New Zealand Potter V0123/2 SPRING 1981

Contents

Wood Firing with a Bourry Box kiln 2 Peter Gibbs’ Bourry firebox 2 Glen Beattie’s Bourry firebox 5 Primitive pit firing 6 Some Coromandel potters 7 Paul Tobin 7 Dear potters, Warwick Lidgard—Shino 10 Ceramics 81 was a Articles should be specific, Andrew and Jeannie Van der Putten 12 milestone for the development with supporting diagrams or Barry Brickell 14 of pottery in New Zealand, illustration where necessary Urban Co-operative 16 providing us with a reference giving the kinds of details Firing updraught fibre & gas kilns 17 which we can go readers want to know. point from Outreach 18 forward. (Payment is made for Fletcher Brownbuilt Pottery Award 20 While a great deal of informative technical articles.) 21 potting will follow tried and Space allotted 'is usually Moyra and Gary Elliot—copper reds true techniques there are many determined by the quality of the John Parker—domestic wares 24 of you developing new thoughts contribution and the type of Gerald Hope—adapting to LPG 26 and materials and methods, information offered. When Wendy Ronald—hand pinched pots 28 extending existing techniques, judging an article’s worth we Copper reduction in raku firings 29 fOr example producing glaze ask: is it interesting: is it Summer workshops 30 ' effects, oil spots, crystals, helpful: are the ideas expressed Potting in Waikato 31 lustres, Shino and working on clearly: and above all, is it Elizabeth Woodfield’s ball mill 37 kiln and firingadvances. original and creative: You may New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 6,500. The We point o'ut-that there is think you are no writer, but if annual subscription is $NZS.00, for Australia $A6.00, Canada and the United States $US7.00, Britain no shortage of material coming you understand. your subject £4.00 postage included. forward, but we too must move and state the facts, a good New Subscriptions should include name and address of subscriber and the issues required. Receipts will not be sent unless asked for. A renewal form is included in the second issue each year. This should be

on. We want to publish the article is there. ' ‘ used without delay. It is the only indication that the magazine is still required. best, to record the inspired ' So if you are involved in — achievements, the. exciting progress let us know. POTTER ., Advertising rates 7.. Full page 180 mm wide X 250 mm high $300

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Only first class black and world over. _ Offset printing. Unless finished art work ready for camera is supplied by advertiser, the cost of preparing white photographs reproduce Yours sincerely, such copy will be added to the above rates. well, (for how to photograph . Editors your pots see Potter Vol 23/1 editor: Margaret Harris asst. editor: Audrey Brodie page 12). layout: Nigel Harris Auckland correspondent: Howard Williams,

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Coveri John Parker of Auckland with some of his pots; born 1947, has his studio at editorial/subscription/advertising: 'b-w.

Waiatarua close to Auckland.- He has contributed to this issue under what might be fl PO. Box 12—162 Wellington North, New Zealand headed Twists of History “a quasi historical note”. (See centre pages.) mk printed by Deslandes Ltd, Wellington — ISSN 0028-8608

Photograph: Steve Rumsey. I ”4*. New Zealand Potter Page 2 New Zealand Potter Page 3 Wood firing with a Bourry Box kiln It was in 1911 when Emile Bourry in his Treatise on Ceramic Industries described his firebox for woodfired kilns that minimised the amount of ash free to circulate around the ware. Bourry wrote: ood can be burnt in the midst of the ”77% Wgoods when the latter are not injured a: // by contact with ashes which are easily carried about by the draught. This method of heating presents no other difficulty than that resulting from putting of wood into the kiln, an

operation which must be >

frequently D

repeated, >-

D though it causes the entrance of cold air and a serious loss of heat. These defects are specially noticeable when faggots are used, and to remedy them openings for charging

r~_..._._

should be lengthened outwardly to the shape H

rt

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Duo

.1“:_.___ ’530 of tunnels, closed by a sheet-iron plate [1: suspended at the upper part. These charging tunnels hold so much wood that any air drawn D

in by the draught is warmed while the charg- __—_—.

ing is taking place. This arrangement, which is L——--_ used especially for faggot fuel, is also ap- L.___D6-__ plicable to intermittent kilns as well as to con- tinuous kilns. Wood in the form of logs may be introduced into the latter kilns exactly as if it FIG. 132,—Furnace for wood. were coal.

