, / $U~fb Ig' / GOOD NEWS New Zealand Potter FOR NZ POTI'ERS Volume 29, Number 3, 1987 ISSN 0028—8608 Price $5.50 includes GST Cover: Photo by Berit Zetterman. Detail of Stoneware Bowl by Len Castle. See pages 20-21. Kevin Griffin is pleased to announce that CONTENTS he has taken over the business of Editor: Howard S. Williams DeSign‘ JOhn Boom 2 Through the Filter Press — Howard S. Williams 61% McSkimming’s Clay Publisher and Distributor: 4 Overseazure — Barry Baell NZ Potter Publications Ltd 7 Yamon Sha and as owner/ operator, that it will PO Box 881 8 Matthias Ostermann — Elizabeth Woodfield 40*“ AUCkland 12 Elizabeth Lissaman, OBE — Tauranga Potters Group operate under the new name . . . New Zealand 14 Taradale Pottery Group, Len Castle Workshop NM” 16 Not for Flour or Flowers —- Dori Thornley NW 18 Nino Caruso — Leo King / 20 Berit Zetterman — Paintings 21 Len Castle — Pottery 22 Zagreb, Yugoslavia — Ann Clifford 23 Nora Flewellen — Fredrika Ernsten and Margaret Ryley SOUTHERN CLAYS 24 Lynn Alves —— Elizabeth Woodfield 26 They’re OK, We’re OK — Peter Gibbs PROCESSORS & SUPPLIERS OF POTTERY CLAY 29 Winstone Crafts Biennale, Crafts Council TYPE-Wt and Printed by: 32 Clifden School — Dawn Glynn Bays Press Ltd 34 Turf Kiln — Graham Collings 4 Glencoe Road . . . . Browns Bay 35 Auckland Studio Potters Exhibition Auckland 36 Potters Market AVAILABLE FROM:

South Street Gallery C.C.G. Industries Ltd Talisman Pottery Supplies The New Zealand Potter is published three times a year, in April. August and December. The price is $5.50 per copy. or $16.50 10 Nile Street, Nelson. 33 Crowhurst Street, Newmarket. 171 Archers Road, Takapuna. (incl. GST) per annum by subscription. Overseas subscriptions sent airmail: Australia $NZZ6; Canada and the United States $NZ35; United Kingdom and Europe $NZ42; other $NZ35. Southern Ceramic Import Company Coastal Ceramics Western Potters Supplies Postal Address for Editorial: PO. Box 147, Albany, Phone Auckland 415-9817. No. 1 RD. Invercargill. 124 Rimu Road, Paraparaumu. Clark Street, New Lynn, Auckland. Northway Street, Te Rapa, Hamilton. Advertising: Cecilia Parkinson, PO. Box 147, Albany, Phone Auckland 415-9373 Studio 803 Cobcraft Pottery Supplies Ltd Subscriptions: PO. Box 881, Auckland. 803 Eaton Road, Hastings. 388 Montreal Street, Christchurch. Display advertising 4-COLOUR bani W Mad Back Cover: $1650 (minimum three issues) 1mm. Full page: $759 (yr/MM“ Half page: $550 BLACK and WHITE inside front and inside back covers: $532 Full page: $485. Half page: $295 KEVIN GRIFFIN Quarter page: 8179 OWNER/OPERATOR Potter's Market: Display advertising: Full page: $418 Half page: $253 Quarter page: $154 Eighth page: $93 Southern Clays Limited, corner of Sturdee Street and Bauchop Street, Dunedin, Classified advertisements will be charged at 55 cents per word. minimum 10 words.Cash with order. Unless finished art work is P.O. Box 6323, Dunedin. Telephone A/H (024) 774-994 supplied by the advertiser. cost of preparing such copy will be added to the above rates.

A Creative 2387 THROUGH THE FILTER PRESS Happy New Year I trust this reaches you in time for me | to wish you all a specially happy Christmas Season and if you have The Editor Typetalks New Service already paid your subscriptions, please fill in the enclosed application form for As I wrote in the last issue, the publishing Now that we have ultimate control of the three 1988 issues of the NZ POTTER rights tothe NZPOTTERare nowbaekin the magazine, we also intend upgrading as a gift for a friend. potters‘ hands after several years ofbeing its service to readers. No more late issues. Arohanui owned by a succession of commercial missing captions or photos printed Howard S. Williams interests — printers and agricultural upside down! Since taking over, we have publishing companies. been appalled at the number of letters coming in complaining ofpast issues paid Norsewear Art Award New Ownership for, but not received. The ‘package’ we Waipukurau Now a small group of potters and their took over contained very few back In our last issue, page 36 carried a short business associates have formed a new copies, so we are unable to redress this notice about the results of this Award company, NZ Potter Publications Ltd, state of affairs, bad though this is for our Exhibition. We regret we omitted two whose primary aimisto seethis magazine goodwill. We can only promise that as potters’ names from the list. It should develop its full potential and bacome a we have a very real vested interest in the have included Lesley Robertson and professional, world-class publication, magazine — and I mean other than Royce McGlashen, both of Nelson. reflecting the ‘state of the art” of studio financial considerations — we will do all Organisation is well in hand for next pottery, ceramics and glass in New we can to ensure that this situation does year’s Norsewear Art Award which has Zealand. not occur again. been doubled. The process of recompiling our Each category, painting, pottery and New Communications inherited subscription list and wool, now offers an award of $2,000. We see it as important not only to give distribution service is at present under Financial support of over $2,000 has communication between craftspeople way. There are bound to be a few hitches also been offered by three local bodies in working in these fields in this country, during this operation, as our first task as the area to assist with running expenses. but especially to be a showcase for them. the new owners was to produce this Last year the inaugural award their work and their philosophies, in present issue on time. with a totally new attracted a nation—wide response, and overseas countries This magazine is the team other than your potter/editor. organisers are hopeful of a similar only continuous instrument of public Please bear with us as we re—align these response this time. relations we have to show the rest of the mechanical details — 1988 should see the Judges for the three categories are: world what'is happening here in clay and magazine running truly centred again, Shona MacFarlane painting, Mirek glass — a very important role to fulfil. leaving out time and energy to be spent Smisek pottery, and Fientje Allis-Van- We know there is an enormous untapped on the other important things ~— Rossum wool, readership ‘out there’; we intend to upgrading its content and appearance. Potters’ Tip widely publicize this magazine in order to From the Wellington Potters Newsletter gain that readership; starting with Expo — If you have a glaze recipe which -

‘88, the World Crafts Council requires cobalt carbonate, but you only Ale International Conference, and Ceramics have the oxide, or vice versa, here is a

‘88, all in Australia next year. EDEN New Addresses conversion formula. It applies only to New Image cobalt. Divide carbonate amountby 100, Another boring, but necessary detail; I multiply by 63 = oxide amount. Divide The NZ POTTER has been put onto a am constantly receiving delayed mail oxide amount by 63, multiply by 100 = self—generating spiral — the better the which has been forwarded from several carbonate amount. magazine and its promotion, the more addresses now up to 4 years out ofdate. House Swap jbi—iNEfR copies it should sell; increased sales in Please note and update your own files with A potter in . return means more finance with which to the addresses as below. All other Oregon, USA wants to swap house, workshop further upgrade its contents and previously published addresses for the NZ and car with an NZ potter, for illustrations. Increased finance will POTTER are now not applicable and a year. For details contact enable us to obtain more valuable copy correspondence sent to them can spend Peter Lange, 16 Carrick Place, Mt Eden, Auckland from professional writers and weeks on a grand tour of the country 3. Ph: (09) 686-699. photographers, to increase the amount of before reaching its intended destination. Competition — colour used, and to reduce the amount of (In my case, my studio which is a Ceramics in the Urban Setting converted poultry barn — hence II". advertising copy placed in the editorial The town of Faenza, Italy, has Australian Diary Registration Addresses for the above: section. portrayal by our resident cartoonist/potter, announced the Second The Conference Secretariat International NZSP Annual Exhibition John Green. Quadriennal Competition for Ceramics First International Ceramic Symposium Ceramics ‘88 New Ideas GPO Box 128 Editorial: Howard S. Williams, PO Box in the Urban Setting. There are two and National Conference, — Canberra, April 10 — May 7 this we need more categories; Conference — Sydney, 2001 To implement 147, Albany, New Zealand. one for proposals and Wellington. World Crafts Council information coming in from all parts of designs; one for works already Sydney, May 8 — 13 Australia Phone (09) 415-9817. existing. May 1988 the country — we will be pleased to Both categories carry several prizes, the 13 -15 International Academy of Ceramics World Crafts Council Conference Advertising: Cecilia Parkinson. receive for consideration any PO Box first of which is forten million lire. Initial Guest artists, Susan and Steven Meeting — Sydney, May 12 — 15 100 George Street 147, Albany, New professionally presented material of Zealand. closing date is lst June, 1988. Kemenyffy from the USA. Pre-Conference Workshops, May 14 ~— Sydney, 2000 Phone (09) 415—9373. interest to our international audience. Application forms from: For Registration forms contact, 15 Australia We also need feed-back from our readers; Subscriptions, Distribution and Accounts: Concorse “La Ceramica nell’Arredo National ceramics ‘88 Tour de Gulong, May 14 - 15 For Ceramics Programme and what do you want to see in these pages? NZ Potter, PO Box 881, Auckland, New Urbano” National Ceramics ‘88 5th National Ceramic Conference — Workshops: Please do not hesitate to let us know, so Zealand. Commune di Faenza Wellington Potters Association Sydney, May 15 — 20 Potters Society of Australia our ideas sub—editorial group can get to Phone (09) 798-665. Fax (09) 393-247. Assessorato Urbanistica PO Box 6686 Sydney, May 15 — 20 48 Burton Street work on it. Brickbats or bouquets, let us Via Zanelli, 4 Te Aro Post—Conference Workshops, May 21 — Darlinghurst, 2010 have them! 48018 Faenza Italy Wellington 22 Australia

