Can now much appreciated by Pottery is the exact opposite of un— the a lively Society, and this is what we get on with our function of publishing public. In her review of the Arts planned "free creation". hOpe the New Zealand Society of Potters useful information, and observing, re— in Wellington in the November issue of Home will be. In the endeavour to be fair to cording and commenting on potters and and Building, Dr. G.E. Bell says: If modern painting has dissolved com— all those interested in pottery, however, their pots. pletely the human shape as well as the The exhibitions of the New Zealand ”real” landscape, so that except for Academy of Fine Arts are a happy hunting the explanatory but often misleading ground for the art critic and they could titles, they are no longer recognisable, also prove useful to the sociologist. in the field of ceramics this disappear— As far as I know not much has been done ance of form is impossible. A coffee on these PHOTO CREDITS lines but such a study would be pot, a flower vase, a bowl, however well worth—while (beginning with the imaginatively executed (and in this Show Page 3 Roy Cowan full dress ceremonial and the presence not all of them were), will still 4 : Robin Smith Photography Ltd. remain Page of V.I.P's on opening night). identifiable objects. Page 16 Roy Chapman—Taylor Pages 21 to 24 Roy Cowan and Helen Mason Page 27 Brian Moss These reflections are prompted by the Page 28 Fiona Pitt Academy's recent ”Exhibition of New Page 29 Brian Moss Zealand Sculpture, Pottery and Graphic Pages 30 and 31 Drawing by Geoffrey Nees Art", which, generally speaking, 32 Pitt reached Cover Photo: Page Fiona a higher standard than the Pages 34, 37, 38, 39 David Carson—Parker usual shows of paintings. The bulk of Lantern by Roy Cowan, Page 40 : Top, Brian Moss. Bottom: Lloyd C. Park the 350 exhibits were pottery. There Page 46 : Roy Cowan, Helen Mason. seem to be two reasons why this craft is 18" high: Page 48 ~ Kiln Plan and Diagrams: Roy Cowan so fashionable not only with the buying Page 57 Top, Photocraft, Nelson. Bottom: Helen Mason public but also with the producing Page 58 Studio Landau craftsmen. One is utilitarian: photo Brian Moss cera— Page 59 Helen Mason mics are ”useful" as far as the people at the receiving end are concerned; for

3 like to refer all potters back to that from the miniature bottle to the textures excellent article on Earthenware by John on the twig jar and the large bottle. Wood in New Zealand Potter Vol.5, No.1, and insist that all potters working in Roger Ewer's fountain, rather shameless- earthenware take Kenneth Clark's "Prac— 1y used as a grand focal point in the tical Pottery & Ceramics" as required Exhibition, was an interesting piece but reading. ' I personally feel that the remainder of his pots wear their apparent brutality Apart from a few quiet pots in earthen— as a cloak to a nature essentially gentle. ware (Judy Hewett and Rachael Rose, who both had some delightful pieces), I ached The Exhibition was staged using the na— to see some flamboyant colours and bold tural textures of stone paving, dressed decoration. pinus boarding, piers of concrete block— work, timber logs and sea worn stones to Paradoxically it was three stoneware pots contrast with the pots. of Graeme Storm which scored with their incredibly purple glaze. They acted as a In general I'd like to have seen a more grand foil to the more subtle delights of adventurous Spirit in both earthenware the rest of his pots. I was grateful for and stoneware. There seems to be no one the light touch of whimsy in Patricia working in sculpture or large architec- Perrin's "Jar with Bamboo Spoon” and tural slabs or terracottas. Overall I heart—warming fullness of her "Inflated think that a fair standard of pottery Grass Vase”. was achieved despite the lack of any major masterworks. It was an interesting Both of Christchurch's full time potters, show, one which was well patronised and Michael Trumic and Warren Tippett, have which created a remarkable amount of been dogged by accidents and kiln fail- public interest. ures and neither was seen at his best. The work of two other Christchurch pot— David Brokenshire ters, Nola Barron and Roie Thorpe, was Exhibitions well worth looking at. Mirek Smisek, since his return from the CANTERBURY POTTERS' ASSOCIATION Helen Mason showed a grand collection of Leach Pottery, England, has had several FIRST EXHIBITION ”fired clay”. Basic shapes, adventure- one man shows in different parts of the some glazing and fundamental thoughts country and has taught at some weekend about clay in use were boldly evident. schools, thus passing on some of the From 15th—25th September the Canterbury a selector. Apart from a few isolated It was good to see Mirek Smisek's pots knowledge gained from his Arts Advisory Potters' Association held their first examples it was a pity that advantage' after his year at St. Ives. At first Council bursary. Exhibition Sponsored by Hays Ltd., wasn't taken of this opportunity. glance the same as before, then the Christchurch, and mounted in their Amongst the Guest Potters the exhibition startling realisation that these pots Adrian Cotter, Potter and Arnaud Barraud, Gallery. The work of Canterbury Potters attracted good examples from work by have gained in vitality and seem to ex— Painter at the Uptown Gallery, Auckland, was shown together with that of 17 Carl Vendelbosch, Roy Cowan, Juliet press a quality of soul not previously December 7 to 24. Of this exhibition Guest Exhibitors. Juliet Peter selected Peter, Doreen Blumhardt, Lee Thomson and evident. B.B. in the "Evening Star” said: "There the work of the local potters while the Peter Stichbury. The offering from Crewenna Pottery was is nothing insubstantial about Adrian guests set their own standard. tremendously valuable — an object lesson Cotter's pots. These are all rugged in The most serious criticism is that stone- in control, precision of finish and in shape and robust in body. Cotter offers The invitation to Guest Potters to con- ware pots were shown and earthenware pots some pieces the particular joy of deli— little refinement in decoration, depend— tribute was a valuable one. In this trying as hard as dismally possible to cacy. Scale in pots is a difficulty ing for his effects on the honest case it helped the local showing very look like stoneware. As a local potter with many. Small pots are scaled down reaction of fired glazes and oxides considerably but it also presented an said, "We are earthenware potters with ‘ ones over- from large ones and large to see him ex- opportunity stoneware outlooks!" This really is as ‘ It would be interesting for guests to exhibit "Off scaled from a small idea. The four pots H tend his range and try his hand at Beat" pots without arousing the ire of damning as it could possibly be. I'd of Jim Palmer's were excellent in that three dimensional ceramic sculpture. the scale was just right for each of them AUCKLAND STUDIO POTTERS' FOURTH ANNUAL Harry and May Davis had a very well EXHIBITION received exhibition in the spring at the Rosslyn Gallery, Dunedin. Every— Museum October 1964 Auckland thing sold on the first day.

In general, the Auckland potters seemed to have climbed on to a reasonably high, but rather drab, plateau. This particu- Pottery by Martin Beck, Barry Brickell, lar showing offered no surprises and Doreen Blumhardt, Len Castle, Patricia very little promise. This is, perhaps, Perrin and Graeme Storm, together with not a bad thing, particularly in view of etchings by Kees Hos, were shown in an the level of accomplishment; apart from exhibition at Aladdin's Gallery, 45A a few lapses in taste and sensibility, Elizabeth Bay Road, King's Cross, nothing was particularly offensive. By Sydney, and were well received. This the same token, however, it was im— Gallery, which is run by New Zealanders, possible to feel much joy in the presence sells our magazine and is providing a of these round brown pots. link between our two countries. WORK OF LEADING A notable exception to the prevailing New Zealand Contemporary Paintings ant dreariness was Graeme Storm's purple Ceramics, an exhibition organised by ARTIST-CRAFTSMEN OF stoneware bottle and blue—white stone- the Queen Elizabeth 11 Arts Council to ware bowl, both of which offered some tour Japan, Malaysia and India 1964—65: NEW ZEALAND. promise of a new direction. The deco— The three potters in this exhibition ration of the bowl was not completely were Barry Brickell, Len Castle and GRAPHICS successful, the motif seldom worked as Helen Mason, each contributing three such and tended to distract from the pots. John Stackhouse saw the show in SCULPTURE form. These two pots sang out like Tokyo and reported: ”Surprisingly POTTERY canaries among a cage full of sparrows, enough, my first impression was one of and if Storm can improve the surface relief .... Since the selection of WEAVING qualities of his new glazes, he should Dictures and pots was predominantly the produce some exciting results. work of one mind, the show had an un— WOODWORK usual clarity The best things in The ceramic sculpture in the show was the show were the nine pots, for our 3‘; CREATIVE JEWELLERY almost a total failure, having neither potters are better than our painters. ceramic nor sculptural virtues. Two This with good reason since it is hard— bulls in particular looked rather more er to fool yourself when you work with like Pukekohe potatoes than bulls, and kilns, and wheels and glazes .... They this failure in form was fairly constant. (the Japanese people) liked our pictures, but they loved our H.K. pots.”

