new zealand potter vol 23/1 autumn 1981

Contents

Potters Symposium 2 Don Reitz 3 The New Society 4 John the potter 5 Frank Colson 6 The Raku firings 7 The National Exhibition 8 Crystal gazing 14 Saint Aubyns Potters 16 Honour for potter 22 Kelesita Tasere from Fiji 23 Baroque Politocaust 24 Build your own filter press 26 Air freighting 26 Salute to Bacchus 28 A philosophy of pottery, a standard for judging 30 Waimea Potters. The post-sales-tax Dynasty 33 Royce McGlashen 34 Bumished and primitive fired 37

New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 6,500. The annual subscription is $NZ5.00, for Australia $A6.00, Canada and the United States $US7.00, Britain £4.00 postage included. New Subscriptions should include name and address of subscriber and the issues required. Please mark correspondence ”Subscriptions”. Receipts will not be sent unless asked for. A renewal form is included in the second issue each year. This should be used without delay. It is the only indication that the magazine is still required.

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editor: Margaret Harris layout and design: Nigel Harris editorial committee: John Stackhouse, Nigel Harris, Audrey Brodie, Auckland correspondent Barry Brickell moving his terra cottas on the Driving Creek Pottery railway. Howard Williams, Christchurch correspondent David Brokenshire editoriaUsubscription/advertising PO. Box 12-162 Wellington North, New Zealand printed by Deslandes Ltd, Wellington i ISSN 0028—8608 CERAMICS '81

FIRST NATIONAL POTTERY SYMPOSIUM

ACKNOWLEDGEMENTS

The New Zealand Society of Potters gratefully acknowledges the assistance of:

The Queen Elizabeth II Arts Council of New Zealand The Ministry of Recreation and Sport The British Council

The Society would also like to express its sincere thanks to the following for their contributions:

CeramCO Ltd Shell Oil NZ Ltd Winstone Ltd Rock Gas Ltd Bank of New South Wales Soutnland Potters Carborundum NZ Ltd Central Ceramics Bright Building Supplies Talisman Potters Supplies Wellington Potters Furnace Engineering Ltd Dydo Manufacturing Ltd Western Potters Supplies Potters Clay Ltd Electric Furnace Co Ltd G H Bennett and Co Ltd Marcus Engineering Ltd Forman Insulation Sales Ltd NZ Industrial Gases Ltd W D McGregor Ltd Wanganui Potters Mintech Ltd Twelve Potters Air New Zealand Ltd New Plymouth Potters CCG Industries Ltd Screen Printing & Ceramic Supplies Carls Craft Shop Halswell Potters Ltd Canterbury Potters Coastal Ceramics New Vision Alicat Gallery Auckland Studio Potters Rangiora Potters The Kiln Methven Potters Villa Gallery Waikato Potters Todd Charitable Trust Otago Potters Dawsons, Dunedin Kamo Green Refractories Ltd CERAMICS '81

23rd NATIONAL POTTERY EXHIBITION

ACKNOWLEDGEMENTS

The Council of The New Zealand Society of Potters and the 23rd Exhibition Committee wish to express their appreciation to the following for their contributions:

Alexander Clark Maes Place Andrews Antiques Medici Restaurant Artisan Metcalfes Shoe Salon Brick and Pipe Milson SerVice Station Cloverlea Service Station Newmans Coachlines Corn Rigs Noels Lunch Bar Craftsman N,z, Craftworks, Te Horo David Taylor & Associates Palmerston Extension Ladder Co Eades Dry Cleaning Parlane and Glasgow Feilding Arts Club Scott Commercial Felvins P.N. Sherwood Motels Fridays Market Speedrite G Cranston Ltd The Skylight Enterprises Hansens Creative Interiors The Vista Harold Pierard Ltd Tingeys Hay and Watson Townshend Joinery Hokowhitu Pharmacy w. Carthew & Sons, Booksellers John Darragh Furniture Ltd Whitcoulls McMillan & Lockwood Wilton's Pharmacy McMurray Galleries General Finance Ltd Catalogue illustrations courtesy of Miles O'Conner Photography New Zealand Potter Page 2 New Zealand Potter Potters HIGHLIGHTS SYMPOSIUM_ Ceramics ’81 In May 1979 Helen Mason invited members of the New Zealand Society ofPotters to gather on the marae at Tokomara Bay to exchange views on how the Society might evolve to meet the changing needs of New Zealand’s 2,000 livelihood and 20,000 hobby potters. Three members and the editor of New Zealand Potter turned up. We decided that what potters needed first was a chance for all to come together to meet, talk, listen and learn. This smallgroup put a remit to the Society, andfrom this idea Symposium Ceramics ’81 was born. The New Zealand Society of Potters embraced the idea and made the arrangements. With a central venue provided at Palmerston North Teachers’ College and Massey University, it fell on the Manawatu Potters Association to do the work. Getting them all together The opening of the largest national members. in by the handful of Manawatu potters pottery exhibition ever, the 16th An- Lectures, demonstrations, Raku under the leadership of Stan Jenkins. nual General Meeting of the NZ Society firings, Kiln tours (including a The particular stimulus of visiting of Potters, and the most substantial brickworks) and individual exchanges overseas potters, the opportunities for potters symposium yet held in New ofthought and techniques absorbed the soul searching — a National Body or not Zealand combined to draw 400 par- energies of potters with many diverse —— future trends in New Zealand pottery Don ticipants from every creek in the coun— interests in an atmosphere of sunburnt — how to display an exhibition —— and Reitz, from the sound track try every mainstream of the craft to amiability. the flow of personal interchange pro- Putting Don Reitz, invited overseas All Don Reitz’s work has been salt vided an inspirational atmosphere in Palmerston North for Ceramics ’81. For Our impression was that the sym- potter — Professor of Ceramics Uni— glazed, fired with LPG or in the Wis- which the changed directions of the NZ every two members of the Society at— posium was vastly successful and fully versity of Wisconsin, physical man, consin countryside with wood. established early roots. tending there were seven non— justified the months of preparation put Society ex—lumberjack, driver, diver, meat cut- His salt glazes depend on a basic ter — on paper is like trying to dam a saturated iron glaze ~ ”this is the sur- Haeremai Haeremai Haeremai fair-sized mountain stream. face I really love, salt glaze sprayed on Each of the sessions of his demon- oxide colours, scattered frits, the win— The welcome, following maori custom, {are stration school and his talk was a per— dows left through to the skin of the to the marae in the Teacher’s College formance — frenetic, compelling and pot”. grounds and by extension to the sym— one surmises slightly orchestrated. ”Stacking the kiln is as creative as posium itself and the farewell at the end What came through was an overpow- making the pots” — the opposite ex- of the gathering were moving exper- ering vitality of both person and pots. treme shows up in his technique of iences not only for the Visitors, but for The statuesque colossi left drying at the heaping oxided pots in piles inside the potters as a whole. Few of us would front of the lecture room when the salt kiln — “the hand of God”. En- have previously experienced the school was over, typified an approach to hanced effects in salt glaze come from courteous procedure of Maori greeting clay that came near to total immersion. the change and contrast of areas with the speeches and oratory which in The evening slide lecture “Story of shielded from the play of salt. Subtle this instance were so apt. Without my life and pots” brought a flood of effects come from firing with cobalt straying too far into the spiritual area aphorisms and insights and a deluge of oxide-coated bricks set between pieces, we can emphasize that the initial pots on slides that totally involved the that transmit bluish tones to the sur— gathering welcomed everybody and crammed-full lecture room. faces around. everybody was welcome. The feeling of Don Reitz’s philosophy is compelling Firing for most of his pots has been unity was perhaps even more evident at — he determined to be involved with outside, in kilns built of whatever the end than at the beginning. There art. ”It was no trouble at all, no one had bricks could be afforded. The better the were rightful references to the early told me it was hard to do.” On leaming budget, the bigger the kiln. When ar- New Zealand potters no longer with us and teaching “You are an A student thritis prevented him throwing large and to Hamada and Leach the predeces— when you start”, and ”teaching has to pots all at once, Don Reitz made them in sors and mentors of all. feed you, the teacher, there’s no point if sections, stuck them together, to get We asked John Pollex how he reacted its a one way street”. Among the stor- vases forty inches tall. When pieces got to the opening welcome. ”It was the age jars, platters, tureens and ladles and too tall for the kiln ”add more bricks at biggest thing I have ever experienced. the tall sculptured long—necked vases the top”. To be made welcome in a foreign coun- are pitchers. ”I always do pitchers”, ”The day after your pot is fired it try by people you have never met was a pitchers up to 30 inches tall. With should still be a soft plastic form and not very moving experience. A real link Meeting house ”Te kupenga 0 Te matauranga” thrown work — ”I do everything on the look like its a hunk of rock.” with the hosts was forged in the sub- wheel, slipping, decorating, fixing the The square plates, elegant platters stance and manner of the responses by (the net of knowledge) at the marae farewell. added pieces of clay, before lifting the with circular pieces cut out, all demon- the visiting overseas potters. I felt very From left: Stan lenkins, Karoona Whakamoe, Leo King. In frontlohn Tapiata. pot.” With all work — thrown, strate fluidity of form. The baroque coil honoured to be asked to participate and sculptured, folded handbuilt ——— ”the decoration of his cut out plates is integ— to take part in the ceremony and share sooner you do the thing the better, ral with the plates themselves and in the spirituality of the occasion. One don’t stop, carry through to the finish, transforms them into a sculptural can only properly respond by putting stay with the form”. His demonstration whole. everything one has into the activities illuminated these thoughts — clay Don Reitz certainly had a message for and communication of the talks and flying, pieces growing on top of pieces, all those attending the symposium. A demonstrations.” decorative baroque twists and curls ad- message he will have by now repeated ding themselves to the growing work at a succession of schools around the All photographs Cliff Whiting and Stan lenkins. rushing to completion. country. New Zealand Potter New Zealand Potter