2 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 3 tradition of majolica pottery and tiles. It is this tradition which. in my humble opinion, eclipses the Sung stoneware in its sophistication, beauty and also folk humour. The majolica tradition climaxed perhaps one or two hundred years ago, presumably before the influence of gvers zu bourgeois industrialism. The area around Valencia had some of the finest potters whose work may be seen in the Gonzales Marti Museum, Valencia, devoted to Spanish Ceramics. I ecstatically photographed W many of the finely decorated and folk-art plates, which are displayed beautifully with reasonable lighting. The architecture of the old by Barry Brickell, Coromandel building is itself a delight, with sculptured porticos and lintels over the windows. The collection of majolica tiles contains earlier Islamic— inspired geometrical designs of great dexterity and cleverness, up to the Part III — Travel Through Spain and U.S.A. purely lyrical and descriptive folk art of Spain. One can trace the influence of Italy, then lead on to the faience and delft styles of France before coming to early industrial England where it turns Photos by Barry Brickell and Holland, into boiled cabbage. Perhaps the finest collection of all majolica is that The ceramic traditions of Spain form such a remarkable study as to of the National Museum in Barcelona. They resolutely shut the doors at make even the dullest sit up with amazement. Never in my antipodean 2 pm. after I had a mere hourthere, as siesta time is enjoyed more by the ignorance did I expect such a wealth of clay culture, every bit as museum stiffs (sic) than overseas tourists. magnificent as those of the orient, including Sung. I felt, at last, some My three days in Granada were perhaps the climax. There I corpuscles of blood pulsating, responding perhaps to recognition of my encountered my first experience in a muslim, ceramic tiled palace of tupuna, my ancient Spanish ancestors. sophisticated geometric design and impeccable magnificence; about the It is entirely in earthenware — most red—bodied, some white, with ajolica plates (17th C). Palacio dos Aguas most unlike one could conceive of, from anything Oceanic, Pacific, lower temperature, lead—based glazes. The pottery tradition is at least Museum of Ceramics, Valencia Polynesian, yet so beautiful in itsjewel-like richness. The great Islamic 2,000 years old: the Phoenician and Greek influence can surely be seen majolica tile tradition, like Ceramica Popular, is beginning to undergo a today in the forms of canmrilla (urns) from certain remote rural areas, revival. In Morocco, there is a university preserving the old traditions. with rounded bases, twin handles and swelling forms. Ceramica The Alhambra is part of a huge stone fortress complex dating from popular, the hand—thrown pottery of the rural farming people. was about the 13th century. A ceramic museum contains a fine collection of certainly extant at the time of the Roman invasions (2-5th C). early and later (Christian influenced) pottery associated with nobility. Today it continues to survive. by the skin of its teeth, a superb In Granada I discovered a narrow street full of old buildings tradition threatened as everywhere, by industrialisation and universal containing pottery shops. Much of the work was rather inanimate, commerce. I will avoid describing Ceramica popular ofSpain in detail shiny, touristy stuff, but one in particular, contained a great, informally because this is already well done in an article by Santa Cabasa in the arranged collection of early pottery and tiles. I sorted through piles of NZ. Potter, Vol. 27, No. 3, 1985. bowls, plates and tiles, unable to resist buying as many as would fit in A revival of interest is finally taking place; the difficult task oftrying my suitcase, at prices which seemed reasonable. A set of four majolica to inject confidence, enthusiasm and optimism into the last of the tiles with a brush—painted emblem in beautiful rich colours, which had clingers—on to the old family traditions, mostly older men, is now being been saved from the demolition ofa13th century building, took my eye. attempted. ,This is being done by younger, urban people who have The pottery is about a hundred years old in the Ceramica Popular developed an awareness through their interest and studies. Thus we at tradition using lead—based glazes, majolica and plain, with vigorous, Mosaic tiled panels. have a lilt or last have well illustrated and sympathetically written books such as oxide-coloured brush strokes. Many of the bowls Majolica and carved stone. Ceramica Popular Espanola by Llorens Atigas and Corredor delightful articulation in their thrown forms, which seemed Mateos Morocco-Islamic influence. (1974) in both English and Spanish. characteristic of the Andalusian style. The Alhambra, Granada The diversity of forms within this tradition is amazing in itself; ranging from utilitarian pottery, through highly ornamental ceremonial $4.. ' ' 15‘ pots and sculptures, to architectural fittings and lavatory pans, complete with siphon, in the simplest delightful style. Traditional wood Ccramica Popular Comoros. (Collection, Santi Cabosa) T j or brush—fired kilns are few and far between. but do continue to be used Majolica relief tile (16th C). Granada in some of the more remote areas. varying in design according to provincial traditions. Spain is a large, rather dry, geologically very ancient, weathered area. and pottery traditions have evolved separately to yield the amazing diversity of approaches one sees. I was fortunate to come across one The final section of my overseas trip was the two months in the forms based on tree cacti. kiln, 400 years old, near Barcelona. It consisted ofan arched chamber Majolica tile mural (19th C). U.S.A. during their fall. Most of the time was spent at Flagstaff, Coiled sculptured with several holes in both the crown arch and the floor. Below, and of Palocio dos Aguas Museum of Ceramics, Valencia Northern Arizona, where I was invited to work by Don Bendel, a Barry Brickell at Flagstaff Joel Eide, in charge of Northern Arizona nearly equal length and width, but much squatter, was the firebox. To professor of ceramics, and \. equalise the firing temperature the top holes were adjusted with bungs. University's Art Gallery. Both ofthese folk had visited N2. in 1985 and This kiln was being revived by two young men who were learning to attended the ClayAZArt symposium at Rotorua. They wanted me to make plant pots for the local market. They were using one of the build a coal-fired salt-glaze kiln and work with the ceramic students in traditional coiling methods, with about ten low turntables, a pot being the well-appointed, spacious studio. Flagstaffis an attractive small city, formed on each in rotation. at 7,000 ft. altitude, surrounded by pine—covered volcanic hills and the I was fortunate to stay with Santi Cabasa and Martxe Garcia, who snowy San Francisco peaks. The tall fluted cactus ”trees" ofthe Sonora had visited me in Coromandel the previous year(l985). Living at Sant Desert region gave me a new form to make in clay. They looked almost Cugat near Barcelona, Santi has amassed a very fine collection of absurd, sticking up like funny people in the rich shrubscape, with their Ceramica Popular, including some huge section thrown and coiled fine rigid branching and dignified stance. I made three tall, coiled forms in terracotta jars over a metre high. He has a variety of the boiijo forms the studio, together with a lot of wheel—thrown pots. The cactus forms (wine pourers of the agricultural farmers). and cantaro or cantaril/o, dictated the size of the proposed kiln chamber, about two metres centre jugs and urns. height. Meanwhile an all-out search for old bricks was mounted, with In Barcelona I bought a casuela (shallow cooking pot) and a puchero eventual success. The magnificent Tozan Japanese 4—chambered (cooking pot) for an amazingly cheap price. With natural gas now climbing kiln, which had just had its first firing a month earlier, had widely reticulated around the more populated areas of the east inadvertently gobbled up all the spare bricks. This kiln, together with (mediterranean) coast, most of the kilns are gas»fired and of modern the smaller anagama one alongside, is situated in a pleasant, pine- construction. Santi kindly took me to a local brickworks in Sant Cugat studded enclosure about a kilometre from the university, and covered where the traditional tapered terracotta roofing tiles were being made by a huge shelter shed. We decided to build the salt—glazed kiln beside by machine. Interestingly, the tiles are fired in a Hoffman type kiln, fired the Tozan stack, in a sheltered corner. Four or five students ducked out on what resembled fine granulated coal. In fact, it was the carbon waste between their lectures to help me with the construction, and I also product ofa petroleum refinery. The ship which took the tiles across to divided my time between the kiln and studio work. We were free to Mexico and California returned with this fuel — a unique economic set— come and go from 7 am until 10 pm, and on many days I occupied much up. of this time span with work, ducking out to Wendy’s restaurant or With the arrival of the Islamic Moorish invasions from the south Bunhuggers for stoke—ups. There was much to do, as the 150 cu. ft. kiln during the 8th to 15th centuries, began the great Hispano-Moorish had to be built and filled, ready for firing early in November.

4 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 5 opposed fireboxes and twin All previous kilns I had built had the massive Keystone manual. which gives contact details and analyses the space limitations dictated a fresh bagwalls for even heating, but of all the coal companies and their products. I narrowed down to a ofnarrow, deep fireboxes side by side approach here. I settled for a pair selection of coals. the closest being way up in Colorado. The company stack opposite — a conventional enough with one shared bagwall and executives could not believe we were being serious when we were trying and the lesser oxygen down—draught design, but due to the altitude to obtain samples. They had no way of sending a mere ton — it was a air, I opted fora huge, generous stack, which would really cor tent ofthe 1.000 tons minimum. or maybe a freight—car load. However. a mine in with the crown arch — nobody expected pull hard. We had a lot of fun Colorado finally sent us six drums. It never occurred to me to open method. No template was pains— such an informal, trouble—free them first — we were so busy. Later in the morning we did investigate. Instead I pointed to my takingly constructed as it is quite unnecessary. to find to my horror that the coal was a wet. powdery mass: Six drums said we would do it as shown, using a platform of any old book, and of the stuff. It would ptit out any fire! Even in the small test furnace that wood and soil heaped over. It worked well, and we built a good arch I built. it was not e\aetl_v lively. I began to realise how fortunate we are from the plain fire bricks — arch bricks were deemed an expensive back in N7. with otir West Coast bituminous coals. Few IRSA. coal luxury after the expense of the Tozan kiln. analyses that I saw had the low ash. high coking and volatile content of The students enjoyed the poor-man‘s element of makeshift. kiwi-style our own best coals. jack—ups. after working under the highly exacting eye of a kiln master The Tozttn kiln had used over 20 cords of dry pine. and 10 days of from Japan. I made a rule that those who helped with the kiln were firing. a month or two before. Such was the enthusiasm that a large pile automatically entitled to have pots in the first firing. of dr_\ wood still remained after the firing. Well. I decided. bite the ' ' T - i ' - Ti r About mid October. after a mere month in Flagstaff. we had the kiln bullet and get on with it. We started stoking furiousl) with the wood. built except for the top half of the stack. and our sculptures and pots and by nightfall. not only was Cone 10 melted. but there was a great --. T -« i M; I' I fl were now drying out. Meanwhile. at the NZ Embassy in Vv'ashington conical tongue of flame out the stack, We salted lightly for about two Firstfiring of Barry Brickell’s salt glaze kiln. Flagstafi’, Arizona DC. Patricia Golden, the Cultural Officer. had been planning three days hours, Naturally there was a pleasant surprise firing party at the end; of activities for me. I decided to combine this with other engagements in everyone was happy. the Eastern States. so took 10 days off from the kiln job. At Denver, The firing was a success even if the coal thing was a faux pas and we Colorado, the film and travelling exhibition Treasures of the Land,’ were all pleased with the salting despite its lighter hue. The coal ash vegetable—based coloured pigments. From about 1700 the quality ofthe devoted to NZ crafts and lifestyles. was currently showing. An evening would have enriched the colours. Coal has not been abandoned so I am work began to decline, probably due to Spanish influence from the lecture/slide show was arranged for me to do as a supplement. and Inez informed. its just a case oforganisation. Meanwhile the kiln continues south. Commercial Hopi pottery has been made for the past hundred or Pharo, my kind hostess. arranged this at the Colorado Gallery ot’Arts at to be fired with whatever fuels are at hand. so years, and today remains as an important trade and craft amongst the Lyttelton. near Denver. Then I wanted to re—visit New York, and One cannot visit Arizona without becoming aware of the fine Hopi indigenous people. There are many stalls on the highways through the finally, Neal Townsend ofthe University of‘Nmt'Mexir'o requested a two— Indian pottery tradition. The day of rest, after the firing, Don took me reservations where fine, burnished pots may be bought, We also visited day workshop at Albuquerque, to the museum in Flagstaff. and to the Grand Canyon. We saw the a waterfall of red clay slip and collected some natural terra sigillata. My host in Washington was John Wood, Deputy Chief of Mission. black and white decorated. hand—formed pots that have been made in Finally I had the pleasure of seeing the collection of Contemporary who took me to several important monuments concerned with the general area since about 700 — 800AD. After about 1400AD American Ceramics at Scripps College, Claremont, in California, but American history, Patricia Golden arranged for interviews with colours were introduced amongst the Pueblo Indian potters. but it was this is another story. ‘Panoramo' television and with Lydia Kleiner of National Pub/it Radio, the emerging Hopis who evolved the hard—fired, polychrome wares with My thanks to both Air New Zealand and the QE 11 Arts Council, for She also kindly paved the way for my visit to the Curator ofCeramics assymetrical decoration and life forms. They evolved a fine. burnished allowing me the Overseazure experience which, hopefully, I‘ve rubbed a Building the chimney on the Flagstaff kiln. and Glass at the National Museum, part of the huge Smithsonian slip technique. then later. used a fine body clay with burnishing and little off on to you. Institution. Here,l found a room full of fine early salt—glazed American Coal testing/raku furnace in foreground pots dating from 18th to early 20th century. Some had rich, lively, lyrical brush work, often with a folk-art flavour, I was interested to ascertain the fuel used, but none ofthe historical material I came across mentioned coal; wood being the traditional fuel. It was good in the relaxed atmosphere ofthe radio interview, to have a chance to describe my homeland. its people, and the state of ceramics and arts generally, down—under. The third day was my lecture/slide show at the Smithsonian, in a small theatre. So high-tech was the lighting and slide projector, none of us could operate it properly. but fortunately this did not seem to worry the small audience. who preferred to ask lots of questions and promote YAMON SHINO a wide range ofdiscussion. Our life style and state of the arts seemed to be of greatest interest. Patricia Golden introduced me to an interesting potter and his wife, Harvey and Sue Sadow, in nearby Maryland. Harvey has evolved a ceramic technique based on multiple raku—type firing in a gas kiln. Between firings of his fine thrown, mainly spherical forms, he uses an air-brush for applying oxides for texture and natural decorative effects. His work is highly regarded and I noted prices about the US$3,000 range. Yet he was interested in my approach, and expressed a desire to come to NZ to work next year. At Denver, Inez kindly drove me about, introducing me to pottery collections and potters. A collection of finest, handformed bowls, with American salt—glazed jars (18th C) Smithsonian Institute, extraordinarily beautiful, lively, sparse, strong black and white Washington DC decorations, from an Indian tribe who lived in the Mimbres Valley of SW Colorado before 1200 A.D. exists at Boulder, in the Henderson collection of the University of Colorado. The Denver Art Museum chimney. I had erected a scaffolding made ofplanks. drums and bricks, contains pre-Columbian sculptured terracotta and Pueblo Indian pots. and was putting the finishing touches to the colonial top. when a bolt of The workshop at Albuquerque was to be my last, I decided. The lightning cracked somewhere too close for comfort. I gritted my teeth, battle to get slides re-sorted yet again, pouring out lots ofhoarse—power, placed the last brick, as snow lightly fell, and climbed thankfully down demonstrating on unfamiliar wheels with toothpaste clay, rushing to check thejob. A zigzag lean and the top slightly askew. but it would through the motions of coiling, is all a bit daunting. Workshops as such work, I decided. are a popular institution, but I often wonder ifthey are a truly effective Stacking the kiln took all day and it was cold! Icicles hung from the teaching mode. tin roof over the kiln and a scattering of snow littered the ground. With my host, Neal Townsend, I took a ride on the Scandia Peaks However, we managed to include everyone’s pots and my three large tourist aerial rope-way, up the great Eastern granite escarpment. On forms, before bricking up in the evening. Next morning, at 4 am, I our return, I noticed small piles offeldspar crystals on the ground. They arrived by taxi to light the twin fires, a layer ofice had already formed in are each brought to the surface by ant-power. I eagerly scooped some the clay buckets. We had obtained a truckload of the local power up to include into some clay back at Flagstaff. It gave a rich warty station coal, which was similar to most NZ coals, in that it was the texture, and animated the salt-glaze in a shigaraki-like manner. lumpy, shiny, non-coking type. I fired on this most ofthe day, but it Back at Flagstaff, now early November, we faced a busy programme would clog into ash on the sloping firebars, and not burn vigorously, I of preparing for the kiln firing. It was beginning to get cold, in the late had done a lot of research on American coal, thanks to Joel and his Exhibition of traditional Japanese Shino pottery made in Japan and New Zealand, by Yamon Shino. fall, and the evening before stacking day saw me completing the big office facilities, and to the local coal company. The latter had a copy of At Pots of Ponsonby, Auckland