June Black, Centre Gallery November 9 — 20. Paintings and Ceramics. This The Exhibition of Australian and New exhibition did not have the unifying Zealand Pottery organised by the theme as in the past but it contained National Gallery of Victoria for circu- some very interesting work. Mr.Jocelyn lation in the Australian State Galleries Beere, in opening the Show, said: ”We 1963—64 is about to return to New 8 HIS MAJESTY'S ARCADE are not disappointed, for the long bods Zealand, and in due course will be dis— are here - they are becoming familiar tributed to the contributors. Owing_to QUEEN STREET, AUCKLAND characters in Wellington. They are be- Customs regulations no pots were sold coming richer in colour and more mature from this exhibition and they must be k , PHONE: 42505 returned to this country under bond. A in person I sat in this room for an TAKAPUNA BRANCH: A.S.B. ARCADE, .HURSTMERE RD. PH. 299—782 hour contemplating them and each is a few catalogues of the show are still on different character, but I found them hand and may be obtained from the 1 very easy to get along with." Editor for 2/6d post free. Rewi Alley feet in diameter, THE SUNG KILNS OF CHUN AND JU IN HONAN being evidently used reproducing to produce ancient Ju ware just a few fine pieces for had not been started so long and sale to the official world who so was not so highly could developed as well pay for them. was the case in Shen None were as big as the Ho In 1963, I had the opportunity Chun ware takes its name from Chun Chou, the modern home of Chun ware. of seeing kilns used for turning out Yen Ho Dien,,of the old T'ang kiln sites in a name which had to be dropped in the household course, is much more Hopei pottery. Experimental work on inaccessible. province. In 1964, during the late Ming period, as it was part of an Spring, I was able to visit two more Emperor's personal one. It then revert— fascinating kiln sites, those of Chun ed to Yu Hsien, thus taking the name of and Ju, both in Honan. the early Emperor, Yu the Great, the engineer king, who is said in popular CABBAGE During the period of Northern Sung when legend to have received his appointment AND BEANCU RD Kaifeng was the capital, both of these as Emperor in this place. But as that Rewi Alley sites were in the then Kaifeng prefect— was somewhere about 2033 B.C., the de— ure and their products were sometimes tails are a little uncertain. called "Kaifeng Fu” wares. Today the Kwangtung and lichee trees beside quiet All stop for a midday meal old Chun site is in Hsuchang and the To get to the Ju pronounced ”Ru” kilns, waters, through Ju trooping into the kitchen in Loyang prefectures reSpectively. one goes out from Loyang up the Yin River which silvery fish glide, To where and all cabbage soup, with get to the Chun site at Shen Ho, a hill and then strikes inland into hilly coun— around fields, sun glinting white beancurd is out village in the Sung Shan mountain chain, try, until one comes to Lin—Ru city. on the light green along with white rice one now goes by highway to Yu Hsien, Then one crosses the Ru river which of newly planted rice. in blue patterned bowls once Chun Chou. Then on from there and further down flows not so far away from so appetisingly ..... up a valley, where all around are kilns the Chuin kilns. I was surprised while At Shihwan kilns still working. Most of the output today in Lin Ru city in looking at an exhibi— a shaft of sunlight lights up ..... it might have been red is household pottery, but there is also tion of Ju ware both modern and ancient, the rich colour of the back tomato, cucumber, fish a section of the big state kiln there, to find that green glaze incised body of a young potter at his or chicken, but today which does research work on bringing ware was the most common amongst ancient bench; under his bed it was cabbage with back old Chun glazes to life again. shards. Perhaps most of the fine blue a red box full of clothes, beancurd ...... shards have been taken away by collect— though with his clean mind, Chun shards, with their brilliant red ors through the ages. There is the his urge to work, he wears Chopsticks flashing as and purple flash on a light blue glaze story that during the Japanese invasion, as little as he can as they ate, the two laughed background, have been prized for centu— a Japanese army officer came and took he kneads clay, looking like at each other's quips a splendid ries. Many homes have had Such mounted away four big truck loads of'shards, piece of statuary in blackwood frames. Others have had using local labour to excavate for him. in action. just two young potters gold or silver backing made for them, In the museum, however, there are a down at Shihwan, in Nearby, Liu 0u~seng, few pieces of the fine blue which are Kwangtung. being used as hat or dress ornaments. just fourteen, son and excellent. The research workers who Collectors have been keen to add good grandson of potters, whose work at the modern kiln site have not pieces of chun to their store, so that name means "born.of the root yet been able to reproduce it, though prices in the antique shops were high. of the lotus", sits on his bench, they have had some fair success with Canton Many of the old Chun potters went south boyish face intent on the green glazes. August with the Sung court when the latter bringing to gay life 1963. retreated south of the Yangtsze, but the tiny pottery toy his hands There are some 200 Ju Sung and Yuan kiln the Yuan or Mongol period was more suc— strongly and yet tenderly sites around Lin Ru, in twelve areas. cessful in reviving the glaze than it fashion; for him it is not Most are along a tributary of the Ju was with other Sung wares. So most what is worn that matters River at Yen Ho Dien, a village we had authentic historical pieces of Chun are but what is created. some trouble getting to on account of one of those two periods. of the weather and the rise in the Ju River we had to cross. The place is one The pottery town of Shen Ho has around of great scenic beauty - hill and stream thirteen thousand people. All have to blending perfectly. Many of the ancient do with the business of pottery making. Ju kilns were quite small, two or three THE GLAZING OF EARTHENWARE 2:13.51“ .38. 0.C. Stephens This corre3ponds to a molecular formula of — SEABOARD JOINERY LTD. Second Article PbO 0.82 glazes mature Manufacturers ol The following series of K20 0.055 A1203 0.102 3102 1,46 at 9600C (Seger cone 07A). They are to "Leach” Potters Wheels. be used only on earthenware bisguit that CaO 0.12 has been fired at least to 1100 C (Seger The feldSpar should be a good quality OUR WHEELS ARE NOW IN cone IA) or, preferably, higher. The Potash feldsPar, the clay should be a biscuit should be so hard that it is white burning ball clay, to give a non—scratchable with a file, should be good adherence of the glaze when raw on almost non—porous, and the body must the biscuit, and the flint should be have at least 75% SiOz. (See first ground to pass a 200's mesh lawn. article in Vol.7 No.1.) Generally it is not wise to use raw lead With this biscuit it is difficult to put compounds in glazes because of the on a coating of glaze of sufficient danger of lead poisoning. So usually a thickness by pouring or by dipping, as fritted lead is used in the form of too much of the glaze runs off, unless lead mono—silicate, or lead bi—silicate. the glaze suspension is very thick, in The above glaze using lead mono—silicate which case it takes a little time to would be — learn the twist of the wrist that throws Lead mono-silicate 383 off the excess glaze, and leaves an even FeldSpar 50 coat. If the glaze is very uneven, Whiting 20 grubbing, i.e. the glaze receding from Ball Clay 20 patches, or blistering may take place. Flint 20. For the beginner the surest way is to have the pot hot, from a heating cup~ The lead mono—silicate may not spray the glaze on. For board, and to correspond exactly to the molecular for— booth with an exhaust this a good Spray mula PbO.Si02 and therefore some experi— essential and it is also neces- fan is mentation and small modifications may be mask. The best type sary to wear a good neceSSary in this glaze. Note that it gun is an 'Aerograph' type of Spray is no use trying lead bi—silicate, as an adjustable nozzle giving M.P.S. with the higher amount of silica would give fan a horizontal fan spray, a vertical immature matt glazes. spray, or a cone Spray. It is used Spraying with a compressor. The best To the base glaze can be added various pressure is about 20 lbs. per sq.in. colouring oxides (copper, cobalt, is above 25 lbs. the If the pressure chrome etc.), and also various modify— glaze susPension is delivered in too ing oxides (zinc oxide, tin oxide, fine a spray, and floats in the air titanium oxide etc.). These modifying on the too much, rather than depositing oxides affect the texture of the glaze, biscuit in granular state. and also modify and soften the colour. Cobalt oxide alone is a harsh unlovely for 9600C (Seger cone A good base glaze colour, but when modified with zinc, or 07A) which is viscous enough not to run tin, or titanium, or with a mixture of I N E R Y L T D. and grub- S E A B O A R D J 0 and also free from blistering two of these, or all three, some very bing, is - beautiful glazes can be made. When these

oxides are added to the base glaze they I H o a d White lead 350 1 5 r u a R may harden or soften the glaze and then

0 FeldSpar 50

H t 1 1 1 n g t 0 n some modification of the formulae may be b

F‘t 20

our-i Whiting A u if n d 8.3. 6. ll

10 necessary. For instance, a good semi- a 2003 lawn and store in a Winchester glass jar. Put a mark lae. Recently I have matt beige glaze is - bottle or large tried to buy Lead that case of course the obvious remedy at 3000 c.c. Allow to settle. Siphon mono—silicate in New Zealand without White lead 400 is to increase the glaze-firing tempera— off any water above the 3000 c.c. mark. ‘success. and I will have to FeldSpar 50 try to ob— ture. 30 c.c. of this suspension (after a good tain some from overseas, or will have Whiting 20 A good white shaking) gives 5 grams of zinc oxide. to build a small frit kiln to make some. semi—matt glaze for Cone Ball Clay 20 07A is:— Flint 100 Blisters in the glaze A very good Black Glaze, which must not with addition of Rutile .. 20. be fired higher than Seger Cone White lead 105 Where the bubbles which form in the glaze 07A, or it tends to a gun—metal sheen, Feldspar 15 as it matures do not flatten out, they and may This, using Lead mono-silicate, is:- run a little}, is:— Whiting 5 remain as blisters on the surface. This Ball Clay 10 Lead mono—silicate 438 is caused by an incorrect acid/base ratio White lead 350 Flint 130 FeldSpar 50 in the glaze (or too low a firing temper- FeldsPar 50 Zinc oxide 60 Whiting 20 ature); that is, the ratio between the Whiting 20 Tin oxide 15 Ball Clay 20 aasic oxides (K20, PbO, CaO, etc.), and Ball Clay 20 Glaze frit Flint 7 the acid oxide SiOZ. Blisters are more Flint 100 321 G. 150 Rutile 20. likely to occur — Cobalt oxide 20 Manganese di— This white glaze, using Lead Bi—silicate The extra lead is necessary as a flux. l) where the glaze is matured (heated) oxide 45 would be:— too quickly - the time for a glaze Iron oxide 25 A good green turquoise glaze:— firing should be a minimum of 5 hours, Lead Bi—silicate 140 Copper oxide 10 and Feldspar 15 White lead 350 Use a medium-heavy coat. Whiting 5 FeldSpar 50 2) where a very heavy coat of glaze has Ball Clay 10 Whiting 20 been applied. A further note on crazing Flint 81 Ball Clay 20 Blistering can be cured — Zinc oxide 60 Flint 120 The order of the oxides in their effect Tin oxide 15 Copper oxide 5 1) by increasing the acid, i.e. the on the coefficient of expansion of Glaze Frit 321 G 150 Tin oxide 20 Silica content of the glaze, glazes is:— Zinc oxide 25. 2) by adding zinc oxide, Si02 .05 Weighing out batches of glaze ZnO .07 The extra flint is necessary to 3) by raising the firing temperature of I usually stop A1203 .17 weigh in grams because bubbling of the glaze and the tin oxide the glaze. 1 gram = 1% of MgO .45 100 grams and 500 grams and zinc oxide soften the green colour. of dry weight One or all of these remedies may be 13203 .66 of glaze is a convenient quantity for necessary and, with some oxides (e.g. PbO .06 a suspension in a quart bottle. Using lead mono-silicate this would be:- Antimony), blistering cannot be stopped CaO .63 383 except by incorporating the oxide in a BaO HHl—‘OOOOO .73 Lead mono—silicate Lapis Blue Glaze Feldspar 50 frit, and grinding the frit before add— K20 3.90 Whiting 20 ing it to the glaze. Na20 4.32. Lead Mono—silicate 383 FeldSpar Ball Clay 20 So the coefficient of expansion of a 50 For certain effects it is necessary to Whiting Flint 40 high soda potash glass might be 0.1581 20 use glaze frits and glaze stains. x Ball Copper oxide 5 10‘ while a high Magnesium Clay 20 These are frits (as mentioned above) in zinc glass Tin oxide 20 might be 0.0456 x 10—4. So if Flint 20 which the colouring oxides have been a glaze Tin oxide Zinc oxide 25 is crazing, change an oxide of a high 20 incorporated in a melted glass and then Zinc oxide coefficient of expansion with the 20 finely ground, to pass at least a 1205 .Glaze stain NOTE: The zinc oxide, on standing dry, molecular eguivalent of an 224GS. 15 lawn, and better, a 2005. oxide with a is inclined to granulate and may need low coefficient of expansion, e.g. It is a long and tedious A softer Lapis Blue grinding, otherwise the larger granules job making replace CaO with MgO or ZnO, or increase do not dissolve in the glaze and an un- these frits, even if a frit kiln and a the Si02. Lead Bi-silicate 298.4 pleasant sand—paper effect is obtained. suitable grinder are available. But Feldspar 30 It is better to grind 500 grams of zinc they are available from the ceramic The difficulty here is that the fluxing Whiting 20 oxide in a ballgrinder with 3000 c.cs of supply firms, and I shall be mentioning powers of these oxides may not be equal Ball Clay 20 water. Grind for an hour, put it through some of them in succeeding glaze formu— and after the change the glaze may not Flint 46 mature at the original temperature. In Zinc Oxide 4O 12 Tin oxide 15 Precipitating a strong last siphoning off of the water dry the Cobalt, 321 G 27 colour oxide, like ash, and then store in jars. Remember Sources PbO K20 A1203 $102 224 CS 8 in a very fine state of when using ash in-a glaze, the ash is susPension bulky and therefore a heavier coat of Lead bisilicate 0.9 1 ‘2 Pale Grey glaze is necessary. Feldspar 0.1 0.1 O If cobalt oxide is added to a glaze China Clay Lead Mono—silicate 383 . . . 0 2 O 4 50 WithOUt prolonged grinding, the coarser A good wood ash Jade glaze is:— Flint (SiOZ) 0 2 Feldspar particles even when passed through 1203 ———————______;__ Whiting 20 lawn, cause a darker blue Spot in the $396 L d 128 0-9 0.1 0.3 3 O Ball Clay 20 glaze. Sometimes a Spot like this is lte ea . . . _ _ a Flint 20 very beautiful but where a smooth colour FaldSPar 20 éeid Eigilgcate ; 8'iX343 — 306.7 72'Of Tin oxide 20 is wanted it is easily gained as follows: Whiting 10 Cgas Cle Spar = 0.2x556 55.6 13.0f 6 641 GS Dissolve 20 grams of Cobalt oxide in a Ball Clay 10 Fli:: ay o'zns _ il'é 12.0? 100 c.c. concentrated Hydrochloric Acid. Flint 30 ' X6 _ 2'0 _£;§A Dark Jade ... with a soft brown fleck Add the acid in two lots, warming gently Rutile 2 425.9 99.8% 20 _ .1 cate 383 and stirring to avoid frothing. Then 235 GS , Lead Monosilicate - ;:::S:::O Si 1 50 evaporate to semi—dryness to remove ex— (Escallonia) WOOd 85h 20 PbO SiOZ Molecular Weight 283 , _ 20 cess acid. Now dissolve the Cobalt _ . Lead Bi—silicat Whiting 20 Chloride you have formed in hot water. The“ the C31CUIat1°n 15 as b810W3' PhD 2 8.06 M 1 1 , 3 illit01ay 20 There should be no black cobalt oxide Basic Form of Glaze Formula _ l 2 O ecu ar WElght 43 30 show1ng. Add gradually a solution of 80 o (to be continued) 235 GS grams of washing soda dissolved in hot for 1080 C water. Boil for some minutes. Leave to 0'9 PbO 0'3 A1203 3'0 SiOZ (Note) The glaze frits and glaze stains with a fleck Rich Brown Glaze settle. Decant off the clear water. 0.1 Kg or Na20 mentioned in this article were all ob— Lead Mono—Silicate 383 Repeat this washing and decantation until tained from Wengers Ltd., Stoke—on— Feldspar 50 the decanted water is not alkaline. Di- Trent, England. Whiting 20 lute to 600 c.c. Then 30 c.c. of this Ball Clay 20 Suspension of very finely divided cobalt ‘