John the Potter

John Pollex, invited potter, from the Barbican Craft GrOup, White Lane, Plymouth, a master of slipware in the early English Toft tradition gave a series of fascinating demonstrations of his perfected skills. John went to the Sir John Cass Art School in Whitechapel in 1966 and a year and a half later on to Harrow School of Art. His potting developed further with a year’s experience in es— tablished workshops particularly that of Colin Pearson in Kent. From then on he developed his own style first in stoneware then on coming to Plymouth in 1972 he evolved new techniques in earthenware. His work now is dominantly in ware slipped and slip trailed. Commemora— tive plates in limited editions have de- A National Body — for or against veloped as a particular specialty. Re— The New Society— turns from his work are high by New Under the title “Pottery organisation cries of “bullshit”. Zealand standards ”£60 for a plate at way now open for for the 80’s” a debate on the desirability Several speakers spoke of the need for the studio, double of a national body for potters (Rod that price in Lon- clear objectives; some were formally don”. An arrangement with all to join McGowan — yes, Jan Bell — no) was a hotel proposed but none adopted. The chain for platters and serving held on the evening of the first day of dishes widest area of agreement was the need keeps him busy for the symposium. Helen Mason as two to three The annual General Meeting of the NZ for better communication among pot— months each year. opening speaker modestly prepared the Society of Potters in the 18th year since ters at the week by week, month by His mugs, plates and platters are way for the two proponents. the formation of the Society in 1963, month level, as well as by the kind of made with four basic slip colours, The main speakers predictably ar- yel— preceded the Symposium. In a mood open gathering that the symposium low, green, brown and black, used as gued for a national body on the grounds represented. There was a need to know focussed on the need to re—orient the background or trailed. Wax resist and of centralized strength in dealing with about potteries for sale or rent, who was Society, the members present endorsed cutting back through overlain slip add national matters and with government coming visiting next month, about a number of remits that will radically additional variety to the design (cries of”what about the sales tax”!) and pos- alter the Society’s structure. The mem- things to swap, buy and sell. sibilities of this restricted pallette. John against on the grounds of unnecessary More fundamental were the worries bers agreed ”to do away with selective Pollex used mugs to demonstrate expenditure on the central body even about standards. There was some nos— membership” and now four forms of techniques. His sure touch was excit- that of a federalistic arrangement with talgia for the select Society that had membership are open to all interested ing to watch — a quick single dip of regional bodies. (Do we get value for been up to the day before; new mem- in pottery and ceramics. The first of the greenware into the background the $3,500 per annum cost of council bers anxious to join the old Society were these is full membership open to any slip, wait till the immediate shine goes meetings?) The arguments against were thereby founding the new. Where was potter “practising in an ongoing off, sure, quick, clean strokes with a not particularly answered but there was selection now to come from? Several capacity”; secondly student member- short—necked rubber slip trailer held ship that includes apprentices and some feeling in support of strong reg- speakers focussed on the inevitable fact unerringly just above the ware turning senior secondary school students and ional bodies no matter what else. that rigorous selection of pots, not pot— in his fingers. Precise quartering of the By our count, the speakers from the ters, at Society exhibitions was the most students following “any practical design with successive vertical strokes. course in ceramics approved by the floor were 8 to 1 in favour of a strong practicable way of maintaining stan— If the greenware had dried off too Council”; associate membership caters national body directly or by implica— dards. Many may be called, but few much a quick dip in water brought it for others interested including corpo— tion. Although these views were chosen. back to the prOper condition for rate perhaps somewhat moderated by the bodies and business houses; Hon— At the end of the session one lone backgrOund slipping. orary Membership. radical events of the Annual General Southern voice crying in the wilderness Devotees of slipware were able to try We are told that about fifty potters Meeting, nevertheless there were some suggested we could all think what we at their hand and participate in the deco- the symposium joined up. Interested firm views expressed as to what was could put into the national body and not ration of a large communally inscribed readers should write to the Secretary wanted from a national body, several only what we could get out of it. of platter. the NZ Society of Potters at Box 881, outbreaks of self—interest and occasional John particularly recommended to Auckland, if they need details and slipware potters the book English application forms. and how the hope that these changes needs of its membership, the potters of Slip- wm'c Dis/it’s 1650—1850 by Ronald G. The society is now between its past will ”set the NZ Society of Potters on a New Zealand”, will be fulfilled. Cooper, published by Tiranti 1968. His and its future. It will be interesting to course of being a society truly repre— Leo King was re-elected President. own book in the Pitman’s Ceramic see where this and Neil Grant and Sally Vinson become new direction will lead, senting the aims, aspirations Skillbooks vice—presidents. series, Slipwm‘c, was pub- lished in 1979. New Zealand Potter Page 6 New Zealand Potter \x. photos: Cliff_ Whiting and ., Stan jcnkms The Raku firings

Some recipes for Raku provided for the {3 firers by Brian Gartside:

Apple crackle glaze 4 cups of either Borax Frit or Geitsley Borate 1 cup of Feldspar

Black Magic Pigment 1 cup Iron Oxide 1 cup Copper Oxide

Basic Raku Slip 1 cup China Clay 1 cup Silica 1 cup Frit (any Frit will do) Add stains

Night Red Slip The basic slip plus 3 cups Iron Oxide

See New Zealand potter vol 22/1 autumn 1980.

Frank Colson

In his talk on modern kiln technology adhesive, resistant to high tempera- — gas and fibre — and in his demon— tures. The inner surface of the fibre stration sessions Frank Colson em- should be made rigid. The same sub- phasized all along the virtues of do it stances with added 200 mesh flint can yourself and alternatives within the be used as rigidizers. There were var— new technology. Perhaps not so new iants in the recommended fluidity of after all for Frank Colson published a liquids. Our advice — try these ideas set of plans for a catenary arch kiln out on small samples of fibre and fire using kaowool in 1967. them before attacking the whole of He repeated his advocacy of the your kiln. sufficiency of 1/2 inch of fibre for kiln On firing: “Look at the pot not at the walls but we didn’t see this in the atmosphere and not only at the cone. demonstration building and firing of a When you’ve leamed a bit, the shiny small drum lift-off kiln, and to many pot tells you much more of the condi— the fibre question remains a little in— tion of the glaze, than simply the cone scrutable. Technical limits were much going down can do.” Downfiring to more to the point. Fibre can be held in 900°C in 11/2 hours should be seriously place with heavy duty nichrome wire considered; it substitutes for the back loops or if you must, Kanthal A1. radiation from kiln wall, bricks that On fibre: 4 lb density is not adequate helped final development of glazes. for high firing: 6 lb density 1260°C is (Comments from the audience indicate fine for back—up and 8 lb 1400°C is that their fibre kilns cooled slowly needed for refractory lining for stone— anyway.) ware or porcelain temperatures. Fibre It was good to see and hear live the is inert so that wood firings won’t man who has done much to lead pot— damage it. Colloidal silica (a liquid) or ters into acceptance of the ceramic fibre sodium silicate solution will act as an concept. The National Exhibition

The exhibition, the 23rd in the 24 year of the works shown seemed to us to been made they are very expensive to history of the Society was billed as the reach a gratifying level of achievement. move from place to place. Thus the pos— largest display of pots ever in New There were a few horrible low points, sibility of co-operative production of Zealand. Combined displays of works but only a few. Students showing of display stands and their storage in a by 95 members of the Society, by 57 unglazed works was lively and unfet- resource centre does not remove the non—member potters (out of 91 who tered. need for an exhibition budget of up to were invited 66 accepted) and by sec- The problems of display prompted $2,000 to provide satisfactory display ondary school and Teachers’ College the Society to organize a discussion for exhibitions of this size. The desira- students, taxed somewhat the setting during the symposium where these bility of earlier planning as a whole to up and display facilities of the Man— could be ventilated. The large number assess available facilities and the shar- awatu Art Gallery. Separate galleries for of pots — around 600 and the physical ing of display experience was agreed. each segment meant that it was not limitations of the gallery produced Nevertheless the awkwardnesses possible to view the whole exhibition as difficulties with lighting, display stands could not detract materially from the an entity. and display space and an uneven qual- excellence of the individual pots, and In the members and invited potters ity in these elements was very apparent. by numerous examples did not inhibit galleries were some magnificent pots Discussion brought out the realization their purchase by critical buyers. and the standard, the variety of ap— that display stands of desirable quality proach and the appeal of a large number were very expensive to make: having

Left: Ian Firtli’s winged sculptural form ap- proximately 2 ft wide.

Above left: Gary Elliott; Above right: Peter Lange; Above: Mike Searle; Right: Nick Statlier; Below left: Iii/{a Colman; Rig/1t: Wilf Wright. photos: Stan [enkins

Middle left: Stan lenkins; Above: Mayra Elliott.

Left: Charles Holmes; photos: Stan Jenkins Epflogue

Helen Mason: “We are seeing the wheel come full circle. The New Zealand Society of Potters can now once again be a gathering of all New Zealand potters as it essentially was years ago when the Society was formed.” Ian Bell: ”This is the most exciting National Exhibition we have seen.” Geoff Ellett: "My feelings about the Exhibition and Symposium were crys— tallized in Rick Rudd’s pot where his inner and outer surfaces flowed in to one another through a Moebius stript This is what has happened to the New Zealand Society of Potters — the inside and the outside have merged and unified themselves.” Leo King (President, NZSP): ”With the outstanding success of Ceramics ’81 now behind us, the society feels well equipped and confident to deal with its expanding activities and respon— sibilities to the nation’s potters.”

Members: NZ Society of Potters has ac- corded Honorary Membership to Harry and May Davis and to Len Castle in recognition of their services to pottery Debbie Pointon Ute Mangin George Kojis in New Zealand.

photos: Stan Jenkins

Leo King Susan Artner

Brian Gartside Alan Kestle Above left: Rick Rndd; Middle left: Brenda Grundy, PNTC; Above: Deane Goldsack, Queen Elizabeth College; Lower left: Vanessa Hei’bet and Vicki Campbell, PNTC; Left: Raewyn McLeod, Queen Elizabeth College. photos: Stan Jenkins New Zealand Potter Page 12 New Zealand Potter Page 13