6 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 7 MATTHIAS OSTERMANN VISITS THE WAIKATO ByEHzabethWoodfiem,Hammer.

Matthias Ostermann blew into the Waikato like a fresh summer breeze radiating enthusiasm, confidence and professionalism. Matthias conducted an intensive one day school at the Waikato Technical Institute where he combined slide presentations, turning techniques (to pots prepared the previous day), lectures and decorating techniques with a flamboyant use of colour. Clean, broad brush strokes Colours gently smudged over Born in Wangen, Germany, Matthias apprenticed to a German potter in Canada from 1970 to 1973. He then worked as a full-time production thrower in Ireland, later returning to Canada to set up his own studio in Toronto producing high-fired domestic stoneware and porcelain. After having travelled through mainland China, South Korea and _ _ ’ s Japan, Matthias won a grant in 1981 to / l ‘ 1 / .;; central Italy to research local pottery and ' ' Md ‘, I ‘ study Italian earthenware teChnigues’ "Water colour” technique with the backgroundfilled in last whlch led to his producmg majolica earthenware as well as stoneware from his next studio in Montreal, Quebec: V Sgraflito highlights through to white body glaze Travels to Europe in 1985, Australia and New Zealand are further widening Matthias’ horizons as well as encouraging and helping many aspiring potters with his energy and devotion. The slides presented depicted the wonderful and stimulating environment surrounding Matthias’ studio in Montreal — the brilliant colours of Sgraflito lines for definition. Final clear overglazing intensifies colour autumn, the early winter snows (minus 45°C mid-winter!) the fabulous architecture of the older quarters, the patisseries and delicatessens in the bi- lingual culture as well as his studio and his colourful work. The final Wooden tool is used for sgraffito Brushing away burrs and dust — Angled background carving opposes direction, presentation included work and studios Photos by Elizabeth Woodfield show through slip on leatherhard clay surface is as important as the image of leaves and antelope to impart sense of other Canadian clay people. Matthias Ostermann demonstrating brush ' 0f movement Whilst eloquently talking about his and sgraflito techniques on students’ theories for doing things in a particular bisqued ware. way — be careful not to say this is the way to do it — completely different approaches — Matthias demonstrated turning and trimming of bowls, jugs and jars, applying slip for further work, attaching handles — better a bit too thick than too thin, skimpy, tight, unhappy — unloved handles show, give handles love — if you don’t like doing them think of goblets or something else, but love them. Antelope, fish, birds and flowers appeared on thejars and bowls modelled, painted, carved, mishima and sgraffito with references to fluidity of line, practical aspects, economic and sure gestures, addition of eyes giving a definite Directly brushed antelope design

8 New Zealand Potter No 3, 1987 New Zea|and Potter No 3, 1987 9 personality and Gothic braces to support Matthias pointed out formal flower Matthias shared his recipes with us. hollow modelled fish handles whilst patterns require more careful strokes but drying. he is not interested in exact representative Basic Slip Matthias’ deftness with the brush was line drawing — “The sgraffito lines Feldspar 30 VENCO DE AIRING PUG MILLS demonstrated on students’ bisqueware. suggest what you’re drawing.” Flint 15 Using a white background glaze, layers of The stains Matthias uses have a frit Ball Clay 55 Same price as works sold in Australia Add 2% Rutile colour were built up from light to dark. mixed with them. Half colour and half for a cream colour. 3" model $1800 (Aust. Ex works) Mix in a little yellow so the green is not borax frit no. 3124. The body glaze Or add 2% Rutile and 1.5% Cobalt duplicated, blend down to darker green cannot be used mixed with stains as it carbonate for blue grey. 4" model $2300 (Aust. Ex works) Or then get really outrageous and get into contains tin oxide. During firing the add 3% Copper carbonate and 0.25% (Allow approximately S(Aus)280 shipping to New , Cobalt carbonate for royal blue — work carefully over the borax in the stain mix combines with green. Zealand payable when goods arrive in New k whole now in rows with a cleaned out fluxes in the glaze and avoids crusting Zealand port.) “ brush to blend colours — get a complete and dryness of stain. Earthenware glaze Cone 04/05 blend of colours — wherever brush is Colours are lined up in order of Frit 3124 Ferro 100 dragged colours will connect — play with intensity and tested on paper — practise Ball Clay 10 relationship of colours . . . on newspaper as it is absorbent. Kaolin 10 Three colour methods were Different brushes give different strokes Zircopax 15 demonstrated — the subtle wash; solid — this was demonstrated by simple plant build-up of colour with sgraffito patterns from one brush and water Stoneware glaze Cone 8 Orton highlighting; applied colour smudged patterns from a shaped brush —- create Soda feldspar 40 almost out of sight, with definition shape and pattern — use brush to create Flint 30 through sgraffito. line. Trailing with slip also was Whiting 20 demonstrated. Kaolin 10 The large bird in blue had 3 stages of Our day with Matthias was rounded This is transparent with fine regular decorating. The outline can first be off with a lecture and advice to give crazing and is best on white stoneware or drawn on the body glaze with a pencil. ourselves time — have a framework to porcelain body. l Broad definite clean brush strokes, laid work in — be one’s own best judge and on deftly without fussing over them. not compare with someone 'else’s time or 2 Colours gently smudged over with a work — be supportive to yourself —— finger, giving a soft blended allow imagination to run ahead or your appearance. G.P. & G.F. HILL PTV. LTD, skills, running rampant, then allow Manutaciurev 3 Sgraffito, with a knitting needle, yourself to be drawn towards that VENCO PHODUCTS/WESTWIND TURBINES through to white body glaze for direction with looseness, casualness ' 29 OWEN RD , KELMSCOTT, WA 6111 and AUSTRALIA definition. spontaneity. PHONE (0.913% sass Pottery Award $2000 ‘We rPoise Satisfaction ’ Consistantly Better Painting Award Results Norsewear Kilns for Every Purpose Pottery $2000 Ceramics Raku Porcelaine dolls China painting Wool Award Enameling Crucible $2000 Suppliers of Ceramic Fibre Fibre supports Fibre glue MARCH 5, 1988 Brick cement Gas Burners ENTRY FORMS IN TO P.O. BOX 373, WAIPUKURAU Raku §> ' . g F m,” emu-cm”; ... Burners Temp. Controllers MARCH 14 - 18 Gas 85 Electric Kilns. From 0.6 cu.ft. up to 30 cu.ft. Pyrometers Slab Rollers RECEIVING DAYS WAIPUKURAU DISTRICT COUNCIL == FURNACE ENGINEERINGlsse LTD OFFICE FuRNACE 6 Holmes Road, Manurewa. ENGINEERING PO. Box 136 Manurewa. Ph. 2672661

