NEW ZEALAND I I contents NEW ZEALAN VOLUME 12/1 AUTUMN 1970 The 13th exhibition 2

::

About the guest artists 7 _ potter Potters symposium 1 1

Entrainment 1 3 :.__.-_.:.4. Domestic ware: scope for discipline and imagination 16 Ceramic murals 20

,_._—. Hall of Asian art 23 A or P? A question of status 28 Newcomers 34

After the 13th 39 _ editorial . . . News of people, pots and events 46 English studio pottery today 53 12 Year Itch! it will be obvious from articles in this issue of the Potter that some conflicting opinions NEW ZEALAND POTTER is a non-profit-making are held as to how the potter's association should be shaped magazine published twice annually in Autumn and to meet the needs of all New Zealand potters. There will Spring. be some changes. This year no annual exhibition will be held. Subscription rates: The New Zealand Society of Potters will be considering other Within New Zealand: $2 per annum, post free. ways of admitting new members and other ways of showing Australia: $2.20 Canada, U.S.A.: $U82.4O their work. United Kingdom: 22/- A. strong plea is Other countries: $US 2.40 heard for a change of emphasis within the Socrety to lay greater stress on the work of 'professional potters'. Some potters even want a separate association to promote their interests: In this issue some Editor Margaret Harris of these people express their views. By examining their requirements of a potter’s association Lay-out and Juliet Peter it will be clear what they object to in the present Society. But who Editorial advisers Roy Cowan is the Doreen Blumhardt professional potter? Administration David Carson-Parker That there should be conflicting ideas concerning the direction Esme Marris of New Zealand pottery now—about twelve years since pottery John Stackhouse Advertising really got under way in this country is to be expected as a healthy Cover design Margaret Harris sign of growth. Examination of ideals and constructive criticism in the appropriate quarter can do nothing Editorial/subscription/advertising correspondence but good; so long as we recognise the stage when talk must cease should be addressed to New Zealand Potter so that we can get back to the essential task of making better P.O. Box 12-162 Wellington North New Zealand pots. 1 THE 13th EXHIBITION

by Margaret Milne

new entries were pre-selected by This year for the 13th exhibition of the New These Leighton and Neil Grant, executive Zealand Society of Potters for the first time a Marjorie of the NZ. Society. Those which guest selector was invited to be sole selector. members an overall standard of competence There were also two guest exhibitors from showed for general selection by Ivan Australia. went forward McMeekin. In this way a change was made in McMeekin, a The guest selector was Ivan the method of admitting new members to the who trained with well known Sydney potter, society. We consider that the system worked Cardew, then Michael Leach and Michael well and justified the experiment. Wherever the Sturt Pottery returned to Australia to found possible Marjorie and Neil sent written com- in ceramic tech- at Mittagong. He now lectures ments to the unsuccessful applicants which they South Wales. nology at the University of New hoped might be helpful. period of two His selection was made over a Entries from 116 potters came from all over made up a representa— days and the pots chosen the country—83 of these were accepted. Out of tive exhibition of what he considered expressed the total 682 entries, 231 were shown. done in New the character of work being This display which was dramatically designed Zealand today. architecturally and well carried out by a capable Nealie. His use Two hundred and fifty pots were taken as a team, was the work of Chester natural grey with some good number to make up an exhibition, give or of fibrolite modules in of the modules painted take a little; in fact less than two hundred and faces and the inside unusual. It could fifty were finally selected. The first hundred pots brilliant red, was striking and Photo: Barry McKay and the impact of the were easily separated by their quality. The rest be said that the scale the limitless possibilities for experimenting with this should be so. The need to retain their best some of the pots, but followed by careful consideration of the unity of design overshadowed clay which is a basic appeal of the present day pieces for the nucleus of their personal shows, generally there was considerable interest in this design and execution, the functional design, the pottery movement. It also reveals the restless the unity of their work not being realised by display. aplication of techniques used and the visual and contemporary approach to urge for potters to create a masterpiece. the few entries permitted and the scattering of 1200 and 1400 people viewed the tactile qualities. The selector was surprised at the Between The selector, Ivan McMeekin commented on their pieces, and the selection system, being indicates its wide general number of entries submitted and commented exhibition which the predominance of the sculptural over the some of them. The need to bring the experienced E] favourably on the quality of the new entries. appeal. functional idiom. Many potters now seem to be potters into the exhibition has been frequently avoiding the discipline and experience required stated, but how could every potter be adequately for really satisfactory domestic ware. Or do they represented? feel that there is a shorter way to exhibition The finish of the pots and the glaze quality success if they submit startling or precious have certainly improved over the years but a by Dennis Hanna Critical comment objects to which the selector will apply fewer number of the pots looked tired and overworked. traditional standards? But the risk is that a Few of the large pots were successful. The Main impressions of this bigger than ever show The diversity of work on view will be despairing selector will reject them as downright initial success of the large raw piece may not were: too many exhibitors, diversity defeating emphasised by naming some of the items. There ugly. Perhaps they find this type of Work more be realised in the finished pot —- shrinkage, unity, and the future of this annual exhibition in was a chess set, a tiled table, a large bas—relief personally satisfying and more applicable to decoration and glaze failure take their toll, and doubt. and mosaic comic strip, many objects for con- their limited involvement in pottery. Perhaps the final form is often out of proportion. In very round terms there were nearly 700 templation and shelf filling and some domestic they feel that the traditional views are out of With great care and thought Ivan McMeekin see entries. Two thirds of the entries were rejected. ware (some pieces bearing a utility label will date. selected 20 pieces to form the core of the exhibi- Of over 80 exhibitors, one quarter qualified as no such use.) Only ceramic jewelry was missing As usual the exhibition failed to attract entries tion and his personal choice would provoke new members of the Society and one quarter (Not eligible). To present all this in a satisfying from a number of well known established little argument. A few pots are chosen for com- it must displayed one entry only. Two guest exhibitors exhibition is impossible. All the same, potters, and there are a number of reasons why ment. The finish, glaze quality and decoration of reveals from Australia added fairly large group displays. be admitted that this range in exhibits the pots of Harry and May Davis was not sur- more. The problem of dealing with rejects alone passed. These potters have established a per— is formidable, aside from dealing with the At the 13th Exhibition sonal tradition without need for change of style. selected pots. A change of policy is inevitable. Estelle Martin's was the best bowl-elegant, per- So many objects can be made of clay it would fectly proportioned, of even glaze with accent on seem necessary to retain some classification for the rim. Len Castle's bottle with orange—red exhibition purposes and to impose some restric- shino~type glaze was a particularly fine piece. tions. But definitions are difficult. Sculpture and Neil Grant showed a carefully designed slab pottery are really impossible to define. The sug« Harry and May Davis. bottle, though the base and top were not quite gestion that any fired clay object should qualify in balance, and Richard Cadness a tall elegant for acceptance, would turn the National Exhibi- vase with fluted top and dark, subdued glaze. tion into a jumble sale. Solutions to these prob— David Carson-Parker's casserole was a good lems must be found. I] domestic work. The two Australian guest exhibitors, Marea Gazzard and Milton Moon, had large uniform groups. Gazzard's pots were large free sculp— tural forms, mainly bowl or gourd shaped, unglazed outside, asking for a terrace and bright sun. Moon showed an interesting thin iron and ash glaze from his gas kiln, which is unlike our glazes. An experienced and travelled potter he is searching for ideas. His technique of tearing at the wet clay and ramming it together again drew reactions of excitement or violent dis- approval. It could appeal more to those potters whose own work is in a state of indigestion. The method of display chosen should serve the pots. In such exhibitions there will always be difficulties and some incompatibilities. Enthusiasm, a tremendous amount of work and an urge for originality were all ingredients of Chester Nealie's great effort in constructing his modular fibrolite display stands. lnteresting indeed as objects in themselves, the cold dull surface of the material was not in sympathy Left: Slab bottle, by Neil Grant with some of the pots. Some pots were decidedly ill at ease in their peep-hole cases, particularly David Brokenshire's live thrusting form, Sentinel l, and Nola Barron’s Opened Form, a heavy, cleft discoid shape. Both of these pieces needed to stand aloof and unenclosed to stand judgment. Of necessity it is sinful to handle exhibition pots but when inspecting a plate or a shallow bowl, the first thing a potter will want to do is to turn it over to examine the reverse side; some method of display is needed so that both sides can be viewed. The Society is now face to face with prob— lems concerning future exhibitions. With the phenomenal increase in the number of potters, future exhibitions could see entries of 1000 or Right: Bottle, by Len Cast/e. At the 13th Exhibition

Pot by John Fu/ler.