Photography by Brian Brake A kiln deSigner’S View Rex Sellar comments on the Colson oil-drum kiln” If you have wondered how Brian Brake, without break from under the pot. when you stop down, the background feature photographer of international Similarly, reflectors used a long way off will be brought into focus. Rex Sellar: Previously an architectural to its diameter for even firing. You will not get better than two cones fame, got into photographing pots then can soften highly reflective surfaces. For Indications of scale are difficult and I was disappointed that Frank Colson variation between top and bottom and if you attended his lecture at the sym— most work two reflectors or less are generally have to be shown separately designer, now an amateur potter and tutor in kiln design. Has built and at Ceramics '81 did not offer new de— this assumes you have mastered a com— posium you would have heard at least used. With an incident light meter, in caption or description in a text. fired up signs and improvements or at the very plex stacking arrangement. some of the background. You would standardization is achieved using al- The audio—visual presentation of draught and down draught kilns for low fire and high fire in brick least spell out the limitations of these If you want to fire two or three larger have learned also how Brian Brake ways a neutral tone, gray, or the hand, Brian Brake’s material was masterly. old designs. Ceramic fibre kiln design pieces and biscuit ware you must accept photographs pots, how you can im— as background. There were two series of slides shown. and ceramic fibre. Commissioned by has progressed a great deal in ten years over four cones variation, and biscuit prove your own photography and cer— Preferred films are Kodachrome, ASA One of New Zealand pots the other of industry to test insulating materials to the extent that Australian and New of variable porosity. tainly not least, how to give a lecture. 64 (or 25) for slides and Kodacolour for the Siegel Chinese ceramics. All were in suitable for use in New Zealand and investigated Zealand kiln design is now more ad— Much heat is lost through the walls As a young man at Arthur’s Pass he prints. vertical format on each slide. The pot world wide, the proper- ties, performance and costs of low and vanced than anything yet published by and in the studio you will roast unless met many craft people, among them One technique especially useful is filled the frame. The New Zealand pots, the rest of the world. Most manufactur— the kiln area is well ventilated. Doreen Blumhardt who later intro— painting with light — lens open and principally those appearing in the re— high temperature insulating materials. The designer of Rexmark kiln made ers of New Zealand designs try to con— Unless you can light all four burners duced him to Spencer Digby, a Wel— surfaces or particular areas lit with a cent book by Doreen Blumhardt and sider the \potters’ interests as well as at once (or alternatively fit needle valves he impressive scale a from another shortly to appear, dissol— under licence by Marcus Engineering. lington photographer with whom torch. (On a more their own. to each burner) there will always be a of years. During memorable photograph for a Life ved gently from slide to slide accom— worked for a number Frank Colson was my ”God” back in Frank Colson’s early principles in minor explosion on lighting. panied by a Douglas Lilburn composi— his period based in Hong Kong in the magazine assignment of the massive ’76 when he first introduced me to the particular the ”thin wall” concept are Though gas IS clean burning only if it 1960s his intimate acquaintance with columns of the Temple of Karnak in tion. We saw the series three times —— wonders of ceramic fibre. I enthusiasti— relevant to New Zealand potters. The mixes with sufficient primary air in the pots began with the photographing of Egypt was obtained in this way.) once to whet the appetite, secondly cally built his Raku ”Rubbish Bin“ kiln word of warning is that most of his burner, the burner design is so primi— with a detailed technical commentary Hans Siegel’s notable collection of an— and his cone 10 ”Oil Drum” kiln — and statements needed qualifications before tive that this cannot occur at low temp- on the methods used to achieve the cient Chinese ceramics. I assumed it was my lack of firing ex— they can be applied to the cone 10 kiln erature so waste fuel and a reducing For photographing pots Brian Brake photograph and thirdly for apprecia- pertise that produced the poor quality design common to New Zealand. atmosphere is all that can be produced. Advice for Potters: Your 35 mm camera tion. uses a 4 X 5 Linhof or a 35 mm reflex fired pots. I now know better. There are From my experience the following If you don’t want low temperature is quite adequate for good photographs The same use of symetry was made in with long focal length lenses, up to 150 limitations inherent in the kiln: the oil limitation must be expected in using glazes reduced or black core biscuit, of pots. You need a long lens, a tripod mm. The Linhof has a triple extension the series of Chinese pots (supported drum kiln is much too high in relation the Oil Drum Kiln. don’t use these burners. and the 35 mm a close—up lens for shots an incident light meter, diffusing this time by Bach). First came the details of detail. All shots are stopped right screens (white muslin or paper then a succession of the whole pots then down to f45. All shots are composed in mounted on 30” square frames), the same details repeated. PUBLICATIONS the camera using full frame, and pots aluminium foil reflectors the same size The talk was memorable — it hasn’t Problems with fibre and gas fired kilns placed against a plain background of and two sources of direct light. Soft turned us all into first—class pot photo- Pottery in Australia, 48 Burton Street, grey, black or white paper, occasionally natural light outdoors lighting the sub- graphers but it will help us all realize We have received letters from a number it is harder to monitor the reduction Darlinghurst, NSW, 2010, Australia. a brown. A background kept far back of ject through a three sided tent of screens that care and thought and technical ap— of potters who have acquired ceramic flame, patience needs to be exercised $A9 offers excellent information in an the pot and well lit keeps shadows is very suitable for pots. Even inside, proach are pie—requisites to producing fibre insulated or lined up—draught kilns and skills developed. At least ten firings updated format. of more than 12 cu. ft capacity fired by away. Pots are placed on the paper natural light can be brought on to the satisfying photographs of pots for dis— are needed before you will have mas— Ceramic Review, 17a Newburgh Street, which is hung so that it flows smoothly pot by way of a reflector. Remember play or reproduction. either LPG or natural gas, who are tered any kiln.” London WI. £7.70 six issues. Number having problems. ”If you can, buy a kiln where demon- 66 elaborates on copper red glazes in The factors they have in common are stration firing is offered. Remember a reduction. Potter and Town first the size, 12 cu. ft or more, and at— kiln full of pots is needed. A lightly Fit to Kill Glazed Raw and Fired Free is the title tempts to use one burner only: the packed kiln can be misleading. Re— Jon Amies, Waikato Technical Institute, entry of poisons, inhalation, ingestion Denis Parks gave to his book A Potters plan problems they share are difficulty in member too that stacking for up with concern about the unsuspected and through the skin suggest simple Guide to Raw Glazing and Oil firing, Pit— achieving temperature when aiming for draught is quite different from stacking harmful toxic effects that can come from direct ways of dealing with them. Keep mans. $NZ23.95. This American potter Jim Booth, Chief Advisory Officer of the 1300°C and uneven heat distribution in a down draught kiln.” a variety of potters’ materials in com- kiln areas well ventilated, use a fan, from the wilds of Nevada will strike the QE ll Arts Council, told us all about his with a hot spot opposite the burner. We Before deciding which kiln to buy, mon use illustrated his talk with a tel- don’t eat, smoke or make—up in the right note with potters who enjoy some forthcoming book Art Law and his book have referred the problems to several our advice is look around and see the lingly gruesome set of slides. A sur— pottery especially if Barium salts, par- adventure in their work. prising number of substances in ordi— ticularly carbonate, borax Cadmium or tells us all about town planning as it potters with experience in the new mat— kilns operating. When you have estab— Discover Ikelmna in New Zealand by nary use in the pottery can cause dis- Chromium compounds are around, to affects artists and craftsmen. Many erials including visitor Frank Colson — lished what you require summarise the say nothing of those of copper, iron or questions of direct relevance to potters ”remember these new techniques re— points in your letter to the manufac- Suzanne Blunt published by INL Ltd, tressing effects and illness in varying Wellington, is illustrated by use of degrees. lead. A long list of potential toxics can are covered. quire some re-learning. Gas kilns turer. Before you buy ask for a written native flora and containers by potters As well as the dangers of silicosis, be added. The simple prevention of ill One general concern that should be perhaps need more care in stacking and contract agreeing on such points as date Keith Blight, Patti Meads and Debbie fine dusts of clay, alumina, oxides, effects is good housekeeping — avoid taken up by potters in all areas because apart from the adjustment of gas supply of delivery, who pays freight, when and Pointon. feldspars can all cause problems with dust, kiln and solvent fumes, use gloves it has to be settled district by district is to the burner, two or more burners are how payment is to be made and extras. lungs and eyes. Use a mask with proper clean and dry on the inside, avoid soggy to press with regional councils that needed for these larger volume kilns.” You then have entered a contract to Craft Hunters’ Guide NZ, Thompsonl cartridge filter. Use a vacuum cleaner hands, use barrier cream, keep cuts co— pottery, arts and crafts are accepted as A lot of first principles need restating. purchase, safeguarded under the Sale of Littlewood/Norris. The sort of book we not a brush and fit an exhaust fan. Wear vered and keep chemicals safely stored pre—dominant uses in district planning ”Always rate your gas pressure with all Goods Act which gives full consumer hope gets into the hands of overseas safety glasses with hot wax, when and adequately labelled. It should be schemes. the valves open. You need to have both protection. The seller of the goods has visitors, the sort of information we grinding, when working with ash remembered that children are much This subject is hot because currently pressure and volume working together. responsibility for the equipment itself, could all do with when we get out in a glazes some of which are very corrosive. more affected by toxic substances than regional schemes are coming up for Get your gas fitter to make this check if the firm sells and installs they are strange town in a buying mood. Every Avoid dermatitis, keep skin and work- adults eSpecially by those affecting the their periodic review. Last year South— with LPG as well as town gas othelwise responsible for getting the kiln into PRO should have it. Every library ing area clean, use barrier cream, cover nervous system. Children should on ern Wairarapa craftsmen were suc— the supply may in reality be in— working order on site. should have it. It should be among the cuts or scratches. Once you have de— principle be kept away from glazes even cessful in having their workshops ac- adequate.” booklets available at the desk of every veloped an allergy it’s there for good. in school pottery classes. cepted as a pre—dominant use by their Pay attention to the BTU requirement Museum and Art Gallery. In handy Asbestos gloves can be replaced by a council which has always been sym— A each cubic foot of the kiln needs format, $3.00. Reading: ”Health and Safety in pathetic and alert to making the district 30,000 BTU's to reach temperature. The *Kiln Building Wit/i Space Age Materials special glove ("Nomex”) rated up to Please Touch. A survey of the three di— attractive to craftsmen. more burners you have the more even by Frank Colson. 1400°F. Ceramics”, see book review on page 32 mensional Look out for this useful publication. your heat distribution will be." arts in New Zealand by Peter The main area of concern to potters of this issue. “Ceramic Toxicology” by Cape, publishers Collins. Very inter— William C. Alexander in Pattern in Aus— Up draught and down draught: “An should be the avoidance of the toxic esting reading and valuable reference up draught kiln is easier for a gas and effects of chemicals. Symptoms of feel— tralia and “Glaze Materials — do you for those looking for fibre beginner to learn the techniques of background to ing sick, tired or headaches should use them safely?” by H.]. Percival and craftsmen, makes up for some reduction firing. In down draught kilns poor make you suspect a link and any pattern ].T. Hughes that appeared in the Spring photo reproduction and uncertain lav should be looked for. Three means of 1979 issue of New Zealand Potter. out. $29.95. ’ New Zealand Potter Page 14 New Zealand Potter

NazO '35 SiOz 1-85 Crystal gazing with Sharon Hancock ZnO ‘65 TiOz ~20 My firing cycle for the all over gal- The main differences between an ordi— factor in producing these glazes. The at will. Sometimes there will be crystals vanised effect is: nary glaze and a crystalline one are cooling process must be slowed down of various shapes on one pot and on glaze viscosity and the cooling cycle. to the stage where the materials in the another in the same firing only crystals 0° to 1260°C As fast as possible. Crystals grow in glazes which have glaze crystallize. of one pattern. 12600 to 1120°C As fast as possible. 1120°C low viscosity. To achieve this, the Visualise “a molten glaze as being a I have been experimenting with Two hours. amount of alumina which is the stif- completely fluid mixture of individual crystalline glaze for three years now in 11200 to 1080°C Ten minutes. 1080°C Two fening agent in the glaze is decreased molecules of substances such as silica, between throwing domestic stoneware hours. OFF. considerably. Some glazes have no zinc, magnesia, etcetera. Upon cooling in my 60 cubic foot natural gas kiln and The sunbursts, rods, and flowers alumina content at all. Immediately, these molecules link together in random have found it an absorbing and frus- appear when I fire to 1270 or higher, one is faced with a glaze running prob- fashion to form chains (glass). If the trating challenge. Unlike some potters then cool. The crystal growing range lem and solutions have to be sought to cooling is done slowly the molecules who repeat the same firing cycle exactly seems to be from 1000°C to about 1160. cope with this such as plenty of kiln seek to establish patterns of bonds and vary the glaze to get different for- So far, the pattern which has emerged wash and firing the pots on fireclay pats which completely satisfy their valency mations, I keep the glaze formula con— for me are rod and leaf structures if I to save wear and tear on the shelves. requirements. Such bonding produces stant and vary the firing cycle. For me, a soak for 4 hours at 106041070, regular Another effect of the reduction of a regular structure which is the pattern seems to be emerging as far as circular patterns at 1100°C for 31/2 to 4 alumina is a bright and shiny glaze framework of a crystal.” duplicating the formation is concerned. hours. Sunbursts tend to grow more in surface. My glazes also have a high zinc The crystals may be large and spec- I use two basic glazes only, one of the 1120—1160 growing range. oxide content which favours crystal tacular, in groups or clusters or all over which is based on the common empiri— The bodies I have used do not appear growth. the pot in a galvanised effect. It is ex- cal formula: to affect the formations at all. They are The firing cycle is the other critical tremely difficult to reproduce a pattern Triple X, RMK II, No. 18, and David Leach porcelain. l have superb forma— tions on all but, of course, the colour is : better on porcelain than stoneware. Of x ' ' . .x‘ the 4 methods of applying the glaze, — I have lots of crystals on the shelves dipping, pouring, brushing and same degree of control. I have no ex— and none on the pots! But a successful spraying, l have found dipping gives perience in seeding crystals. pot is well worth the frustration. the best results. I fire the crystalline pots The pots illustrated show the in an electric kiln and use a standard different effects that can be achieved Sharon Hancock pyrometer but am thinking of investing using the same glaze but a different 19 Pembroke Street in a digital meter. This should enable firing cycle. New Plymouth me to reproduce the same firing cycle Because of their abnormal firing cycle more accurately. I see no reason why I and composition, crystals are rather *The Potters Dictionary of Materials and could not produce crystals in my gas hard to produce. Expect lots of failures Techniques by Frank l-lamer.

Lament for Aramoana at Wellington’s new CITY ART GALLERY

Art over the centuries has frequently been a vehicle for political propaganda or protest, and social comment. It is the widespread opinion today that artists should see themselves and their work as an integral part of society; that art should exercise an influence. Aramoana, a native reserve and coastal area in Otago Harbour, and the proposed site of an aluminium smelter, became a focus for debate in Otago about the political and economic pro— cesses increasingly manipulating the use ofland and the personal freedoms of New Zealanders. The issue vehemently divided Dunedin into those for and against development of Aramoana. It was also a locality with which a number of artists from the Dunedin area felt a passionate identity. The new City Art Gallery in Wellington invited a number of these Dunedin artists, both visual and literary, to contribute to an exhibi— tion using Aramoana and the smelter as a basis for work. Russell Moses’ large dark pit-fired ”God Defend New Zealand”, made a The works were concerned either hand—built clay candelabrum with its moving entreatment for the land. with documenting the coastal marsh three beeswax candles burning landscape, or with the smelter, and the throughout the exhibition, and stand- desolation of a piece of land and water ing on an expanse of light—coloured Seddon Bennington Sunburst formations 3—4 ems in diameter, blue crystals on cream background. Crystalglazing on a dish (close—up above right), paper weight and vase. by its all pervading pollutants. Aramoana sand in front of the text of Director New Zealand Potter Page 16 SAINT AUBYNS POTTERS

Back row: Jim Bell; Middle row: Bruce Martin, Denis Rowe, Jackie Crespin; Front row: Estelle Martin, Ingeborg7 /enssen, Cliloe' King, Fairlie Rowe.