10 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 ELIZABETH LISSAMAN, OBE PIONEER POTTER By Pat Scapens and the Tauranga Potters Group

r J

Elizabeth Lissaman has been potting Back home in Marlborough another electric motor and clutch from a Singer for nearly seventy years. kiln was built, fired with Westport coal. industrial sewing machine. It is operated During that time she has generously The hard work of trial and error, with from a standing position with the wheel shared her knowledge and skills through Wenger’s information and materials 3 head about elbow height. classes, weekend schools, demonstrations, months away, resulted in the first Years later, when Hamada came to exhibition of New Elizabeth Lissaman — Mrs Hall lectures and — perhaps most Zealand studio pottery New Zealand and demonstrated his significantly — her book Pottery for at the Christchurch Winter Show in 1927. technique of throwing, Elizabeth was Pleasure published by Reedin 1969. (My The general public liked, and bought, surprised to find that the method of copy is a 1970 edition published by Bailey the pots and interest in the craft of throwing which she had developed in Bros & Swinfen Ltd — Ed.) pottery grew. When the DIC store was isolation here, was very similar to the “Pottery for Pleasure" by Elizabeth Because it is written in simple terms built in Wellington in 1929, Elizabeth did traditional style which had developed in Lissaman, (A H & A W Reed) was reviewed which are easily understood, this book ‘instore’ demonstrations, advertised Japan. Photos, courtesy of the Tauranga Potters by Oswald Stephens in NZ Potter Vol 11, has been of continuing use. Now, five “With Wheel and Clay — two sessions During a trip to England in 1958 Group are of Elizabeth Lissaman's 1987 Na 2. 1969. reprints later, with rights sold daily and two on Friday nights." Elizabeth and her husband were able to pots. throughout the English speaking world, Periodicals and newspapers found this spend a day with Bernard Leach, it is used extensively in Australia, pottery making to be ‘news,’ as shown by discussing his influence on New Zealand England, Africa and America. her collection of cuttings from the local potters — particularly in stoneware. He Elizabeth was born in Marlborough. daily papers, Free Lance and Weekly personally showed them over his Fromthe familysheepstation she wentto News and even the children’s page ofthe workshops and was very generous with Marsden Collegiate School for Girls in Christchurch Star. helpful suggestions. Wellington, where Dorothy Kate There were so many firings, but one of The family moved to the Waikato in Richmond — a very competent the most memorable happened at the 1953, where a fresh source of clay was watercolourist who had worked with time of the Murchison earthquake in found on the farm, and potting, classes Frances Hodgkins in the early 19005 — I929. A firing was finished, but not and lectures continued. When Ian became an important influence in cooled; the pots were removed from the Scarrow had an exhibition of Bonsai in Elizabeth's creative development. It was kiln, wrapped in towels and set in front of Hamilton in the 1960s, he commissioned in applied design that her real interest the livingroom fire to cool slowly —— Elizabeth to make his containers. grew, but locally there was no which they did successfully. Japanese visitors to the exhibition asked opportunity in the field of wallpaper, In 1930 an oil—fired kiln was imported him “Where in Japan did you get your fabric or carpet design. from England. It was front loading with pots?" Clay was, however, available locally. a forced air draught to atomise the oil. In 1982, Elizabeth’s services to pottery Near Picton, clay exposed in railway During the Depression ofthe 305, sales in New Zealand were recognised with an cuttings was dug, bagged and left beside continued. One order remembered from OBE. the line to be taken by rail to Seddon, that period was for “120 pots of. When does a potter stop potting? Now where it would be loaded into the buggy Exhibition Standard at four shillings in Tauranga, Elizabeth — Mrs Hall — or car and taken the final nine miles each." would like to thank the staff of Crathie home. By 1940, Elizabeth‘s individual style of who cleared a sunny garage to create a By 1920 her first pot was fired by the earthenware was well established. With pottery shed, and to her sons; Michael Mirimar Brickworks in Wellington. Olive Jones and Elizabeth Matheson (a who digs the clay on his Waikato farm, Information was difficult to find — there pupil of Elizabeth’s) she was invited to and Bligh who prepares it and brings it to were no pottery-craft books and no one demonstrate and exhibit at the Tauranga, taking the finished pots home knew then how rich NZ was in raw Centennial Exhibition in Wellington. to fire in Elizabeth’s electric kiln. materials. So Wengers, in England, With a new baby the demonstration was Her pots are still carefully made and supplied glaze materials and oxides from not possible, but her pots were exhibited. decorated in her individual style of their extensive catalogue, though a letter They were of clay from their Levin farm, flowing, stylised natural forms in vitrified to England needed at least 3—4 months to decorated with flowing forms ofdeer and earthenware — some with underglaze bring a reply. birds in clear blues, greens and yellows. decoration, some with opaque glazes Fortunately, Elizabeth’s grandmother Elizabeth’s life continued with the decorated with oxides, similar to a highly lived in Sydney: while living with her, work of a farmer’s wife and mother of 3 fired majolica. She also makes Elizabeth was able to visit brick kilns, sons, potting, adult classes and lectures microwave ovenware and there are drainpipe makers and a teapot factory, through University extension and the always orders to be filled for a steady and to watch, question and note Education Department, throughout the market — but there is always time to processes and products. All her spare Waikato, Levin, Wellington, welcome visitors to the Cratlzie pottery money was used to buy bricks and coal Marlborough and Christchurch. Always shed. Elizabeth Lissaman, Mrs Hall, for a small coal-fired kiln which she built she used the local clays and the simplest now lives and pots at Crathie, Tenth and fired successfully on her of tools. Her own potter‘s wheel, home Avenue, Tauranga. The phone number is grandmother’s property. built from heavy timber, is driven by an Tauranga 89-501 if you wish to call.

12 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 13 NEW VISION CERAMIC TARADALE GT NORTHERN ARCADE,

Zetterman 45 QUEEN ST,. AUCKLAND. NEW ZEALAND. PH: 34-149 POTTERY GROUP Berit by Near Napier, a small band of enthusiastic potters calling themselves

the Taradale Pottery Group have one of Photos SLH the most beautiful club rooms in the Redwood: Very plastic. easy to to throw. low shrinkage country — the 130 year old St Mary’s E5% to dry. 13-14% overall. Fires to cone 9-10. Dark grey Church, standing tall and white amidst Waiwhero: Very plastic. good for slabs. large pots and EXHIBITIONS the grape vines of the Mission Vineyards. salt glazing Low shrinkage 5-6%. to dry 12-t3% overall Fires Always a superb place to make to cone 9-10. Light greyE] 6—19 December Len Castle Planter Body: Plastic. coarse. easy to throw. good for welcome their visitors, though in winter it planters and outdoor pots. Low shrinkage 56%. to dry IAN & DIANNE HUTCHISON can be a very cold place to make pots, it 137140/0 overall. Fires to cone 9-10 Toasted brown IE] red was last June the scene of a great deal of “Extension to Fushia Future” White Stoneware: creative activity. About 100 potters Workshop Very plastic. good for throwmg or :lahwork. Shrinkage 56%,10 dry127t30/o overallFires to . 20 December — 3 January arrived from all over Hawkes Bay to “Could’st I ever see a pot more divine?" cone 9710. ()itwhite ET white [El attend a two day school taken by master Eve Anderson with Len Castle. Porcelain: Very fine plastic throwable porcelain. Trans- MICHAEL POULGRAIM potter Len Castle. Some 18 ofthese from lucent. Cone 8-10 Shrinkage 5-6%. 13% overall. Trans- Drawings on Clay based on Jean Jenet lucent White IE8. the Taradale club and the Napier Art Gallery Group stayed on during the pH level of all these clays 4. All these clays are used at Cob Cottage Pottery. Brightwater. 11-23 January following week for more intensive Clay: Tonne lots 8390.00. 25kg bags $10 40 8kg bags 83 70 DISPLAY BY DON THORNLEY tutoring by Len. Porcelain 25kg hag $34 50. 8kg pack Sll 50.Tonne $1368 A small weekend school had originally been planned, but with Len as the 14-27 February drawcard it escalated into a major event WORK BY MARSHALL WATT which proved so successful that this small ' oycc Figurative work in Bronze and Clay membership club intends holding similar workshops in the future, calling on the country’s top potters as tutors. With such a magnificent venue, a first 128 ELLIS STREET, BRIGHTWATER Telephone 23-585 class visiting potter, plenty of goodwill and some hard preparation work there is obviously no need to be in a large town to present such major cultural happenings. W.D. IVICGREGOR LIMITED Taradale could be a place to take note of Other features include:- for the future! BEAUTIFULLY EFFICIENT Excellent temperature uniformity Uniform red' iction easily obtainable That’s how you sum up the new range of Flame safety equipment as standards McGregor LPG Gas Fired Pottery Kilns. Brick portal, base and flue All are fibre insulation Len Castle demonstrates press moulding bowls to students Sizes range from o cubic foot upwards. Stackbonded

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14 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 15 NOT FOR FLOUR OR FLOWERS

By Don Thornley, Hamilton

When I prematurely held a ‘farewell’ By 1983 a change of method was also fired on for softness, depth, colour exhibition in August ’75 — having of particular help. I moved offthe wheel vibration or richness. The clay is planned on going to the States — in the and started experimenting with semi- Winstone white slab, bisqued to ”00°C, preface to the catalogue I wrote of going hard slabs of clay. Choosing not to make high enough to give mechanical strength away and my work changing. I wanted a functional vessels (which I still love, by and yet absorbent enough to take glaze new direction: time to experiment and the way) and having very little affinity for without preheating. Fired any higher, expose myself to the world out there. the decorative pot that cannot contain the complex forms would warp. An authoritative voice on the QE [1 flour or flowers, I asked myself. what ifI I miss at times my preoccupation ofthe funding council at the time asked me why closed the interior volume almost past with informal vigorously thrown a potter would want to go to New York? completely and permanently? And what functional pottery; the relaxed repetitive No grant eventuated: no chance to stand if I altered the vertical axis of most cycle, the plastic movement; their inner back and take a wider view. pottery to a diagonal and later to more tension, spontaneity, simplicity and Five years later, after a further period than one diagonal? And so it all bagan .. directness and the very real pleasure that of fairly reluctant commitment to what I When I start a session. and I mean b§ people said they had in using them. I was making. I went “provincial” and in this a period of 3 to 6 months. ideas start don’t think of what I am doing now as an early 1980 took a position as pottery to tumble out. Jotting them down in advance on this work, but a move tutor at Waikato Polytechnic: time to diagram form and working in series, sideways, accepting a different set of experiment and possibly time to change. themes appear and there are not enough criteria and making for a very different The late 60s and 705 were Leach- hours in the day! purpose. Hamada-Yanagi influenced days when The Lise of opposing diagonals makes To finish, allow me to quote a direct perception orjust looking at things for precarious forms — balance and provocative statement from post-war without intellect clouding one’s imbalance, force and counterforce. American painter Barnett Newman: judgement was the way. Beauty had to Some occupy space, their weight tying “We are asserting man‘s natural desire do with functional ware made by them to the ground. Others are more for the exalted, for a concern with our craftsmen unlearned and forms were gestural and less restricted, appearing to relationship to absolute emotions. We thought best derived from co-operation move in space. Then finally there is the do not need the obsolete props of an and working within tradition. According exciting last part of the making, the outmoded and antiquated legend. We to one guru at the time it was the how of potter’s concern with openings that invite are creating images whose reality is self— pottery and not the why that was all you to appreciate the enclosed space. evident and which are devoid ofthe props Hermetic Box No 2. 66cm l1 important. I want them to be non-referential, but and crutches that evoke associations with But working within tradition never sometimes they appear anthropological, outmoded images, both sublime and Hermetic Box No 10. 30cm h fitted me easily. Occasional glimpses of architectural or machine orientated. beautiful. We are freeing ourselves ofthe Curved Form. 52cm 11 work by Americans Peter Voulkos and Expressively, I hope they are impediments of memory, association, John Mason and locally, coiled sculpture contemplative and have something ofthe nostalgia. legend, myth or what have by Barry Briekell, original forms by Nola spiritual qualities of abstract form. you, that have been the devices of Barron, David Brokenshire and Len Timing is critical when working with Western European painting. Instead of Oblique Box. 62cm h Token Form No 7. 30cm h Castle, and from Japan the innovative slabs. The slabs are placed on fibrolite making cathedrals of Christ, man or slab forms of Kanjiro Kawai, told me sheets to dry to the stage when they will ‘life,’ we are making it ofourselves, out of there were more personal and alternative stand freely without bending. Coils are our own feeling. Theimage we produce is ways of working. welded to the corners inside and out, and the self-evident one of revelation real and To discover more about the whys, my with difficult forms extra bracing is concrete, that can be understood by wider view had to be through the placed inside. The metal kidney worked anyone who will look at it without the Interloan library service and a few new carefully on corner areas, gives the nostalgic glasses of history.” books on my shelf. The work and precision I want. Unpopular thinking in this pluristic. writings of Malevich, Mondrian and I prefer to spend time with the so-called post—modern period? Perhaps Kandinsky confirmed my love of aesthetic questions rather than the so. but to me what he is saying still makes abstraction. The aesthetics, and in technical ones, taking a basic alkaline sense. particular the use of colour by painters matt glaze and saturating it with up to Alhers, Newman and Rothko blew my 25% low fire stains to achieve bold, mind; the sculpture of David Smith, Tony bright colours that integrate and merge L l Smith and Anthony Caro among others, with the surface. Sometimes I use a At the time of going to press, Don Thorley opened new doors; and not least, the commercial Duncan glossy glaze to give had just been awarded a QE 1] Arts wonderful book on ceramics by Phillip contrast, accent or visual texture. An Council grant for Senior Artists‘ Creative Rawson, that dared to analyse the exciting recent discovery is the use of Development. He will spend 1988 at an structure of a pot — yes, I was going to colour to break up the surface and create