FRONT C OVER The photograph on the cover shows part of the group sent to the 13th Exhibition by guest exhi- bitor Marea Gazzard.

STOP PRESS GOOD POTTERY DEPENDS ON : More SN1 body now The art of the Potter, available. The skill of the Potter,

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And a bit of the unexpected. It is perhaps significant of broadening CMN dry body— now horizons and both have evolved a distinctive and forceful when gradually being replaced We provide good materials, and leave the at the same time as a selector from expression in clay. another by Studio clay (this is rest to the potter except technical country is invited for the Thirteenth Milton Moon is now lecturer in Ceramics at Exhibition, two the same clay but is advice. And we can provide this; we've been of the most highly individual the South Australian School of Art in Adelaide, potters pugged de-aired form) "in pottery" for 31 years. Do you have our of that same country are also invited after living, teaching and potting in Brisbane as guest artists? The in 56 and 112 lb lots. latest catalogue? fact that their work caused for some fifteen years. Before that he had wide much discussion and controversy may also have and varied experience, first in the Navy working mind-stretching possibilities, because Australia is round the Pacific, and then as writer and close enough in distance and viewpoint for us broadcaster in Australia. He has a rich and to COMMERCIAL CHEMICALS LTD have some chance of real understanding. positive awareness of life and his work is an Box 15-036 Both Milton Moon and Marea Gazzard are expression of this. He puts clay and glazes mature potters AUCKLAND, 7. PHONE 864-137. in their early forties. Both have together and lets the kiln work on them with a travelled widely, both are married with children. spontaneity that is refreshing, and he also used the wheel to make strong and forceful shapes. of the method of coiling. use of form is Marea Gazzard lives with her architect This question of a feminine NEW TITLES FROM PITMAN apparent, living husband and two children in one of those one which is only just becoming a world deligthful terrace houses in Paddington, Sydney. as we have done for centuries in KILNS AND KlLN FIRING FOR THE CRAFT POTTER H. Frazer It will She has had a formal training in ceramics at designed almost exclusively by the male. Since all ceramic pottery must be fired and good the National Art School, Sydney, and the be interesting to see in what way environmental pottery depends directly on women Central School of Arts and Crafts, London. Her forms change and develop as correct firing procedures, the problems and techniques discussed here will be studio is built in the back garden, and family increasingly have the education and ability to of vital concern to potters at all levels. Of particulars interest is the section It has been life and artistic life are acceptably interwoven, express this in concrete form. on pottery faults and how to overcome them. with the result that her pots are large, warm, stimulating to see the work of two such vigorous rich and extremely female, with the free shapes potters. How much there is happening at present KILNS (DESIGN, CONSTRUCTION AND OPERATION) and pleasant texture that develop naturally out in our own immediate Pacific neighbourhood, Daniel Rhodes This book contains a wealth of material on ceramic kilns and firing. In concise and authoritative form, it presents information about the history of the kiln from the earliest firing methods of primitive man to the more complex and efficient I

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8 9 Potters symposium KILN FURNITURE by Bruce Martin NONPORITE Many people have felt for a long time, that the their part in their team and the overall picture National Exhibition and the Annual General was of four very different working patterns Meeting of the New Zealand Society of Potters evolving from different personalities, back- needed further stimuluswsome means of getting grounds and the family involvement of each CARBOLOX people together. The symposium devised by team. The value of the discussion lay in the contrasts it showed, the diverse ways in which Shelves and Supports for temperatures up to 1800” C. Helen Mason and organised by the Auckland potters in November certainly did this. Potters people can work together to make pots while and friends from all over the country attended still retaining their individuality. all sessions and there was something for every- O O body—humour, education and entertainment — For sale the symposium had it all. 'Making and selling pots for a living' was the title of the third session under Neil Grant's VERMICULITE MORTAFLEX Like it or not chairmanship. The panel was John Parry, Michael INSULATING CONCRETE REFRACTORY The first session on Friday was a slide and Trumic, Warren Tippet and Wilf Wright. The Temperature range 1100‘ C. for precasting bricks, shapes, backing plasters, etc. discussion evening entitled ’Pots I like' with discussion got away to a very humorous start Trevor Bayliss in the chair and the following when John Parry gave some background to his panel: Helen Mason, David Brokenshire, Adrian taking up pottery. The humorous theme was The sustained by the other speakers, but they all O O Cotter, Graeme Storm and Wilf Wright. overall standard of this session was rather lower failed to do much more than give case histories than expected. The programmes fell down of the 'making' and said very little about the because of the lack of a co-ordinated theme 'selling' of their work. They also failed to answer NONPORITE REFRACTITE FIRE CEMENT amongst the panel, and the use of slides made the only written question submitted to any panel known books. We during the symposium. Perhaps Temperature range 1400" C. from photographs in well this was because Gas tight jointing for bricks and s hapes. Ready to use. have seen these pots before and as much as we the panel hadn't been shown the question before- might also like them, they are really someone hand. These failures could have been avoided else’s choice. Without actually seeing a pot, perhaps if the chairman had kept the discussion and preferably living it with for some time, how to the point. can one really analyise it critically? I expected This should have been the most valuable more than just a ‘like' or 'don’t like' answer from panel of all, to those of us who sell our own competent potters who should be able to give pots. it could also have been of value to those guidance on form, quality and asthetic values. who own craft shops and who sell pottery, but Not all the slides were copies of illustrations. somehow the team failed to come to grips with Nor were the comments lacking in sincerity. the cold, hard facts of commerce. Entertainment 1879 2}“ 1970 Perhaps the title 'Pots I like' set the panel off was this session's highlight. on a shaky footing, and a similar session another time would be much better. Kilns and firing i 3.3140(1) 0/ iiicmiimaii This was the subject of the last and most , PHONE 517039. PO. BOX 9085 — NEWMARKET — AUCKLAND Teamwork technical session. Ivan McMeekin, Peter Stich- Saturday's first session ‘The team approach bury, Barry Brickell and Mirek Smisek made up to pot making' was well attended. On the panel the panel and were chaired by Dennis Hanna. were Harry and May Davis, Jack and Peggy Except for lvan McMeekin the team were Laird, Simon and Tine Engelhard and Estelle and inclined towards life histories rather than tech— Bruce Martin with Mary Hardwick—Smith in the nical matters, although many points were raised. chair. Each person gave a short description of This was one session where l thought audience

1O 11 participation would lead the way. It didn't. An not have been missed. interesting fact to emerge was that each member The idea behind this symposium was excellent, of the team either had used or was going to and the organisation was superb. The getting build a round kiln. I wonder if there will be a together of established potters, who may not all ENTRAINMENT by Roy Cowan rash of round kilns in New Zealand before long. have been expert speakers, but who neverthe- Fuels were discussed—wood, coke, oil, natural less had something worthwhile to contribute was gas and liquid petroleum gas. Reduction using of value to those learning. For the potters a steam drip system was one of the interesting themselves who participated, it was also of contributions made to the discussion by the visi- value to be given the chance to get to know When something moves through a body tor Ivan McMeekin. The audience missed a good each other and to discuss their problems and of air, it tends to drag the opportunity to have some of its kiln and firing possible solutions. It is to be hoped that more adjacent air along problems discussed by not asking these experts symposiums will follow. E] too. The ’something' may be an any questions. It was an opportunity that should aircraft or just another current of air or gas. The simple burner found on gas stoves uses this principle. The jet of gas from the nozzle entrains the air present in the burner tube and the two mix through turbulence. As the gas tap is turned up or down the rate of entrainment follows suit, but an important adjustment lies in the size of the air inlet hole in the burner tube. If this is reduced the rate of air inflow will be cut and the flame will move towards reduction, and for gas fired pottery kilns this control of air supply is needed to effect changes in the atmosphere.

Normally the flame of a gas stove burns just off the end of the burner where the mixture emerges through a number of small outlet orifices. There is a certain speed at which flame is propagated through a combustible mixture, and the dimensions of the outlets are such that the speed of emission exceeds the rate of Station Hill burning. Obviously this margin will be least at very low gas settings, when a chance disturbance such a draught may cause the flame to ’pop back' into the C LAY 1300" C burner body. Accordingly a gas stove must have a range of burners with differing outlet capacities. This factor 7. Top, entrainment of air regulated by must be allowed for in the making of the rate of gas flow and the size of air Enquiries to: TARARUA MINERALS LTD. burners for gas kilns, where the burner inlet. Bottom, reduced mixture outlets Box 97, Pahiatua will have to face very hot conditions. At control the flame position.

12 no stage should the flame develop within the metal parts of the burner.