Flint :8 carbonate represents 1 gram of Cobalt £23....Z' c oxideoxide 30 'd9— . NELSON SUPERFINE MINERALS Crocus Martis 20 Wood ash in Glaze- Manganese dioxide 1 Although wood ash has a Special value in WOLLASTONITE 80 lbs. bags £1.12.10 stoneware glazes from Cone 8 upwards, it DOLOMITE superfine 112 lbs. £1. 5. 5 Dark Red Glaze does have a real modifying effect in MAGNESITE 80 lbs. £1. 4. 1 For a good red glaze in an OXidiSing earthenware glazes also, although its WHITING (Ca1Cium CarbonatE) 80 lbs. 18. 0 atmosphere at Cone 07A, it is necessary fluxing effect is not high. I have tried FELDSPAR, Nelson 112 lbs. £1, 6,10 to use a fritted glaze With a red various ashes: willow, gorse, laures— TALC 56 lbs. ‘ 15. 9 (chrome — tin)’ 8 laze stain. ' ' ' escallonia. The ::¥::;tag;l:§:sem::: igllow, laurestinus All the above minerals are ground to 200—300 mesh. Freight or to llSted prices. 769dG .1. ta 3:2 and escallonia. About 10% of wood ash pOStage addltlonal Lea mono—51 ica is usuall enou h. In reparing the Feldspar :8 wood ash gor us: in a glaze, put the ash IRON OXIDE 112 lbs. £1- 8' O Whiting 20 in a bucket, add plenty of water and put Lb. lots l/— per lb. Ball Clay 8 through a coarse lawn to remove any un— Fllnt 15 burnt carbon and other coarse particles. Freight or postage additional to listed prices. 8 GS 30 Then put through a 120s lawn, and allow 758 GS 3 the fine ash to settle. Then siphon off All these products have been tested and approved by practical Rutile 1 h h t be the clear water on top. Add more water ‘ potters. This amount 0f RUti e w 1° mus and stir well. Again allow the ash to weighed accurately, helps F0 §t0P_the settle and siphon off the clear water. Accounts will be forwarded monthly. Ian McPherson, 10 times. After the red colour bleaching when it is fired a Repeat this about Mapua, little too high. Nelson. 14 15 THE WORLD CRAFTS COUNClL: Special techniques, demonstrated in person or in movies and ITS FOUNDING AND ORGANISATION slides, were discussed in carefully arranged symposia. Trips to the World's Fair, a boat ride around Manhattan Island, supper at the New Zealand was represented at the First Metropolitan Museum of Art, evenings of World Congress of Craftsmen by Nan singing and dancing added a light and Berkeley, delegate, and Mary Hardwick— cheery note. Smith, observer. Nan Berkeley was appointed as a member of the General Such a Council will have far—reaching Assembly of the World Crafts Council consequences for the craftsmen of the representing New Zealand. In order to world. For the first time there will be establish some form of regional organi— an organised means of intercommunication PRIMITIVE POTTER'S WHEEL f sation Mrs. Berkeley wishes to contact on subjects related to crafts by resi— craftsmen other than potters so that dents of all countries. Problems of IN FHCSERIA New E; Zealand may be properly represented at standards, design, production, marketing the next meeting of the Council which is and pricing can be studied and the find— planned for Geneva next year. Anyone ings made known to all. The emphasis interested please write to her address: throughout This photograph shows a moment of history a wheel to throw on and not merely as a the Congress was largely on Mrs. Nan Berkeley, 21 McFarlane Street, design and education and the need of that has been congealed for probably a turntable to make coiling easier. I Wellington, C.4. art content in the work of craftsmen. thousand years. The potter moulded the suppose technique in this village of base of her pot on another old pot. Then Badegge has remained at this point for June she set it in some soft earth in a big many centuries. 12, from now on, will be known all The World Crafts Council aSpires to calabash tray. She put the tray, which over the world as World Craft Day for, by noon ultimate UNESCO membership and is is Slightly hollow in the centre, on to A hundred miles away, at Abuja, Ladi of on Friday, June 12, 1964, the directed more to the art and cultural a small mould of earth, so it was really Kwali has a less advanced technique. World Crafts Council organisation was ratified aspect of craftsmanship than those a wheel on a soft central bearing. Then She walks around her pot and there is by representatives from 46 countries, organisations which also include many she went on making a coiled pot, turning no suggestion of a wheel. At the Same a General Assembly had been appointed, other areas of activity. the wheel as she moved round the edge, place, of course, there are plenty of a Direction of sixteen chosen and officers elected. almost, but not quite, achieving the modern wheels introduced by Michael Cardew. So within The orientation towards the art concept of clay. a hundred miles you movement of a slow thrower This event culminated three long sessions in craftsmanship is a result of the be have almost the whole history of pot— Just a little more and she would of planning and discussion held during belief that as world technology increases as making exemplified in daily practice. using this primitive potter‘s wheel the first week of the First World Con- there must be an outlet for the creativi— Ray Chapman—Taylor gress of Craftsmen Sponsored by the ty of man through which the continuing American Craftsmen's Council and held on culture of a nation may flow whether it the campus of Columbia University in New be through the efforts of painters, York from June 8 through June 19, 1964. sculptors, craftsmen, writers or musi— Altogether there were, by the second cians. The World Crafts Council is NEW ZEALAND CRAFT CONFERENCE week, 942 conferees from 47 countries. concerned with the craftsmen whose work The greatest number, 692, came from the can bring beauty to buildings and on the place exhibition of New Zealand Crafts was The second study conference United States as was natural. 250 came gardens, the interior of homes or the commer— held. Unfortunately, plans for future of handcraft in the cultural and from all over the globe, from Asia, apparel of man. Such has always been at the study—conferehces of this nature had to cial life of New Zealand was held Africa, South and North America, Austra- the role of the crafts and such it will be abandoned, as the Standing Committee Department of University Extension, 21 lia, New Zealand and Europe. continue to be even in this age of tech- Princes Street, Auckland, from 27—29 found itself unable to carry on owing to nology, for the output of the machine August, 1964. It was organised by this the pressure of other work, and no—one These delegates listened to panels on will always be influenced by the creative could be found to take over this arduous Department in association with the New such topics as ”The Relation of the Past ideas of designer—craftsmen. This fact task. This is a pity, for the idea is Zealand Crafts Conference Standing Com- to the Demands of the Present"; ”Pro— emphasises the need and role to be played mittee: Chairman, Gerald Wakely; an excellent one. Perhaps in a few duction and Marketing in One World"; by an international craft organisation. Secretary, Jack Laird; Member, Terry years' time when crafts other than pot— ”Design for Production”; 'Tducation Bryant. Several excellent papers were tery and weaving have gained in strength Through International Communication”; In stressing the creative possibilities delivered and many interesting discus— and adherents, the whole idea could be ”Our Changing Environment" and "Vistas in the crafts, the World Crafts Council sions took place. At the same time an revived. of the Future”. will always, however, realise the need

16 17 by individual traders who worked hard to for study of the complexities of produc— cool, in fact quite chilly at night even floor of and distribution of the work of reinstate the native dyes and taste in the sheep corral so is tion in high summer. It's technically rather had largely disappeared. desert, like sods of peat. craftsmen. Its basic thesis is, however, design after they but It burns, but not so colourful, yet wide and open. In too fast, that underlying all sales is the question and leaves quite a residue sheer size the canyons are hard to which of good design on which sales depend. They put on an evening for local potters protects the pots while believe — Grand Canyon in particular hot. The to see my slides of New Zealand pots and is Museum staff put a pyrometer an incredible place and thermo- with wonderful colour couple into this (Report taken from the first Newsletter also slides taken in England and Geneva. particular firing and changes and a whole life and history of it registered of the World Crafts Conference.) We can feel complimented by the number a heat of 625°C in 1% its own. hours. The who turned up. "kiln” was opened in 3% hours at 150 C but this was probably rather Mary Hardwick—Smith. I arrived at Flagstaff in time for the early Went to see a large Indian secondary on account of the Special audience Annual Hopi Indian Pow—Wow and Craft present. school run with emphasis on all the arts The humidity being on an Exhibition, so was able to watch the average and crafts. Apparently any Indian can 7% to 10%, the pots had been In the Rio Grande Valley, New Mexico, I weaving of rugs and belts go on a scholarship from anywhere in the (the latter by thoroughly dried, and because drove with Joe Wertz, an ex—architect a man) on simple the potter vertical looms, as well was thoroughly skilled who has been potting for a number of country — they seem to be on a very in mixing her as a potter decorating and firing her body, different footing from the negroes. Some in handling clay and in making years, the sixty miles to Sante Fe, just pots. She made a fire of sheep her Indians are not allowed to do pottery be— dung and pots, she was able to fire to at the time when the sun was going down. a little coal, 825°C in let it burn to red embers, Such a short time Sounds naive, but this first taste of cause it is against tribal beliefs, but without an explosion. then put on more sheep dung; a layer of the magic of the desert really affected others were doing quite a variety. It sherds, then stacked two or three pots After being me — so vast and wide and dry, with was holiday time so some were working on exposed to all these crafts on the sherds. More sherds over the pots I came wonderful colouring. Joe has built him— wages to fulfil orders for the Education home determined to try to make and then she built a beehive ”kiln” with Silver jewellery, self an adobe house with one glass wall Department — mostly sculptural. They to build a vertical more dung, enclosing the whole batch. loom, and looking out on to the swimming pool, have the usual gas kiln. The idea of in the rest of my time (if any) The dung, by the way, is taken from the to continue yet the whole is cool and dark inside - holiday—paid work seems to be to show potting! most effective. The outside is designed the Indians how to combine learning with EXTRACT FROM A TALK ON just as carefully, with pots as part of craft training and also the need to com- CRAFTS IN THE U.S.A. by Mary Hardwick-Smith the landscape and a large sculptured plete jobs once started. Really beauti— wall panel on the end wall. Lots of un— ful fabric printing based on Indian glazed ”holey” lights (holes to let the designs was being done for wall panels light through!) arranged in groups. by a method I hadn't seen before. Jeanny, Joe's wife, does weaving — a magnificent rug of hers on the living Since the Spanish arrival, silver jewel— room floor. lery has become a traditional craft and there is also metal—work and sculpture. They had a fine collection in their BRICESCO Santa Fe is a so—called ”Artists' Mecca” gallery, mostly pots. These showed the and a tourist place — strong Spanish influence of their tutor-potter, a influence. My first introduction to graduate of Alfred Technical College, Indian crafts — pots (the traditional N.Y. (where Daniel Rhodes is), but there ELEGTRIKILNS low—fired burnished unglazed decorated were some pots which were quite individ— earthenware); silver and turquoise ual. The native traditional pottery For further particulars write to the New Zealand agent: jewellery; yucca basketwork; fabulous fetches what seems to me to be very high rugs — usually not large, some with too prices,e.g.318 (£6.l0.0) for a not very Miss Mavis Jack, much analine dye and pattern gone big pot — but Indian pots are much sought 62a Tinakori Road, astray; but plenty of really lovely after. Wellington, N.l. work — unfortunately it is very expen— sive. Mostly homespun wools (some In Northern Arizona I stayed at the cotton) and often with twigs attached Museum and Research Centre at Flagstaff Topfloading and front—door Opening BRISCESCO Kilns still and bits of grit, not too well—washed with my cousin Diony Sutherland (from available to those with overseas funds who are in a Christchurch). p031tion if at all. Lovely vegetable dyes in I was favoured with a to procure N0 Remittance licences. soft yellows and greens and natural summer hut - one of the several provided black, grey, brown and white wool colours. for summer research—workers — so was able Patterns vary according to the district to unpack and breathe again. Flagstaff and are largely the result of influence is 7000 feet up, clear and comparatively BRITISH CERAMIC SERVICE CO LTD 18 19 FUNCTION AND FORM.— FUTILITY AND FERTILITY Barry Brickell

The elusiveness of truth constantly amazes me. It lurks behind a barrage of words and is likely to be found support— ing a different pillar from the one ex— INDUSTRIES LTD. pected. Even so time alone may prove C.C.G. whether Mr. Truth is really there at all. To take an example, let us look at the ELECTRIC KILNS worn out old argument of form versus function. Would you ever question the fact that in pottery, function gives rise to form? For example, the form of a jug is decided by its need to contain Suppliers of Raw Materials and pour liquid and be handleable. Is this so? All jugs have to undergo a to all the fields of Pottery etc. making process too. Is this also of importance? I suggest that it is, and that upon it hinges the basic motive for this illustrious publication and the craft revival movement, so let us study - it in more detail. We now manufacture C.C.G. Electric Kilns With my life in my hands I venture to (a) The midget test Kiln .47 Cubic feet suggest that the making of a jug is just as important as its usefulness, if not Cubic Feet. (b) The l 1/3 more so. As a further risk I have to (c) The 2 Cubic Feet. add that the sensations of the audience in handling the jug are also of more Cubic Feet. (d) The 3 importance than its usefulness. Without going into lengthy dissertations, I like to make these suggestions with all (d) is three phase. (3), (b) and (c) are Single Phase, possible intent for their overlooked truths. Thus I ask, how important is form in pottery really? Does it still and Props (Tube type) solicited. Enquiries for Shelves arise from function alone?