Australian Institute yet to be decided Williams allow the intellect to cloud my vision and illusionary effects much like shadows do upon. studying for a diploma in graduate judgement! when they fall on an object. S. level ceramics. A new direction takes time. New Risking life and general health, gloved sources require assimilation. The mind and masked, extractor fan working hard, and emotion harnessed by intuition to I spray on raw lead based glaze with 8% Howard give balance and alter perception. I potassium dichromate added to give believe this to be true whether making brilliant orange and red textures. Fired .by traditional or ‘liberal’ vessels or ceramic and re-fired at 920°C in an electric kiln, sculpture. quite often layer upon layer of glaze is Photos

16 New Zealand Potter No 3, 1987 NINO CARUSO The Unfolding Clay NORA FLEWELLEN

By Leo King, Auckland By Frederika Ernsten and Margaret Ryley

This title of Nino Caruso’s major the Catholic church of Santa Maria de Caruso has a second studio and a home /’ exhibition at the Ashai Gallery in Kyoto Loreto. The studio, which he bought on an 18 acre property near Perugia, in 1983 is perhaps a clue to a part of his about 25 years ago is very large and about 100 kilometres north of Rome, and personal philosophy. A concise but houses the design, prototype close to the medieval village of Todi. The provocative summary of a confession manufacture and the construction of house which suffered much conversion which he made to me when we met last individual pieces. was originally one of the lookout towers -3. year, when he said that he liked the idea Because architectural wall cladding is used by warring factions and families in of building things and then opening them usually on a large scale and for Caruso’s the area. The levels, which number about five, are set to discover their internal structures. designs require a multiplicity of units, over a large basement, which 4.-“ Nino Caruso’s association with New Nino has close links with the ceramic in a previous tenancy housed the animals, Zealand is long standing, despite the fact industry which is responsible for the but is now a well appointed kitchen and that he has never been here. The Spring manufacture of plaster moulds, and the food storage area. The property is Press issue of the New Zealand Potter 1969 Vol. casting, finishing and firing ofthe units in managed in Nino’s absence by a local 11/2 contains an editorial advocating accordance with his designs. As he has farmer and produces amongst other more contact between artist potters and chosen to design his own individual things a fine grape crop. The land the ceramics industries in order to sculpture using the same modular surrounding the house, which is being upgrade industrial design and includes an approach as the wall cladding, the pieces prepared as an outdoor site for Caruso’s Christchurch article on Caruso, whom it describes as are naturally fabricated in the same way. sculpture, currently houses one of his “a new breed of European potter,” and The practice of using skilled technical horizontal works about 6 metres in illustrations of his work. To my assistance in the preparation of large length and 1.5 metres high entitled knowledge his work has not been sculptured works was fairly common in Temple Wall. courtesy exhibited here although examples of the 19505 and 605 enabling the artists to Quite close is the town of Spoleto similar slip cast modular relief work is to produce work which was outside their which was the site of the Festival of Two Photo be seen in the work of Giovanna Ponti, an own range of skills and capabilities. Worlds in 1962 which included large WV“ . I Italian student from Faenza who recently Today Caruso reciprocates by providing works of international sculptors in steel .a-Jtl». . ._ .. completed a Masters degree at the Elam a consultative service in ceramic such as Americans David Smith and Majolica plate. 32cm diam Nora Flewellen celebrates her 80th School ofArt in Auckland where some of problems and glazes. Alexander Calder. Caruso visited the birthday and 30 years ofmaking slipware her work is on permanent display. She The essence of Caruso’s designs is in exhibition and his interest is reflected in and majolica earthenware also executed a commission for the the simplicity of its conception. By using the pieces of disused agricultural Fletcher Challenge Group (NZ Potter, a small number of individually designed machinery set up around the property Vol. 29/], 1987). This kind of sculptural modules he is able, by repetitious or and his own welded steel and bronze work and the decorative architectural seemingly random organisation, to build pieces in his collection. 80th Birthday Exhibition relief of Caruso are of course evidence of up areas of complex relief pattern which Nino’s deep interest in Etruscan art is the long history of the use of clay for may be repeated as larger units ofan even echoed in his later work and was the The Courtyard, Christchurch decorative or structural surfaces where greater overall design. The effect is feature ofa local exhibition at Ferrara in impermeability is often a bonus. striking and dramatic. The basic 1985, entitled Homage to the Etruscans. It Caruso's personal background is modules, which often have one common was his enthusiasm which persuaded me colourful, born of Sicilian parents in dimension, have a strongly linear to visit the National Etruscan Collection “You don’t want to photograph my glazes, colouring oxides Libya he was deported back to Sicily at component which facilitates their in the Villa Giulia in Rome. The and slips are shops — it is all much easier — but then, hands," Nora Flewellen told the .tidily stored under the age of about l3yrs where he later continuous relationship and which takes collection, apart from bronzes which benches and on we learned the hard way, digging clay and photographer from the Christchurch worked with the British occupation the form of deeply concave or strongly include armament and life size statuary, shelves which also house clay; a processing it, experimenting with Press. “They are workman’s hands.” woodworking forces and became acquainted with convex cylindrical elements. These also contains a vast number of ceramic bench, wood turning tools everything, learning as we went along. Working hands certainly, and for 30 and small electric engineering and lathe work. In the late elements, which have varying radii, are items including a collection of amphorae kiln. Nora is also an Hard work, but I think we really had the years they have been put to good use 19305 he moved to Rome where he was placed in relating or opposing sets over of widely differing designs collected from accomplished woodworker, an best of it.” making pottery, culminating in Nora’s inheritance introduced to the clay in which he has the surface of the module, providing a such ancient cities as Voltri and from her grandfather who An inaugural member of the first solo exhibition, to celebrate her 80th was a subsequently made his career. deep relief which is selectively dependent Civitavecchia. master cabinetmaker and builder Canterbury Potters Association, Nora has birthday, at the Courtyard Pottery in Lazio, the province in which Rome the upon the variations of angle and levels of The exhibition at Ferrara contained of her cottage. recently been made a life member in Christchurch. capital city is situated, together with ambient lighting for which they are work which showed the continuing Nora’s first contact with clay, which recognition of her valuable and constant Nora, a modest, reticent person is not took over from her woodwork, came contribution Umbria the adjacent province to the initially designed. Much of the work is change in decorative and textural style. to the organisation. She has really interested in going back over her also been north east, originally formed part of the glazed with clear or a semi—matt very fine The tall columnar pieces were still in when shejoined the Craft Centre group in an exhibiting member of the past life. Potting has always been a Christchurch, after 3 lessons from the New Zealand Society Etruscan empire around 2000 BC. It was crackle for durability, but which evidence, but the reliefpatterns were now of Potters and has personal and private thing, not done for examples of course very important for its own emphasises the brilliance of the in the form of tight volutes or scrolls of Nelson potter Carl Vendelbosch. At that of her work in the Canterbury money, but as an exploration of colour Museum artistic use of clay and bronze and for its highlights. varying sizes and disposed in a more time Risingholme was the only other as well as in collections in the and pattern in that most difficult of all aesthetic appreciation and collection of The models from which the moulds are organic way, although still obviously group giving classes in pottery and the USA, Australia, Japan and Holland. ceramic mediums, slipware and majolica artifacts from other Mediterranean formed are made from wire-cut organised. The architectural aspects of waiting lists for both were long. Nora’s 80th birthday exhibition was of glazed earthenware. She has never taken work countries. Styrofoam, opening up the possibilities of the work were extended to monumental Eventually Nora became the tutor for made over the previous 8 months — orders — a great interest in and love of In such an environment and against surface texture which Caruso has architraves installed for the purpose of hand-building classes and still maintains the owner of the Courtyard Pottery the work and the pleasure it may give to the more recent artistic heritage of Rome exploited, in conjunction with the relief, the exhibition into the doorways of an that no pupil should go near a wheel gallery, Frederika Ernsten, began friends and relatives is the overwhelming itself, it is not surprising that over the last in his free-standing columnar sculptures. adjoining convent. The finish was in until the technique of hand-building has collecting pieces as they came into her impression one gets from conversations 25 years Caruso has developed as a These, which can be up to two and a half warm terrasigillata. been mastered. As there was a large shop for sale. Eventually she had to take with her. all teacher, consultant and artist of accepted metres in height, use double sided On a nore intimate scale were pieces mortgage to pay on the Springfield Road of Nora’s pots out of the window Her workshop is the small wash-house international standing. His studio in modules, cylindrical sections bearing a which ressembled Etruscan vessels about property of the Craft Centre, none ofthe because they would have sold long before at the back ofher cottage. There has been Rome, until recently a recognised fluting reminiscent of Ionic columns, or 40cms in height or others which had a tutors were paid for their teaching. the exhibition had been assembled. no thought of expansion in spite of the international centre, is situated in what other combinations of surface form ritual content. All were richly “We did it for love. Today, clay is complexity of the work done there. All was a 15th century monastery adjacent to which are futuristically non uniform. ornamented with the same stylised scroll prepared for use, there are craft supply

18 New Zealand Potter No 3, 1987 New Zealand Potter No 8, 1987 23 Raku platters Tests of new glazes and effects from one firing.

Whilst watching the World Speedboat Championships at Lake Karapiro. Lyn LYN ALVES Alves’ eye was caught by the design on a t-shirt. She quickly sketched an idea by Elizabeth Woodfield, forming, for decoration on one of her earthenware or raku platters. Lyn lives in Wall piece Cambridge and is in her first year of the two year advanced pottery certificate course for part-time students at the Waikato Technical Institute. Lyn has always been interested in art work and pottery, but it is only four years The rakufirings are done in a dieselfired5 ago that she was able to take up clay cu. ft. brick kiln along with enthusiastic work. The first three years she attended helpers Eunice and Graham, with Pat to part-time pottery classes at the WT] open the door. Peter controls diesel and doing a certificated course with Don air. Thornley as tutor. As well as her Friday class, Lyn usually Raku pieces taken straightfrom the red— works on her pieces three nights a week hot kiln are nestled on top ofa till 2 or 3am — “I‘m not a good sleeper . . handful each of sawdust and leaves, then sealed in the and in the lounge room as it’s warmer at reduction barrel to effect the beautiful those hours. Weekends and Summertime black without pitting the glaze. brings Lyn and her clay outdoors.