the goods to be burned. The air enters by a ing through the ashpit door. This type of lower passage which forms an ashpit and fireplace is built into the kilns; it gives very PETER GIBBS leads into the upper passage through the long flames and is suitable for all kinds of BOURRY BOX TYPE K|LN openings arranged regularly in the dome of it, work. For slow firing, the logs must be re- but not opposite those of the first one. A part placed by faggots, or the upper opening may NOTES: of the fuel falls into this ashpit and is con- be closed with a damper. Primary Air 75 x 112 sumed there while heating the air. This ar- Secondary Air 75 x 112 rangement is specially applicable to up- draught kilns and can easily be modified when Mouse Hole 75 x 56

necessary. 300 Lower Stoke Hole 225 x 225 For the production of high temperatures, L Hobs various patterns of fireboxes are used. The Bag Walls Fm. Lit—Furnace tor burning wood. type represented in Fig. 132 gives good results Flues to Chimney

provided all the logs used are of the same 625 Throat Arch

I560

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length. These are piled in the upper opening of 570 Chimney — Height 5280 Blocks of wood may also be burnt in the fireplace and rest on two brickwork projec- Final Top Dimension 275 x 550 fireplaces with gratings as in Fig. 131. The tions. The combustion takes place by the air f/‘/./ hearth should be prolonged beyond the front passing between the logs, the flames follow— zoo of the kiln, and the wood charged through an ing the direction shown by the arrows. The

/

é upper passage, the dome of which is placed embers which fall to the bottom of the fire- ? immediately underneath the kiln and carries place help the burning, owing to the air enter-

stooping. The total inside volume is Two potters offer their experience 50 angle iron holding the fireboxes. Briefly the firing goes as follows— 2.5m3 (88 cu.ft.) and the available woodfiring with a Bourry firebox This was bolted together with 50 mm from cold: rods. The arch was buttressed with stacking space is just over 1.5m3 (55