After a year of planning, eight Hawke’s complement our craft and Vidals Win— ”owns" the shop on their duty day, Bay potters, Jan Bell, Jackie Crespin, In— eiy was approached and welcomed the rotating one day in eight, the good of geborg Jenssen, Chloe King, Bruce and idea. This beautiful old winery has the the shop being the foremost considera- Estelle Martin, and Denis and Fairlie perfect atmosphere; a licensed restaur— tion. A personally signed card by the Rowe, committed themselves to the ant, delicatessen and wine bar as well as maker, is included with each purchase. idea of a selling co-operative. For some wholesale wine sales made it already a The books are finalised daily and the Upper left: Ingeborg lensseii. time there had been a need for a quality popular meeting place. On 6 October shop left clean and tidy with the bank— Above.- Bruce Martin. gallery in Hastings, as most Hawke’s 1980 to the accompaniment of a band, ing ready for the next person on duty. Upper right: lackie Crespin. Bay potters, because of difficulties with good wine and a beast on a spit bar— Once a month the group gets together Middle right: Denise Fairlie Rowe. Right: Estelle Martin. town planners and councils, have sold becue, St. Aubyns Potters opened with with chairman Jeff Bell and accountant photos: Bill Kenrns the bulk of their work outside the area. a flourish almost unheard of in Hast— Keith Brown, to receive the monthly Co-operative selling had been con— ings, despite a severe earthquake on the payout (10 per cent is retained to cover sidered previously by many small previous night when some of the pots shop expenses) and to discuss any groups but until recently there were not came tumbling down. business written into the meetings enough full—time potters to make the Five months later we are finding the agenda book kept in the shop. idea viable. By 1979 new potters had advantages of such a business are St. Aubyns Potters are more than moved into the Bay, and the concept of many. The contact with fellow potters is satisfied with the way the venture has co—operative selling became feasible. a demanding and stimulating exper— been accepted. This year we intend in— We took quite a time to make sure we ience with each new kiln load creating creasing our scope by inviting guests to had a sound framework upon which to wider impact and a desire for higher exhibit. build, believing that the conditions and standards The social contact with the procedures must be firmly established public is far more rewarding and inter— Jackie Crespin in a businesslike way at the start. esting than we anticipated. The co-operative now needed a The gallery opens from ll am. to 9 St. Alibi/us Potters, Viiliils Building, home. We wanted an environment to p.m., Monday to Saturday. Each potter 973 St. Alibi/ii Street, Hastings. New Zealand Potter Page 19 Jan Bell-Chloé King’s ceramic wall sculpture

Motivation now that we had unconsciously been broke, but providence was on our side, influenced by Wellington’s harsh land every piece was safe. The people of Havelock North had out- structure while working on the first grown the small public hall that was model, so now we began drawings Glazing used as their library. A grand commun— which conveyed the essence of Hawke’s We had tested several glazes and used ity effort was put into the raising of Bay’s softer and more sensuous hills as many local materials as were suita— money so they could have a large and rivers. roomy, well equipped library and ble, papa, wood ash, pumice and community centre. Donations and Working sandstone. Fractured rock from the assistance poured in. Plan Rimitukas provided a beautiful rugged For some time we had wanted to The first drawing was transferred on to surface on some pieces. We used bro— make a wall sculpture, suddenly here a 3” grid paper pattern. Now we had a 16 ken coloured glass for the river and was magnificent building with an 18 ft ft 4 in. long master plan. Each unit of the other surfaces had different oxides, long, empty wall in fullview ofthe main design was divided into pieces to fit our slips and glazes. The firing was a doors, an opportunity not to be missed. 18 X 12 kiln shelves. These were then cracker! We were surprised to find we An approach was made to the traved onto a large cloth covered floor— had a 19.6 per cent shrinkage instead of Havelock North Council, the Librarian ing board, and we were ready to begin. the 12 per cent allowed for, fortunately and the architect, Len Hoogerbrug, in this instance it did not matter. who were delighted with the prospect Construction of a wall sculpture made by two local Mounting potters. Clay was pounded onto the board, forming the flat back of each piece, Jeff Bell now shared the responsibility of the final stages and drilled the origi- Design walls and supports were added and each piece was roofed over. Small air nal supporting board, which now be— After several weeks deciding on a holes were left until we could turn the came the master template, with corres— theme, we chose to depict Te Mata Peak pieces over to create the pin holes on the ponding holes to match the pin holes and the surrounding hills which flat back surface. Each section was di— provided in each ceramic piece. The dominate Havelock village and is a very vided with plastic and the whole project template was mounted on the wall and prominent land mark for many miles. was kept at an even consistency until the pin holes drilled into the block wall ”Te Mata” means the eyes, and the the last piece was completed. — a hard dirty job. After the template spirit of the hill is able to keep watch was removed the steel pins were glued from his lofty vantage point. Bisque Firing into the wall and left for one week to set. The sculpture itself took only a day to Working Model As we were working during a very cold mount ‘ using K20 Araldite one to one wet spell of winter, drying took a long mix, the pins eliminated the need for The first small model was made in time; care and patience were necessary, much propping or support and it went Eastbourne while we were there for an but at last it was time for the fire. All up easily. exhibition and workshop. When we went well but the day after firing, A week later the Mayor invited us came back to Hawke’s Bay we began Hawke’s Bay suffered a severe and and the people of Havelock North to work on the final concept. We realised damaging earthquake ~ 5 kiln shelves attend the official opening. Left and above left: [an Bcll. Right and above rig/1t; Clzla'i’ King. New Zealand Potter New Zealand Potter Page 21

Denis & Fairlie Rowe Chestnut Hill Pottery

Denis and Fairlie Rowe hold ”Judy’s More workshops for AWARDS Above: Denis and Fairlie Rowe at work; Middle Punchbowl” which won them the 1980 Wellington potters left: wall plaque 40 cm X 1 metre purchased by Tokoroa Pottery Award carrying a prize Fletcher Brownbuilt Pottery Hawke’s Bay Art Gallery. This and other work by Fairlie. of $400 for the best pot following the At last Wellington Potters Association Award 1981 theme ”The Entertainers”. Of the win- has rooms of its own. Finding central Entries for this award worth $NZ2,000 premises in land—hungry Wellington ning pot, judge Mirek Smisek said “the are open to potters the world over. This pot is a very happy combination of was not easy so we were thankful to year there will be no category or theme. function and fun. It fulfills the criteria of hear of a community health group The winner and selected entries will be an entertaining pot excellently. It is leasing an old hospital with more rooms displayed in Auckland from May 30 to competently made and very inventive than they needed. We are now happily June 14, 1981. Entries in by May 8. domiciled in a detached ex-laundry set with an imaginative treatment of the Forms available from Fletcher handles. It expresses good feeling for amongst trees and lawns. With the help Brownbuilt, Private Bag, Auckland. the clay medium.” of a small Arts Council grant on a $1 for The work of Denis and Fairlie tends $2 basis we completed the conversion to overlap with Denis throwing the late in 1980. Faenza International larger forms while Fairlie alters and de- We have planned a year of com- Exhibition corates. Fairlie thinks of her work as prehensive and varied courses. The ad- Ted Dutch has had work accepted folk pottery. dress is Hansen Street, Newtown, Wel— in this prestigious exhibition Details of the 1981 award in the ad— lington, and enquiries are welcome to held each year in Faenza (not Florence), Italy, vertising section. Daphne Hendrie, 11 Busaco Road, in Hataitai, 862 567. 1979 and 1980. In 1980 he was on the list of 50 ceramists Jennifer Shearer to be considered for President prizes. Five pieces must be submitted, with photos sent in advance and entries airmailed later. The avant—garde or diffe— Tuition in Wellington is also available rent would have most chance of selec- at Wellington High School in town and tion. Applications from International The potlers’ house — /ohr1 Scott design — as in Eastbourne at Creative Workshops, Manifestations of Ceramics, Palazzo viewedfrom the workshop through the 100 year Muritai Road (ring George Kojis, Municipio, Corso Mazzini 93, Faenza, old Chestnut tree, a registered notable lree. 627 527). Italy. New Zealand Potter Page 23 New Zealand Potter Page 22 Honour for potter Inter-change between Pacific and New Zealand potters

Amongst New Zealand’s potters no more fitting recipient of honours could When potters from Fiji and New be found than Doreen Blumhardt who Guinea came to work at Driving Creek was awarded the C.B.E. this year for her Potteries, Barry Brickell made sure the services to the arts, particularly pottery. occasion allowed for a two way ex— change of working methods, Pioneering, influential and vision» ary, for 30 years Doreen worked to techniques and ideas. Kelesita Tasere from Fiji and 17 year bring the craft movement to New Zea— Rabaul were sponsored land education, was a founder of NZ old Pius from Potter, the NZ Society of Potters and the by the New Zealand Arts Council as Craft Council in between teaching and part of its cultural exchange pro- travelling. gramme. Kelesita is one of a few older Doreen’s achievements in the early women in the potting region of Fiji who days have been well documented. inherited the traditional skills to pass on While the range of her work is wide, she to future generations. Pius is more a enjoys most making big terrace pots. decorator drawing complicated ethnic She has fired with a series ofoil burning patterns on his pots. The New Zealand kilns and is now firing with gas. potters and the Visitors left to right; Doreen considers her most important Kelesita Tasere from Fiji, Barry Brickell, contribution to New Zealand potting Lorraine Clarke, Pius Kinalu from has been through teaching as Head of Papua New Guinea with work made at the Art Department at Wellington Driving Creek. The jug thrown and de— Teachers’ College where she introduced corated by Pius in sgrafitti over a cobalt ;. the coming craft to trainee teachers, at slip is based on traditional elements of her home studio, and as she travelled pattern. The big pot by Barry Brickell is distinctive patterns. The handbuilt rated by Pius, this time with applied the length and breadth of the country decorated by Pius. The bowl thrown by square form made by Doug Wasywich, clay. The undecorated pot is entirely by spreading the word. Lorraine again is decorated in Pius’s a neighbouring local potter, is deco— Kelesita. Kelesita Tasere from Sigatoka, Fiji her potting methods described by Barry Brickell Doreen’s work is influenced by her environment. Her home is a craftsman’s treasure house in a Clay The method is sound in that it is a turning it, then finally the pot is glazed luxuriantgarden won from a blackberry covered compressive technique — the clay is on the inside as this is the part which We looked for a fine plastic terra cotta bank. It is a work of art. The verdantgreeneiji/ never stretched if done properly. Spe— retains the heat longest. The gum clay to which local river sand was around, the rugged bills and the harbourscenery cial attention is paid to the rim using a crackles and smokes when the pot is are truly inspirational. . a wedged in until it had a texture re— .s" lay-Hub {till {kit (in finer anvil if need be. Beating is carried very hot and gives off a rather Choking sembling the clay she used in Fiji. She out in a rhythmic spiral fashion, no one vapour. The fired colour of the glaze is preferred a rather moderate addition of part of the pot receiving more than the related to the temperature, a very hot finer grade sand (about 20 mesh) which other. Decoration or embellishment are surface will char the gum and give a did not reduce the working plasticity of added after the forming is complete. dark toasty gloss. If the pot is too cooled the clay, in fact it is a fairly tight body the surface will prevent the gum from compared with say my normal open Firing melting and rubbing properly and will textured terra cotta. A sample of her give an unattractive, stringy glaze. native clay was reddish and moderately The traditional method is surprising to Ideally the colour of the fired clay will plastic. us. The dry pot is simply placed on hot embers of a small fire of burnt down show through the glaze and be en— hanced by it. The soft, Working sticks. Then fresh sticks are placed rich, lead-like around and over the pot and allowed to glaze is attractive and surprisingly dur— A ball of clay is thumped out into a cone burn. This rather sudden firing did able in ordinary kitchen use. When not by hand when fairly soft then put aside shatter several larger pots. Kelesita’s primitive firing, a wood fired biscuiting to dry a little. A rough circular base of own clay is apparantly more tolerant. will obviously give a more variable col- sacking tied around like a wreath then The pots are moved about with a stick our range than a pot pre-fired in a bis— supports the cone, apex down, while it and more fuel added if need be, so that cuit chamber due to the odd carbon is being beaten. A smooth pebble or they become red hot all over and there— black patches which show through the stone held in one hand is the anvil on fore slightly biscuited. Then the pot is glaze. For larger pots we did, however, the inside and a simple flat beating stick hooked out with a stick or crude tongs find it necessary to pre—fire in a biscuit in the other does the work. The cone is and placed on a triangle of three bricks kiln and lift out with tongs for glazing. slowly rotated and grows in size as it to keep it upright, and a piece of Kauri A bonfire was kept going for the heat— becomes thinner. Lots of rapid beatings gum (in Fiji not our Kauri gum but ing of the pot if it cooled too much. In make for a smooth texture and shape. A similar), firmly grasped in one hand is any case it is better to glaze inside first, point is reached at which one must stop rubbed on and around the rim first reheat carefully then do the outside. to allow the clay to stiffen a little more while the pot is steadied by the other Kelesita always made herself com- (in Fiji the warmth of the sun does this hand using a stick, etc. The gum rub- fortable kneeling on a rug just before photographs Above; The Evening Post starting her glazing which is a process Left: Graig Royale as one works), because the stiffer the bing is a vigorous movement of the clay the thinner and larger it can be hand and one must be quick to get the requiring intense concentration for the worked up. Beating ceases when the whole pot covered before it cools. The two minutes or so needed to glaze a clay is surprisingly stiff. outside is done first working down and porridge bowl. BAROQUE POLITOCAUST