I would like to diversify our line of and pamphlets etc., write to : For further particulars thought here, and take one or two other instances of living other than pottery. Let us consider travel, for certain C.C.G. Industries Limited, [1 types of travel are one of my weakness— P.O. Box 3724, es. Travel is a process which is seldom AUCKLAND. undergone successfully, especially now— adays with so much speed, comfort and Phone 549-758 detachment. Increasingly do travellers have to resort to drugs, idle gossip, VED. heavy smoking, newspapers and other STOP PRESS! GOODSTOCKSOFSEGERCONESJUSFARRI forms of escape in order to survive the boredom of the journey. Gradually the

21 20 stantiate the idea of working or living things. Perhaps you have read Kipling for the present. technicians and designers are removing The making, the doing, and loved the ”Just So” stories. You the action going on at the direct sensations of travelling the time; in— might even have got excruciating delight volvement and occupation from us, so as to give greater efficien- versus looking from poking your finger through the to the future. cy Speed and safety, it is claimed. If This has an enormous icing of a very smarmy wedding cake. effect on the work I may be permitted, I would care to give of the potter, which These and~all the other associated ones, we must at a good illustration of this. The stan— last consider. Suppose a naughty and serious, are your qualifi— dard older N.Z. Railways passenger potter is turning out work with the cations for being able to appreciate, carriage had generous lift—up windows idea in mind of sale, exhibition, gift judge, and admire or loathe pottery, or even and also delightful open verandahs at strict uSage, — beware. His just as you discover about human beings. each end. (Many are now relegated to pots are likely to be mere tools - for You don't even have to read about it or slow ”goods with car attached” trains.) his own material gain. What then is the swot up the facts. Though speeds were slower, one could alternative? Surely for the potter to be turning really enjoy travelling in them. There out work, yes, but for his Be sure, however, at what I am getting was the freedom to enjoy various sensa— own pleasure and interest. Further than at. For example, I can be much moved tions now impossible in the later type that too; for his own stimulation. The by the playing of a good cellist; but of vehicle which has scarcely-opening potter who extracts the maximum stimula— woe betide the ears of any trained windows and closed—in vestibules. tion from travel or work is likely to musician who has to endure my efforts. Efficiency and safety campaigns are make much richer pots. I am always on He could only enjoy my efforts if he the Speeding up living, aiming at the lookout for the pot which expresses were not trained or unless he was pre— future instead of enjoying the present: those particular sensations of the pot— pared to face with a vengeance, new removing from life those childlike ex— ter while making it. I ask to be able sensations. Whatever the choice, how— cursions into the world of innocent to re—live his creative moments. I de— ever, we end up with pots versus sensation. mand richness — not necessarily of pottery, music versus sounds, painting texture, colour, shape (horrible word) versus picture and poetry versus rhyme Connected with this train of thought, or mechanical things — I demand richness and rhythm. Now is my intention clear? there is another activity which I cannot of Spirit, of the potter, by his pots. I am forever hunting for the spirit let pass without comment. This is the behind the work. Technique and success business of money—making, from the human It is all very well for me to demand. or spirit are not related. angle. I presume that to make money one Perhaps you yourself, dear reader, have never has to work. Men are equipped with bone, made pots at all and what's more, Unlike the amateur potter, the profess- muscle and nerve which enables them to don't care to. I am a potter and am ional is not in a position to make pots do this, but they have something else as versed with the techniques of the game. just as the mood suits. Whatever the well. This is the infinite capacity to Some will tell you that my weaknesses mood the latter has to turn out a cer— on vary their work and so eliminate bore— the technical side are abysmal, but tain number of pots per day for his dom and create stimulation. However the do you think that I mind? Somehow I bread and butter. In our day and age he price that most men pay to receive their cannot raise the extra energy required would almost have to be superhuman to to weekly money packet by enduring boredom, care! Nevertheless the argument now maintain production at a high spiritual is quite remarkable. There is nothing is to prove that you don't need a tech— level as well as technical. A few over— nical wrong with making money. It is the way knowledge of pottery making in fired pieces, twisted beyond a joke, a in which the money is made that I am order to fully appreciate pottery. few underfired, pallid and gutless, re— considering. The man who is concerned (Same with painting, sculpture, poetry, move that smart, hero—like quality that with the intricacies and problems of etc., otherwise there would be little professional potters are supposed to audience.) have. his work there and then is a much Surely as a child you Potters, like other humans, are happier character than he who cannot fingered clay, learned about its plas— subject to moods; only in their best throw his Spirit into it. If both men ticity. You must have looked at bricks, moods do they make their best pots. In tiles, receive the same wages the former man pipes and good old bread crocks my own experience, the choice of a suit— and becomes the richer of the two. Why — made your own discoveries as to able or compatible environment has a because he is self—stimulating, thereby what heat can do to clay, and how melt— marked effect on the mood and therefore exercising and keeping fit his spirit. able substances in the heat of the the pots. The sensible potter will firing can enhance it. You have loved therefore choose an environment, or trees, Returning to our original train of landscapes, water, rocks; felt create one, in which he feels most at thought, of what consequence has been warmth, cold; sweet, dry; rough, ease. the discourse smooth and bedome Most on travel and work for ecstatic about simple amateur potters I have known have money? I have introduced both to sub— 23 to lead a sort of "double" life. There The amateur potter can work just as out a grain of salt, woe betide the is the tedium, the chores, the social the spirit moves him; one expects to whole world of art. How could it exist? flitting of their "other" life and the see much clay feeling and less tech— As an artist, as a real Christian or a chastened harmony of their "pot" life. nique. Buddhist or as a plain human being, you Whichever is dearest to them is seen in put yourself first. Your own storehouse their pots. Pot making and firing, The outcome of all this is that we are of experience, sensation, knowledge and done under stress or urgency due to creatures of sensation. We can communi— wisdom (how many of these are the one nearby, disharmonious environmental cate with each other roughly enough with word?) has to be stocked first - before circumstances, are likely to be somewhat words, but real communication can only you can give. I am forever frustrated hazardous processes. Nevertheless this take place when sharing things — not when having to put on a throwing demon— can stimulate some very vital and being dogmatised to as I am doing now stration in front of a few people — courageous work. On the other hand, (to you). The sharing of experiences particularly ladies. Many of them are our pottery exhibitions are richly en— and sensations is a two—way process, thus so intent on receiving, with avidity, dowed with mechanical hand—made pots, communication is giving and taking at that they cannot give, and therefore I banal in Spirit, from the amateur sec— once. At best, all I can possibly give have to try to give without receiving. tion. I am led to believe then, that in writing this article is to provide you I find a little clay flicked about usual- there is another type of amateur — with some amusement — for which you have ly starts the game. Even the meekest of comfortably off, no worries, no inter— in any case paid. Returning again to Christians have to defend their souls! ests, anxious to make their mark in the pots, all this means that there can be social world by dabbling in one or in no such thing as the good and bad pot. In conclusion I do hope the reader has some cases, several of the arts. If The ”tight" and the "generous” pot are been a little more than amused. Perhaps only they knew how they expose their better terms, but possibly ”success” and I might have succeeded in angering some vanity when exhibiting! Nevertheless, ”failure” are more to the point. Succ— — well this would be good news. I can— thanks to modern democracy, the amateur ess or failure to communicate. This is not possibly give vent to all that cross— potter is really in the best position why the making process is so important; es my mind while writing. My real job of all — to make what he (mostly she, it is the sole occasion for giving. is making things, — this seems to work still) likes, when he likes and how he much better. Without being pedagogical, likes. Finally there must be a word about self dictatorial or trying to mend the world I would like now to summarise all that - yourself, myself. As Christians we with missionary zeal, the only pleasure has been chewed, masticated, absorbed are taught that the other self is to be I can get from writing is to drop bricks and rejected, as follows: considered before one‘s own self. If and clangers and listen for the sound this were taken too seriously and with— effects. 1. Form in pottery is not of so much importance; I mean the mechanical aspect. STOCKTON'S 2. The sensations and experience of ANNOUNCEMENT the potter during making of the pot are very important. We regret to announce that owing to the expiration of our Lease we are 3 The process of making the pot is of discontinuing our business in our present premises as from the lst March next. more importance than the idea of the completed article. (Status symbols, As soon as suitable premises are available we will be opening a small tools.) Gallery for exclusive Overseas Pottery and Local Pottery, Sculpture and allied Arts and Crafts. 4. You neither need to be a potter nor do you require a techniCal knowledge We wish to thank all our customers for their support and we look forward of pottery in order to appreciate it to announcing Stockton's new Gallery as soon as possible. or have feeling for it. Your feel— ings are final. In the meantime limited stocks will be arriving and will be available 5. Environment has some effect on a from:— potter's work. REIKORANGI POTTERIES, 'Phone — POTTERY S T O C K T O N ' S 6. The professional potter must keep REIKORANGI, 22w Waikanae. 10 Woodward Street "alive" while maintaining WAIKANAE. Wellington. his work Phone — Office 46.312 his level of production. 25 "The effect of this pottery ”Incidentally, have you noticed that, in is going to be our into a vital art form. Japan CLIMATE Special contribution is CHANGING our happy little democracy where every— to art and theatre the source of many of the ideas on in particular", he said. which one is, so they say, equal, there are no the modern movement is based, and Bruce Mason, in a letter to the Editor women on the Arts Council? One or two with this country we have a strong and of the "Dominion” might make all the difference to progress growing basic contact. Too often, in Extract from the introduction in the arts.” to the other forms of expression, we trail catalogue of the 8th N.Z. Pottery behind Judges should be impartial and so should the world with a superficial and Exhibition reporters. But a critic is hired for watered—down version of the European his opinion, and the best critic is he tradition. But with pottery here and the New Zealand and Australia are in a who feels the strongest and writes Dr. W.B. Sutch in the Victoria University now something is happening which is alive unique position most vigorously. ”It is the capacity students' paper ”Salient", special issue for the development of and exciting and we are all involved. for making good or bad art a personal on "The Arts in New Zealand” 5/10/64. matter that makes a man a critic.” defini— Thus Bernard Shaw, in a classic New Zealanders, because of their human— tion that cannot be bettered, Mr.L.D. ity, are capable of producing great with whom I almost invariably Austin, music, great architecture, or the best disagree on critical matters, seems to pottery. When it is fully realised that POTS BY HANS COPER IN STOCKTONS SHOP, WELLINGTON me a good critic, strongly opinionated, aesthetics are not on the periphery of vigorous in style, and scrupulously life but are the heart of it, then we are courteous to opponents. laying the foundations for this greatness. Hans Coper was born in Germany in 1920. the end of February. However, this is My two-year term as a dramatic critic He had a technical education and worked not the end of Stocktons, and their for "The Dominion" revealed to me that When they are accepted as full contribu— for a while as a painter and sculptor. plans for the future are explained what many New Zealanders most dislike ting members of society, artists can act In 1939 he went to England. In 1946 he elsewhere in this issue. Over the is opinion itself. "Who do you think as pathfinders to industry and can help met Lucie Rie and worked with her as an years, they have used some of their you are?" dropped regularly through my instill some of the human attributes of apprentice potter. He set himself up precious licences to import the work of letter—box in anonymous and sometimes their work into other aSpects of the on his own in 1958. These wheelthrown artist potters, and for many of us our vicious letters. It is not necessary nation's economy. New Zealand design— pots, with their textured surface and first acquaintance with the pots of to agree with Sam Cree (T.V. critic) ers, architects, town planners, artists their exploration of sculptural form, Katherine Pleydell Bouverie, Bernard for him to be doing his job. In any and craftsmen will then be the new are typical of Hans Coper's work, and Leach, Michael Cardew, Eleanor Whittal, case, I believe he is; long may he. pioneers in New Zealand‘s drive for are among the most interesting being Kenneth Clark, Marianne de Trey, Winch— quality in all its aspects. produced by the modern school in combe Potteries, the Leach Pottery, England. Pablo Picasso, the Mingei School from Japan, and many Owen Jensen, Music Critic in the others, has been in this The Stocktons that we know, the shop "Evening Post", hopes, among other in shop. This has helped greatly with our Woodward Street which has for a long artistic education things, that in 1965: Bruce Mason, interviewed by the and we will all miss time been ”Dominion” a focal point for potters and this friendly meeting place where we connoisseurs, will be closing down at could browse "The Queen Elizabeth Arts Council, at leisure. which has mostly been treading water in "When your ancestors and mine put all its first eight months, might come to their chattels on to ships and went half- life with new ideas, not waiting for the way across the world to transplant the tide to bring along the flotsam and jet— Scottish and British way of life, they sam of requests but getting out into the took with them not only pots and pans stream of music to discover which way it and thousands of years of history, but flows. also a whole system of totem and taboo "First of all the Arts Council must, and a British and Scottish puritan back— however, get itself that director and ground, which they unleashed on the un— secretary it has talked about, before suspecting population, which died off its already inefficient office machine like flowers as a result”, he said. becomes choked with bureaucracy and grinds to a stop. At the moment, one The resurgence of Maori people, the fast- expert but harassed officer of the De— est growing race in the world, meant that partment of Internal Affairs and a New Zealanders with British and Scottish typist have to handle all the business. ancestry, were slowly turning Polynesian. 26 NEW ZEALAND ACADEMY OF FINE ARTS GALLERY