‘\\/ 3—4 hours: Fire in lower stoke hole cu.ft.). railway iron backed by 50 x 50 angle doorway one side only for first iron. The firebox lids were made of 5 I generally stack bigger pots bottom hour or two. Peter Gibbs—Nelson mm steel backed up with low grade and top, and fairly tight in the middle. 2—3 hours: Fire on floor of firebox. fibre. In theory this was a good idea, 2—3 hours: Top loading scraps or but in I built my kiln in Spring 1979. My practice, most of the fibre was Before firing I try to be fairly careful longer pieces until 800 ° to 900 °C. reasons for choosing this type of knocked off after a few firings. I made to warm up slowly, if possible having a 8—12 hours: Stoking on hobs. With firebox were, firstly, I wanted to be the lids in two halves with an overlap- warm-up fire for a few hours the previ- the exception of the first hour or ping ous evening. This is in one firebox able to easily fire the kiln alone and flange, and fixed a pulley in the two, I keep the fireboxes full. This secondly, I could handle two fireboxes, steel work above, so that one lid could only, right back in the lower stoke hole necessitates stoking every 10—15 giving a more even firing. I used two be held open during stoking. The sec— door. The general firing pattern I fol- minutes. During this time the low is fairly well books when planning: ”Layed Back ondary air holes are about twice as big documented in both primary air is full open, the secon- Wood Firing” by Janine King and as necessary, but can be used as secon— the books previously mentioned, al- dary air half or less, and the lower though I follow a simplified Stephen Harrison and ”Pioneer Pot- dary stoke holes towards the end of the procedure stoke door and mouse hole are large at around 600 °~7OO tery” by Michael Cardew. The first firing. On odd occasions when a °C. Instead of tightly clammed up. For reduc- amount of wood drops onto the ember changing stoking from the gave practical building and firing in- lower door tion, I either stoke with thinner partially blocks the throat on to the hobs at this point, structions, written in an enthusiastic bed and I load from wood or close the secondary air a this can also be Cleared by poking the top either with way, and Michael Cardew gave in de- arch, short scraps, or little further. This control is very secondary air holes. The with full lengths introduced tail all the ratios, dimensions, and through the vertically, sensitive. The chimney dampers arch consists of one layer of brick with so their lower end rests on theory. the embers. are not used, although I leave the of fibre, aluminium foil, then This change needs to The kiln was built mostly with a layer be done quite damper slots open, spilling some 100 mm of sawdust/fireclav mixture on cautiously, as» the wedge bricks from the old Onekaka kiln can suddenly air into the base of the chimney. to . take off at this point. When ironworks, and held together with the embers At about cone 8 or 9 the top is IThe kiln takes six 16“ x 12” shelves have built up to Parapara fireclay. The iron work con- a point when this about a cone hotter than the bot- on the floor, and is just tall enough for method sists of 75 x 75 angle iron on the four is no longer practical, it is time tom. Then I plug up the damper me to stand inside and stack without to change corners of the firing chamber with 50 x to the hobs. slots and the extra pull gets the New Zealand Potter Page 5 New Zealand Potter Page 4 Glen Beattie— Coromandel Stoneware jar 26 cms high, porcelain box 14 cms photographed at NZ Craftworks by Richard Hendry After six years of successful firing with a Brickell Dutch oven firebox, and be- cause he enjoys experimenting, Glen v" _ . -i K‘ - H _ built a Bourry box that is interchange— ' ' _ . ‘yfif . . able with his Dutch oven onto his kiln. R“. 3téteé‘51": ~ When experimenting with the .3? chequered floor he discovered that this 5 “$39.23;;_ *e33‘ is the crucial element for controlling nfidm‘£33.“gt so whether you have an oxidising or re— duction firing. Opening up gives oxi- dation, tightening gives super heavy reduction with long, slow firings—so the floor layout is very important. ”Advantages of a Bourry box to me are: The air control, both secondary and primary is exact hence you can have reduction without back pressure and almost smokeless firing. Stoking is Sfake [wk on side 67p less frequent, there are no grates to re— firebox Pill-7‘14 s/id/nj pair or clinker to clear.” door So the Bourry box is not faster than the Dutch oven, but it is far less de- , ‘7 manding to fire. (._.&3J_+ ”I start with a fire in the ash pit—for m/n ilk/7“ 7L0? about three hours until I get colour in I Wilma r'y air‘ photos: Bob Heatherbell the front and bagwall area, then stok— References: Layed Back Wood Firing by Ies heat down to the bottom of the ing begins through the stokehole but loox 5O Janine King and Stephen Harrison avail- kiln, so that cone 10 is bending at putting the wood end on down into the able from The Editor, The Potters Society the top and bottom fairly evenly. I ashpit, blocking off the front of the of Australia, 48 Burton St., Darlinghurst use Orton cones, and start salting ashpit except for a 4 inch gap at the 2010. Price in 1978 was about$2. Pioneer when cone 11 is nearly down. mousehole, and open the two primary Following salting, which takes Pottery by Michael Cardew, Longmans. air holes at the top of the firebox by Concrefé about 11/2 hours, I continue soak- Peter Gibbs taking out the half bricks. After ten blocks ing until cone 11 is right down. RD1 Brightwater, Nelson. Q" a “‘sa ‘\“‘§"§‘ ex“ “v- ‘ Imus: hole minutes, I build wood up on the hobs. sat...s:\-\!~-=~!~!=®-=~I\ . \\\\\\:.\ From now on the firebox is kept well v..'-~ -..‘ The firings are varied, some salt, fuelled—you cannot overstoke as the at“: start oN some normal glaze firings, and some wood is continuously falling into the planters to cone 6. All pots are glazed ashpit where it again burns with the raw giving us a protracted early part of help of the secondary air blasting the firing. Firing times vary from about through the mousehole. $720017»? 1 d: . 14 hours for planters to about 20 hours The ash should be kept at two thirds §fack for a salt firing. Starting at 5 am this of the height of the pit, partially closing 0 355 _ gives a fairly long day, but it’s mostly 79 * j am the mousehole. The restriction caused ibpcri n9 (Is—ox Isa) relaxed with plenty of time to read, by the higher ash pile will help create mow the lawns or tidy up. Not too dif— 7‘0 ass turbulence and a reducing atmos- sq/uare . "’ the leisurely firing days of Om ferent from phere. Reduction begins at 1000 °C by /-Om