Town gas is supplied at a low pressure and there is an upper limit to the possible

rate of entrainment, but sufficient output .

larger '

for studio kilns is available. For l’ is .‘ air supply itself .I installations, the uh M

air flows through the fl pumped. When .3;

there is a fall of . \“ . .o

- “Slat/t

throat of a carburettor . . .. . WWW draws fuel out of the ’ a. s ' . pressure which ejkggvgzefié‘m forge *‘Alh bowl. When air is blasted out of a the type nozzle gas is drawn out of than enclosed jet, that is, the air rather and the gas is now the propelling agent, a large flame may be produced. AIR. such One of the hazards with devices of as water heaters lies in the possibility to 3. Forge nozzle with air under pressure. faulty ignition, allowing the device little risk Control valves on both air and gas lines. become filled with gas. There is a constant pilot not required. Never— 4. Part of a gas kiln. P, the Pilot light in the type which has a gas valve open, but with the geyser natural draught is is used to hold be found that light, the heat of which type of appliance where a pilot jet must theless, it will probably forms part of the main gas valve. R is a be lit and swung into position, turning on the production, with gas, of the long soft regulator to the individual burner, and the particularly characteristic the main gas flow, errors can occur type of flame air inflow is also controlled. require an element of leading to a minor explosion. Such an of drip-fed kilns will delayed introduction event would be infinitely more serious in natural draught and the flame. a solidly built and more fully enclosed of some of the air to structure such as a kiln. Gas must, in this respect be treated as the most flash-prone fuel. The final sketch indicates a fuel supply layout for a small kiln with jet, firing burners in each corner. The pilot side, through a small quarl in the kiln WANTED must be turned inward to bring the main has its gas valve 'on', but each burner or valve own control valve. A shutter is fitted to the air inlet to permit atmos- Copies 'New Zealand Potter', vols. 1—7. Dalrymple, 80 Rawhiti Road phere control. Pukerua Bay, Wellington. Bus. 71-877. on pot As with oil fired kilns running suited to burners, gas firing systems are all air requirements at the flow in a the induction of 2. Petrol is entrained by the air inducer of burner, and the chimney as an carburettor.

14 ‘Domestic ware offers the necessary discipline and scope for imagination'

There are people—mostly women—who attend pottery class once a week. Pottery for them is a useful outlet, the value being in the doing, rather than for the pots themselves; but at least they learn to appreciate a good pot and to sharpen their visual awareness. From the people who start at weekly classes there will always be some who wish to make the craft a serious hobby. These people will own their own basic equipment or will share with a group. They are prepared to devote a good deal of their leisure time to their hobby and the best of them will sell some of their output. And then there are those for whom pottery is more than a hobby. These people are not dependent on pottery for their living—they are teachers or other profes- sional people, they are housewives whose families have grown up, or they have income from other sources. They devote as much time as they can to pottery and have professional attitudes, i.e. emphasis on quality, experiment to find new materials and new ways of expressing them, have their own workshop and sell their output. Then there are the relatively few (although numbers are growing) fully profes- sional potters who earn their living solely by the sale of their pots. It is having potters at these different levels that makes the pottery movement in this country so vital. Photos: Bernie Hill Margaret Milne could be said to be a typical and experimented with small example of the second to last category ~ one electric kilns, earthenware and firing an electric kiln. Every sharing discoveries and disappointments. for whom pottery is more than a hobby. Her Then result has to be earned.’ out of the blue came an unexpected beginnings and her progress are paralleled in order for Starting at home with a variable speed electric $600 worth of pots. Thus galvanised many of our potters. into action, wheel, a one and a half cubic foot electric kiln Waterford Potters came into being. Margaret and a small workshop, she has gone through She started potting at evening classes in Milne says that the need to fulfil this commer- stages of different wheels, bigger electric kilns Auckland conducted by Patricia Perrin, to whom cial order exercised the group to their great and a small oil-firing kiln to a fifty cubic foot she says, so maky potters owe their beginnings. advantage. ’l’m sure this early work in earthen- catenary kiln which with Guy and Jocelyn Early enthusiasm was sustained by Guy and ware was an extremely valuable discipline. The Mountain is fired at Katikati. She is new setting Jocelyn Mountain, who with their background often fortuitous glaze or flash effect which may up a new workshop in an old cottage where she and modelling, quickly became help to redeem an indifferent in painting form in oil-firing says she is looking forward to working with involved in potting. These three together worked conditions, is not for the potter working in no distractions and no telephone. A new oil-

16 17 fired kiln is taking shape there. Kawai's reiterated, practice, practice, was more Most potters are subject to many influences. than a casual exhortation.’ Wellington’s leading Craftshop. Margaret Milne says, ’I've been fortunate in that For Margaret Milne a pot does not reach its Lois Giles invites you to inspect associations and teachers have been available at full stature until it is in use, for she considers prints, paintings, pottery.weaving; stages when I needed the particular kind of help that pots are primarily utilitarian. For her, the woodware, jewellery, etc. and advice they had to offer. I learned a great making of domestic ware fulfils a basic need. 'I Artists deal from John Chappell, and later from Takeichi gain pleasure and satisfaction from some of the and craftsmen are in— Kawai. They both stayed with us. Two years necessary repetitive work. Working to get the vited to submit work. Tel. 48704 ago I went to Japan to work in Kawai's pottery. balance between a form that is good to look at Wonderful hospitality from his family and friends and a form that is good to use, to get a balance Giles Craftshop and his own generosity gave me the chance to between glazed and unglazed surfaces and the meet many Japanese craftsmen in their homes variation of the clay bodies themselves is variety 19 Grey Street and to visit potteries and workshops of all kinds enough, and I think offers unlimited scope for in different parts of Japan. No potter living in the the imaginative and adventurous approach to the Wellington C1 midst of the Japanese working craftsmen could domestic pot.’ 1 flflM/[l/MW/l /[/[////[///////W has fail to be impressed by their sincerity. This Like many of the part-time potters, Margaret cable car / my / left a lasting impression which influences Milne has taken her share of teaching and thinking and my aproach to pottery. I believe Quay administration. She is currently the president of é/ Lambton most strongly that the foundation of good potting the Auckland Studio Potters, and was Chairman is competent craftsmanship. While the essence which organised the 13th of the committee , a good pot is far more than a display of a of .. Annual Exhibition (an increasingly time-con— U I potter is , Featherston St % manual dexterity, it is only when the suming task.) This year she looks forward to a of no longer preoccupied with the difficulties 'little catching upon myself' in the quiet sur- bring- manipulation that self expression emerges, roundings of the new pottery. D BEECH

ing life to the clay and the desired qualities of Customhouse Quay

\\\\\\\\\\\\\\\\ \ simplicity and unselfconsciousness to the pots. Margaret Harris l//////#//fill//////////l////////l//////////////////////%

Federation for Wellington artists

In February the National Arts Federation Arts Federation should be representative of New Zealand called a meeting of of all the arts and individuals concerned Wellington artists and representatives of with the arts'. creative and performing arts organizations . Audrey Brodie representing the potting at which a provincial executive was set interests was present at this meeting to up to draft a constitution for the Welling- consider a regional federation for ton Regional Arts Federation. Wellington. 47/45 @303MM2559/6 The National Federation has been set up as a 'union' for all artists and arts organizations. The President of flor original and creafiue arts 61/t Cl'CLfiAC handmade [It the Weigh your clay national body, Mr. A. Hilton, has said, A regular user of Wellington Yellow %0Ll} Zealand 'The arts need a strong voice to press adVIses potters to weigh their 28 appropriate issues with large bodies be it lb blocks when buying. She has 45 VICTORIA STREET WEST OPPOSITE ROYAL INTERNATIONAL HOTEL central government, the Arts Council, AUCKLAND ' PH ON E 372-202 found recent purchases local to weigh bodies or business. The National as low as 22 lbs.

19 Ceramic murals

The Postal Centre building now nearing section can best be described as a vast completion in Wellington has two main machine for processing mail. Because of sections, a podium base of several floors the scale and the construction standards carrying a high tower block which houses required for earthquake resistance, the the administrative headquarters of the structure manifests something like a New Zealand Post Office. The podium Mayan effect of massiveness.

The architects arranged for embellish- ments in the form of six pillars each twelve feet high and almost two feet wide in the entrance foyer and invited four potters to take part in a limited compe- tition. When announcing their choice, the architects indicated their considerable satisfaction wtih the standard of entries, which may point to the growing ability of potters to undertake large projects.