26 NOVEMBER to 6 DECEMBER 1964

NEW ZEALAND SOCIETY OF POTTERS EIGHTH NEW ZEALAND ( POTTERS' EXHIBITION 1964

To avoid spottiness and areas of lower interest which are otherwise inevitable.

By grouping the work of different DESIGNING potters together in a complementary way, the buying public would be en— The Eighth New Zealand Potters' Exhibi— couraged to see value in the work tion was shown in the New Zealand of other potters as well as the ones Academy of Fine Arts Gallery, a large, they know. imposing room. To avoid having this As all exhibitions cannot avoid vastness swamp the relatively small having both good showing positions scale-of the pottery, it was important and less good ones, it would be un— to provide more Sympathetic surroundings. fair for some potters to have their This took the form of a screen and beam work completely in a less important structure which defined a route, gave a position. This would disregard the more domestic scale, and provided spaces principle that all work which is se- which encouraged the viewer to linger. lected for exhibition, must as a Spotlighting brought the duller glazes consequence have equal exhibiting and the shape of the pottery to life. value. It was decided not to group the work of each potter together for these reasons:- Geoffrey Nees, Designer

29 PLAN OF THE EIGHTH NEW ZEALAND POTTERS EXHIBITION

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N E SIG U T

31 3O SELECTING statement in ceramics — though some are still floundering — not a few show an A recent writer said: "Craftsmen are emerging maturity. symbols of honesty, piety, industry and clean living. It is impossible to It did seem to the selectors, however, imagine them oversleeping, blaspheming, that some submissions fell below the kicking a dog, etc., and we all feel — standard required; there is no account— 'if only there were more of them .'” ing for taste or opinion in art, but if but after being selectors at the 8th a pot or sculpture falls below a required New Zealand Potters' Exhibition, one standard of artistry it should not be in- wonders if this is not so much William cluded; vice versa, if it meets this Morris fluff requirement but is technically impossible, again it should be rejected. These ques- After listening to the loud criticism tions exercised the minds of the select- over the selection, we feel it may help ors greatly, and if the rejected pots are those who wish to Submit work to the examined carefully by any fair—minded, next national exhibition to know some— qualified person, they would be found thing of the attitude of the Executive wanting in some way or other. who appoint the selectors, towards work submitted. The question of appointment of selectors in future received some consideration at The Annual Exhibitions of the Society are the annual meeting. It will be difficult not intended to be jumble Sales; they to find a person, whether from New Zea— are intended to be a display for public land or outside who has the divine admiration of the best work of our pot— qualities required to meet all needs. In ters produced during the year. In rela— any case he should, like Ned Kelly, tion to the 8th N.Z. Potters' Exhibition, appear in public after the selection, the selectors were very gratified by the only if attired in the kitchen stove. It high standard of work produced. It is is always in order to question the result better than ever before; this is most of decisions made, but it is wrong, in— evident in the stoneware, which makes up deed libellous to question the propriety the largest part of the show. We were of the selectors' motives. Comments impressed by the high level of technical made by certain persons at the meeting skill and accomplishment, and by the after the Exhibition opened, showed them richness and diversity of expression. In up in a very poor light indeed. Some general, simple forms were emphasised, Speakers seemed to imply that having and they succeeded in bringing out the reached a certain stage of proficiency, basic quality and character of the real or imaginary, they should not be sub— material used. This was accompanied by jected to the indignity of rejection by a general restraint and simplicity of selectors. Such a suggestion was emphat— design. Some pieces were adventurous ically refuted by the meeting. and though they showed an active search

ZEALAND for new concepts, they were not always Many individuals gave selflessly of time good in design. Nevertheless the in- and money to make a national undertaking creased use of experimental form and of this kind possible.

NEW design is the probable direction we can see developing in New Zealand. Their reward was in the Exhibition and its great success. To sum up:

EIGHTH POTTERSEXHHMTKDJ fEAN WEIR, MIREK SHISEK. HURIEE MOODY

32 setting out of a collection of people's OPENING work. It's an inspiration, a challenge, Extract from the Speech of an education and a delight. Her Excellency Lady Fergusson

..... Pottery of all arts is one which is closely geared to the very art of REACTING living.

This leads me to another point which Although it can be said truthfully enough has struck me forcibly, eSpecially in that the Eighth Exhibition of New Zealand the reading I have attempted to do during studio pottery has been the best yet these last months about the development held, and that our pottery has earned a of pottery in New Zealand. This is the deserved reputation abroad for its high emphasis given to, and the influence of standard of craftsmanship, it should be the Japanese school of thought. No one realised that in design our potters have would question the technical proficiency still a long way to go. By diversifying and the meticulous craftsmanship that the influences that other pottery- the Japanese have mastered through cen— producing countries have on our pottery, turies of experience. They have evolved and by digesting those influences, as DIVERSITY AND SIMILARITY. POTS PHOTOGRAPHED a striking style and form which from my well as thinking more consciously about IN ISOLATION TO SHOW VARIOUS APPROACHES TO limited knowledge of Japan are the natu— design and function in detail, we will be THE MAKING OF A TEAPOT. ral expression stemming from their way better equipped to begin making pottery of life. But it isn't our way of life. that has a chance of becoming uniquely To take just one example. To diSplay our own. There are faint glimmerings in Mirek Smisek one precious flower or frond, you need a this exhibition that this is beginning to Special Doreen Blumhardt narrow-necked jar of complement— happen, and that one particularly strong ary elegance and beauty — all right for influence is gradually waning. This Roy Cowan Japan. But what about the glorious should result in a more receptive climate EIGHTH NEW ZEALAND masses of strong vigorous flowers, for earthenware of good quality, and in Peter Stichbury POTTERS' EXHIBITION shrubs, ferns and blossom which grow in freer experimentation in shape, in clays Peter Wild such rich profusion here — and with and in colour glazes for both earthenware which we love to fill our homes, and and stoneware that reflects the natural Minna Bondy decorate our churches and halls. Can't qualities that New Zealand possesses — we evolve a container to be a qualities that in return