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50% 7; W Jfla/QJQ») WN ll/MMJ 02.7%,; MGM AM ,6 M/,¢7S 4 w! W WC. Amflg’ M My,“ \ 7570:,» / émflji‘u/t\fl/a¢ aka/74%} Wat/712:7? [(wyvvv 70 "MIL ,0!m MIMW/ kVflj/zlb’l‘ I‘M l: 7Q /afM\/’& 75%,: rig/7% {:34t m1 74m flmrzpdjln/t V New Zealand Potter Pafi 26 New Zealand Potter Page 27 reinforcing. Different materials can be used rangements with other selected airlines for A further example: Build your own filter press for inside protection, but it must be capable shipments to be sent to any destination in Still taking a 10 kilo package this time airline of absorbing the impact of any bumps or the world where there is a regular measuring Owen Cobb shock the carton may receive. Even in the service. Full delivery service can be ar— best hands some knocks are unavoidable. ranged at some points and you can get de- 12” X 20” X 14” = 3360 + 427 = 8 kilos The new granulated chips or slabs of polys— tails of this from Air New Zealand Cargo 30 cm X 51 cm X 36 cm 2 44080 + 7000 = 8 This filter press can be built quite almost three times the price of the felt of the divisions in some way so that the tyrene are excellent for the purpose. Offices. kilos cheaply. Firstly the compressor; any and canvas. The screw to hold the cells holes all line up with the brass barrel Make sure you separate each item inside Costs of air transport are sometimes as— The charge would be based on the actual sumed to be high, but this is not necessarily small unit capable of working up to 138 and divisions tight enough to prevent nipple fitted through one of the 75 mm the carton. Placing them too close to the out- weight of 10 kilos in this case. so. kPa (20 psi.) will do. I have an open the slip leaking out can be any kind that ends through which the slip is fed into side, too close together or across each other [ft/0a want any advice on air freighting Air Take, for example, a 22 lb/1O kilo parcel on refrigerator unit that has proved ideal can stand the strain (about 3 to 4 tonnes) the press from the tank. can cause breakage or chipping. Make sure New Zealand offer their advice freely, you pack out the base of the container a few sample sectors, for the purpose. The compressor should I find the fixed square thread shaft and It is possible to press about 45 kg of Wellington potter Paul Wotherspoon has which takes most of the impact at least 3 Wanganui~Auckland $3.90 have its own small air tank of about 50 loose nut, made up as shown, to be the clay in three to four hours with the pres- enough experience of despatching his inches. Remember that the final delivery is Auckland—Nelson $5. 70 litres (1 ~75 cub. ft) to which is fitted a best. The pressure warning clips over sure switch to 138 kPa and the differen— done by contract carrier and it is important pottery by air to have the procedure NelsonvDunedin $5.40 streamlined. pressure switch, pressure relief valve, the screw, and stops you undoing the tial at minus 14 kPa. After this time the that you don’t make the container too heavy $4.60 TaurangavWellington He has a dozen returnable containers, pressure gauge together with an outlet press with pressure still in the tank. press can be unloaded, the clay cakes for one man to handle. Twenty kilo (42 lbs) Wellington—Auckland $4.80 to the slip tank and an inlet from the After twice being knee deep in slip, I cut out of the cells and placed in racks is the optimum. which are transported back to him at 50 per Napier—Christchurch $5.40 cent of the cost of the outward despatching compressor head. These fittings on the found it really necessary. Mark the top for further drying if necessary. If you are sending overseas the same applies, but don’t use straw, Straw, wool, or All shipments are charged on a cents per charge. He was fortunate in being able to small tank prevent contamination by kilo basis with a minimum of $2.50 being buy at auction for $12, stoutly built the slip and the consequent inevitable any such material as these are not permitted by agricultural authorities in many coun« charged. This means that up to 5 kilo (11 lbs) wooden boxes in two sizes. The larger has malfunction. The slip tank needs to be of tries. If regular consignments are planned it can be sent for just on the minimum price. an inside measurement of 300 X 300 X 500 about 140 litres (30 gals.) capacity and would be worthwhile seeking the advice of The cost for heavier packages is arrived at mm, which were exactly the correct dimen- able to stand a pressure of 138 kPa. DO one of the specialist packaging manufac- by multiplying the weight in kilos by the sions for packing his ware. NOT use a petrol drum. A smaller tank turing companies. They stock cartons of appropriate rate to the destination. Details The tap and bottom of the boxes extend can be used if you are prepared to varying types and will design to order. of these are in New Zealand domestic time— beyond the sides which‘give added pro- table. You can ring your local air cargo tection to the contents and provide a exhaust the pressure and refill when the Insurance first fill has been pushed into the press. office. flanged edge on the top for bolting the lid From 1 June 1980, regulations for the car— These rates are for the freight air priority onto. Check with your local Marine Depart- riage of goods removes transporters’ liabil— of cargo which gives delivery in most cases Paul has a five inch strip of pinex ment Inspector because air receivers ity for highly breakable goods like pottery, some 48 hours after despatch. If you need a softboard along the length of the box to below a certain size do not require so there is no automatic insurance against quicker service, the let—X priority gives an cushion impact on the bottom and he does certification and this will probably be breakage. (Air New Zealand say they would overnight delivery and Courier Cargo priority not use additional packing. He has divided be reasonable if there was an unfortunate the least costly way out of the problem. gives a next flight out service for the really the box with a cross wooden partition to The compressor air tank is connected to mishap where blame was clearly theirs.) urgent consignments. Obviously the keep the contents stable should the box However, a full risks cover can be ar— the slip tank with a flexible nylon pres— quicker the service the higher the rate you fall on its side. ranged very simply at the time of consign— sure hose, the hose fittings being either pay, Packing is by means of corrugated ing by declaring the value of the goods and The costs for sending cargo overseas var— cardboard sleeves. Paul’s flatware very welded or screwed into the top of the paying a small premium of $1.80 per $100 ies with distances to be covered. Here again conveniently stacks on end. The only slip tank. The same type of hose is used value which is entered onto the consign— are some sample costs for a 10 kilo package breakages have occurred when he has to connect the outlet fitting from the ment note. A minimum charge of $2.50 from Auckland. packed baking dishes one inside the other side, near the bottom, of the slip tank to applies. Note that if you have four boxes in without cardboard separation. He says it is the press. The press is a 60 X 60 X 4 mm a consignment they should each be declared Sydney $18.90 Min. Charge $17.02 worth spending time thinking out to the angle iron frame securely welded at the individually, because if there was damage Melbourne $21.30 Min. Charge $17.02 last detail what you want to get into your ends, about 1'1 in long and 285 mm to the box which happened to contain goods Brisbane $21.30 Min. Charge $17.02 box so a system of protective packaging of most value, you would only get compen» Suva $16.10 Min. Charge $16.20 wide, measured inside the rectangle, can be worked out to be used over and over sated for the stated average value of the four Singapore $58.10 Min. Charge $21.31 again. supported on 300 mm wide 75 mm thick boxes, Hong Kong $58.90 Min. Charge $19.20 by 1 '1 m long timber ends. I used lami- Paul has reversible lids to the boxes. On Transport Honolulu $51.60 Min. Charge $25.00 one side of the painted white lid in clear nated beam offcuts from a local inan— Domestic flights serve 23 centres. If you Los Angeles, black paint he has the name of the consig- Min. Charge $25.00 ufacturer and the cost while greater want to send a package to a town without a San Francisco $72.10 nee and the apprOpriate fragile sticker Min. Charge $32.20 than a 300 X 50 mm solid piece, gives direct air service Air New Zealand has a New York $81.10 with room left for the air cargo codes. On less chance of deflection and possible network of surface operators who carry London $99.40 Min. Charge $33.00 the inside of the lid he has his OWn address leakage. The cells are cut from 20 mm goods to such places as Balclutha from the All rates subject to alteration. with, return at 50 per cent cost also written high density particle board to the sizes nearest airport, This means that there is There are special discounted rates for clearly in black on its lower right corner. It shown in the photo and sixteen are virtually nowhere in New Zealand that can’t shipments weighing over 100 lbs/45 kg. is simply a matter of turning the lid over needed. The divisions, of which seven- use air cargo. Even more favourable rates can sometimes for the return address to show. teen are needed, are cut from 6 mm Getting packages to and from city depots be negotiated with Air New Zealand where Paul now pays the cost of the freight to the customer’s door. At first the customer tempered hardboard, although I think or airport can be a hassle. You can phone frequent large shipments (from 100 kg up— Air New Zealand and they will arrange to paid the freight, but when sales tax had to that 10 mm marine ply would be better. wards) are despatched. pick up your shipment, fly it to its destina- be added to the cost last year he took up Then 2 mm deep grooves are cut in both A point to be aware of. If you send bulky tion and then deliver it right to the addres— but light weight packages you will be the freight bill to soften the extra cost. He faces, and a hole drilled 70 mm to centre see at a city or suburban address. This ser- charged on the volume. To work this out thinks he will continue to pay the freight from top and side, the diameter being vice costs 5c per kilo at each end (minimum you multiply the length by the height by the both there and back (50 per cent less). selected to suit either a brass grommet $1.30), a small extra cost for ease and con- width and then divide by 7000 if measuring Customers unpack immediately the boxes or the 3/4 inch threaded brass tube and venience. When sending by air in New in centimetres, 427 if you are measuring in arrive because there is no mess, and to as- brass backnuts that I used. The filter It’s cheaper than you think Zealand you can no longer collect cargo at inches. The answer will be the volume sist with their quick despatch back, he in- cloths are cut from 4 kg jute carpet city depots. There is now a choice of having weight you will be charged on if it is greater cludes a filled-in consignment note for re- packages delivered to the final address or than the actual weight. This may sound turn. He says it is worth making sure your underfelt and a light canvas or cotton We asked Air New Zealand amazed if they could see some of the tatty for details leaving it to the recipient to collect from the complicated, but this situation could apply customer understands the procedure and cloth over the felt. Both the canvas and old cartons and wrappings that are expected on costs, packaging and insurance to airport, As some airports are a distance from to pottery despatches. does not lose the consignment note or it the felt will last a lot longer if you treat to protect their wares in transit. will cost you money. assist you to transport your pottery by a city clearly delivery of the package saves a Here is an example of this — take a them first with green Metalex. Cut the Packing cases or cartons for pottery air. lot of trouble. Clear addressing of street package weighing 10 kilos and measuring Because Paul’s package is so secure he hole in the felt about 50 mm diameter to should be of plywood or strong, heavy number, street and the suburb hastens the hasn’t bothered to take out insurance, Packaging cardboard. let the grommet, or the back nuts if Cartons which have been used procedure. 18” x 20 " x 15" = 5400 +2127 = 13 kilos reckoning that he was not likely to lose $100 It is essential previously have lost used, hold the top cloth hard down on that you think carefully about some of their strength Customs regulations make this type of 45 cm X 51 cm X 38 cm = 89148 -I- 7000 = 13 worth of pots in a year. your method of packaging and the selection and their effectiveness for protecting con— to the hardboard division. Commercial service more difficult with shipments going kilos Air freighting from door to door has of materials tents is reduced. Recycled to be used. Potters who put so cartons, there- overseas. Air New Zealand serves most In this case you would be charged on the proved for him to be most efficient in time nylon filter cloths are available but are much effort into their fore, need extra work would be inside packing and outer major cities in the Pacific basin and has ar— volume, i.e., 13 kilos. and energy for a most reasonable cost. In Napier Salute to Bacchus