The commission went to Paul Melser who produced in four months six pillars each of 15 cwt. On a sub-framing of steel a concrete base was cast, and was faced with unglazed tiling in the colour range of terra-cotta biscuit. From this rises an irregular form in high relief, produced in Photos: Evening Post a range of fiery colours, exposed by scrubbing and aciding. Scattered over this

surface are ceramic insets in a rich variety distance and one that would be interest- of glazes and shapes, stylised sea ing close up. The materials were chosen creatures, jellyfish and shellfish, suggest- to contrast with the greys and whites of ing a richly coloured beach from which the glass, Transport from Featherston and emplace- treated aluminium and marble the tide has just receded. ment in Wellington were major opera- finishes in the foyer. Delicate lighting at tions. Left, the panels on the transport. night time should contrast the clean, Paul aimed at a strong, Right, in situ. striking design, smooth lines of the aluminium and marble Photos, Evening Post one that would be noticeable from a with the rugged finish of the pillars. 20 21

Post HALL OF ASIAN ART Evening

Auckland War Memorial Museum by T. J. Bayliss, Curator Photo:

The recently opened Hall of Asian Art and almost casually thrown and fired. at the Auckland War Memorial Museum Potters' porcelain this! displays the acquisitions over the past The collection of finer porcelains should 100 years of decorative arts from China, not be ignored, white, matt glazed, Japan, Korea, Annam, Thailand, Tibet and sparingly decorated in soft muted grey lndia, and Persia and Turkey. Ceramics blues. form the largest part of this collection. The collection of Ch'ing dynasty (1644- The material is set out as a teaching 1912) will not excite most potters except display with China as the mainspring and in the perfection of the glaze techniques the other countries, apart perhaps from and the virtuosity of reduced copper and India, showing the influence of this great chun effects, and the glow and vitality of nation. The Chinese collection begins all the colours, especially the greens. Do with Neolithic pots of modest proportions not overlook the enamelling techniques in but springs to life in the engaging figures the ’famille rose' porcelain; you can

of the Tang Dynasty 618-906 AD. close your eyes to the design.

tiles, store

ealand Dancing girls, officials, priests and The Korean collection covers all the Z

soldiers, parade with camels, horses, pigs techniques Mishima, Hakeme and later, wool

and poultry. The familiar three colour lead blue and white. The pieces here are not New

thousand glazes are common, with cleverly con- of the quality one would see in the pots are competent

ht The tell the same

the trolled running. Cleveland Museum but ington

but remind one more of Greek symmetry story. Alongside the Koreans is the Thai

eig for Well flowing forms of the 14th and 15th centuries. bodies. than of the free pottery of the

a next period, the Sung Dynasty. This These are beautiful pots in the Sung

About in mural should be the potters basic study; the tradition (as is the Korean). One is able

mat Chun glazes, the sparkling Temmoku, to compare the celadons and temmokus porcelain

view the deft, sharp drawing of the T’zu Chou, of these three countries. Potters will be steel

the lush blue greens of the Southern interested in the unique method of kiln on

and caledon and the sharply incised Northern packing of the Thais. Each pot was placed

assembly. and cool; finally, the was celadons, crisp and on a tube or ’pontil' so that the packed Ting, and Ch'ing Pai trial delicate porcelains, kiln must have looked full of mushrooms.

70 wares; one could call the latter sky blue There are many examples of Thai kiln ceramic stoneware the world's

after celadons. tragedies throughout

Expo The Ming collection is large, especially museums, including two groups in ours,

white at day in those wares exported to South East lovely bunches of celadons stuck must have been happy go

Cowan's Asia in the 16th and early 17th centuries; together. They and one a very large collection of Swatow ware, lucky kiln stackers, and occasionally a

buff his kiln-

Roy potter kicked pavilion 14th century Thai for large bowls (15") and jars swiftly drawn

23 "airé =2»; .' , ~r 1-} Thai Kiln wasters, Ce/ado n, 14th century.

”Swatow" blue and white porcelain, Ming Dynasty.

Tzu Chou brush decorated stoneware, Sung Dynasty.

full of wasters, uttered the appropriate and Whites. This group, Persian as a four letter words and left it for 20th whole, must, of course, bow to the century archaeologists to open. wonderful Persian collection in the Annam has mainly blue and white ware Dunedin Museum. with a special charm of its own. Japan is represented by a large Cobalt was scarce so that an iron— collection of folk pottery ranging from based ore was used, and the covering the 18th century to the present day. A glaze has a touch of opalescence to give large group of these were purchased by it a blue and white effect. the Auckland Studio Potters and Turkey is represented by the gay Isnik deposited in the Museum. Those that are pottery. Potters forced to compete with not on display are kept in a potters room the Chinese export porcelain, enamelled where they may be handled, preferably over a body, spruced up by a layer of by groups. white slip. The enamel is thick, like Also shown are the exquisite Kakiemon sealing wax, the design Islamic. porcelains, together with Arita blue and The Persian collection is interesting white wares. and shows many examples of local wares This is a reference library for all potters imitating Chinese Tang ’three colour' as well as a joy to the collectors and the glazes, Sung porcelains, and Ming Blue plain admirer.

24 Feldspathic glazed stone- ware. T’ang Dynasty.

Ismik earthenware:

16th, 17th Century. “-1.”

Right: Korean Cela- don, Koryo Dynasty.

26 27 Barry Brickell and related to the services given. There is no cheap way around A or P ? a question of status full-time potter, Coromandel. this. Curtain Raiser: by Roy Cowan Who would be eligible to join? Do you think that professional potters the sole Only professional potters could be One effect of the Symposium which preceded standard. The explanation given by should form an association of their own? the opening of the Annual Exhibition of the NZ. selector, lvan McMeekin, was that, coming from members. Society of Potters in Auckland was to bring outside, he did not feel able to impose a together a number of full-time potters, some of standard, and he had therefore taken a I think professional potters should have Who is a professional potter? whom expressed objections to the kind of work 'representation', an explanation which appears to their own association, guild or society for What is professionalism? It is based on show, as representing a defection from the have been generally taken as quite reasonable. the following reasons: (a) to represent standards they held important 'There is no place Over the years, a number of the full-time ENTIRELY on manner of income. A professional potters officially in matters for us in this kind of exihbition' one said. The potters have joined the NZ. Society, and they profesional potter is one who earns his of diplomacy or policy NZ. Society was seen as an amateur—dominated have been well represented as selectors and (government or whole income through sale of his pots. they business), organisation, fostering 'amateurism', failing to exhibitors. Of their own choice, however, (b) as an officially recognisable If the term 'potter' needs to be defined it give due attention to more professional workers have never been represented as office-holders, unit for approaching research institutions could be ‘one who makes and fires either through more discriminating exhibition and it was a quite characteristic situation, that, for getting analyses etc. done. (The potter vessels policies, or from failing to take an interest in after some had indicated their misgivings in the of clay'. (This does not imply that requesting the job through the society their special problems. There were suggestions terms outlined, they went off, and the Annual he needs to dig or prepare clay.) For the would that a separate association for professional General Meeting, the place where the steering pay the larger proportion of the purposes of membership, all other potters may be turned, and where fee, potters should be formed. wheel of the Society depending on the extent to which who don't fit the above definitions must the jobs are handed out, remained, as usual, the he would wish the society to have When the NZ. Socfety was formed, two access be amateurs or part-time potters. province of the dedicated amateur. And in those There points of view as to its nature emerged. One to the material), (c) to conceive of, matters where the Society could take action must be no confusion. Special cases was, that membership should be open to all organise and manage specific types affecting the particular interests of full-time of would be: (a) apprentices. Full-time interested in pottery. Against this it was argued potters, taxation for example, it has done so, in exhibitions, publicity, displays etc. (There apprentices who work that such a society would be overweighted by under a master are fact specific causes are elusive. are several ways of having exhibitions for lay or amateur members, and the result would entitled to membership at a reduced fee It might be agreed that the ever-growing specific purposes.) be similar to the usual Art Society. There should if necessary, subject to the advice annual exhibition has traditionally been arranged of be a test of ability for members. This point of The running of the society could be as in such a way as to give the many a chance their master. This would encourage young view prevailed, and was made effective by the follows: and that potters accustomed to one-man shows, (a) ALL members should have a policy of admission for membership through or individualist by temperament should feel this full say, i.e. postal voting is obligatory, selection for the Annual Exhibition. To avoid no longer suited their interests. Should the (b) an independant, experienced and paid crystallisation of attitudes, the selection panel Society move towards a more selective or varied (part-time) has changed each year, and full-time potters secretary be chosen to do the exhibition policy, or should some potters form have been frequently called upon. In this form rather large amount of paper work, co- a new association? How wculd they select the Society has appeared to have a logical ordination themselves: on the basis of income, or upon etc rather than a committee of relation to the numerous regional bodies which a sterner assessment of craftsmanship or design? over-worked volunteers. Most professional are open to all. To find answers to some of these questions potters have limited time to attend It must be granted that the Auckland we approached several well-known potters, and meetings and do letter writing. All the replies. exhibition contained work of widely varying here are members would be kept in touch by circular letters, questionaires etc, and if the society's action was based on response of all its members it would COUNCiL— automatically select out the interested or keen, from those who did not bother. The cost of these services must be met by subscriptions, or commission from exhibition sales etc. Membership sub- scriptions would thus be necessarily high