\IO‘UH-AwN glory could Crewenna in make their itself — and, oh dear, replace the sawn influence felt in the work of the potters in half rubber tyres which so often do of other countries. noble duty for lack of anything else? Dr. W.B. Sutch Secretary, Dept. of It is terribly important at this moment Industries & Commerce in your history to see — as we can see this evening, the very best. To keep a The increasingly held notion that New tremendously critical eye open for any— Zealanders are a nation of potential thing less than the best. Some of us hand—craftsmen may only be a myth, but may be uninitiated and need educating — at least it's an active ... a creative I for one — in appreciation of the art myth. We produce good potters, good form. There is always a place for learn— printers, good weavers, good folksingers, ers and people who are trying their skill and so on. We are a practical people. and enjoying the 'feel', and that is im- Our latent artistic nature lies buried portant — at the heart of the matter. I in our fingertips and in our native think most people can tell good crafts— clays and timbers. It's all very manship from bad. flattering, and it's not hard to equate such an idea with our own views of what An exhibition is not a flat dead—pan constitutes our national character. But 34 35 is there any truth friendly in it? Yes., I think vessels in a large number of suburban sincerity lacking among other so — though not necessarily for the kitchens. artists who may occasionally be sincere reasons usually given. We have, for Peter Bland but are rarely friendly. This virtue example, no peasant tradition ... and it Poet, Actor and Editor of "Education" is difficult enough to maintain in isn't peasants who make these pots. Our places like the Mausoleum of Buckle New Zealand potters are largely good CARPING Street and withers in the atmOSphere of solid middle class people with plenty of fashionable art openings. It is not time, leiSure, and — by overseas stan— Competent people have already assessed that only those who wear sandals and dards — money. A modern oil burning the merit of the pottery shown at the folkweave have the right to look at pots. kiln costs a lot of money; there's not Eighth Annual Exhibition of the New Nor has it anything to do with prices. much of the peasant/cottager about our Zealand Society of Potters. As a lover By and large our potters are too modest. social background. You have to be fair— of pots and — in a platonic sense — of It is simply that pots should be shown ly affluent to enjoy salami and stone potters, I enjoyedthe work on view in a way which reflects the Spirit in beer mugs ... let alone beer. Perhaps when I could view it under, around, or which they are created. Potters are not it's more of a William Morris revolution over the huddled masses allowed into the guardians of some arcane mystery. They occurring here over 100 years later than Academy of Fine Arts Gallery. As an are, if I can be forgiven an unintended was the case in England. There's enough amateur my judgment of the work is of no pun, the earthy attendants of a vigorous latent Victorianism in our make—up and interest. As a lover of pots and potters lively expanding and creative human public attitudes to sustain such a view. I do claim the right to comment on the activity. For this purpose a barn, if Industrialisation and urbanisation are exhibition 322 exhibition. it be convenient, may be — is likely to only now, in New Zealand, reaching some— be — better than the Gallery of the thing like the stage reached over 100 Anyone who paid the not inconsiderable Academy of Fine Arts. A barn ndght have Muriel Mood years ago in the old country. sum of lO/- for what my ticket described been big enough to allow a view of the as a 'private view' might well have been pots. A barn * might have discouraged Far fetched? Perhaps. But no more so extremely annoyed at the appalling con— the professional opening-attenders. A than the usual reasons given for our ditions. Although I was able to hear barn would certainly have been the place recent return to individual craftsman— Vice—Regal views on the ceramic art and to communicate that peculiar quality of ship. Pottery is a social activity. It might have partaken of a scrumptious enthusiastic participation which marks cuts across the boredom and isolation of supper, the object of the exercise was the potter in New Zealand. One of the N.Z. suburban living. It offers — thank to see — even to buy the pottery exhibi- most endearing things about them is goodness — a creative, communal sharing. ted. The absurd crush of humanity made their desire not only to find patrons This is the reason why it's taken such this virtually impossible and the mis— but to make converts. I doubt that many a big hold in N.Z. It's a small scale information on the ticket compounded the converts left the NatiOnal Gallery on social revolution that's grown out of a difficulties. When I arrived at the 27th November last. sensible resentment against the human stipulated time of 8 p.m., the gallery and aesthetic sterility of the quarter was already crammed to its nee—classical Therefore, invited and certainly unwel- acre. It is not, however, a completely gills. I was already aware that what- comed may I ring a Tocsin for the pot— satisfactory artistic alternative to the ever my ticket conferred on me it was tery movement in New Zealand" Keep it traditional ”pottery" schools of Europe not the privilege of priority since at simple, unpretentious; and sincere, and and Japan. Not yet, anyway ..... least one other buyer had been admitted the movement will grow as it has done. earlier in the day. Ape the Zombies.of the official art Obviously many of the exhibitors didn't world and your real strength — the basic have the consistency of the bigger names Do I appear to carp? I hope so, because tension that makes the movement alive — nor probably did they have the techni— I expressly wish to carp. If the Socie— and dynamic — will lie in shards. cal equipment — but a lot of them hit off ty of Potters wants to join the Academy good pots. It's no wonder that, even with of Fine Arts at the bottom of the J.L. Roberts with limited equipment, our home potters Gadarene Slope of exhibition snobbery Lecturer in Political find this an exciting business. We may then it must improve its organisation Science at Victoria even — in time — produce a major artist considerably merely to give value for University and Chairman potter — as it is we have a small but money received. of Focus — T.V. production important social revolution on the arts. on our hands My dearest wish is that the society plus a growing aesthetic, as (* The potters tried their hardest to well as should not try. The pottery movement in functional awareness of both find a barn - unfortunately the only food and New Zealand has a compelling virtue of one available had a plaster finish. 36 — Ed.) SUMMING UP has, that influence is now becoming a drawback. We must completely assimilate New Zealand studio pottery has come a it and grow beyond it into a tradition long way since its early annual exhibi— of our own. It might be to our advant- tions in 1957 and 1958. The number of age to assimilate a few other Cultures potters at work and their output have on the way. increased roughly four times. And of more significance is the fact that One criticism that can be made of this quality has grown to the point where exhibition is that there were too many New Zealand potters now have earned an watered down Japanese or Leach pots, overseas reputation for producing very their functional design set to tradition— good pottery. What was once an almost al Japanese needs rather than our own - SOUP SERVERS purely Sunday occupation has now spread we do not for example drink tea from EIGHTH NEW ZEALAND POTTERS EXHIBITION into work of integrity produced with a bowls, but we do use ashtrays and cups high degree of craftsmanship. This with handles. There should have been growing professional outlook is partly more of these and other articles care- the result of potters taking study fully thought out to suit our purposes. trips abroad, and making pottery full They can also be works of art, and they SOUP SERVERS AND CASSEROLES. time, of potters from other countries don't have to be conventional in appear— Different approaches to the problem coming to settle in New Zealand and in— ance to express those purposes. A more of designing food containers. fluencing us with their professional adventurous approach would have been standards of workmanship. And the pot- welcome. ters may well be resPonding in a qualitative way to the phenomenal inter- However, by the standards we have so far est the New Zealand public is taking in established, this was probably the best LEE THOMSON their work. exhibition that has yet been held in New ROYCOWAN Zealand. It is just that we need to keep DOREENBLUMHARDT But New Zealand pottery has an enormous— sharpening our standards so that we will MIREK SMISEK ly long way to go. knowingly arrive at a method of pottery ROHITHORPE 1 which is indigenous in its purposes and MARJORIE LEIGHTON Although it can be said that the influ— in its expression. MARJORIE LEIGHTON \JcctnnwH ence of Japan has been_large1y respon— sible for much of the quality our work Geoffrey Nees CASSEROLES Exhibitions Officer Dept. of Industries & Commerce JHAPALMER SPACE.DUHDER CHRISTCHURCH PAN PACIFIC ARTS FESTIVAL 22nd February — 6th March, 1965. the work of leading New Zealand potters VBH’OFSHOJIHAMADA (their own selection) will be on dis- play. ANDIHSSON,ATSUYA Other features of the Festival will be: This is an exciting event for pottery Sir Malcolm Sargent and the Victorian lovers in this country and the enter- State Symphony Orchestra, NZBC Symphony prise shown by the Festival Committee Orchestra, Southern HemiSphere premier in inviting Mr. Hamada and by the of ”Porgy and Bess”, the York Cycle of Christchurch potters in seeing the pro— Mystery Plays; Denver University Jazz ject through and in working out many of Band, New Zealand Ballet Trust, and Ex— the arrangements is highly commendable. hibitions of Australian and New Zealand Anyone with experience in these matters paintings. will know just how much planning com— TOUR mittee work goes into making a visit of OF THE NORTH ISLAND this kind successful. The New Zealand Society of Potters was The calendar for the demonstrations, given a grant of £200 from the Arts seminars and lectures by Mr. Hamada or Council so that Shoji Hamada might see his son has already been circularised. and be seen by more New Zealanders. A There have been several minor altera— Committee has been set up for this pur- tions to this, and the revised version pose comprising representatives from may be obtained from: Mr.S.B. Graham, the New Zealand Society of Potters, the 141C New Brighton Road, Christchurch 6, Japan Society and Dr. Terry Barrow, who or Mrs. E.F. Hill, 7 Bradnor Road, has recently visited Mr. Hamada in Christchurch 5. Japan. The tentative programme is for EIGHTH Mr. Hamada and his son to be in Welling— THE The exhibition of the pots of Shoji ton from 7th to 12th March, Napier 13th Hamada will be showing at the Canterbury to 14th March, travelling on to Auckland NEW ZEALAND Museum for two months and gives a unique where they are to depart on 20th March opportunity to study the work of this for two weeks in Australia. It is hoped modern master potter. that a public demonstration or lecture POTTERS, may be arranged in these places. Showing at the same time, during the EXHIBITION Festival period only, will be an exhibi- As we hope to give a good coverage to tion of Decorative Art from Japan, com- Shoji Hamada in our next issue (Vol.8 prising 61 pieces of pottery, 20 pieces No.1 August 1965), we will welcome of lacquer ware and 17 pieces of metal photographs, comments, reactions from work. As well, in another exhibition, potters and others interested. —Editor.

IIIIII-II-I-I-lllI-I-I-I-I-I- NOTES ON POTTERY SUPPLIES was formerly Technical Manager of a big Commercial Chemicals Ltd. has been pottery group. Commercial Chemicals Supplying (under its present name and an Ltd.‘s policies are: (a) to provide a earlier company name) pottery materials reasonable range of supplies deSpite im— for nearly 15 years. Its Governing Di— port licensing problems; (b) to supply rector (by profession head of a manage— colours which can often be used for mul- ment consultancy tiple purposes; (c) to provide clays and DAVHDBROKENfiflREIPOT business), has been deeply involved in pottery since 1939 and glazes which are dependable (within the Reduced.iron red glaze lit.9” 41 limits described in their catalogue); there is a delay of at least four months (d) and to help with potters‘ technical and often much longer before the shelves worries or suggest improvisations. All arrive. It would simplify this procedure orders are by mail or phone and are sent if potters would bulk their orders or A N“ ANN/Mme out — they don't have a shop. Later in else local Associations forward group v «\ '\’\/\@’\/\WAA 1965 their range of products will widen. orders to J.H.M. Carpenter Ltd. They publish a catalogue which contains :NONPORITEé helpful notes for beginners. Their ad— C.G.C. Industries Ltd., Auckland, have / x/AQ‘\\///\/ \\/*\/ \\v/\/\\\_*\\//\V\V/\/\4 vertisements in ”N.Z. Potter" will, from a complete range of Seger cones which now on, provide technical information for have just arrived. They also sell potters. nylon mesh for sieves by the yard. Their storerooms are well stocked with oxides and many raw materials for the potter and they welcome sales off the With the discovery a few years ago that floor from ounce fl/MWM lots fl’IM upwards. MIMI Silicon Carbide shelves were available A discount can be arranged on bulk orders. from the Nonporite Co.Pty.Ltd., Melbourne, One un— usual (for us) oxide of which Australia, one of the problems of New they hold Zealand stoneware good stocks is crocus martis, a purple and gimme potters was enema solved. In— red oxide deed,many new kilns have been designed of iron made by heating ferrous sulphate crystals round the 16” x 12" shelf size. The cost to dull red— ness in a current of air. This can be upTo l800 of these is approximately £3 each but O used as an underglaze colour they are a worthwhile investment. New and also in glazes. Zealand Agents for Nonporite are J.H.M. Oxidised it fires a reddish brown colour. Carpenter Ltd., Auckland. It is necessary C.G.C. Industries are for them to make an import licence appli— manufacturing four sizes of electric kilns cation for every order and this fact, and prices for these are available on combined with an approximate three months application, as are full catalogues for the other goods. ram/4722 mm”? delivery date from Australia, means that

—7 4 IN 4- CUFT PAPER BAGS THAMES & HUDSON LTD

A beautiful book of the,highest Scholarship at a ridiculous price — 5’25 CWE/W' THE ART OF THE T'ANG PEFWWZE POTTER

by Mario Prodan Originally £7.7.0 Now only £3.0.0 UPTO I4oo°c Containing 34 colour plates, 120 black and white plates. m 12’em. low. 49m.Con15iner9 This magnificent volume illustrates and describes the full range of the Chinese potter's art under the T'ang Dynasty. The colour plates are of exceptionally fine pieces, which may well be a revelation, even to the J. II.M CARPENTER l'l'l). connoisseur. Box 9085 A U C K L A N D PHONE 51°89 ORDER DIRECT T0 CASSELL & CO.LTD.,BOX 3031, AUCKLAND ENCLOSING REMITTANCE OF £3.3.6 T0 COVER POSTAGE AND PACKING. 43 42 BOOK REVIEW A letter from Takeichi Kawai to Helen arrangement, I could get many good to placate the gods, became customary, Mason: friends in Auckland, Christchurch and and it is in the tombs that many of the The THE T'ANG POTTER ..... Mario Prodan Kyoto 8.12.64. Dunedin through pottery making. figurines, horses, camels and court potters' gatherings in these places re— Publishers - Thames and Hudson ladies illustrated in Prodan's book were Dear Helen, main so vivid in myself as if they took found. ‘ place yesterday. Mario Prodan in his book illustrates a Long time has passed since then and now full range of Chinese pottery of the The desire to achieve a Satisfying org— you all enjoy yourselves in beautiful I must also thank you very much for that T'ang dynasty (A.D.618—906). The rich anic form in pottery reached its height at New Zealand. Being away from your you yourself met me on my arrival blossoming of the ceramic art under the during the T'ang dynasty, and ever since country, I always wish that you all have Wellington and extended such a heartfelt impact of Buddhism is shown to be quite the Chinese have looked back and imita- been doing very well. welcome to me. Above all, the greatest Spectacular. One can well imagine that ted much that was done then. help of you and the whole city to Open the impulsion to self-expression already Meeting with the tragic news of Chappell, my exhibition in your city remains me at work in the creation of domestic The photographs in this book are wonder- I really meant to give up the trip to so strong that I still can't recall it vessels was allowed even wider play when fully reproduced in large format and New Zealand. However, your kind tele— without tears ..... man began to reproduce things seen not excellent layout, and come very close to phone call to me at Garnsey's in Sydney with the eye but with the imagination. their three—dimensional originals, which made me move there, leaving all to you. You have such a wonderful country and consist of earthenware, stoneware and your people were all so kind to Such a Many of the examples illustrated in col— porcelain vessels, and human and animal All the arrangement you made for me was stranger as I am. I know all of these our are relatively unknown and have been figures. just perfect and left me such wonderful good memories were made possible through recently discovered. It was during this memories of your country and people. As pots, and I do hOpe the cultural ex- period that.the burying of pottery sub- This is a fine book to add to a potter's a matter of fact can't know any word to change between us will be further stitutes for human sacrificial victims library. appreciate you for all you did for me. deepened in future......

Long after the trip, I still remember My best wishes to you and all your very well all I did and saw in New Zea— friends, land. Because of your wonderful Yours sincerely, T. Kawai. A KILN DESIGN Roy Cowan eludes the firemouth and bag wall volumes The apparatus set out on the following found in other designs. _ CORRESPONDENCE pages can be best described as a little big kiln. It is the smallest example so The biscuit chamber is of about 15 cubic We intend to introduce a Letters to the Editor Column with the next far set working of a format which lends feet. Although some telescoping of a issue. Controversial subjects welcomed. — Editor. itself to enlargement, the blower-fired biscuit pack is possible, eSpecially if kiln designed to give smokeless firing it be domestic ware, it is best to make and Suitable for the making of oxydised the biscuit chamber of the same capacity ware‘or earthenware to 1150—1200 C. or as the glost to allow the making of very reduced stoneware or porcelain to a large pieces or of objects which cannot limit of about Cone 12. be piled up. WANTED TO BUY: Second hand POTTER'S WHEEL: May Iremonger, lO Marlborough The main dimensions are 50 by 80 inches Quantities Street, Silverstream. Phone: Upper Hutt (excluding the chimney block) by about re— 4598. 63 inches high. The kiln is designed Allowing ten percent over, you will side arch round a standard unit of 16 by 12 inch quire to build this kiln: lOO or in Shelves, two to a level, with 3 inches Huntly firebricks type HFB S8, to form an around and between shelves for descending other words, tapered bricks and of 2 ft. 3 ins. gases and 6 inches on the sides where arch 4% inches thick We would like to receive notices of exhibitions and photographs outside. These flames rise, so the glost chamber volume radius measured to the if possible. - Editor. on the of 20 cubic feet, although seemingly bricks will be 2% inches wide large for a 'small' kiln, actually in— inside arch face.