This theme for an exhibition of ceramic sculptures and pottery held at Winecraft, Marewa Village, Kennedy Road, set Muriel Moody’s imagination dancing. She was joined by Jo Weissberg and Debbie Pointon to pro— vide a lively show. Winecraft Gallery and wine shop emerged from a lifetime interest in wine and the arts by Ian and Joyce Vigor—Brown. This was their first {3:231 ' major exhibition from contributors out- side Hawke’s Bay. Setting up the exhibition, Muriel Moody, I0 Weissberg, Debbie Pointoni Right: the only exhibit requiring a label, ”Io/m Boy” by ]0 Weissberg. photographs: K‘E‘ Niven and Daily Telegraph New, Zealand Potter Page 31 Potter is fascinating because of the wide diversity of approaches and philosophies fervently expounded as absolutes by different potters. The re— sulting pots, nevertheless while di- verse, are consistently delectable. What is lacking, however, in the pottery movement is a tolerance to match its diversity, an acceptance of not only different pots, but a recognition that different life—style objectives, differing personal philosophies will lead to to— tally different approaches to pottery. To me they are substantially all valid and relative to Eric Gill's axiom that ”an artist is not a special sort of person, but that every person is a special sort of artist“. This puts a selector in an unenviable position. However, if a selection pro— cess must be undergone, for whatever reason, it is encumbent on the selector to state the parameters by which he is judging in certain and unambiguous terms. If nothing more it Clears the deadwood from his own thinking, and will lead to a more willing and ready acceptance of selection decisions by those subjected to selection. You raised the question of A philosophy of pottery — A standard for judging lack Laird influences: In your words you ask, “Do you think the current trends for ap— preciating old architecture and country Waimea Pottery he wants to draw graffiti or it is lunch- should not be extended or justified by furniture, art nouveau, etc., will be 1 November 1980 time. This is pointed by the number blaming pressures from retailers. To do reflected in potters and ceramists of incidents in which pots, after an in— so ignores what Bernard Leach refers to techniques and Dear Margaret, looking to some of the itial rejection, subsequently come to as the leaping joy of creativity that has styles of the past?” I have been pondering my reply to repose in a national or other significant compelled potters from ages immemo- As pottery is just about the oldest your letter in which you raise a collection either here or overseas, and rial to add a coda of decoration to the form of craft known to mankind, I number of points on which you is evidence of the confusion which sonata of the pot. But it is not my in- doubt whether anything new in fun— suggest I might write for the Potter. As reigns in potters’ and selectors’ minds. tention to carp. Paul has stated some damental techniques remains to be articles embodying a personal I admit I do not see in the present very hard truths which we need to discovered. Even slip casting was philosophy may sound like pontifica— state of flux and turmoil, the necessary think about. We need to think hard known to the pre—Hispanic Incas. In tion, I would rather offer my thoughts cultural stability emerging which about the pressures that are put on this respect the modern craft pottery in the form of a letter in reply to yours. would promote greater unanimity of potters to create the ”novel”, the ”out— revival is essentially a movement of re- Some enforced idleness (for which I opinion. This view is reinforced by the rageous”. Is it good to let the competi- discovery. The adoption of styles from was beginning to acquire a taste), after apparant inability of a number of tive rat race creep into the quiet world the past is a different matter. Archeol» a period in hospital, has given me time selectors, judges and potters to be ar- of our craft? Is it necessary? Do we ogy uses the evidence of ceramic ar— for reflection on a number of things ticulate about the reasons and pro- want it? tifacts to date and measure past civili- which have been of much interest to cesses by which they select or reject. It is interesting to see how Paul’s sations. Apart from their useful dura— me recently. Among these is the murky Robin Welch was an example on the concern is underlined by the write up bility the forms and decorations of area of standards and their relationship television programme on the last in the same issue about the Dowse Art ceramics are distinctive indications of to the selection of pots, both by the Fletcher Brownbuilt Award Exhibition. Gallery’s ”Then and Now” exhibition. the kind of society which created them. potters themselves of their own work To persistent and direct probing about In this the criteria are stated as requir— These pot forms and decorations (style and by external judges. his criteria and basis for judgements, ing progression, to ”risk glorious fail— if you like) are valid as comments Failing an all—pervading set of offered vague references to world stan— ure”, to be adventurous, all else is con- about a particular culture as the unself— parameters universally accepted, a dards (whatever they may be), and his demned as “playing it safe”. Should conscious expression of it by craftsper— state which may have pertained in main point of reference was that Robin one examine Hamada’s work with a sons, and therefore valid only for that Mediaeval and Renaissance Europe, Welch ”would have liked to have pos- ten year interval on the same limited culture. To be relevant to our culture and in other societies with a long stable sessed it”. One cannot get more sub— criteria, then he too would be deemed they must first undergo a metamor— history of small cultural change, indi- jective than that. to be playing it safe. Is there no place phosis. By then the process has lost any vidual judgements must inevitably be Paul Melser in a personal statement for quiet reflection, the subtle de— claim to be unselfconscious, and the personal and subjective. In pottery in the last Potter made what I consider velopment of values which are not of element of intellect is already intro- here today, this results in pots created an invalid distinction between the the jumping up and down kind. They duced. within one set of parameters, often kind of potter he calls a craftsman, and were there, but because they were not In fact the pottery movement as a being judged by entirely different and the kind of potter he calls a designer, remarkable they were unobserved. To whole is not only not an expression of possibly inappropriate criteria — cer— and then goes on to describe his ap— me this is judgement sated and our Culture which is materialistic, , - i'x k tainly criteria to which the potter may proach to his own work which is pre- blunted by novelty, the more extreme, technological and competitive, but a pt teapot, porcelain, pale green celadon glaze from lack Laird’s exhibi o Hi the have made no references during the cisely the approach of a sensitive de— and an example of the kinds of pres- Above: gold lustre 2 rejection of it and a protest against it. If Sitter Art Gallery, Nelson. pot’s creation. The selector is choosing sure put on potters to abandon more signer, and all sensitive craftspersons. then, we have rejected the cultural base Below: winged amphorae, the larger one 1.3 metres high. Eroded black slip glaze with blue copper between chalk and cheese and his I-Iis castigation of decoration may be a serene forms of creativity. for expression in our craft, what is left barium glaze, or with golden amber slip. preference is determined by whether statement of his own stance, but A perusal of the last edition of the is subjective and personal and on this photos: Nelson Mail New Zealand Potter Page 32 New‘ Zealand Potter Page 33 basis it is impossible for a consensus of have become mature enough to survive values to arise on which objective as— a comparison with that which promp— Waimea Potters commences, as a craft service to indus— sessments can be made. Within a ted their emergence, nor yet developed try. defined and established tradition the enough to carry further conscious The Post-sales-tax Dynasty An aspect of our pottery has been our craftworker walks a clearly marked evolvement. training particularly in apprenticeships road, but this is denied to us today. We It is unfortunate that such a large Paul Laird or providing opportunities for more are all the products of the influences part of our potting environment bears Following the subject of Jack Laird’s skilled operations. We are proud of the which have shaped us personally. the emphasis on the innovatory or thoughts on selection and influences, many potters who have successfully These are the resources from In 1964 Jack and Peggy Laird set up Waimea Pottery in Nelson as a studio village which our what Paul Melser calls ”the noticeable, is a Citation placed alongside the win— graduated to their own workshops; creative inspiration springs They workshop producing domestic ware. On 2 November 1979 after a lengthy battle, are the outrageous”. Potters are under ning entry in a competition open to though it has cost us a lot of time and most strong when government announced that craftspeople were no longer required to register for they have become pressure to abandon steady organic young Japanese craftsmen at the World effort. part of our ground being, Sales Tax purposes, provided that they met the definition of a craftsperson, and composed as growth in favour of less well founded Craft Council Conference in Kyoto in The apprenticeship scheme is a it were in the depths of our that sales did not exceed $50,000 per annum. Son, Paul Laird traces subsequent subcon- experimentation that is in conflict with 1978. Selector was Rose Slivka then 10,000 hour or five year programme scious to nourish developments at Waimea. the growth of new natural development. Ideas become editor of American Craft Horizons. I which is designed to provide both skills ideas. I know from personal experience more important than the pot and are noted it because to me it summed up a From 1964 up to 1979 Waimea Pottery We discussed many ways of running for the potter, and five years production this very often takes a long time and projected unassimilated and un— great deal. The winning entry was not continued to develop and flourish, and the pottery and decided on our present for the pottery in return. It seems to be that influences in my early days in evolved. So in answer to your ques- a pot, but a kimono with a wave pat— at the end of 1979 we were faced with system, not at all sure as to how it would in the nature of most New Zealanders to London are beginning to emerge in my tion, at least part of it, yes I do think terning by a photo printing technique. quite a few major decisions as to the work on the long term. We ; Jack want to be his own boss. However, un— pots now, after 30 years. current trends in appreciation will The kimono was displayed in an ap- future direction of the pottery. Were we Laird, Paul Laird and John Clift — are less there is a return to the pottery of Currently my obsession with deco- influence potters as they will influence propriately almost vertical position, to shoulder the tax burden and continue now “Waimea Potters” skilled production, the employer is left ration in lustres springs from many all creative people. But they will sleeves and shoulders supported by as we were? — a team of people com— The decision to function as indi— in the position of being out of pocket influence hours of fascination with the magnifi— different potters in different transparent threads. bining to produce a known and well vidual potters, renting the workshop and understaffed if the trainee leaves, ways. cent Islamic pots in the Victoria and Superficially in some cases by a Rose Slivka’s words were: accepted ware; and hope that our effi— and equipment enabled us to preserve particularly before his training is Albert facile eclecticism, Museum. Influences in my and more pro— “I like the reference to traditional ciency quality and technology would the Waimea image, and at the same finished. foundly, if less handle forms are emerging which I can immediately in others form and pattem in an abstract and enable us to compete with the smaller time experiment with our personal It has been our policy to train from trace by being assimilated to a study I made of decorative into a totality of modern myth. It is an object poem. The pottery units. Alternatively would we ideas. My father has become increas— scratch, as often prior training was being and emerging ironwork about the same time. This is as an unselfcon- contribution is straightforward and the have to rethink the entire basis of the ingly interested in lustre decoration; more of a hindrance than a help but in a totally scious expression in different process from seeing clay of that pot— surface printing beautifully executed. It pottery, formed initially as a village John Clift, who has worked at Waimea our present system an already fully ideas embodied in other peoples’s pots ter’s being. pays respect to function, to landscape, workshop providing jobs for local for a few years and I encourage each trained “craftsperson” can be offered an and going home and trying out some- In this there will be no place for con— to form, to craft, to art, to ideas about people and offering training in a work— other to look for new firing techniques, opportunity to be an individual potter thing like sciousness of status, it. However, to be fair, it is no production of life and nature, and then transcends to shop environment for young studio clay bodies and glaze effects. Our out— at Waimea producing his/her own work also possible that something in a pot pots in anticipation of a selector’s pre~ become its own thing. It is the function potters. put is kept within the required limits for sale through established outlets. one sees can crystallise and bring dictions — just the potter and the eter— of craft to transform life into things and The more we dwelt on the subject the for taxation purposes and we also keep Under the present system so far, there nal bubbling up from the subconscious a dialogue with the clay and the fire. things into life.” more it appeared to us to be a particular our individuality. Our small showroom appears to be a lot less pressure and rush of embyronic forms. tax on the selected few of us in village is run by my mother and we have re— much more fun, stimulation and variety The danger here is that they may not Yours sincerely, Jack. Editor. workshops. So, regrettably, we wound tained a number ofourold retail outlets. in our work. So out of a bad government down the team workshop system. This Richmond Pottery and Ceramics pre— decision we have, I think, ultimately was quite an ordeal involving unions, viously known as the Mapua Tableware benefitted, after a great deal of agoniz- Book Review: A place for quality Labour Department, redundancies and department of Waimea Pottery has for a ing, and having to abandon a sixteen A GUIDE FOR EDUCATIONAL WORKSHOPS AND STUDIOS seeing valued staff leave, due to a gov- number of years been entirely separate, year effort to provide a pottery which The New Zealand Craft Centre is now emment department decision sprung with Dad designing and me throwing had social as well as cultural HUN/HI and Safety in Ccrmm'cs. operating in the crafts council moms in on us. samples before full-scale mould making significance in the locality. Wellington. The centre is looking At last — how to be a potter and stay for high quality work for sale to alive! This three—part booklet should be business houses, banks, government compulsory reading for all those in- depart- ments. volved in the practical side of pottery Articles made from indigenous while colour photographs of the beaut— materials and perhaps identifyably and ceramics, and especially those in a iful, but timid/y Barium/Copper glazes New Zealand in design will be particu- teaching situation. used effectively by studio potters, could larly acceptable. Send a sample or Compiled by the Institute of carry a visual message that would linger photographs of your work to the Direc- Ceramics, Stoke—on-Trent, the first part long in the memory. It can be argued tor, New Zealand Crafts Council, P.O. deals systematically with handling that such treatment is beyond the scope Box 11233 Wellington. (Freight and in- problems with ceramic materials, dust and budget of such a publication — but surance must be at your expense). The hazard, toxic materials of particular I am sure a more lively text and more concern, glazes and ceramic colours. center sells on commission, 20% for exciting visual presentation would turn members The second part considers the safety of of the Crafts Council and 33% it into a best seller and at the same time for non members. the finished ware; while the third part get the message across more effectively. details Machinery Safeguards, Mixers, From a New Zealand point of View, Pug Mills, Potters Wheels and Lathes, there is another problem: this booklet and also the location and operation of sells for £2.00 in England, but by the the Electric, Gas—fired and ”Ad—hoc” time it is on the New Zealand market, Kiln! FOR SALE via an Australian agency (for the Eng— Concise, non technical, yet lish distributor, Pergamon Press), the Pottery/Land 5 miles from Levin. authoritative. retail price would be about $10.00. This 13/4 This raises the one point of criticism acres, small cottage, workshop seems rather excessive for a flimsy cov- and kilns — 60 cu. ft stoneware and — the style and presentation is about as ered, 35 page booklet of austere pre— exciting 60 cu. ft sale glaze. as last month’s Customs sentation, no matter how vital the in- Schedule. Spice and urgency could en— formation it contains! Ring Levin 87 819 (lunch times) liven the text by pointing out such However, every potter should own a or things as Barium carbonate being the copy of this informative booklet. principal ingredient in many potent rat write to D. Wolland, RD. 1, Levin. poisons, Borax used in ant—killers, Steve Rumsey