29 recent pots made in other countries people's ideas, enthusiasm and contribu- time for their active consideration. This have potters as professionals, but the term got the vitality that we had in tion to pottery—a very necessary element. eliminates the committee idea which is a the early obviously extends further—to anybody days. And of course (b) Full-time potters with their own potential source of dishonesty. there are a lot of who pots, no matter how or in what pots in the studios who teach pottery and from time shops that shouldn't be there. medium—earthenware or stoneware, for to time receive a tutor’s fee rather than money. Personally l think that there would What advantage a salary or income, would be eligible. would such an asso- be such a wide range of different people ciation have to those admitted? eligible to join such Wilf Wright an organisation, that Do you think that widespread amateurism Perhaps the main need from a pro- many would not want to join—because full-time potter, Heikorangi, Wellington. has affected the standard of New Zealand fessional potter's body is to give of standards perhaps. (This happened in England in 1958.) pottery? Do you think that professional potters recognition to the potter's place in the community. The value of the professional Widespread amateurism has not should form an association of their own? potter is not now recognised. The fact Do you think that widespread amateurism necessarily affected standards in New Professional potters need an organisa- that the professional potters keep a large has affected the standard of New Zealand Zealand—it has effected attitudes and tion of their own, but it need not be and steady supply of standard ware, helps pottery? behaviour towards pottery instead. True outside the present Society, but rather a to keep the interest in pottery open to amateurism must be seen in its correct Yes. There is a wide range of achieve- separate chapter of it. The Society as it development. Potters making a living from perspective as being equally important, ment in New Zealand and a lot of pottery stands is amateur based. Professional selling their pots should be encouraged. is being sold which shouldn't be. However vital and necessary as professionalism. potters have different needs from we have all been amateurs at some stage, (We seldom see it as yet.) In fact the amateurs who can't be expected to know Wilf Wright considers that the present so this must be tolerated and understood, amateur has more scope for freedom of the professional's problems. It would Society is too large, a factor in itself and higher standards encouraged expression than a professional, and ought need a separate committee to run it. which has contributed to the apparent by example perhaps and by better teaching to be content with this. A true amateur Perhaps the present secretary could loss of vitality in New Zealand pottery methods. would not wish to seek either money or undertake the administration (for addi- (as seen in recent annual exhibitions). status gain through his work. It’s as tional payment of course). He is critical of selection as a basis for wrong for amateurs to try to have power exhibitions; he considers that a small What advantages would such an associ- ation have to those admitted? over professionals as it is for professionals Who would be eligible to join? Who is a group of established potters within the Society to look down on amateurs. The test of professional potter? should be able to submit work None that I can see at present. l think relying honesty comes via duality! on their own integrity. the New Zealand Society of Potters A professional is one who earns his provides as much as is necessary i.e. What advantage would such an asso- basic living from pottery—he may do contact with other potters, exhibition ciation have to those admitted? other things as well, but potting is his opportunities, and opportunities to meet main source of income. There would need Peter Stitchbury A society for professional potters could experts in this field. When talking of the to be some criteria as a basis for full-time potter, Manurewa offer the above mentioned services New Zealand Society, I think that some eligibility to join — some standard for of the younger (Answers a, b, c, to question one.) There Do you think that professional potters potters should now come entry. Perhaps making a living for a forward is no limit on what else it could do, should form an and take the reins. Too many of certain number of years or at any rate association of their own? depending on the energy of its members the well known potters have had to run proof that the potter has established There would be no point served by an and secretary. Members' suggestions the Society for too long and now it's time himself. association for professional potters— should be welcomed and circulated others had a turn! 1' there are too mt, , -Iariables. whenever the need arises. Much of the Do you consider that widespread success of the society thus leans on the amateurism has affected the standard of Who would be eligible to join? Who is a quality of the secretary chosen, as well as Harry New Zealand pottery? professional potter? Davis its members, but at all costs all the official full-time potter, Nelson. As I don't know. l think people tend to one who has activities of the society should be Yes. The feeling for form and the the unquestioned right to call himself a vaguely acknowledge the few 'top’ presented to its members from time to vitality is not what it was. Some of the professronal, Harry Davis comments —

30 31 When asked to give a definition of a an unlikely event, measurable though positive cultural asset in New Zealand Zealand Potters Association is the professional potter my reaction is to say these aspects of a potters' work may be. today, it is undoubtedly thanks to the element of mutual aid which has been that this is a largely irrevelant status No—it is irrelevant whether a potter is efforts of amateurs of ten to fifteen years one of its conspicuous features. The however one defines it. a member of a professional association or ago. Where one might ask would the current desire for a separate professional not. What matters is whether he makes ‘professional' potters be today in New association implies a concern with Prof. A. Martindale the art historian good pots, and this depends on his Zealand had they not been preceded by exclusivity and privilege which obviously says somewhere that in every age ’Art integrity and talent. The existence of a amateurs? and sadly runs counter to this generous has been made by artists; which is to say professional association is no guarantee An attractive aspect of the New mood. by trained professionals who paint, or that any-one will do this—in fact the Harry Davis carve, or build for a living'. This would indications are that there is a danger that seem to stress the obvious if one could it might encourage the making of anti- assume that because someone does pots. Utterances from the platform at the something for a living he ipso facto does recent Pottery Symposium in Auckland it well, and it overlooks the fact that bad support this view, as they made it clear 'I am high-fired and highly intellectual so / look art, or non-art, is also done by trained that a faction exists which is even a little down on you.’ professionals who pursue their activity ashamed to have to admit to making for a living. In fact the expressions domestic pots for a living. What kind of ’Artists' and 'Trained Professional' alas, a professional association does this ’l look up to you because you are far out but I am are not interchangeable. The most portend? What can a professional indigenous and expressive and I look down on you.’ precious qualities in works of art of any association do to cope with snobs may age owe their existence to the Artist's one ask? The danger in fact seems to be indifference as to whether his activity that it may breed them. yields a living or not. So much for the ’/ am only domestic ware and The view was expressed from the same stress on earning a living in this I know my place.’ platform that it is somehow ethically definition. If the stress is placed on reprehensible to make a run of tea cups. training, there seem to be weaknesses in Quite clearly the seeds of the anti-pot are the argument again, because this pre- well and truly sown already. There is supposes an established body of undoubtedly a danger that the concept of practitioners who train a younger a receptacle is in the process of being generation. If one seeks the authenticity dissociated from the definition of a pot. of such a body in the guarantee of a professional group of painters and carvers, Then there is the question of whether parallel to the Law Society or the Medical standards have suffered in New Zealand Association, what does one find? The because of widespread amateurism. answer is Academicians to censure or Amateurs are liable to do deplorable The Under Thirties Exhibition approve future Academicians. This, as we things in any field of activity, and one all know, is almost always a disaster. regrets the many premature transitions ‘In order to take advantage of the present professional potter had been asked to act Alas the integrity of a painter, a sculptor from pure hobbyism to marketing. How- high level of enthusiasm and to provide as convenor and had been paid travelling or a potter is more difficult to measure ever it is impossible to say what the an incentive for the growing band of costs to assist. The Arts Council agreed than that of a doctor or a solicitor. Unless potting scene in New Zealand would be youthful potters, the New Zealand Society to provide funds in suport of what was of course the intended professional like if the amateurs of ten years ago wishes to hold an 'Under 30' exhibition.’ to be a national travelling exhibition. association of potters proposes to vet the had not pursued pottery with the Extract from a letter from the NZ. Society But in the end only one (yes, one) functional properties and working tough- enthusiasm that they did. It should be of Potters to the Arts Council, February young potter showed interest and the ness of its members’ work. This seems recognised that if pots are a valid and 1966. To help the project along a young project had to be abandoned.

32 33 Twenty-three new potters qualified NEWCOMERS for admission to the NZ. Society and exhibited in the 13th Exhibition held in Auckland in November. The Potter asked them for photos and comments. Here are the 19 who responded.

Left, Jane, wife of Mirek Smisek and daughter Hana with Jane's slab built bottle and press moulded dishes.