Four days a week Lyn works for an Graham carries a hotplatefrom the kiln to agricultural equipment exporting the reduction barrel. company. She rides her bike to and from platters work and derives great enjoyment from Earthenware the wide views of the countryside and suspended triangle, but the pieces kept that are pleasing to look at and enjoyed hills that surround Cambridge. cracking. so she decided to lace the next for their own sake rather than making In August Lynn had an exhibition of attempt together. Feather additions utilitarian pieces that are onlyjustified by her work at Craft New Zealand a followed when she accompanied a group their use. She says her platters with the converted Gothic-style church, in ofJapanese students to Hilldale Zoo Park red glaze should not be used for food as Cambridge. The exhibition consisted of where the students gathered up peacock the red is from cadmium. This is adapted raku and earthenware platters, wall feathers and presented them to her. to raku temperatures by the addition of pieces and a triangular form. Barbara Lyn uses four colours in her Raku nepheline syenite and gerstley borate. Sherburd, director of Craft New Zealand, pieces — red, yellow, white and reduced The base glaze is no longer commercially had seen Lyn’s work and invited her to black aiming at dramatic impact. When available, but Lyn has four years exhibit 24 pieces. Lyn was more than making her pieces she works ideas personal supply stashed away. pleased to be exhibiting in such a through, planning around her limited Lyn prefers working with raku as she nationally well-known and local gallery. pallette. In every firing she experiments feels she is in control and is totally She also had a raku piece accepted in the with a new glaze. One technique she feels involved with each piece. but she does Winstone Crafts Biennale in Auckland. could be most useful to her, is to spray the enjoy brief sojourns into earthenware Raku is Lyn‘s greater love. She says bisque piece with water then sprinkle dr} where she still is doing designs. She she could work with raku all day and all glaze powder on top. “The firing gives a makes mainly slab pieces and says night if her family would let her. really neat textured finish." although she enjoys working on the Geometric patterns and lacing are the Her raku firings are very hot and fast. wheel, she doesn‘t get a buzz as much as dominant theme in most work. Lyn says 10 minutes being the maximum time for with slab work. She is now working on a she’s always lacing things and scribbling pieces to be in the kiln, otherwise the series of triangular forms .and a 3,000 ideas. Lacing came about when Lyn was bright red is lost. The white glaze needed word essay on ethnic masks and shields trying to make a raku square with a disc to be adjusted to work around the fast of Papua New Guinea for credits towards cut out of the middle and inserting a rate. her certificate at the Waikato Technical Lyn prefers to make decorative pieces Institute. 24 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 25 THEY’RE OK, WE’RE OK By Peter Gibbs, Nelson

For three months during this winter, I travelled with my family in the south western states of the USA. Most of the time we were in California, where i had

teaching jobs, firstly for three weeks at Hartwell Napa Valley College, just north of San Francisco, then for five weeks at Mesa

College in San Diego. Scattered between Marilyn and after these experiences were workshops in Los Angeles and by Albuquerque, New Mexico.

The most common request since we Photos returned has been to give a comparison between the state of pottery here, and Julie Warren (Gibbs) demonstrating Peter Gibbs (right) discusses the salt firing with student developments over there. It‘s as if New at Napa Valley College Jim Duda (doo da day) Zealanders need reassurance that what they are doing is OK, and that it doesn‘t If NZ ceramics can foot it with the best presence, it verges on the impossible to was pretty bad. This was a clear over make suffer too much by comparison with there, you would imagine that we any inroads into the star ranking reflection of deficiencies in skills and in would system. In our what happens out there in THE all be selling our work for vast favour, we have only the the aesthetics of the functional object. WORLD. prices in California right now. People fact that NZ is currently a very trendy There is a great interest amongst like Greg Americans don’t need this reassurance Murphy and Campbell Hegan of country over there, but I blush to add potters there about the work of New Craftworks to the same extent. The very size of the International are attempting that this is because we’re perceived to be Zealanders, and I suspect that if we want country and its population seems to to do just that, in fact the two Out ofNZ part of Australia, and they’ve made it to a our work to sell over there, then we first make them complacent about their shows organised by them last year in large degree on the strength of Paul have to promote it in any way possible, Santa Hogan standing in the international community. Barbara and San Diego made a big and “Crocodile Dundee.” Our perhaps through craft magazines. This _ ..,,.. impression on the American potters that most visible presence in California is the probably means pinpointing Only those amongst them who have -.‘ EK_ just a few / ’ saw them. large number of travelled, or are more aware of global The difficulty is that the Canterbury Clothing potters at first and endeavouring to make Peter Gibbs with Napa Valley College salt kiln built by famous salt glazer Sandra Johnstone country shops, events have an inkling that their country is just so BIG; craft shops are which are in many of the huge their work recognisable by constant scattered all shopping malls is not universally regarded as the centre over, the good ones being a where Mr and Mrs exposure. As the work ofjust a few New long America go to shop. of the universe, and therefore immune In teaching courses labelled Ceramics criterion for judgement. At the top level way apart, and the huge population Zealanders becomes known, that will in has such a In any from questioning about their foreign I, Ceramics II, and Ceramics III, I was in NZ I don’t believe function is the issue vast number of other case, I don’t pretend to know turn help pave the way for others. consumer items to policy, consumerism, status of the arts, expected to cover a huge range ofskills in either, no matter how much eat up those the answers to the marketing problem. Whatever happens in the future, discretionary dollars, or any other of a million small facets of a short period of time. As the students traditionalists here try to deny and resist that it takes more As far as the quality ofthe work goes, the whether we concentrate our efforts to than their life. In fact it’s this very innocence moved through these courses, they would this trend. The difference is that in a couple of well placed shows to best of NZ can easily compare with the increase awareness of NZ work here or make any impression of alternative techniques of getting be expected by implication to be familiar comparing the best ceramic work from on the market. best of theirs. The worst of NZ work is overseas, we can have the confidence that Collectors exist all right, but through the minutiae of daily life that with all the techniques covered. In actual both countries, pottery in NZ is more the probably much better than the worst we the work of our potters is comparable to hierarchy of known ceramic makes us so much the same. fact, this would be impossible, unless the likely to have its ancestry in functional stars saw in California. In fact the small the rest of the world. dominates, and without a continuous amount Culture shock comes in an infinite students had facilities oftheir own. Ialso work, and in particular, the techniques of domestic ware we saw on sale number of ways; from knowing where to taught Ceramics Special Studies, and all used are more likely to be the same buy a filled roll, to turning on a light these students were experienced potters techniques used by a professional potter. switch, and from learning to drive on the with their own studios. Even these In the USA, more freedom in the use of wrong side of the road, to knowing what people, although highly knowledgable in techniques is exercised, and the goals and time to turn up for “tea.” a broad range of pottery areas, had references lie more with “5% art and awe "masque: BELLS! 8 In considering the state of crafts in shortcomings in many basic pottery sculpture, less in the traditional pottery _ HNOTHER general, and pottery in particular, it‘s skills. area. Still this is just a matter of degree, essential to consider the origins and The basic attitude to education in as ceramics in both countries obviously >36 ZloLLY Ho HO POTTER education of the practitioners. I should America is one which I would regard as have much in common. also point out that three months in a being more healthy than that prevailing In giving a purely subjective country, most of it stuck for long days in here. Rather than ceasing upon judgement, I would say that Ifeel more at M

a classroom does not make one an expert, graduation from secondary school, ease with NZ pottery, and that Iam more sf H3 so these opinions are just impressions university, or whatever institution, as is stimulated by the best work here. Before e from one biased observer. generally the case here, Americans seem I am accused of being parochial, I should For a start, almost all the clay work much more likely to carry on throughout add that it is impossible in such a short and clay workers I came across were tied their adult life picking up classes here and space of time to partake very fully ofthe C)’ if tightly to the education system. The very there for personal enrichment, smorgasbord of work available 59 descriptions of the courses revealed the satisfaction, job advancement, or any throughout the US, and that I have a V underlying attitude to the work. Always, other reason. The result of this is that personal bias towards, and pride in the the courses were described as Ceramics, whether potters are still involved in the work of NZ potters. However, I feel that not Pottery, and the Ceramics education system or not, the skills and the long lonely hours which kiwi potters Department was tied to the “Fine " Art attitudes which they bring to their work have put in over the years, learning their Department, along with Painting, are far more likely to stem from this particular skills as a matter of

Composition, Art History, Sculpture, source than from the workshop, or from marketplace survival, are starting to pay /\c\ and so on. Although some classes were personal experience, as is the case here. off, and the technical skills which have C H 'R l also offered in Glass, Fibre and So‘how is all this transferred to the now become second nature are beginning Jewellery, Ceramics seemed to have a far actual work? In general, Art is the goal. to be used in an increasingly confident greater claim on resources. Function does not really come into it as a way to express ideas.

26 New Zealand Potter No 3, 1987 N ew Zealand Potter No 3, 1987 27 COTTER KILNS NEW ZEALAND’S COMPLETE SUPPLIER

KILNS KILN FURNITURE WHEELS CLAY GLAZES & MATERIALS BULK SUPPLIES

AIR BRUSHES — SPRAY GUNS — COMPRESSORS Award Winner: Ann Robinson, Auckland. Cast Glass Bowl Chester Nealie, South Kaipara. BOOKS Anagama woodfired bottle LOW FIRE GLAZES ONGLAZES STAINS LUSTRES COTTER KILNS WINSTONE CRAFTS BIENNALE TOOLS MOULDS agents for: Auckland War Memorial DEGUSSA — HARRISON BELL — POTTERYCRAFTS CRAFTS COUNCIL OF NZ Museum These kilns are constructed from folded and CHINA PAINTING SUPPLIES compressed ceramic fibre which takes 1300CC Merit Winners Judge: Udo Sellbach, Australia PRICE LIST 8: CATALOGUE firings repeatedly without cracking or falling off the MAIL ORDER THROUGHOUT NZ walls.

The exterior steel sheathing is ventilated to prevent corrosion and maintains cooler exterior surface during firing.

Electric elements are used in the kiln to provide flame safety on all burners and also give a gentle pre x“ 0‘“ heating for bisque firings. \ 0"]!u ,. killill ..

Only 1 tap is used to control all burners. E No previous experience is necessary to fire the kiln \ successfully in 6 hours from 0C to 1300C with less David Trubridge, Bay of Islands. Writing Desk and Chair Warwick Freeman, Auckland. Paua Bead Necklace // than 1 cone difference in temperature throughout. in Kauri and Black Walnut Linley Adams, Auckland. Glass Wall Panel Malcolm Harrison, Auckland. “Ballad of the Negro Sailor.” Quilted Fabrics \ We also stock kiln shelves and stoneware clay 5 . .. . was» H175. / \

\§///f/ CERAMIC SERVICES Unit 4 - 88 Elizbeath Knox Place, in... Panmure, Auckland. PO. Box 87088 Meadowbank AKLS

Ph 574-899 A/hrs 544—265 “tilt/“til

10 cu.ft. kiln — $2,850 plus (3. ST. Thomas

15 cu.ft. kiln — $3,550 plus (3. ST. Ces . 25 cu.ft. kiln — $4,100 plus G. ST. will by Cobcraft Potters Supplies Ltd. 388 Montreal Street 33 cu.ft. kiln — $4,700 plus (3.8T. P.O. Box 25053 made other sizes available Kilns are custom Photos CHRISTCHURCH. Telephone 67-229

28 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 29 INDEX OF NEW ZEALAND CRAFTWORKERS T e Dowse Art Museum collects the fine arts in mat— Craftspeople are invited to apply for erials traditionally selection for inclusion in the Index of associated With the crafts. New Zealand Craftworkers.