/ diesel. - U \I placing soaps in the two primary air -i-- ‘3 holes reducing their area by half. The most important aspect is prep— The mousehole is cleared every few / [III////7. ‘ aration of the wood. The minimum {it stokes by drawing back embers. The A ~// drying time for stacked pine slabs is 6 stoking cycle is about five minutes months, and this is over the summer. I reaching temperature in 12 to 13 hours. ‘PLAN use 11/2 to 2 cords per firing, so this Stacking fuel for two months if means a considerable amount of stored possible is a great help. There is a This firebox allows a balanced control The principles of Bourry box firing can be wood for a 3 to 4 weekly firing cycle. shortage of dry fuel in Coromandel so of the kiln atmosphere as well as efficient applied to already built kilns. Its possible Lately I have started getting the wood I’m sometimes forced to use pretty burning of the fuel through the precise to add one or more Bourry boxes to round, pre—cut to length as the amount of time green fuel. The firings are longer, but admission of primary and secondary air. sprung arch or catenary arch kilns. A tall spent cutting and stacking just the kiln still reaches a good cone 10 top Throughout the firing the box remains chimney is essential and the wood needs a couldn’t be justified economically. and bottom. outwardly cool thus preventing the stoker large burning space with generous pas- Even so, firing costs are about half that There is more I could say, so if you from getting burned and exhausted. If sages even with a small chambered kiln. of diesel, although I live in an area want to talk about it or see the kiln, get sufficient wood has been prepared the Potters who fire with Bourry boxes who plentiful. With the ex— where pine is in touch.” Bourry box offers the potter a relaxed have something to add to our knowledge, ception of salting, the firing process is Glen Beattie rhythm of stoking and a real sense of communicate your thoughts to POTTER. Virtually smoke free, with good flame Albert Stu Coromandel control. flashing of the wares. New Zealand Potter Page 6 New Zealand Potter Page 7 Sophisticated use of primitive pit firing Some Coromandel potters