Lower left, Janet Wright of Reikorangi, near Wellington, finds living and working with ‘1 ‘ ' . -1 V husband, Wilf, in the country Mel/s Van der Sluis, full time potter, the ideal way of life. Apart Aims to achieve a timeless from Hamilton. slab and coiled pots, quality, not the appear— she enjoys making pots to be ance of being just out of handled every day, especially the kiln. Allan Hedger, Domestic ware mainly — enjoys experi- . jugs. Auckland. menting with texture on slab work. John Campbell, Papakura. . Below, 'Mental/y, physically .and financially exhausting, . yet the most intense/y satis- Bronwynne Cornish making her } lying work I have ever ‘Lion Creation’, Henderson, attempted,’ Margaret Symes. Auckland.

34 ’Form and colour in stone- ware', John Parker, Auck- land.

. ~~..71!.; \i . Grant Hudson, Auckland, with salt—glazed Earthenware for domestic use, Audrey lantern. Lissetti, Levin. June Handley, Te Kau- Domestic ware, but tries a few experi- Gail Car/sen, Coromandel, whata, with her sister built mental pots. ’I just try to improve my uses coil and hand built an oil fired kiln. Gathers work and techniques all the time.’ John methods. Throwing is mostly much of her own glazing Mitchell, Te Awamutu, would like to try small bottles. Shares a kiln material. full time some day. with husband (Gerald Green- wood) but works indepen- dent/y.

Tea for the family in Ian Firth's garden, Birkenhead, Auckland, out of his own pots. AFTER THE 13th

Sole selector, Iva n lVceekin, delivered these comments to the NZ. Society of Potters Annual Meeting, held in Auckland on November 16th.

ln selection my basic idea was to select great a musician as Pablo Casals would pots which represented the work of the not perform the Bach suites for solo society, rather than impose my own 'cello until he had studied them for some concepts on the exhibition, but this was twenty years —— he was immersing him- difficult as no one person is sensitive and self — losing himself — in Bach during receptive to all styles and concepts, and this time, not promoting his own the selector's most serious shortcomings individuality. | feel there is a lot to be are usually those he is least conscious of. said for this sort of humility, and that we usually overstress individuality. So the Selection is linked with concept of a selection of this sort of pottery for an standard, and that is easy to establish exhibition is very difficult, and if a ’way in as far as functional craftsmanship is out' stand is taken then almost all values, concerned. Before this type of pottery almost every measuring stick will be can be considered for selection it must be found invalid. adequate functionally, and the standard of craftsmanship must be high. But when But from a practical point of view there the work is sculptural in concept and are some ideas worth considering. I feel, intent then these criteria obviously do for instance, that if the art of the potter Dorothy Ewart, Silverstream, Wellington, not apply. How do you assess a work of —either in its functional or sculptural enjoys applying trailed slip decoration to art? By one's own total reaction?—this idiom-——is to emerge and compete on a earthenware. is limited by one's capacity and sensibility professional basis with other arts like on the part of the potter to form material, painting, music, ballet and drama — to Nineteen years old, has been potting scale, texture, pattern, and colour? By claim acceptance as a valid art form—then for ten years, three full time. Stephen motive?—if a potter loves and admires there should be some division between Foster, Diamond Harbour, Bank’s Pen- Top left, Cliff Smith, Manurewa, special- something that another potter has done the professional and the part time insula, uses local rocks and clays. ises in domestic ware. and because of this does likewise, is it amateur. Each group should have its own exhibition, good or bad? The answer to this depends and the professional one should on the value placed on originality, be rigorously selected in terms of agreed individuality, and it is worth noting that values. as great a craftsman as Hamada has l was surprised at the predominance of Pottery in Australia always acknowledged his great debt to the sculptural idiom at the exhibition, and the traditional idiom of both Japan and feel that this is an appropriate time to Published by the Potters’ Society of Australia, twice yearly in spring and autumn. The yearly subscription is $A2, and the Korea. Most of Hamada's shapes have re-affirm my belief that the making of magazine may be obtained from the Editor ’Pottery in Australia', their genesis in tradition. Also, that as pots with a material utilitarian function is 30 Turramurra Avenue, Turramurra, N.S.W. 2074, Australia.

38 39 Both also make very reasonable demands on their patrons, depending on wide patronage and low prices for their Awards to Canterbury potters financing of their art activities. There is nothing disreputable about either repeti- Miss Yvonne Rust received person- Mrs Doris Holland has this year tion or dependance on tradition, but in ally the Canterbury Society of Arts won the Guthrey-Canterbury Soci- both music and potting each time the form silver medal at the opening of the ety of Arts Travel Award which is made it must be relived, refelt in that Society's Annual Autumn exhi- will take her to Australia for moment if it is to be kept alive. Another bition in March. The medal is approximately 5 weeks in August. difference between this sort of pottery awarded annually (though not Mrs Holland, lecturer in drawing at and sculpture is the potter's deep involve- necessarily every year) for service the University of Canterbury ment with materials and technology. His to New Zealand in any field of the School of Fine Arts, and President products must stand up to the demands visual arts or in the advancement of the Canterbury Potters Associa- of daily use, and this involves him with of the visual arts. Miss Rust’s work tion, will use her time in Australia things like thermal shock resistance, for Canterbury and West Coast visiting studios, galleries and hardness, porosity, texture, conductivity, potters, as well as her own creative schools, and though there will be qualities that must go in parallel with the ability, has amply qualified her for no time for practical work, intends Ivan McMeek/n aesthetic factors. This makes being a this distinction. Miss Rust with to view the contemporary scene in potter extremely difficult and in countries teaching, painting and pottery. like New Zealand and Australia where Mrs Shay Docking was guest we have not a living tradition to nurture us exhibitor at the 1970 exhibition. no less a valid art form than is ceramic and have new and strange materials, it is sculpture, and that as an art form it is particularly difficult. quite distinct from sculpture. LETTERS TO THE EDITOR would like aired. The editorial com- mitee will be meeting in July to I feel therefore that both here and in The editor would welcome the consider material for the spring It has perhaps more in common with Australia it is necessary for the potters' views of correspondents who have issue of the Potter so letters will music in that both music and pottery are society to encourage full time courses something on their minds that they be received until then. deeply immersed in tradition, in both its that aim to give adequate professional technical and aesthetic aspects. Both education to people wishing to become musicians and potters are dependent also artist-craftsmen, and that they set up their own facilities to allow for the study and on a high skill level. Without hours of she . daily practice neither are fit for public processing of their own raw-materials, as / [De/[eve appearance, nor are they able to act with the properties of the materials processed is an emf/«cm!- the speed that is essential for their work. for industry and available commercially [/4 #16 Qnogéod/ Both appear incessantly, the musician are often not suitable. Pot of Me J/edk playing in a number of performances every week, and the potter making and selling C'oniesf. . . , daily, and therefore, both have repetition I would like to take this opportunity of and dependence on tradition woven into thanking the New Zealand Potters for the basic structure of their art. Neither their warm hospitality and for what has potter nor musician can produce some- been a most interesting and enjoyable thing 'new’ every day for forty years. VlSlt.