The aims of the Index are: 0 to promote the highest quality craft ENDEULIESEBBK nationally and internationally 0 to provide a resource for gallery directors, craft shop managers, Fine Arts and Crafts exhibition organisers, government departments, architects, educators

Entries close 19 February 1988. Pottery Paintings Furniture Selection (2) 3 and 4 March 1988. Art Museum hours Wood Glass Silks Weaving Guidelines for application and application forms are available from: Monday to Friday 10am — 4pm Fibre Arts and Jewellery Saturday, Sunday and public holidays The Information Officer, 1pm — 5pm Crafts Council of New Zealand PO Box 498, Lower Hutt City Centre Wellington Address: 279-281 Hardy St, Nelson Open 7 days a week 10-4.30pm

We wish to announce that Winstone Potters Clay is now under new management and will now be known NATIONALBERAMIBS as WELLI NGTON POTTERS CLAY NELSON

Theconvention &30th national exhibition MAYI988. 13-14-15. We would like to extend a warm welcome to guests all customers and look forward to being of SUSAN & service to you in the future. All Potters STEVEN visiting Nelson will be welcome at our KEMENYFFY -raku sculpture & murals \2 factory at any time. Pottery ~ May we take this opportunity to thank + J Winstone Concrete Ltd for their good in Australia Neil Grant-fibre repair & kiln relining. Melanie Cooper-glaze technology. wishes and to thank distributors and clients A quarterly magazine for potters everywhere John Scott- Psychology ofart. for their support whilst this transaction was Brian Buchanan Shows ceramics in all aspects: technical, philosophical, - element management. in progress. gas fittings & firing -questions/answers. historical and contemporary. Colour photographs, Decoration demonstrations. excellent technical articles and regular reviews Potto -a John Parkerteaser. POTTERS CLAY (NELSON) of exhibitions, books and potters’ activities. The FunJewellery - make &wear. magazine has contributors and subscribers from Discussions.AGM.social occasions. P.O. BOX 2096 all over the world. + BRINGYOUROWN POTDISPLAY. 42 QUARANTINE ROAD Subscribe to Pottery in Australia STOKE 48 Burton Street, Darlinghurst, Sydney, 2010 Australia NELSON Phone (02) 331 3151 WgUNational Bank Subscription for four issues each year is: $A28; US$30; E20 TEL. (054) 73-397 REGISTRATION FORMS- Margery Smith -(04 326111) 28 The Drive, Tawa,Weliington. J

30 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 31 CLIFDEN SCHOOL SOUTHLAND

Tutor, Dawn Glynn, Otautau

Clifden School in Western Southland ~ * believes in starting them young. The ‘ ‘ results shown here are from this year’s REAP - Rural Education Activities Programme, from children in Primer one, to Standard four (5 - lOyr olds). The children prepared crayon or pencil working drawings of a subject or an object. Usually I took items along for ideas, discussion and stimulation. Progression then to painting; learning brushstrokes, design, proportion, repeats and patterns and movement. They then examined established potters’ work before carrying their own designs through onto clay plates, or they made pinch pots or models of fish, butterflies, Design and plate by Karl Smith (9) witches, teddybears, guitars and .. VI i dinosaurs. " l . 1. " " ‘ The plates, mainly by the older - " -, .. children, were inscribed with their , _ . .9‘ ,' ' ' designs, then washed with burnt umber, . . i. . ‘ . '3‘ red iron and manganese. “ . "' .« , ~. The children's enthusiasm was A " '- " , C \ boundless and the results most satisfying ‘ , ' T, -_ - perhaps we have some of our next ‘ ‘ i ' {- generation of potters here in the making! ' ' — . " " _,

. . , Guitar. Rachael Moore (8) 1 '_ . Fish. witches and butterfly by 6 yr olds

Teapots. Wade McNamara (5) ,

/ \ Design and plate by Justin Sanford (10)

l M.“

\ \1

\ / Design and plate by Kerry Green (9)

32 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 33 TURF KILN . steal tit-l By Graham Collings, Insulation /..—/w s’rezl lid Matarangi Beach ~ — insedoi'ion

clog +09 Having fired my first pot in a hole on had; blocks the beach and my second in a pile ofloose bricks, it was not too surprising that I ' Pc hc\¢ should be interested in building a turf kiln. I was very impressed and influenced 7/ shah/cu: by a friend who was producing fire bricks

f 3.

l

n

0' out of what looked like a compost bin 1‘ with a turf wall on three sides and corrugated iron on top. I neened a small kiln which could be sealed off for heavy \=/./\\’// \\ \\ reduction, but had very little spare cash / . i \ / "/\ ’1'//,./\\ /\\/\// — a problem not unique to myself. «.1» After discussions with Milton i TURF K\LN Hutchison (better known as Hutch) from The finished turf kiln N L Kuaotunu I had a trailer load of turf Firing the turf kiln at an early stage in Its blocks and a firm idea of what I was development going to do. I used turf from Kuaotunu L because it contained more clay than the local sandy soil. This problem would appear to be due given a second coat before the next firing. The internal measurements were made to my inexperience rather than the kiln The outside of the kiln only gets to be slightly larger than my three 300 x design. I make a tunnel of loose bricks slightly warm during firing and the kiln 400mm shelves (the only shelves I have). and start the burner away from the takes a long time to lose its heat when AUCKLAND STUDIO POTTERS Timber pegs were driven into the ground chamber. As things warm up I increase switched off. Cooling can be assisted by to the internal measurements. The turf the air and diesel and move the burner opening up the holes and taking the lid Auckland War Memorial Museum blocks were trimmed with an old wood closer until it is discharging directly into off, 23rd ANNUAL EXHIBITION saw and put into place, and a hole was the bottom of the chamber. Fire bricks There is no doubt about the good formed on one side, with bricks, for the disperse the flame and stop direct contact insulating qualities of the turf, but probably the most impressive thing burner. The inside was plastered with a with the shelves. I have reached the Selectors: Greer Twiss and Lex Dawson mixture of terracotta clay and sawdust conclusion that the arrangement ofthese about this kiln is the cost which was similar to that used by Hutch for his fire bricks has a significant effect on the time around $70. This was made up as taken to heat the top of the kiln. follows: steel for lid — $15, insulation bricks. The peep hole in one side was Guest Exhibitor: made by cutting the turf to leave a brick I tried some terracotta pieces in the and fasteners — $3.0. fire bricks — $20. sized hole. first few firings but they turned out an cement — $5. All the other materials Christine Thacker, insipid pinky colour. This again could be were local clay. sand and sawdust. The A 2mm steel plate with ceramic Waiheke Island blanket insulation fixed to the underside due to my inexperience, but as I get such dieSel burner niade from bits ofpipe co? was put on top. The steel was slightly good results with terracotta in my wood an additional $44. for a buckled which suited me because it allows fired kiln I did not worry about putting This kiln certainly does the job water to drain offand the supplier to take any more in the turf kiln. fraction of the cost I may have paid for a 40% off the price. The top ofthe kiln was The main problem was that the inside 4 cubic foot kiln. I intend to do formed to the shape of the steel plate so walls began to break down with the heat earthenware glaze in it at some stage. but the insulation sat firmly on the rim ofthe and cavities formed when the turf dried most of the work I am doing now does chamber to form a reasonable seal. The and burnt to a red powder. Where the not need glazing. I have a lot to learn outside of the walls were taken up tojust clay surface was cracked or punctured about ceramics in general and firing in below the steel, so that this edge could be the red powder would run out leaving a particular. This kiln uses very little diesel sealed off with clay once the kiln was hole. At this stage Hutch was — it has beem fired 7 times. using about .going. A 100 x 100mm hole was cut in the experimenting with mixing paper fibres half a 44 gal. drum. which works out at steel and insulation to let the exhaust air with clay and it was found that the fluffy about $6 a firing. out. This is easily damped with a brick wet paper/clay mixture had really good The kiln is reasonably resistent to placed partly over the hole, and can be adherence with the powdery turf. A weather and apart from the lid rusting

Sameshima. sealed off with some wet clay and a brick reasonable layer could be built up by there is nothing much that can happen to when the firing is finished. sloshing handfuls of this mixture into the it. At the moment it is sitting on the lawn. As the pieces I produce are holes. The material which had fallen out in the open, and can only be fired during Haru

earthenware sculptures, tiles and pots was then mixed with clay and put back. fine weather, although once under way a by used for decorative purposes I am not This worked reasonably well but was soft shower of rain would not hurt it. Iprefer interested in high temperatures although after firing and a bit fragile to touch. to cover it up when not in use, but there the material used should be able to There were still small cavities which were would be nothing wrong in storing the lid Photo withstand stoneware temperatures filled with a mixture of clay, sand, under cover and leaving the rest without any problems. The first two sawdust, grog, or whatever. uncovered. firings were to 900°C and took 21/2 hours Soon the inside walls became stable Altogether I am very happy with this without any problems. Since I and the small shrinkage cracks were filled kiln. The more I fire it the better it gets. E 1988 Workshops — Mitsuya Niiyama, the well known Japanese potter who gave a successful demonstration tour ofNew Zealand “improved” the kiln it has taken me up with fine clay. The inside was coated Soon I will get the hang of arranging the in 1982, will be visiting this country again in 1988, holding classes in the main centres. Further information can be obtained from much longer, 4 hours, to reach the same with borax frit and china clay which bricks in the bottom to get the flame Auckland Studio Potters, PO Box 13-195, Onehunga, Auckland. temperatures. I must be doing something soaked into the walls giving a hard going the right way. wrong. surface when fired. Any weak spots were

New Zealand Potter No 3, 1987 35 34 New Zealand Potter No 3, 1987 SCHOOLS: WAIKATO POLYTECHNIC Summer School of the Arts January 5—10 and Music January 22-24. Thirty- five courses. Top national tutors. *Brochures available. Write to Summer School, Waikato FOR SALE: tPOTTERSi Polytechnic, Private Bag, Hamilton. *including Rick NEW ADDRESS FOR SUBSCRIPTIONS Rudd and Anneke Borren. VENCO DE-AIRING PUGMILL, 4“ Extrusion, single AND ACCOUNTS order. $3,200. Phone (09) 817— ROYCE McGLASHEN Summer School 88. February phase, in excellent NZ POTTER, 4087 Auckland (collect). 22—26 inclusive. “Design and Decoration" — with P.O. BOX 881, AUCKLAND, N.Z. lots of throwing. For details send S.A.E. to 128 Ellis FOR SALE: Small shop, large workshop, new3 unit Obtain All Your St, Brightwater, Nelson. motel, 4 year old unusual house on main tourist road, EDITORIAL & ADVERTISING AN ART AND CRAFT WORKSHOP, to be held at Fenton St, Rotorua. Potential for Supphes development. $350,000 P.O. BOX 147, ALBANY, N.Z. Manurewa. Drawing and painting in Ceramic o.n.o. Phone Rotorua 70- NZ POTTER, 360. materials. Copper enamelling, zinc etching and prints. From January 20—24, optional 3 or5 days. For HOUSE/POTTERY — Half acre, Whitianga, Cook’s Of details — Brian Gartside, RD. 3, Drury. Phone (09) Beach area. 2 brms and loft only 2 years old. Board 294—8970. and Batten exterior. 20’x8’ workshop/sales with - parking. 10cub. ft Fibre kiln and Talisman wheel, C A P RIC 0 R N Fine New Zealand LEASE: plus essentials. Sunny, sheltered position, rural views. $105,000. Private sale Phone Whitianga 65-978. CERAMIC FIBRE studio pottery WORKSHOP FOR LEASE: (2 years) Modified Cottage. 2 rooms approx. 303q.m. total. 3 phase INGLEWOOD POTTERY, quarter acre property and ceramics wiring. Some electrical, plumbing and finishing within township. Two bedroom 70 year old Cottage, kiln work required. Next door to existing Pottery. sunny Workshop with separate glazing and from Exhibitions invited Central city $65 per week, negotiable. Contact area, 18 cubic ft and 2 cubic ft Brick/Fibre Natural Rosemary O’Hara (04) 847—188, 6 Footspray Ave, Gas Kilns. $35,000. Contact: Shane Wagstaff, 34 Wellington. Mahoe St, Inglewood. Ph 68—384. A L L E R Y Wendy Aimer THE EXPERTS! __ 155 Jackson Street BARRY BRICKELL Second Annual Summer School Petone, Wellington. Ph ([14) 683 208 POTTERY Brickell’s Domestic Work is available at Sat 16th — Sun 24th January 1988 The Northland Craft Trust, in association with the Northland Sales on a Saturday morning every few Polytech, is hosting a Nine—day intensive multi Media School of weeks. (Also Terra-cotta planters and Workshops, including Pottery, Painting, Print—making and Soil- seeders). Cement Building Construction. Registration Fee — $185 He is producing a wide range of stoneware The Tutors will be: WE STOCK EVERYTHING and earthenware pots including traditional Pottery —— Mirek and Pam Smizek YOU NEED FOR KILN Brickell Coffee Mugs, plates, casseroles Flora Christeller Paul Pritchard AND REPAIRS etc but also new forms influenced by his Painting — Pat Hanley recent travels in Spain and elsewhere. Stephanie Sheehan — Fibre Blankets and Boards Sales are advertised in the Herald “For Print—making — Stanley Palmer Ron de Rooy — Pins, Clips, Cements, Sale” column every Saturday under Soil-Cement — Yvonne Rust Accessories Brickell. Sales are at: Graeme North Pots from the Studio of Wayne The Pot Rooms, 43 Carbine Road, Mount Plus lectures, demonstrations, discussion films and videos. For & Sue Porteous further information or to Register please write to: The 1988 Summer Wellington. 9.30am — 1pm. Next Sale, School, Northland Craft Trust, PO. Box 1452, Whangarei. Phone 87 iongoriro Street PO. Box 10041 Saturday, December 12. (089) 481-215. ioupo Phone: (074) 837921