Auckland potter Ray Rogers is well and the initial losses to get everything by Howard S. Williams When Barry Brickell took over his acres at Driving Creek making Driving Creek Potteries II a communal workshop, Paul known for his large scale pottery— working as I wanted." Flame effects and oxide colourings Tobin and Paul Lorrimer were beginner potters there. They were not apprenticed, but worked independently, firing their thrown and finely turned floor pots, Ray’s pit is dug into clay, 5ft deep, come mainly during the cooling own kilns. At the same time they absorbed influences in the heady days of the first wood firings in the Dutch oven firebox of blossom jars and platters, mostly in gas 14ft in length, and 3ft across. Some period; the major part of the firing is to the Driving Creek kiln. fired stoneware, and for his control on wood fuel is laid to cover the floor area obtain the necessary 850 °-950 °C; a smaller scale, of celadon porcelain. and then the bisqued pots are placed again a matter of experience as cones or My Coromandel—a pottery anti-romance thriller Not being experienced in decorating carefully on and in, with consideration pyrometer are not used. At this temp- techniques he has been searching for a for special localised effects—some are erature the pots remain porous so their long time for some form of surface placed upside-down, some stacked in- function is to be sculptural/decorative. Catherine Delahunty treatment which would complement side others, some partially buried in To fire them to a higher temperature to his shapes in an organic, more than in sawdust‘or leaves. Large platters are make the body less porous and physi- Back to nature or apocalypse now? We an applied graphic way. Ray was ex— placed on edge in order to capture the cally stronger, means that they will not were floating halfa mile offthe Coroman- cited therefore when he first saw re- drama of the flame tracks; platters absorb the firing effects—the whole del Peninsula while clouds of orange upside-down sults from a primitive style pit firing. are very dull, and right point of their visual and aesthetic burn—off smoke, fixing acres of245T, rol- way up only minimally In the course of his trip overseas in better. Of these appeal is negated. led into the sunset. The Clash on the tape edge-stacked 1980, he was invited to a low-fire platters only 25% survive Pots when removed from the cooled deck were growling ”Its up to you not to the fire, “happening”—0ver 300 potters on a but those that do are really pit are washed to remove ash, and to heed the call up.” Another moment to magnificent in their patterns beach near San Jose, California were of reduc- make sure that whatever is on the sur- realise the category is not ”the country” working with various raku and 't tion and smoking. face is permanent—nothing should be and the occupation ”pottery”,just life on Salt, oxides and other kilns, and some of the results from th materials can able to run off on the hand. earth, surreal, poisonous and beautiful. be placed, sprinkled latter gave him ideas that seemed to or sprayed on the Ray’s large, smooth surfaced pots are Taking it back seven years I was a pot surfaces, have great potential for his own large or placed near a pot to ideal for this type of pit firing. They are pioneer ofthe middle class rural ”alterna- produce scale ceramics. Four days of watching, effects due to local atmos— burned with form-following flame tive”; he was a surfer who had found phere changes. helping and discussing technicalities Fuel is then stacked paths; black, grey to natural whites, Brickell. We met while ”Planet Waves” around had him so excited that the rest of his and on top to a height of 3 but including the most subtle oranges, wailed over the first wood firings at feet—sawdust, demolition timber, trip through the States and Europe had reds, yellows, blues and greens, Driving Creek. Then Paul Lorrimer brushwood, an element of frustration—he couldn’t split firewood, bark— sometimes powder-soft, sometimes went to Iapan and Paul Tobin came to live every wait to get home and dig a pit kiln. On type gives different effects, the full of dramatic impact. The pit allows with me at Colville in a series of tents/ ability to control, his arrival back in Auckland one of his being solely in re- for many pots to be fired at once, un- hutches/nikau palm fronds on communal peated experimentation, first moves was to pick up a spade. keeping of like the raku kiln, and it is ideal for land trying to decide where to build a records and learning by experience. house and a pottery. It was boom time for The results of Ray’s first pit firing group activity. Imagine hundreds of The pit is then covered with corrugated people on a beach in summer firing Coromandel communal land buying. I were so encouraging that he was iron sheets which can be adjusted was vocally idealistic about living in the offered a 100 pot exhibition at New their pots together in a sand pit kiln during firing to produce differing rates 100ft long! Ray’s pit-fired pots have al- country, Paul wasjust making pots where Vision Gallery in July, and a Q.E. II of fuel burning, and again altered ef- ready been bought by several of the he could. Arts Council grant to enable him to fects on the pots. The ”stage” is now We stayed with Warren Tippett and research and develop his work for this country’s major galleries, he has been set, and the fire lit. Post fire alterations asked for exhibitions by the Dowse then bought the three acres