I Paul Laird Iolm Cliff New Zealand Potter Such an apprenticeship scheme would help to avoid the situation of a keen potter setting up with insufficient knowledge and experience to form a lasting career. After six years at Waimea I went to Australia and worked at Montville Pottery in a beautiful part of Queensland, then I went on to an Eng- lish pottery in Norwich. All this was good experience in varying types of workshops. On returning I married Trudi, bought a cob cottage at Brightwater (four miles from Richmond), and we were lucky enough to be able to buy half an acre across the road to establish a pottery. We wanted pleasant sur- roundings for retailing our pots so we commissioned Ian lack an architect friend to design Cobb Cottage Pottery. The showroom on the main highway from Nelson to Christchurch and the West Coast Opened in 1979 e the workshop was added last year and we are gradually landscaping with native trees, alpine plants and herbs. The two buildings enclose a court— yard. The workshop comprises a large work area including clay and glaze storage area, pug mill, tile press, elec— tric kiln and wheels. There is a separate glazing and decorating area which the kiln trolley rolls into, plus a kitchen Royce McGlashen — production potter area and upstairs general purpose space. The kiln is housed in an at— In 1966 I began a five year appren— I think there have been only five or tached kiln area which can be com- ticeship with Jack Laird at Waimea six potters in New Zealand who have pletely closed off from the workshOp. Pottery in Richmond. This was an ap— had the opportunity to complete such I’m very strict about working hours. proved Labour Department scheme an apprenticeship It requires two I like to be there at 8 am. until 5 or 6 entailing a bond between Jack, the things — a willing worker, and a per— pm. with the usual coffee and lunch Labour Department and me. The son dedicated to the craft who is willing breaks. I find the discipline satisfying. training covered all aspects of work in to share his knowledge. The pottery is designed for the flow the pottery — throwing, turning, Nelson has been unique in New of work — to save time and energy. assembling, glazing and a little de— Zealand being able to provide work at We buy locally produced clay although corating, plus firing the Waimea kilns. all levels of the ceramic field. We have I would like to process my own Clay. I Most of the time was spent produc— industrial brickworks and many incli— use an electric wheel which allows for tion throwing to Waimea design. It is vidual potters scattered throughout the faster production with greater concent- sometimes difficult enough to throw area, and Waimea craft pottery work— ration on the pot itself and a saving on what you see in your mind, but it is shop. My training was in this middle my energy. Seventy-five per cent of often even more difficult to throw area between the industrialist and the production is domestic stoneware with someone else’s design and it requires a individual potter and I realise this is an thirty items in the range. Each day I set lot more application of yourself and a excellent area in which to obtain a myself a goal including some time for lot of patience from your employer or sound working knowledge of craft individual pieces — thrown sculpture, master. pottery — and of course I was paid, slab ware, big pots and textured This training was very good as it al- which enabled me gradually to buy pieces. A day of throwing is followed lowed me to throw eight hours a day materials and equipment for setting up by a day spent turning and assembl- on different shapes and sizes throwing my own workshop. While working at ing. When I have sufficient dry pots I many times to a pointer. Over the Waimea I had my own studio at home. fire the 10 cu. ft electric kiln. It takes period of five years I threw thousands It was here I developed my own ideas approximately ten firings to have of pots. Some would say production in shape and decoration. sufficient bisque ware for a gloss firing. throwing, especially with an electric I believe an apprenticeship scheme pottery designs would be reduced and Trudi waxes and sorts the pots ready wheel, takes the romance from pottery. in craft pottery would lift standards of the apprentice would work on his own for glazing. In three weeks I make I found after two or three years of this domestic ware, but I would make some designs. As the years and experience enough pots for the 120 cu. ft oil kiln. It regime, my own personal styles be- changes to the scheme before I would increase the balance would change ac- takes two further weeks to glaze and came more relaxed and this holds true implement it in my workshop. The ap- cordingly. The apprentice could spend decorate and stack the kiln. to the present day. I am relaxed prentice would initially work a normal more and more time on his own designs My style of work is changing more to throwing on the wheel. Shapes can be 40 hour week for a weekly wage — but be still under the guidance of the decoration based on a New Zealand seen more easily with a relaxed attitude make my shapes and designs — but as master potter. The apprenticeship theme including a landscape series on and you can overcome problems be- experience and skill develops and ap— would usually culminate in the appren— large pots and wall plates. All my other tween the clay and yourself more read— prentice and potter gain confidence in tice moving on to establishi his own decorations are based on native flora. ily. each other the hours worked on the studio. Where it used to take me two days to Page 37 New Zealand Potter Page 36 New Zealand Potter decorate, it now takes three very long POts in the p00 Robyn Stewart days. Some of the large pots take an At the end of a year’s tuition, mainly hour or more to decorate and I really from Margaret Milne at Auckland enjoy this work. Studio Potters Centre, the class was The kiln is on a trolley allowing me shown several films one of which par— to stack from all sides with the trolley ticularly inspired me. It was the well- close by the supply of glazed pots. It known film about the Pueblo Indian takes a day to stack and the trolley is potters of San Idelfonso that shows rolled into the chamber and sealed Maria Martinez with members of her with a fibre door. The kiln fires with 6 family making and firing very beautiful pot burners for 10 hours using 60 gal— black burnished pots. All were hand- lons of fuel. We fire once a month At built from local clay, some decorated present I am working on my own. I with slip or carved then burnished with have had one assistant Paul White who a smooth pebble and fired in a simple was with me for three and a half years bonfire with animal dung for fuel. and has now set up his own workshop When I left the big city to live in near Foxton. Northland I was determined to try this From each firing we select pots for method of firing. With no money to exhibition and for our own showroom. build or buy a kiln, but plenty of cow Sales vary according to the time of year dung at hand this seemed to me a great and in the busy summer period we idea. Eighteen months and many dis— employ someone to look after the asters later, I took from the ashes about showroom. Pots are supplied to shops a dozen pots I was pleased with. A clay on a monthly roster system which ena— dug from the bank of a stream running bles buyers to come to the district and through the farm was plastic enough for co—ordinate their collection of pots. I feel handbuilding and furthermore bur- Black burnished low fired pots by Robyn Stewart. it is important that the buyers see what nished and fired better than any of the photos: Howard Williams they are buying. commercial clays tried. Our buildings are designed to incor— The mixture: porate facilities for holding residential 5 clay workshops. Our first was held this 3 grog January and we have another in May. 2 talc We hope these will become a continu— All pots are coil, pinch or slab built. I ing function of our workshop, because enjoy carving and burnishing (using a I would like to pass on my knowledge teaspoon then my fingers). It’s a time and exchange ideas. consuming method but satisfying to We had a break away two years ago me. visiting South America and going on to Pots are stacked carefully in a England where we looked at pottery pyramid on a metal grid with enough machinery. We bought an old screw space underneath to start a small wood tile press which I look forward to get— fire and completely covered with dry ting into working order and tile mak- cow—pats then pieces of old iron trays, ing may expand to create an opportun— tin lids or corrugated iron and finally a ity for another person in the workshop. thick layer of dried pulverised horse We enjoy travelling and we like the manure over the lot. Grass clippings idea of a potter/pottery exchange. It I’ve discovered serve the purpose quite would involve a lot of letter writing to as well. organize, but worth it to experience a Firing extends over a nerve wracking different potting scene. 24748 hours, the length depending very I guess I could describe myself as a much on the weather Unfortunately prosumer (production/individualist). I Whangarei’s climate is rather different enjoy my work. My philosophy would RCG Stable Greyish Cream Matt Glaze — 12900 Reduction from Mexico’s. A firing can be started be this: Once you have committed 50 parts Feldspare on a sunny breezy moming and by late yourself to a life of making pots your 10 parts Dolomite aftenioon the weather is dull and standard by necessity must be high. 15 parts Calcite humid which slows things down con— You must believe in your own ability 20 parts Silica (Australia) siderably. It is an advantage to have to create a pleasing, saleable, func— 40 parts China Clay (New Zealand) shelter of some sort over the kiln in case tional pot, even if its function is 1 part Iron Oxide of sudden downpour. The fire will purely decorative it must achieve this. I and can be safely left for with more iron it goes greener and greener, till it goes brown. smoulder away believe in being willing to try some- hours with little to be seen but the occa— thing new and to expand ones know— sional wisp of smoke. Ash Glaze — a Sandy Creamy Matt Glaze ledge of the craft. This firing method is not ideal for 61b 40;: Feldspar firing coffee mugs and casseroles, but it 21b 802 Dolomite Royce and Trudi McGlas/ien, Cob Cottage is exciting for decorative pots. 702 Calcite Pottery, Brightwater, Nelson. 31b1202 China Clay Robyn Stewart, Whareora, RD. 5, Whar lOoz Ash (Unwashed, through a 40 mesh sieve) ngarei, shares with her family, sheep, Above right: Cob cottage built 1856 and Cob Can add some iron or illmenite. cattle, ducks and dogs, one hundred acres Cottage Pottery I980. at Mt. Tiger at the base of Whangarei Brown or sometimes Yellow Wash Heads. She is interested in breeding sheep 50:50 iron oxide and rutile in a water solution. Spray on top of the glaze. The rutile for natural fleeces and spinning as well as breaks the surface of the glaze. potting. introducing the Talisman