40 used by the Water Works Department. Cleaning News from Auckland and patching gave three spacious rooms—a NEWS large work room with an open fire, OF PEOPLE, POTS & EVENTS a kiln room This has been a full year for the Auckland and a glazing and storing room. An almost new Studio Potters. Once again we held two immen- kiln and four wheels were bought over the sely popular beginners courses each lasting for years with money from fees and from sales three Saturdays, one with Len Castle demon- tables. Leading potters from Christchurch and strating hand building techniques at Rutherford elsewhere spoke and demonstrated at the High School, and the other with Peter Stichbury weekly evening meetings. Christchurch and West Coast While visiting the West Coast in January, I at Ardmore, teaching wheel thrown pottery. spent a very happy couple of hours with Yvonne This system continued until last year when For a few days about mid November 1969 Rust, sitting in the warm sun outside her old Mrs Marie Tothill, the current president, A potters evening had Trevor Bayliss pottery enthusiasts in Christchurch could visit brewery studio. She gave me a report of recent suggested having club days on Wednesday showing a selection of the wonderful collec- three excellent exhibitions showing simultan- events, beginning with Barry Brickell's four- morning and Tuesday evening when all could tion of slides they have at the Auckland cously in the city. The Group Show in the main month stay on the Coast in the latter part of attend and work together with the older Museum, featuring pots through the ages. C.S.A. gallery displayed its usual small, but well 1969 during which he gave a week-end school, members helping the newer ones. The system Another evening we had an entertaining lecture chosen collection, including a fine set of pots as well as supervising and advising local potters was given a trial and proved most successful. by Graeme Storm on his recent visit to Canada ranging from a large blossom jar, to minute working at Yvonne's, or setting up their own Everyone contributed twenty cents and gave —i|lustrated by slides of pots, kilns, the school trinket boxes, sent from Coromandel by Warren studios. Roger Ewer, one of Yvonne's first something for the sales table which paid for in Quebec where spent the summer teaching, Tippett. Nola Barron (new Group member) students at her Christchurch studio, now has his relining the kiln, teas and firing. In this way the and some Scandinavian pots, scenery and showed three impressive large ceramic forms own workshop on the Coast. The Mawhera members get to know each other better and sculpture. in which the pot function was severely Potters, now firmly established, gave their ideas and methods were freely exchanged. Each integrated with austere sculptural shape. Paddy second Annual Exhibition in Greymouth month on demonstration day, difficult techniques During September we held a 'kiln crawl' — Taylor (guest exhibitor) showed some of her (November), 300 pots, of which 75 per cent are demonstrated by members proficient in this an amusing new venture. Three parties of 20 highly personal necked and inter-related pot sold. Members include Nan Bunt/ Hardy Brown- aspect of the craft. potters left a central meeting place at half—hour forms. Other members exhibiting pottery were ing (full-time potters), George Carroll, Doug intervals. They visited five kilns in all, starting The quality of the Juliet Peter, Doris Holland and Roy Cowan (a Manson, Rowena Downs and Irene Jones. Guest work done improves all the with the one I built at Rutherford High School time. Last year eight hundred fabulous giant slab form). exhibitor was Barry Brickell. In Mackay Street, pots were arranged ——a two-chamber Cowan type kiln. We lit the on the display tables for the annual Greymouth, “The Folk Shop” has been success— exhibition. pot burner for them and showed the jets and It is always a popular event and most of the The mezzanine floor upstairs was the scene fully functioning for three months selling layout; then they went on to John Parry at pots are sold. of a professional exhibition by three Christchurch pottery, weaving and painting by local artists. Point Chevalier. He has a single chamber down Craftsmen from other centres are invited to send women, Irene Spiller, Denise Welsford, and Some of the members are now exhibiting with draught kiln fired on both sides by big speed- work to this lively enterprise. Fredericka Ernsten, and with them Michael the New Zealand Society of Potters and in way burners—an interesting feature is a moulded Trumic, with whom they had studied at his From so recent a beginning, it appears that group shows. Others with wheels and kilns of fireclay arch which can be removed without Victoria Street studio. Irene Spiller showed more West Coast potters are moving with pioneer of their own, have no trouble in selling locally pulling the kiln down, to renew the vulnerable confidence in shape development, and suave determination towards maturity. [I as many pots as they can make. One of the area around the fire port. glazes, but both other women turned on some earliest members sends ceramic beads all over Doris Holland After very neat domestic ware, and the near sell out the country and exports to Australia. this we visited Neil Grant’s catenary made this exhibition a highly successful venture. kiln—at that stage he still had to add the biscuit Paintings by Phillip Trustram drew many people Story of a Group The planned new craft room at the community chamber, but the glost chamber is very impres— to this show. centre will give the group a permanent home, sive, 5' 10" high internally and 54" deep. He The Mount Pleasant Pottery Group has been but there will be some nostalgia for the days uses home-made burners based on the ‘Major’ active and progressive since when meetings were held around a blazing log Around at Several Arts, opening on November its formation in burner, and a Cowan designed fan he built 1960. It is attached to the Mount Pleasant in the present building. 23rd was Len Castle’s exciting show. We were himself. looking forward to this, and his virtuoso Community Centre and in nine years the membership has increased from eight to eighty. technique, his sense of style in shape, texture At this stage things got a bit hectic because and glaze made a fascinating study for both The late Mrs Marion Mauger was the first Wellington News one party got lost and 40 people turned up at potter and public. The writer found most president and teacher and several of her early Neil’s together at the same time as a violent pupils are now well established potters. Mrs The Potter has been so busy covering the satisfaction in the small pieces, so lovely to hold, downpour of rain, but it all added to the fun so various in texture and generally irresistable. Mauger imported the clay and glazes from scene elsewhere in New Zealand that there is no of the day. England and fired the pots in her own kiln. specific news from Items from this show were bought by the Wellington, this time, but a lot has been Canterbury Museum, the McDougal Art Gallery, The Community Centre secured for the pottery happening here all the same, Next stop was Patricia Perrin’s natural and we will and the Palmerston North Gallery. group a nearby building which was formerly make up for it in the next issue. draught kiln, with its huge chimney hidden

42 43 from neighbours behind a jungle of bamboos present Peter's main interest is in garden News from Dunedin fully made and finished. She gained a subtle and other exotic growth, than on to Margaret sculpture. Adrian himself makes beautiful garden contrast of texture and tone in her dinner set Milne, who had a firing in progress in her jet lanterns, but he is best known for his domestic by pouring the glaze inside the pots, Since the last edition of the Potter, the Otago and spray- fired kiln. She pulled out a spy brick and an ware. ing the same glaze outside. Potters Group has had a very stimulating pro— enormous flame roared out, to everybody’s Raku firings are popular in Auckland. Trevor and gramme. in September, Harry Davis came down delight, then she served coffee, and all our Marjorie Bayliss' lovely garden provided an ideal to give us a week-end school. This proved to Barry Brickell showed us a good exhibition potential kiln builders went home wondering setting for a barbecue and raku party. The round be a most worthwhile occasion as Mr Davis of his coiled work in Dawson’s Gallery in Sep- confusedly which type of kiln they should use. kiln was fired with coke and a covered saggar managed to cater for beginners and more experi— tember. Again this was well made, and what held the pots. Mary Hardwick Smith and Peter enced potters alike, and with great patience l enjoyed most was the humour and obvious After this came the 13th N.Z. Exhibition and Anderson designed their oil-fired kiln around a went over and over the various movements he 'joy of making' that had gone into this work. the Symposium, and we all thoroughly enjoyed square pot burner (described by Roy Cowan has evolved for himself to make the centring This was followed in November in Dawson's playing host to all the visiting potters from other in the 'Potter' Vol. 10, No. l). Built originally and throwing of pots more easy. He also had Gallery by an exhibition of pottery by Beryl parts of New Zealand. for a children's party, this kiln proved so many helpful tips for any of us who try to teach Jowett, about which I obviously cannot com- successful that a second firing was held for the techniques of throwing and turning to be— ment! She was joined in this exhibition by Dot lvan McMeekin's master classes followed potters. A group from Gisborne were enthusi— ginners. I think that what came through most Staub who showed some first class weaving. almost immediately and his public lecture on astic and returned with plans for raku firings effectively, was Mr Davis' integrity as a potter, ’The Establishment of a Pottery Training Unit in their area. and his insistence on quality as well as appear— Also in November the art gallery had an in the Northern Territory.’ ance. He made many of us stop and ask the Peter Stitchbury is now potting full—time in exhibition of pottery, weaving and basketry. The questions, 'Where are we going?’ And, ’What Manurewa and John Campbell is building him a craftsmen were Ruth and Len Castle, Roy Cowan The master classes were attended by about do we want to attain and why?’ He appeared new workshop. and Juliet Peter, Mirek Smisek, Graeme Strorm indefatigable and gave out enthusiasm when he 30 serious potters and have opened new vistas and Peter Stitchbury and Hank Mol. It seems talked and when he demonstrated. to us. We have plans to follow them up this During the holidays several potters from presumptious for me to comment on the work year with a series of classes in geology by Australia were in Auckland. Before going south of these top notch potters, but i couldn’t help Trudie Alfred and Barbara Blaxland, Jim Schofield—some in the form of lectures on both from Then we had a two day visit from lvan feeling a little disappointed at the lack of vitality New South Wales, showed such subjects as 'ldentifying Rocks and Clays a most interesting McMeekin who gave a public lecture one even— evident in their work. In vain I looked for really collection of slides at Elam in the Field' and 'Making Use of Geological Sur— during the Auckland ing on pottery raw materials and their uses, breathtaking pots—and came away with the Summer School. These showed vey Maps', and other classes in the form of field the work of leaving many of us with a thirst for more. The feeling that makers of big pots should view modern Australian potters trips. and also gave us a following day he had a look round some selected their work from all angles before accepting them look at some murals and a sculpture garden in spots within a reasonable distance from Dunedin as satisfactory. I did however come back again Israel. Since Christmas, things have been quiet until and took away with him various samples for and again to a large thrown and coiled bowl by February 14th, when the Studio Potters had a analysis. in the evening, members of the New Juliet Peter which I should like to own. i felt stall at the 1970 Wine Festival. Twenty potters Zealand Society of Potters met informally with that I might have seen Graeme Storm's pots took part, providing 117 items or groups for Manawatu Ivan McMeekin who showed some magnificent before, in books, and this seems a pity from of these were sold. There were slides and listened to and answered such a gifted potter. I liked the quietness of sale; about half Twenty potters of the Manawatu Pottery many ques— of the cus- tions. The Dunedin Peter Stitchbury's domestic were but sharp one or two breakages because some Society were joined by 10 members of the potters seem divided in a little from all the free their attitude towards pottery edges are dangerous for those who have to tomers were reeling Manawatu Spinners and Weavers Guild for making; there are sales took care those who are firmly wash up! wine, but a small commission on their 4th Annual Exhibition. in favour of empirical of that. [:j methods alone, and those who are forced into these methods through lack of knowledge, but Again in November an art and Doris Dutch craft competi» Napier are trying hard to find a more scientific approach. tion was held in the Otago Building Centre The latter group wants to produce work that sponsored by a local fibrous plaster firm, and May Mitchell appeais both aesthetically and functionally and we are proud that Lawson Fraser won first prize to know how and why Now potting with Pat Perrin is painter John A life member of the Napier Art Gallery Pottery it happens. For these in the pottery section with a very lovely oil and people visits from such craftsmen as vinegar set. Papas, who has moved into the field of pottery, Group, Mrs May Mitchell, died recently, aged Harry lsobel Brown and Joyce Anderson Davis and Ivan McMeekin are of tremendous were second exploring methods of obtaining texture. He and eighty four. Mrs Mitchell was well known to and third respectively. value. Ken Chapman are preparing for an exhibition many New Zealand potters and for many years in September. had extended hospitality to potters visiting There was a very marked improvement in Napier. For a long time she was a collector of We have seen some interesting work in the standard of work displayed at the Otago Peter Yates who until recently had his home pots and a tour through her house was a Dunedin over the past few months. Frances Potters Group's annual exhibition. We are always and pottery on a barge in the Bay of islands is memorable experience. There will be many in Frederick had an exhibition of domestic were well supported by the public and there was very now working with Adrian Cotter in Titirangi. At New Zealand who will regret her passing. at the Connoisseur in August. This was beauti— little unsold at the end of the week.

