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New Zealand Potter Volume 13 Number 2 Spring 1971

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New Zealand Potter Volume 13 Number 2 Spring 1971 POTTERS WHEELS contents VOLUME 13 No. 2 SPRING 1971 Editorial 2 RING-CONE VARIABLE SPEED ELECTRIC WHEEL. The Fourteenth 3 A power wheel 10 Fully enclosed heavy welded steel construction, 10" dia— meter cast iron wheelhead, l8 galv, tray, loam seat, foot control Oriental pottery 12 tom 0—200 revs. Size without tray 30" X 10%” x 18” high. Price $230 Another man’s poison 18 ex Auckland. International success 22 China cabinet ceramics 24 VARIABLE SPEED WHEEL. Not just another sale of work 27 Unique design of foot control regulates pressure of drive belt Yvonne Rust and colleagues 30 to motor to vary speed. Frame of triangular shape of welded Cowan exhibition 34 steel and 18" galv. steel. 10” cast iron wheelhead. Adjustable seat and tootrest. Price $125 complete ex Auckland. Potters materials dissected and examined 37 Teapots galore! 42 KICK WHEEL. What they are doing to our greenstone 47 Frame of triangular shape of welded steel. 10” cast iron Unspoilt Bali 49 wheelhead. Extra heavy accurately cast concrete fly—wheel. NeWS of people, pots and events 53 Left or right foot operation, seat adjustable for height, footrest adjustable, ball bearings sealed for life. NEW ZEALAND POTTER is a non-profit making magazine published twice Price $85 ex Auckland. annually in Autumn and Spring. Subscription rates: Within New Zealand: $2 per annum, post free. Australia: $2.20 Canada, USA. $USZ.4O United Kingdom: 22/- Other countries: $U82.4O For further information or demon— stration ring: Editor Margaret Harris Editorial advisers Juliet Peter Roy Cowan PRODUCTS Doreen Blumhardt J.B. Nigel Harris 5229—8 Howick Administration David Carson-Parker_ 899-51l Christchurch Esme M an 5 Advertising Esme Marris PO. Box 14—229 Layout Juliet Peter Panmure, Auckland Editorial/subscription/advertising correspondence Printed by Deslandes Ltd. should be addressed to New Zealand Potter Wellington P.O. Box 12-162 Wellington North New Zealand 1 F'_——Y editorial The Fourteenth The National Exhibition of the New sumably were chosen to do just this. REVIEWED BY MICHAEL TRUMIC Zealand Society of Potters has been It would seem then that the Society gets regarded as a showing of the best work the kind of exhibition that it asks for. When the editor of New Zealand Potter, bowls. Plates and bowls are particu- produced each year and a goal for new Two things were plainly apparent. One wrote asking me if I would write an objec- larly suitable to carry enormously thick potters to aim at. —that the exhibition can no longer call tive criticism of the 14th Exhibition of the layers of beautiful glazes or elaborate de- The Fourteenth has now been held. itself ”National" in the sense that it rep- NZ. Society of Potters, my answer corations, screaming for attention and get- After selection, 167 entries were put on resents New Zealand potters as a whole. should have been 'how' instead of 'Yes'. ting it, but on the unseen parts of these display in Christchurch’s C.S.A. Gallery, Nor does it show a representative cross How indeed. there was no skill or attention. We all out of which the first 22 catalogue entries section of work produced in a current Objectivity in any art form is elusive, know how many mistakes a good glaze were those of guest exhibitors. Thus the year (for better or worse!) 80 one must but its elusiveness does not mean its or elaborate decoration can hide and how actual membership of the Society of ask the question—does it serve a pur- non-existence. Wouldn’t it be nice if in- powerful is the glaze appeal to the public Potters supplied an exhibition of 145 pose any longer? deed it didn't exist. What a free game eye, but by doing this one can go only items (or sets). Fifteen years ago when the National ART would be. so far, so often, and no more. This way Such a heavy selection should have Exhibition series began, the situation was Craftsmanship is part of any art form one's skill must come to a full stop and ensured an exhibition of high quality. 