«HIGH-SPEED <3I. ‘ . HGER

‘\ ‘T“5 XURES’ At level 5 Williams Centre, 0' . Plimmer steps, Lambton Quay, will? €511“ fine pottery and studio glass Wellington_ Phone 725-678 203 Parnell Road, Auckland, 3. Phone 774497 For good pottery, fine furniture (madeto order), studio crafts.

Dry ingredients are added to water while mixer is working. Mixed slip is tipped without heavy lifting. Lifting lid automati- cally stops motor The Talisman Blunger will mix up to 80 litres of glaze or slip thoroughly in a few minutes. 12 Potters Auckland’s first potters’ co-operative and the Talisman hand extruder 575 Remuera Road in the Upland Village Shopping Centre ' -- "W "— '! Supplied with a selection Telephone: 503-590 ' » « ‘ - of dies or blanks to make 3 your own, or special dies 1 made to order. The dies and holder can be fitted to the Talisman pugmill for machine extruding, For leaflet describing these two new products THLISMflN POTTERS SUPPLIES CO LTD HOURS: Monday to Thursday 9.30-5.30 171 ARCHERS RD, TAKAPUNA Friday 9.30-9.00 P. 0. BOX 38-074. NORTHCDTE, AK.’|O PH 480—735 AUCKLAND. Saturday 9.00-3.30 o “.00 OOOOOO...’OOOO..OO

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O ~ buildings * TOOLS O Clays — Glazes —— Materials —

o o Tools — Brushes — Equipment (33353333 oooo 9”.”oo 1" TALISMAN PRODUCTS —— Moulds — Books — Wheel

o * VENCO WHEELS Hire —— Fireing Service, and

O. 00 many more useful treasures for Looking from the * AGENT FOR GAS AND ELECTRIC O potters. Send tor catalogue. other side — a o KILNS O We invite you when in

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_\ \ \ I‘.’ NEW ZEALAND AGENTS FOR: PIJTBLAYS ANTIPODES GALLERY STOKE—ON~TRENT

Harry Fraser, DirectOr supplier of clay in the United Kingdom is 2 PAINTING The largest SCULPTURE STUDIO PO'ITERY JEWELLERY

THREE EXHIBITION GALLERIES AND CRAFT SHOP

BILL AND PAUUNE STEPHEN DIRECTORS Hope Gibbons Bldg. Cnr Dixon & Taranaki St. Wellington. Phone 851-801

SOUTHERN CERAMIC are also DIRECT IMPORTERS & N.Z.-WIDE DISTRIBUTORS for Acme Maris Ltd, England — Alumina Refractories The Orton Foundation, U.S.A. — Pyrometric Cones Annawerk Keramische, Germany— Silicon Carbide Kiln Shelves Allied Insulators Ltd, England — Kiln Furniture Holbein Artists' Brushes, Taiwanese Boxwood Tools, Corks, Gram Scales, etc. DISTRIBUTORS AND SERVICE AGENTS FOR Furnace Engineering Kilns Tansley Wheels Teltherm Instruments Potters Clay Ltd Honeywell Kiln Controllers Omron Kiln Controllers Cowley Wheels Talisman Products Kanthal Elements SOUTHERN CERAMIC IMPORT CO. Main Road, LorneviIIe No. 6 RD, INVERCARGILL Ann and Barrie Bain Telephone 59—543 POTCLAYS LTD ARE REPRESENTED IN: AUCKLAND — Furnace Engineering Ltd & Ceramic Supply Company. 10 Ward Street, New Lynn (PO. Box 20-031 Glen Eden, Telephone Auckland 873-604). WELLINGTON — Coastal Ceramics, 124 Rimu Road, Raumati South (Telephone Paraparaumu 84—377). , H, .. w I _ DUNEDIN _ A Potter’s Shop, 10 my Street, 8 HIS MAJESTY s ARCADE, AUCKL ND, moms 375440 3" L —__—_—_\

HAT’S NEW TheGalleryByTheSea.. Across the road from Days Bay beach you will find our "Gallery by the sea?’ We pride ourselves that our collection of pottery, prints and weaving is among the finest quality craftwork in New Zealand. Walk along the IN KILNS? beach, enjoy the harbour View then pop in and see us — we are open 7 days a week.

* ROCK-HARD FIBRE INTERIOR SURFACES ARE Van Helden Gallery PO. Box 41-031 * MULTIC'HAMBER Eastboume CERAMIC FIBRE KILNS ARE Telephone 628—191

—— BOTH OFFERED TO THE NEW ZEALAND POTTER FOR THE FIRST TIME |g|

/

RIGID FIBRE INSULATION — No scuffing, tearing, or relining. No fluffy fibre to inhale — or fall on your ware.

LOWER THERMAL MASS — Too much insulation absorbs & stores heat that should be working on your pots. We scientifically select the optimum thickness of premium materials to minimise stored heat.

ADVANCED DESIGNS — Enable the use of higher quality, higher cost insulation materials previously considered too expensive for pottery kilns.

LOWER COST — Feature forfeature, Marcus Engineering’s kilns offer the best value for money Of any equivalent kilns available in New Zealand.

UNMATCHED PERFORMANCE — Complete temperature & atmosphere control with firing cycles from as long as you like to —4 hours or less. Unique top-to-bottom balance control available on downdraft kilns. SELECT YOUR KILN FROM OUR RANGE OF FOUR STYLES: FIRED WITH LPG, NATURAL OR TOWN GAS

‘REXMARK’ Downdraft kilns: 5-50 cu. ft. — 1320°C & 1380°C models ‘REXMARK TWIN’ Dual chamber kilns — the ultimate in economy ‘MARCUS’ Updraft kilns: fastest firing cycles — lowest cost ‘MARCUS PRO’ Downdraft kilns for the production potter

WRITE OR PHONE 780

FOR INFORMATION marcus Ellis

MARCUS KILNS — DESIGNED ENGINEERGING LIMITED Barry BY POTTERS — BUILT BY KUMEU R.D. NEW ZEALAND ENGINEERING CRAFTSMEN PHONE (09) 412 8222 Ls. New Zealand patents applied for Mcg’mqor

W.D. McGregor Ltd (est. 1946), New Zealand’s original kiln manufacturer now introduces the ‘McGregor New Line’ Pottery Kilns, Top and Front Loading for the 80’s.

Features: Fibre/Brick composite construction — a real energy conservation feature. We manufacture all types and sizes to a customer’s requirements. Electric Kilns are economical, efficient and easily installed. Lower energy input may allow for connection to the average household supply. Saves rewiring costs. Robust elements designed for long and trouble free life. Programme and Temperature Controllers, thermocouples and accessories offered com- petitively. Immediately available. Iolm Parker ‘New Line’ Top Loader awarded the New Zealand Industrial Council’s Design mark. AIiCCli' Gallery fl'nepottery All models have 12 month warranty. 52 Jervois Rd, Ponsonby, Auckland. Phone 769-874} IF IT ISN’TA McGREGORS IT’S OBSOLETE Phone, write or visit the McGregor Showroom (open Saturday mornings). Literature, prices and quotations available.

W.D. McGregor Ltd, 118 Stoddard Road, - Mt Roskill, Auckland 4. Phone 699—619 Telex N221796 WDMG

Conical forms by John Parker. photo: Ans Westm

150 Karori Rd Wellington 5 Tel 769-126 Charles Holmes after hours 768-414

as E [Willi a Open Saturday Morning 10 to 12.30 Open 7 Days at Muriwai Beach. Just outside Auckland. Phone 69R Waimau ku. CDBCRAFT INTRODUCES A NEW RANGE OF ELECTRIC KILNS an

HEXAGON OCTAGON .’ the, largest, "r‘ 2 cu. ft. 5 CU- ft- portable ceromIc supplIers F-clory: 104 KING 8? IN THE WELLINGTON AREA. Cobcraft Potters Supplies Ltd | RANGIORA. P11 7379 Rnngroll 50. 883 VICTORIA STREET PO. BOX 25053 CHRISTCHURCH M: Locum m. Stockists of only the highest quality products from Harrison Mayer. For service, an extensive selection, reasonable prices and a smile, call at our shop in Petone where our competent staff will be very happy to help and advise you. A full time potter is on the premises demonstrating the use of our products and kiln when in Lower Hutt space is available for hire for both biscuit and glaze firings. visit Penny Farthing Gallery Our representative will call and assist clients where required and free catalogues of our full range will be posted to you either by written request or just a phone call. For we stock only those overseas we export both finished pottery and pottery supplies.

New Zealand made Arts and Crafts KILN EQUIPMENT GLAZESS Pottery gauges, shelves, props, stilts, Stoneware, earthenware, coloured, .‘....~ ,. ‘ \ ~.' .: ' saddles and spurs. basic, transparent, matt and opaque. visa... ,'-;_ 3.34.; exhibitions in our gallery CLAYS POTTERS WHEELS by arrangement ”fl: gallery ”I 3“"? Stoneware, earthenware, slip casting and Stockists of five different makes including porcelain kick wheels and electric variable speed. PENNY- FARTH ING DiannemdBillPaley DUDLEY STREET'U)WER HUTT -PHON[ 699126 0 MIhRood.Kopu.Th-1m mm 1O 0 discount given for all cash sales with the exception of bulk clays and exclusive lines.

Potters Supplies The Creek Pottery m( COASTAL Cnr Ferry Road and \Q CERAMICS Main Highway, 124 Rimu Road, Raumati South Picton-Blenheim Phone 843-77 Paraparaumu Agents for: Talisman Cobcraft Buyers and Retailers of Potclays Potters Clay distinctive pottery Marcus fast—firing gas kilns Books Phone 802 Springcreek — WRITE FOR FREE PRICE LIST — After hours 154 Picton Hours: 8.00-4.30 Closed Sun. & Wed.

Tokoroa Pottery Award and We” . . EASTERLEY Screen PrIntlng Handcraft Exhibition Paintings Leathercraft Basketry The Cottage Craft Shop SCREENPRINTING 10—16 October 1981 . Weaving ' Jewellery Entry forms available from 15 June Specialising in Garden Pottery Ocean Beach Road LTD. Tokoroa SUPPLIES Art Society, &CERAMIC P.O. BOX 30180 LOWER HUTT TELEPHONE 688495

Pat Boyes PO. Box 120 Phone 526 WWMWJNJK‘J’JDQWW Tairua, N.Z. PO. Box 162, Wellington agents for: Tokoroa Potters Clay 0 Elecfurn o Cobcraft 0 Pacific Wheels 0 Venco Wheels 0 Talisman Products