45 Ian Gray-Smith completed his commission for Visiting Britain? POTTERY the New Wakari Unity Church in Dunedin. This KILN PYROMETER consisted of a 4 ft x 3 ft terra cotta panel on Potters visiting Britain who wish to see some» the outside of the church depicting ecumenical thing of British studio pottery, should make The model 41 PY has been designed symbols, and a smaller one, 18 ins x 9 ins with an early visit to the Craft Centre in Earlham primarily for use on pottery kilns. the same symbols on the offetory table. These Street. As well as seeing the work of the were fired in the workshop kiln, and lan’s important potters, there are on display notices A reliable and accurate instrument available presence in the workshop and his enthusiasm advertising pottery schools and other informa- in two ranges, 0-12OOOC or 0—14OOOC. over this period has been an inspiration to tion a visiting potter would be interested to many. know about. lna Arthur of Dunedin, took Suitable for panel mounting and supplied advantage of these invitations during her two with 4' of Lead Wire; Platinum/Platinum/ year stay in Britain (reported in the last issue Forthcoming exhibitions WlII be by Bruce and of the Potter). Rhodium Thermacouple and fused Silica Estelle Martin. They will show Ikebana con— Thermocouple Sheath. tainers and domestic ware at the 'Connoisseur' planning a visit she is prepared and a demonstration of Ikebana will be given To any potter _1_ to give the addresses of English potters, and 8%” long x %" o.d. Fitted to 7" x 2 " o.d. by Mrs. Simmers of Dunedin. Ian Gray-Smith is ll] directions as to how to get to them—many live brass holder for a 6" wall or 12" x 2 o.d. also to show at Dawsons. fl in out of the way places. She says that wild steel holder for a 9" wall. obviously it is easier to explain verbally and Beryl Jowett she would rather have people get in touch with her personally, nevertheless she is prepared to answer correspondants writing for this information to 59 Lee Street, Dunedin. INDICATING PYROMETER CONTROLLER

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IN THE LARGER SIZES — .A\ ”3% L“;.;“_;4v,* ” I ’Bruta/ist Lampbase' by Roy Cowan, at the Buxom Hipped Pot by Barry Brickell, at Academy exhibition of Sculpture, Pottery, and the Peter McLeavey Gallery, November, 1969. Graphic Art, August, 1969. Both about 27" in height. 48 49 Kick Wheels Power Wheels Banding Wheels English Studio Pottery today Wyn Reed

We have been asked, following our recent visit superb slab bottles by Bernard Leach, interesting to England, to give our impressions of English pots by Janet Leach, some fine tawny-brown studio pottery today. lustre earthenware by Alan Caiger-Smith, strong Our observations are derived mostly from and vigorous slab pots by Ian Auld, elongated two or three visits to each of the main shops sculptural forms by Gillian Lowndes and some selling pottery in London, namely The Craftsmen exciting stoneware by Lucie Rie. These latest Potters Shop, The Craft Centre, Primavera and works of Lucie Flie are very different from her Heals. delicate porcelains. The tall, elegant vases with The Craftsmen Potters Shop at William Blake wide, flaring tops were strong and sure. Flecks and spots broke through the subtly blended House, Marshall Street, is a wonderful asset for glazes of mauve-brown, green—grey members of The Craftsmens Association, for or hazy-blue sometimes here their work is displayed and sold on with a trace of pink. There was also commission. It is a well planned and modern . group of Hans Coper's pots. This potter's reputation shop with plenty of space and is well lit by is very high in Britain. We saw a lot huge floor to ceiling windows. In the main of his work, which is impressive, especially the large sculptural entrance gallery there are a few dozen pieces forms, but many of his pots we considered a little ’cold'. always beautifully arranged. Behind the dividing His pots, like Lucie Rie's, are all for use. screens are the rows of shelves bearing a Besides visiting the London potter's name. These the potter can keep filled shops we called on Raymond Finch and the buyer can wander around the shelves at Winchcombe and were full of admiration and handle the pots at leisure. This shop carries for his work. He produces beautiful domestic a big stock and work of the leading potters can stoneware at his pottery workshop and he still sells at generally be found. amazingly cheap prices. Some of his large plates and platters are The Craft Centre, which we visited so often particularly fine. fourteen years ago, has moved to Earlham Street, While staying in Wiltshire with Katherine U a narrow street close to Covent Garden fruit PIeydel-Bouverie it was a tremendous pleasure market. There we saw a large exhibition of to be able to see and handle pots she has made pottery by Robin Welch. Upstairs were his at various periods in her career. This fine potter experimental sculptural ceramics and sculptural Join the 550 other 'LEACH' produces magnificent wood-ash glazed pots. She pieces in metal and perspex. Downstairs the took us to visit two interesting young potters. enthusiasts by contacting large gallery had a big display of well made Douglas Phillips lives in an ancient stone house strong looking domestic stoneware. Both his tucked away in the depths of a wooded valley. standard range of domestic stoneware and his Working on a shoestring, as so many of us do tall, pole-like sculptures are cylindrical and in New Zealand, he has just mastered a newly upright. built oil-fired kiln made with old bricks and Robin Welch is a young potter in his early equipment. He will make good pots. Richard thirties, who like his contemporaries Dan Arbeid Batterham, who lives in Dorset, has already Ian Auld and Gillian Lowndes, have completely established himself as a potter of integrity. He SillBlIllllll JIllNHlY llll broken from the Leach tradition. has built a very modern spacrous pottery which The contrast between these two British he runs alone and produces hundreds of pieces Authorized manufacturers of ‘LEACH’ potters’ wheels schools (The Leach and the Modems) was seen of domestic stoneware of good design and in an exhibition at Primavera. The Primavera is a craftsmanship with beautiful and varied glazes. Phones: 594-264 & 599—571 PO Box 11035 small, but very attractive gallery in Walton Our general impression was that the average 151 Marua Road, Ellerslie, AUCKLAND 5 Street Knightsbridge, which holds several art pottery on sale in London was no better than and craft exhibitions during the year, as well as the average work being produced by members having a permanent stock in the shop. We were of the New Zealand Society of Potters. The top fortunate to see a special exhibition of the work potters in England are doing superb work, but of a small group of potters. Included were some so are a few of our own top potters. [j 50 51 AND NOW AT WELLINGTON, 411 HIGH ST LOWER HUTT PHllNE 699-588

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