80 very different. Potters were few, and and it is often referred to as the technical never develop any further. One must ack- why did it look somewhat thin and dis- exhibition opportunities even fewer. “The aspect or the rational part of it. nowledge this confrontation with one's appointing? Certainly the work on view National exhibition brought potters and own skill. The critical eye can quite easily be ob- had its share of nice pieces. But not public together in an appraisal of what Beside the actual absence of skill, this jective in this area and I will try to look enough to make a memorable display in a had been achieved in the course of the exhibition revealed to me an alarming in- at this exhibition mainly from this angle. large gallery. A long standing problem of year. Today, potters have a wide choice of sensitivity to the three dimensional form. I am fully aware of the fact that in this jury selection, especially one which relies possibilities in the display and marketing We potters begin with a form—form is way I will not be able to encompass upon a voting or point tallying system, is of their wares, without feeling a need to the essence of our work—form IS a pot; the 'whole pot'. the tendency to eliminate the controver- compete for very limited space at large- and before we even consider glazing any Under craftsmanship I understand tech— sial or divergent work along with the less group-organised exhibitions. pet we must make sure that the form nical execution of pets, competent. It is the view of some, that The Society of Potters should be alert their form and is good, so good that it does not need design. The craftsmanship the fourteenth exhibition could have been to these changed circumstances. It is in pottery is any beautifying processes applied to it. easiest more exciting if the selectors had been already committed to holding a 15th to compare with craftsmanship in It is no good to hope that the glaze prepared to allow in pots that they may "National" exhibition (in Wellington in music—IT CANNOT BE BY-PASSED AND will improve it. Glazes and decorations IT not have cared for personally, but which 1972). There is a strong case for making IS NOT INSTANT. can and should only confirm already exist- were different, even if technically not so this the last of its kind — a Grand Finale In this exhibition I had the unusally ing form—that way makes it perhaps more well made. Having said this, which is a done in style to finish an honourable good chance to handle and touch every 'visib!e’ or stronger. To blend a glaze bit condemning of the selectors who said movement on a high note. Few art move- pot several times as I set up the display. and a form successfully is a sensitive that they were given only a mediocre ments last longer than a decade, so the Even before I had gone halfway through, and complex problem and it should not offering anyway, if we cast our memories National exhibition in its original form has it became obvious to me that there was be treated lightly. The natural feeling for back to the Twelfth and Thirteenth, we done well to survive so long. an overwhelming absence of skill. The al- good form is in every one of us recall that the after-exhibition-cry was that For the future the Society could con- most total absence of complex pottery but at the present age more often or the selectors were not setting a high sider what are the present needs of forms proves this observation. There was not this feeling has to be rediscovered, enough standard, particularly in basic potters. Perhaps the promotion of regional only one coffee pot, three teapots, re-stimulated and ‘relearned'. aspects of design such as craftsmanship exhibitions? Overseas exhibitors? Or very few handled pots, hardly any jugs, A potter is a sculptor in the first place and function. This year's selectors pre- what? but plenty of ashtrays, plates, platters and and if he is not that way inclined, he i0 should take up brush and canvas and Gail Carlson — Auckland had a lovely sizes, well decorated and only one small try again. and lively group of five small pots (mainly mistake in one of them where the decora- To sum it up, the skill and form are oil bottles) sensitive in form, with good tion ran away from the flat area of the the two main weaknesses of this exhibi- glazes and textures. Those had their own dish on to the upright side. tion as a whole. lts strongest points are inner dynamics despite their size and at- One wishes to see some 'standing up’ the quality and variation of glazes and tention had been given to every detail. pots from this potter. the fact that so many potters are working, Mirek Smisek — Te Horo His best I Juliet Peter —— Wellington had three trying and exhibiting. There is a definite thought, were six fluted porcelain goblets exhibits, two slab pots and a large fruit feeling of enthusiasm and hope throughout (141 Cat. No.) and his 'worst' perhaps bowl. These were not sensational in any all pots despite the weaknesses | men- six bowls (138) which were that bit 'top sense but the care and attention were tioned earlier. This is a lot of capital heavy'.
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