45 A neat solution is to attach roofing the reds of course 2 with a gap of Two lengths of channel steel 3 by iron to light angle steel runners set about three-eighths to half an inch 1% inches, 55 inches long, or long above the kiln. Special hooks are made between reds and fire bricks, inserting enough to project 2% inches on both for attaching the iron. The electrical a small pad of fireclay behind each sides of the kiln width. fan can be installed in a building up to firebrick Spacing gap to act as a gas 20 feet away, blowing through 4 inch gal— seal (see Fig.2). The red bricks will Two lengths of 2 by 2 by % inch angle vanised downpipe with insignificant require.a thicker mortar to maintain steel about 84 inches long, or long pressure loss provided the run is level with the larger fire bricks. Note enough to overlap the channels. straight. on the plan and in Fig.4 the openings for burners in course 2, and also that Five feet of l by % inch flat. Noise the dividing wall of the two chambers is all firebrick. Continue to course 3. The estimated cost of the materials The pot burner will operate with a rush- listed is £80. ing sound for the first three or so hours of firing. Once on to the press— At courses 4 and 5 the two openings ure jets, 4% inches wide by 6 inches deep Site the kiln is almost silent. are left High—speed types of fan can be silenced in the dividing wall, and you will be up As the kiln is low, convenience in work— by enc105ure indoors and in a cupboard, to the biscuit chamber and chimney base ing can be secured by terracing a but care must be taken to allow free level. Alternative placings of the chim— circulation of cool air ney are shown in the plan. A Kiln Built to this Design to the motor. At course 6 A type of low—Speed fan can be built the door or wicket openings are left, and which is quiet in operation. at 7 these are bridged with firebricks 550 Firebricks. The standard Huntly laid across ('headers'). brick (iron Speckled) at about £6 per Construction hundred, is quite suitable. There are The detailing of subsequent courses is The plan and elevation are detailed no local hot spots requiring high grade shown in Fig.3. Note that in alternate Showing actual bricks, the reds being materials but those who want to can courses the firebrick lining is turned shaded, and the dimensions follow from build the kiln in super alumina grade outwards at the openings. Course 9 these. is bricks and thus be assured of a laid in firebrick headers around the The kiln may be placed directly on mausoleum in perfect condition after a glost. hard well—drained lifetime of firings. Silica refractories ground, or on concrete as thin as two inches, recovered from gasworks or foundries to level. Any Courses 10 to 14 continue uneventfully, concrete work should not be used. under the kiln should be and then the fun begins. Split into four panels by a crossing of half inch wood. This 800 red bricks, preferably the perfora— system should also Course 15 is laid in firebrick headers be separated from any slab ted type. This quantity allows for a floor by a across the transverse walls right from one inch gap. chimney of the same height as the kiln the front (wicket) face, but the rear only, and for one continuous course under wall is Continued as a composite wall up In the following notes, the the glost and two under the biscuit. The brick course to course 18. are numbered upward from rest of the volume of the stepped up part 1 which is the firstvcourse of red under the biscuit may be earth, concrete bricks on the foun— Arch bricks are taken, and Spaced with dation. Course 1 is laid or blockwork, or if in brick, a quantity over the whole cardboard strips to simulate the mortar, area to the step. additional to the 800. sloping site. The kiln should be at Course 2 begins the are set out in arch position on the composite least three feet from any combustible structure of fire brick and ground, to a width corresponding to the red brick. For the present no further Allowing 8 ounces per firebrick, 3 cwt. wall. It can be in a building provided opening to be bridged. This provides a bricks are laid on the glost chamber of grogged fireclay, for setting. For at least three feet all round and four pattern for an arch centering which can floor. Each firebrick grows one-eighth the red bricks, the usual mortar may be feet above can be obtained, and there be made from wood and hardboard. inch longer by 1300 C., so in laying the used, but there are advantages in not must be no combustible material within having too strong a bond which may cause two feet if the chimney passes through firebricks, which are done first, allow At the same time, a pattern can be taken this gap at each brick. The bricks rest bricks to break when movement occurs. the roof. for the skewbacks, the inclined face on one eighth of an inch plastic fire— A suitable blend is one half fireclay bricks which take the thrust of the clay, not soft enough to squeeze out and grog; and one half a mix of one of The kiln can quite well be in the open arches at courses l6 and 17. Armed with when the brick is tamped true. All cement to three of sand. If this is if provided with a canopy to prevent this pattern, one may be able to buy bricks are well damped so that they do used, another 3 cwt. of fireclay. entry through the top of prolonged rain. suitable bricks, or they may be cut fron not dry the bonding prematurely. Place firebricks. The two rows are laid and 46 47 then the steel bracing is applied by FIG 2 DETAIL OF BRICKWORK bolting or welding, supported at the correct level by props. RED BRICK

STEEL The centerings are now fitted and the arch bricks are placed. Begin from the rear side, butting the bricks against STRETCHFR COURSE rear wall, and alternating a whole the HEADER COURSE and a half brick so that joints do not coincide. Adjust the spacing so that BISCUIT the front face over the entries is true. Follow_with the outer course of red bricks. JNFILL Now continue round the kiln. Courses 18 to 20 are of red brick only, single thickness at the ends, 9 inches at the rear, and shaped over the arches in front so that the top of the kiln is PASSAGE 'tanked'. Fill the tank with pumice or Perlite — if the latter employ a top JET BURNER PASSAGE cover of shards or grog to stop the

. .1 ymr.I *‘1 ‘7‘. t t ., ”u ‘ .’ I“ . r .u. ..I ~ material floating. A ‘ 0’ PRVJVBE I)». \ka'.‘ i‘c (53a 2“. rl'[‘ 3,”. m - ;¢,_ Now lay course 2 inside the kiln leav— ing the passages for the burners. The bricks are simply placed in the kiln without mortar, and they must be a loose fit. Similarly for course 3, leaving A KILN DESIGN PLAN AND ELEVATION I the shaped openings for the flames (Fig. 4). The actual shapes are out from ALTERNATIVE CH‘MNEY POSITION

- ._~,4..\-_ FIG. 1 ; ;

SHELF

POT BURNER ______JET BURNERS

Sgt: "

WlCKET 1 J V, WICKET . :-_ m BURNER

48 "nun

i FIG 5 POTBURNER SOLDERED TAGS

brick, or more conveniently, from a re— extra air to enter here. In the original fractory insulator such as Morgan's description, the fuel tubes were of M.I.28 which can be cut with an old copper and were clamped, so that they hacksaw. The object is to allow the could be adjusted. If the constructor is flames of the pot burner or the Spray sure that he can place these jets correct— jets to enter without striking the brick- ly one eighth bore steam tubing may be work, but to cover the metalwork below welded in place and will be less easily as far as possible. The overhanging disturbed. The inner fuel line should shape to the left of the pot burner be placed to avoid exposure to hot radia— entry in Fig.4 is a deflector. tion from above. WEIGHT

Finish the interior of the kiln by The fuel tank should be placed at least in relation to electric motors there brushing off all loose mortar and wash eight feet above the burners. If less the must be certainty that the machine has the glost chamber walls with Flint 16 fuel may not be able to leave the jets not been overheated. FIG. 8 LARGER VERSIONS parts, China Clay 1 part, thinly applied. under high blower pressure. A simple This washing is continued during the safety device is shown in Fig.7, a quick The motor should be of one H.P. Al— first few firings. action Gate Valve, set to close under though the claimed power demands of the effect of a weight attached to the small fans delivering the needed air Firing equipment handle, but held in the open position by are much less than one H.P., this value a wire connected through two brass tags should be maintained having regard to The burners are similar to those des— soldered together to a fixing on the absorption of the belt drive and the cribed in Vol.6 Nos. 1 and 2, with some kiln. The tags are placed above the protracted running at steady load. The modifications. The pot burner (Fig.5) firing point — not too close to the kiln motor should be of industrial type with is scaled down, the burner cup being a or they may part of their own accord. thermal overload cut—out. The pulley 3” welding type pipe cap with twelve If fire occurs, the solder melts and the and belt system should be duplex. Pro- three—eighth holes. A fuel line welded weight closes the valve. prietary fans of suitable type are: in, and made of three—eighth steam pipe (one eighth bore) provides more lasting Richardson Multi Fan No.0 for running oil-tightness than brass fittings. The The fuel line from the gate valve at about 3600 r.p.m., or 2% times air enters through a 2" pipe. The outer divides to two needle valves. From one standard motor speed of 1400 r.p.m. a line runs to the outer jet and from wall of the burner is a cutting 2%” deep Blackman type M.P.2 at similar Speed. from a 4 inch pipe and the bottom clos- the other alternative lines to the pot ure is one eighth steel plate. The whole burner and the inner jet, which are These will yield 3 to 3% inches water IV

should just slide in through a 3 by 4% changed over at a stage of the firing. gauge. Some details of a fan construct— 0 inch aperture. ed directly on a motor will be published Where high temperature and reduction are later, together with remarks on the The jet burner has an additional pair of intended, the recommended Glost chamber firing of the kiln. three—eighth holes drilled near the main shelf is the Silicon Carbide 16 by 12 outlet on the inner end only, to allow by one inch, six being required. Some notes on these costly but very durable Fig.8 shows extensions of the design, I shelves will be given in the next iSSue. all based on 16 by 12 inch shelf units 0. 16 by 12 inch Sillimanite of Alumina set at 3” Spacing with 6" gases rise. type shelves may be used in the biscuit Air pipes are shown by ruled lines, jets or for oxidising firings in the Glost. dots, pot burners by a disc and out- LCES to the biscuit chamber by arrows. FIG, 6 INNER JET Air Supply All these kilns fire at the same rate, and the fuel consumptions given in the This is the main single item of cost. \ 5 table below are for a cycle of 12—13 Second hand equipment may be found but O [a 0 EXTRA NR HOLES hours to Gone 10 with one hour's soak.