next door exhibition. are not done as in raku, here every- and Sargeant galleries, and is booked where we still live, amidfloods, slips, in a Initial firings had heavy losses thing is dependent upon the stacking hundred year old house notable for having through the thermal shock on stone- by local groups for weekend schools in and firing procedures. After the fuel is order to share his experience and been totally neglected. Agreat dealoccurs ware clay; raku bodies were not suita- nearly burnt down, the fire is restoked knowledge with others. in the staying in one place, equal to hav- ble, so by experimenting, a special along the length of the pit perhaps 3 ing been around the world; but we are fed body was developed using fine grog, times during the course of the 5 to 6 by glimpses of New York, English New sand, and varying additions of high hour firing. Foil covered potatoes, Wave music, Paul Lorrimer’s letters from refractory fire-clay. The body retains sweetcorn etc baked on the corrugated Bizen and South American revolutions. enough plasticity for the throwing of iron and liquid refreshments are Ireally used to believe that living in the large forms with smooth surfaces, yet necessary to restoke the stokers, until country had some innate superiority. will withstand the rigours of the fire. they judge that the firing is complete, Seems a peculiarly narrow view to me One of these pots earned for Ray a then the pit is left partially covered, to now. Looking back I can see how the sub— merit award in the last Fletcher cool down over the following 30 odd sistence event sustained me, so long as it Brownbuilt, ”It was worth all the effort hours. was enough to chop wood, plantkumeras, go to sleep with the dark. Such whole attention as a pottery requires, as children require, has brought home to us the benefits of electricity—but that other time, like a dream, is a reminder of a quality! Still one’s origins remain, mine political and literary, his gifts for construction. Also wanting to be surrounded by the continuum—but the co—operative greed, floods, burnoffs, poisonous sprays. A music we are growing up with. shortsightedness and false values that we family such as ours can live on its own Lately I have to see Coromandel and must oppose to survive, has come to our piece of land, can be supported by some- our life in another way. My cynicism to- doorstep helping us to know what our thing worthwhile, can be independent to a wards romanticising the ”rural craft life” privileges are. It is a classic illustration of point and can certainly resist the idea of has been placed on another level. Idealism how the mentality of fear and comfort ”development” and ”think big”. erodes, but the multi—national mining manipulates the population to ignore the We may no longer live on silver beet companies have reaffirm‘ed what is valu— obvious. and we love having photos: Howard Williams television at the end of able. Generalising about the way people The Peninsula is a theatre landscape of the bed, but the lesson is that poverty and live is perilous. Change is the real light and water notwithstanding the candlelight are nothing to be feared, our TllCS‘. WMC W (OD/o (W W to gl—VP miv‘xg 011 (Re aim/tie bub;- New Zealand Potter Wd Saw shrew-m WM the filo! M 312101;“ ms ail/Co We W («emf-not dry/(via PVC—Menim'g Of Me (Haem- me (656% M105 the, WWW W the Seaweed 0914.!t Wla?eo( Witt pli/xc {Cy-aw. WM mike, defy“: Uf'flAe Wfitxe W we hm hat/ct W Clo-HM 43% cm to eta/Vk grew MA deep CVWS. GUAM a/vw owe 2 goodfortune is to choose it, or not. And if its finish. A similar discipline was experi- Just the same I have no feeling for it (DIM . Miami/d: of:Of.W W;a the price becomes Amax, Amoco, Mul— ence through the 151/2 hours oflabourfor myself, clay has always sat in my hands V‘cxaL. doon, Ben Couch, Aramoana, Bastion Esther to emerge, her umbilicus firmly in like lead. My dentist asked, ”Are you the smaWSWSJ alto-W +0 lira-m Point, the Springboks, there is only one her fist. Iused to fear (before the present power behind the potter?” Ichoked on the We efipwmwc" Elia—SW side of the line. love, before the present work began), the nitrous oxide mask. I do not talk about word compromise. Although this week pottery with women. Iborrow his clothes. Tfieposswcflos 61’ “SM/‘5 W Lat—41 All this is remote from how many hours images and longing for Africa lie in the The shed is Paul’s world where I visit him. 42/23/144Mauve-1W CW 043 it takes to reach Cone 10, but what do you mind’s eye I am excited that we are going Graeme Fraser who pots in the same shed want to know? If you want an idea of ScaL to ‘llke 50.131963) 6’} Claim to Opotikifor thefirst time nextweek. We is my good companion to make up songs what Paul’s work is like it is simple are already compromised by being housed with and sing togetherin the band. Some- Mulder, enough to look at what it is like because and well fed let alone the pleasure of sail- times the song is ”Sometimes it feels like is what he is and the standard by The W: that ing the clear, green Hauraki Gulf—God we’ve been here too long—making the which he judges it is simple for him, in (law. save it from the multi-nationals. same mistakes” and sometimes the song is «detainee that either he finds it lively or he does not. It is wonderful though that there are no “Little by Little” by U340 and at other The political dimension is that a person 25 Fetus/0» #149?” boundaries of self once you realise you times (a perfect firing, a sail to the island, who is able to make and sustain that kind {0 Ba.