Advertisements charged at 55c per word + GST Advertising Classified Please print my ad as follows: the electric furnace co ltd Order Form Send with payment to: Advertising Manager NZ Potter ' elecfuhn PO. Box 147, Albany, . . ' '° (9 Phone Auckland 415—9373 .FDRman inSULaTion saLes LTD. YOUR NAME . PH: For Hobby and Industrial kilns, Accessories and spares for any make of kiln ADDRESS CHCH 799—329 NP 70-799 73 Wiri Station Road, Manukau City, Auckland. 0 Used Equipment 0 Real Estate 0 Personals 0 Job Listings WCTN 687-732 ROT 82-733 CITY P.O. Box 76-162 Manukau City, Auckland, 0 Travel 0 For Sale 0 Pottery Classes 0 General AKLD 597-099 New Zealand. Telephone 263-8026 Phone

36 New Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987' 37 1 .v\nn \mhler WESTERN POTTERS ’ John Anderson When visiting Auckland Mar} llardnick~8mnh SUPPLIES (1986) LTD Campbell Hcgan COASTAECERAMICS Barbara ilockcnhull 124 RIMU ROAD PARAPARAUMU N.Z. PH. 058-84377 remember Barry Hockenhull AUCKLAND l’ctcr lange l’cicr ()\borough Clark St, New Lynn (‘CL'ilia Parkinson N.Z. SHIMPO AGENT PO. Box 60-126 Heather Skcalcx Rob)“ Stewart Titirangi, Auckland 7. Peter Slichhur) SHlMPO WHEELS AND PUGMILLS Ph 873-479 Margarcl Synex . AND ALL POTTERS SUPPLIES Andre“ \an dcr Puticn 877—350 Honard Williams Mci‘il)n \‘v'ixcman NEW UPMARKET SHOWROOM HAMILTON l’h. 41597403 Northway St, Te Rapa Open 7 days 9 am75.30 pm WRlTE FOR FREE PRICE LIST, MAIL ORDER P.O. Box 10362 HOURS 8.00-4.30 SAT. 8.00—12.00 Te Rapa Ph 497—473

< McSkimmings pottery clays When in Lower Hutt Winstones pottery clays visit Penny-Farthing Gallery Colour range, pottery stains, bulk stocks Western Potters white earthstone clay We stock only Western Potters white casting slip New Zealand-made Arts and Crafts Air brushes and spray systems Onglaze enamels — golds — lustres FINE CRAFTS China painting materials for the best available in all crafts Ceramic fibre kiln building materials — porcelain, pottery, wood, Kiln furniture — shelves — props greenstone and glass. PENNY-FARTHING Books — batts — spiggots — corks gill/a Wheels — electric kilns ~ machines 3 St Heliers Bay Rd. St Heliers, Auckland Open 7 days DUDLEY STREET LOWER HUTT PHONE 699—826714$V Press moulds fl plasters Phone 557-793 5 rue Lavaud. Akaroa Phone 51 <<<<<<<<<<<<< Monthly accounts K Friday ‘till 8pm 7 Saturday 9—1pm J WESTLEY INSURANCES Ln).

Westley Insurance are a firm of Insurance Brokers who specialise in Insurance for small businesses and in the individual. We administer the New Zealand Society of Potters Insurance Scheme and would be happy to consider your business either as an individual or a group. NZ’s top art workers are invited to exhibit We suggest you drop us a line and allow us to discuss the Benefiis with you. Exhibitions month/y Hrs Tues to Fri 10.30 to 4.30 pm P.O. Box 33-655, Takapuna, Auckland 9. Sat 10.00 to 12.30 pm Phone: Bus 491-283; Private 456-146 The Villas at Kelburn, 87—89 Upland Road, Wellington 5 Telephone 757—943 __ The on Dairy Factor Pottery Crafts” “ SLAB ROLLER g Crafts Money Book Guarantee ‘ g :1 ii a: t . , it. Sheepskins Qgoom ,, $780.00 incl. GST ismfij *1 Souvenirs Shirley & Bert Barr/en 1' ~» " :rx ‘ifi‘fl 1;..,_ .. ~ A if :Liev‘ 5‘ a», 8 u—w‘: 2'. w, a" , “#7:: ~ » _ v ’f OPEN 7 DAYS Gas 85 Electric Kilns. From 0.6 cu.ft. up to 30 cu.ft. Moahurs 10am to 50m Station Road, Waimauku Vilgge ”33‘5“” 10am ‘0 59‘“ FURNACE ENGINEERING 1986 LTD 23:3: . 25 minutes drive from city. Opposite 1.? {:1 FllRNACE 6 Holmes Road, Manurewa. Muriwai turnoff. Ph. 411-8665 Auckland ENGINEERING PO. Box 136 Manurewa. Ph. 2672661

38 New-Zealand Potter No 3, 1987 New Zealand Potter No 3, 1987 39 COURTYARD POTTERY DUNEDIN Pottery and gfiflafidawr’ POTTERS SUPPLIES A New Zealand Handcrafts — *9) WINSTONES CLAY, PORCELAIN, TOOLS, CORKS, RAW MATERIALS, KILNS & WHEELS Pottery, Porcelain, Bone, Wood Jewellery — and Paintings by Try our own prepared stoneware glazes top New Zealand artists OPEN SIX DAYS 9am — 5pm Shop 42 BNZ Centre 1 Willis Street HEIIIHER 201 STUART ST Telephone 735-560 DUNEDIN Wellington MAIL ORDER — PHONE 771-163

WAIKATO POLYTECHNIC HAMILTON [HflllEIIEE Summer Schools of the Arts January 5—10 of Music January 22—24 35 courses, including ANNEKE BORREN A fine selection of New Zealand Crafts “Decorative Ceramics” $160.00 RESIDENT POTTERS: RICK RUDD POTTERY and Arran Hockenhull Barry, Barbara, Scott “Handbuilding” OFF STATE HIGHWAY 1 TURN LEFT 500 METRES $155.00 15 km NORTH OF WARKWORTH AWARD OPEN 7 DAYS 9.00 - 5.30 pm For brochure, write to: Waikato Polytechnic PHONE (08463) 7125 RD 6 WELLSFORD Summer School Private Bag HAMILTON

uIHItH Hllngsulrs van 2 IN ASSOCIATION WITH AUCKLAND STUDIO POTTERS (INC.). Both the same

site - but * Closing Date * The Work All entries must be in the hands of the This year each potter is invited to submit different designs Competition organisers by 5pm one entry for the 1988 Pottery Award. Thursday 19th May 1988. Overseas There will be no category ortheme. Each PERFORMANCE Both IlI’E to 13000 in a fast econonncal three hour cycle entries by 5pm Friday 6th May 1988. entry will be judged on excellence. 7- or as slowly as you desne, With a guaranteed evenness of 100. Both achieve even reduction or oxidation atinos pheres. BURNERS * The Award Both have two burners 7 each WlIl’l individual gas control and preset primary air supply 7 no other system Is as ADDRESS THE PACKAGE TO: The Judge will seek one outstanding Simple to operate. INSULATION The Competition Organiser, winning entry for which an award of PORTABLE LIGHTWEIGHT MODEL Both are lined With ’Rigid Ceramic Fibre’ 7 the best type of pottery kiln ItnInE] (no fluffy blanket falls on you: warel Auckland Studio Potters Centre, $NZ10,000 cash will be made. A limited nld fibre is better able [0 take the knocks 77 a Rexmark Aluminium frame With lightwerght breathing panels excluswe N.Z Patent No 19381. Trans‘port weight only 35kus 7 hm anywhere Without a 95 Captain Springs road Extention, number of Certificates of Merit will be TRAINING ROBUST PRODUCTION MODEL Ie then back into storage For both we offer full training 7 Set up 7 Stacking 77 Te Papapa, Auckland 6, New Zealand. awarded at the Judges discretion. 7 Firing 7 Safety and maintenance. Essential for the new TOP LOADER — ONE LARGE SPY HOLE Heavy steel frame 7 Baked Epoxy coated with equally valuable for experienced potters Telephone 643—622. All communications relating to the potter but Breathing Panels to dlsperse water vapour. INSULATION THICKNESS 7 55mm WARRANTY TWO LARGE SPY HOLES — Optimum firing cycles 7 4 to 6 hours Award to: Both have a twelve month warranty but more important FRONT LOADER 7 hehlnrl our LOWEST PRICED 6.0 cu.ft KILN Is our unmatched after sales serwce 7 we stand CHOICE OF INSULATION THICKNESS: N.Z.’s FLETCHER kilns even after the warranty period CHALLENGE 80mm 7 6 to 8 hours optimum firing cycles $1650 complete 100mm 8 hours plus cycles Also available This award is being made annually to POTTERY AWARD, ENOUIRE FURTHER FOR OUR RANGE OF $2430 complete N.Z.'s LOWEST PRICED 3,6 Cu.ft KILN PRODUCTION KILNS 7 From 6 to 605u.ft. RMD 60 80mm $1195 complete encourage excellence in ceramics in PO Box 881, 100mrr $2530 nomplete New Zealand by Fletcher Challenge in Auckland 1, association with the Auckland Studio New Zealand. BEHIIIIIRII DEUElOPmEIII'S [III “THE GAS KILN SPECIALISTS — WORKING Potters (lnc.). Telephone (09) 798—665. 58 Athens Road, Onehunga, Auckland. Phone 643311 EXCLUSIVELY WITH STUDIO POTTERS“ PRICES INCLUDE 6.8. T. k / 40 New Zealand Potter No 3, 1987 COASTAL CER‘ 124 RIMU ROAD, PARAPARAiUMU. O PHONE 058/84377 PARAPARAUMU WRITE FOR FREE PRICE LIST