50 51 Publications of interest to Potters: Carnaby Street, London, W.l. Associate KILNS COMPARED Chimney, height, ft. membership subscription of £1.1.0 brings Glost chamber, cu.ft. POTTERY IN AUSTRALIA, a magazine pub- this journal, which is full of informa— I 7 lished by the Editorial Committee of tion, once a year, or in Special cases, 20 I II 12 the Potters' Society of New South Wales half—yearly. It is particularly recom— II 35-40 III 14 obtainable from the Editor, 30 Turra— mended that any potters visiting England III 50—60 IV 12, plus 8 ft. of 9" metal murra Avenue, Turramurra, Sydney. should join up as the Association runs IV 80 Fuel consumption, gals. 6/6d.A. per copy. an active shop in London which is a cen— Passages to biscuit tre of information for potters' affairs I 24 POTTERY QUARTERLY. An English journal and provides most useful contacts. 6 x 4% I Two, II 45 edited by Murray Fieldhouse. Rather II Two, 6 x 9 III 50 — 55 irregular in production, it is never- CRAFT HORIZONS. Subscription of $8 III Two, 7% x 9 IV 60 theless very interesting when it does annually to the American Craftsmen's IV Two, 9 x 9 appear. Subscription £1.6.0 U.K. for Council, 44 West 53rd Street, New York four issues to Pottery Quarterly, 10019, gives membership of the American Chimney, inside min. Subject to satisfactory completion of Northfields Studio, Northfields, Tring, Craftsmen's Council as well as the maga- I 6 tests a design for a very small natural Herts. zine, which is published bi~monthly. II draught kiln will be published in the III forthcoming issue. Craftsmen Potters' Association CERAMICS MONTHLY, 4175 N/High Street,

IV \OWO‘ ><><>¢N \DWKOW NEWSLETTER, published by the Craftsmen Columbus, Ohio, U.S.A. Subscriptions: Potters' Association of Lowndes Court, 1 year $7, 2 years $12. Plan copyright Roy Cowan

— NEW ZEALAND SOCIETY OF POTTERS

ing the 8th New Zealand Potters' The New Zealand Society of Potters is now an incorporated body. The Council Exhibition, the following pioneer ALL POTTERS ARE CERTAIN TO BE INTERESTED elected for 1965 is as follows:— potters were elected life members:— IN THESE INVALUABLE BOOKS — Oswold Stephens, Dunedin, President — Muriel Moody, Wellington. Elizabeth Matheson, Wellington, Oline Jones, Auckland. Vice-Presidents _ Mary Hardwick—Smith, By John B. Kenny — Ceramic Design 78/6 Auckland. A deep debt of gratitude and apprecia— Ceramic Sculpture 62/6 David Carson Parker, tion is due to these pioneer potters. Wellington. Complete Book of Pottery Making 55/— A newsletter Secretary- will be published at regu- lar intervals, which will be sent to all - Noel M. Macken, By Daniel Rhodes - Clay and Glazes for the Potter 55/- Treasurer ” Public Accountant, members to keep them aware of impending Stoneware and Porcelain: P.O. Box 3294, events. All interested groups may The Art of High Fired Pottery 69/— Wellington. arrange to have copies of the newsletter for a small fee. and four representatives from each of centres:— By H.V. Poor — A Book-of Pottery 55/- the main Membership to the Society is open to all potters who have their work accepted at Nan Berkeley, Wellington, the National Exhibitions, which are held Peter Stichbury, Auckland, in each of the four main centres, Auck- David Brokenshire, Christchurch, SIR ISAAC PITMAN & SONS LIMITED land, Wellington, Christchurch, Dunedin, Oswold Stephens, Dunedin. in rotation. The 9th N.Z. Potters' 158-164 Bouverie Street, Exhibition will be held in Auckland this At the Annual General Meeting held dur— Carlton, N.3., Victoria. year.

53 52 COMMERCIAL CHEMICALS LTD. Have you our catalogue? Write for one! How to test for glaze—fit? There are complicated laboratory tests beyond the We have supplies of most potters' requirements - a range of prepared clays, reach of the studio potter but here are a few useful practical measures: raw materials, glazes, oxides, colours, etc. EEE please order early if you need materials for Special exhibitions and classes, because of occasional 1. Have a reserve supply of your standard batch of body and your standard shortages. All supplies are sent out by post, carrier or rail — without glaze — those with a known glaze—fit relationship. Make some small tiles of exception. your standard body, say 2" x l” x %", in a mould which gives a cylindrical depression in the middle of the tile. Bake a hundred of these at your standard And now, a Technical Topic. In each issue of N.Z. Potter our advertisement temperature. Now fill the hole with glaze so that you have a "glaze-pool" of will contain notes on technical and practical problems. about %" depth. The edges of the depression in the clay tile should be sharp and you should also serrate the surface of the tile with a hack-saw blade or No.1: Grazing: Crazing results from what is known as poor ”glaze-fit”. It comb. Now re—fire to your usual glaze temperature. If you normally once—fire, consists of fine cracks in the surface of the glaze and is often attributed just fill the clay tile with the glaze without prior biscuiting and bake it. to differences in contraction of glaze and body. But there is much confusion If a glaze is prone to crazing, it will craze most where the glaze is thick - on this point, because the contraction which produces crazing is not the nor— in the glaze—pool. If it is prone to chit;ering it will tend to flake off the mal permanent contraction of the body (or of glaze) which occurs on drying serrated edges. Use a magnifying glaze to observe the result. and firing — that has nothing to do with crazing. The fired glaze and the fired body are virtually different substances after firing — new mineral com— Having established a standard, you can make ”glaze-pool tiles” of other bodies positions. All materials contract on cooling and expand on heating. The to see whether these bodies fit your glaze; or use other glazes in the pool extent of this varies with different materials and is known as the Coefficient to see whether they fit your standard clay body. of Expansion of that material; it is also in a sense the ”coefficient of con- traction” because the expansion and contraction are usually reversible. After the glaze has softened and smoothed out in the firing, it cools and~becomes virtually rigid — a coating of hard glaze on a hard body. Every glaze and 2. Placing in an autoclave at 40 or 50 lb. per sq. in. soon shows up any every body has a particular coefficient of expansion which depends upon its tendency to delayed crazing, but as potters don't have such autoclaves they composition and firing treatment. Remember that we said the Coefficient of can adopt the slower method of boiling test pirces for 12—24 hrs. on a Expansion (the extent of expansion of the rigid solid on heating) is reversible Simmerstat element. This is a reasonable test. and is also a measure of its contraction on cooling. If the Coefficient of Expansion (and contraction) of the glaze is greater than that of the body the 3. Combining the boiling test and the glaze—pool test is effective — i.e. hard solidified glaze contracts more in the cooling than does the body and will putting the fired glaze—pool tile into water and boiling for a few hours; tend to tear, in much the same way that a garment will burst at the seams if it this will accelerate any development of crazing in the glaze pool. shrinks and the wearer doesn't! This tearing — because the highly contracting glaze has shrunk more in cooling than the body has — is crazing. Often it is Extra copies of this advertisement are available at 1/6 posted, from: delayed - the glaze is under strain and ultimately, but not immediately, gives way and this is called delayed crazing. This is one of the potter's greatest COMMERCIAL CHEMICALS LTD., P.O. BOX 15—036, plagues. AUCKLAND, S.W.4. There are other factors: We said a glaze, once it solidifies in cooling, is rigid — this is a relative term and some glazes have more "give” than others and can stand the strain of poor glaze-fit better. Again, a glaze forms an inter—face between body and glaze by ”eating into” the body, and this inter- face seems to act as a buffer between the differences in contraction of body and glaze.

The reverse of crazing is a phenomenon known as chittering, peeling, shatter— ing — and a number of other colloquial names are given to it — when the glaze flakes off sharp edges. It isn't so common. Published by Arrangement

54 55 POTTE R8

The Queen Elizabeth II Arts Council Visual Arts Committee made awards to three potters for 1965. They are Graeme Storm, Jeff Scholes and Wailyn Hing, all of whom wish to use their awards in New Zealand.

Graeme Storm was born in Auckland in /’ l936. Educated in this city he trained as an Art and Craft Specialist in Dun— edin for the Department of Education. In 1959, after two years teaching, he went to England where he taught for a while and attended the Central School of Arts and Crafts in London. After this he travelled round Europe for sev- eral months, Spending much of this time in Scandinavia, in which he is particu— - - larly interested as his father comes Flrlng well from Finland. During 1960—61 he spent a year in Canada, mostly in Montreal, working at the Studio Gallery run by Wanda and Stanley Rozynski. In 1962 he - returned to New Zealand for about nine “Slng Shell months, teaching,and building a kiln at his home in Orakei. But there was still more he wanted to find out overseas so at the end of August 1962 he returned to London, where he worked for a day or two each week at three or four potteries, mainl with Kenneth Clark, G n and Louis You can be sure 0f HanssZn and Briglin Potteriey Then he went back to Canada and worked again with X l the Rozynskis for four months. In Sep— tember 1963 Graeme Storm returned to New Zealand where he has been working on his own as a potter at Orakei ever since. He has built a new kiln and a pottery and has been making mainly domestic ware. The award will give him the freedom to experiment more with decorative pieces, with wall plaques and ceramics, and with the use of colour in stoneware, but he intends to keep on with his range of mugs and casseroles and the usual utili— ty ware. Graeme leans more to the, Scandinavian way of thinking and his broad range of experience gives a finish and maturity to his work.

56 Jeff Scholes was born in 1942 at Derby, England. In 1948 the family moved to John Lawrence, an English potter, has Harry and May DavisI of Crewenna New Zealand where his father started the contracted to teach as Art Specialist Pottery, Nelson, have found that the Eric Scholes Gallery at Rotorua. For a at Tararua College, Pahiatua, for two best way of coping with the constant year, after leaving school in 1959, Jeff years, this teaching will include stream of visitors, particularly in the worked as an insurance clerk. This was pottery. With him are his sculptor holiday season, is to have conducted not the life for him, however, and the wife, Ann Verdcourt, and two young tours, for which a small charge is made, next two years were spent partly as an children, Matthew and Kathryn. Their at fixed times. This reduces disturbance art student at Elam, and partly helping household chattels include two electric to a definite period, and enables the his father with the Gallery. In May kilns, two kick wheels and a lifetime's work to be organised so that visitors 1963 he went to work as an apprentice supply of oxides and carbonates, cones can see as many processes as possible, with Barry Brickell at Coromandel. and brushes. John Lawrence was born in i.e. throwing, turning, handling, After a year's training he left and London in 1929. Trained as a studio glazing, decorating, and be given an started on his own in Auckland, building potter, he worked in France and Finland. outline of firing and the nature and a kiln at Halsey Drive and making main- He makes large pots and wheel—thrown uses of the various raw materials. One ly domestic ware in the Driving Creek forms, hollow tile and mosaic panels. afternoon a week is reserved in this way style, content to let his own style His wife, Ann Verdcourt, was born at for visitors who, however, have to phone emerge in the course of time. The award Luton in 1934. Sculptural training has in advance to say they wish to come. should give him theopportunity to con— given her a preference for modelled This enables groups to be kept to work- solidate and to find out what.he wants asymmetric forms. She also makes two able numbers. The showroom, which is in to do without being driven too much by dimensional panels for very young people. the house, is Open every day. economic necessity. He has just leased In the school holidays they hope to Greer Twiss's house on Mt. Wellington travel round the country and to meet as Highway and is building a new kiln. many New Zealanders as possible. Barry Brickell, Secretary—Manager of the Driving Creek Pottery and Railway Wailyn Hing was born in New Zealand of Peter Stichbury is still teaching at Co.Ltd., held his own Summer School at Rewi Alley Chinese parents. For about six years Ardmore Teachers' College, but has Coromandel in January, 1965. This was has been earning her living as a bought his own house at Manurewa with attended by potters from many parts of she Rewi Alley of Pekin, China, recently typist, making pots in her plenty of space for his two young New Zealand, and the emphasis was on the shorthand paid a short visit to his homeland, New Spare time. These pots are nearly all daughters to play. He has spent the production of large pots. Zealand. He was most interested in our made by the slab and coil method and holidays building a kiln shed and in- kilns and particularly our glazes, which distinctive in style and sen— tend;\to build a new kiln as soon as are quite he thought were becoming quite distincfive. use the bursary possiLle. sitivity. She plans to The builder of many kilns, he said he own ideas on pottery. to consolidate her used pottery making as a means of build— Warren Tippett, awarded an Arts Advisory Maxwell Gimblett is an Aucklander who has ing character in the boys he taught at Council grant in 1963, spent part of the been working at Ceramics in Toronto, Sandan, at the Baillie Industrial spring working with Len Castle at Titi- Canada, for the past two years. The School. He has collected pots and rangi and Barry Brickell at Coromandel. first was spent as a production thrower shards for many years and has a rich He is putting the knowledge thus gained apprentice, the second studying with collection at his home in Pekin where he tc good use in his rebuilt kiln which Merton Chamber, A.0.C.A., in his studio. spends most of his time writing and is submission at the working on histories of China's pro- Roy Cowan tamed into first firing. It is significant that Jack Laird has set up a large new pot- vinces. We are indeed fortunate that, several of our young professional pot— tery at Richmond, Nelson, Sponsored by as a contributor to this magazine, he is ters are finding what they need in their the Nelson Industrial Promotion Co. Ltd. passing on some of his unique discover- own country instead of rushing overseas He plans to set up a small industrial ies of old Chinese kilns. for tuition. unit, employing eventually six people. Cecily Gibson, who worked as a potter in Michael Trumic has been working lately Frank Finan of Kerikeri, left this coun— Japan for nearly four years, returned to with Mirek Smisek. As his partner, Mrs. try in December en route to her native Canberra about a year ago. Mexico where Brinkers, has had to resign from Several he intends to spend a year working in She is building a small house and work- Arts, he is taking over the business the villages with as shop there many potters as he and meanwhile has been work— himself, and hopes that potters will can establish contact. After that, ing in a friend's garage. The Arts support him in the effort he is making he hopes to go to Italy for a while Council, Australia, are putting on her to provide them with outlet. before returning to New Zealand. first Australian Exhibition this year.

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