“ M can live anywhere, be anything, fire an new shoots in the bamboo hedge) ifI was of effort will not make speeches or write electric kiln once a day and change your Aretha Franklin and could, [would sing (o Salim pamphlets (asldo) buthas the strength of hair colour as often. Pottery is a hard way Amazing Grace. being unavailable to mass hysteria. to go in that there is so much responsibil- The way we have lived has taught me a ity for yourself, (the evidence is in your great deal I would never have known friends’ kitchens) it is always there, but it BOOK REVIEW Crafts as a livelihood well as the usual PR outlets. At holiday alone, without experiencing wood firing is a way of being centred that I envy. It Paul Tobin and Catherine Delahunty Craft New Zealand Just about everything you need to time such a guide to Hawkes Bay as a metaphorfor the unknown and barely tends to make you think because the Colville Doreen Blumh’ardt—Brian Brake know is covered in this portfolio of potteries or Coromandel potteries controllable elements which give the life spirit, hopefully, is part of the process. Coromandel Reed $60 booklets. How to run a co-operative would be useful to have in the glove This book is a splendid visual example crafts shop, Managing the Money, box of the car. of how far we have come in the crafts. Getting out of a Mess, are some of the Over 200 coloured photographs bring titles. to life the craft objects of 133 workers in Available at $1 for the portfolio from PUBLICATIONS clay, fibres, jade, bone, stone, glass, Crafts Council of NZ wood, enamel and plastics. Brian PO Box 11-233 Pottery in Australia, 48 Burton Street, Brake’s empathy with his subjects is Wellington Darlinghurst, NSW, 2010, Australia. consistently sensitive and shows most $A9. Volume 20/1 has good articles on strikingly in the photographs of carved Travelling bowls lustre glazing and salt glazing using bone and jade which have attained a Eight bowls were selected from the sump oil as fuel. lyrical quality. Fifty full page photo- Crafts Council’s Bowl exhibition for Ceramic Review, 17a Newburgh Street, graphs illustrate the work of our pot- inclusion in an international touring ‘London W1. £7.70 six issues.Vol. 69, ters. The selection is open to exhibition. Six of them were ceramic, oil spot glaze article. question—not all the pots shown here five were “regular” bowls. Rick Rudd Studio Potter, Box 172 Warner, New are representative of our best and there had the distinction of winning a $500 Hampshire 03278, subscription two is- are some notable omissions like the award donated by Winstones for his sues $8.50, in US funds. work of Chester Nealie. They are a per- Raku creation, an imaginative exten- Ceramics Monthly, Box 12448 Colom— sonal choice and if Doreen Blumhardt sion of the bowl idea. bus, Ohio 43212, USA. $12 ten issues. were selecting today and not in 1979 undoubtedly she herself would make some changes. Having the captions Guide to Nelson potteries grouped in sections makes for some Thirty-six potteries are listed in a local Our pots in Italy irritating thumbing back for reference, directory put out by the Nelson Potters New Zealand is well represented in but this is a concession to the layout Association. The guide names the this years international exhibition at concept giving precedence to the illust- potters, describes what they make and Faenza. Leo King has two pieces ac- rations. To this end Doreen provides information on where and cepted, Brian Gartside four, Debbie Blumhardt’s informative introduction how they sell. A map shows where to Pointon four and Ric Rudd five. NZ and linking text are commendably suc- find them—this will be more detailed Society of Potters assisted by QE2 ena- 1’ L Pure; to my}4 b w dv- at N2 make cinct. A splendid book. in the next printing. The pamphlet is bled a collective entry to be made from (tom. 0Fowl.M WTo kiwi:‘J cs overarm‘e. Pag¢ ‘5 Margaret Harris distributed to all motel and hotels as New Zealand. New Zealand Potter Page 10

Warwick Lidgard, fulltime potterfor ten years, foundation member ofAlbany Village Potters Co-operatioe. Now a potter andfarmer at Rings Beach on the Pacific side of Coromandel Peninsula, where he has built a new workshop and showroom. As well as livestock he is growing kiwifruit. As if that’s not enough he is currently science teacher at Whitianga High School.

A spectators view Warwick Lidgard

The progression of ideas and inven- glaze. Some of the glaze details con— leaving glaze in the hollows and then tiveness of our potters amazes me. I sciously sought in glaze application reglazing with a fairly thin coat. This feel as though I am but another spec— are: produces white in the hollows and tator as a great procession of potters (a) Craze pattern—a result of poor orange on the ridges. with new ideas and clever techniques glaze fit—accentuated when the glaze Other largely random patterns result moves along. is thickly applied and filled with a stain from dribbles if glaze is poured rather This yearI played in a game of coun- filler such as carbon or tannin. than applied by dipping. Thickness try cricket. As I swiped at my first ball (b) Colour variation; orange when variations cause colour variations and the bat left my hands and went flying thin, white when thick, with definite crazing variations, emphasising the out to square leg. The second ball I orange response to underglaze iron dribble pattern. managed to hit for four and the third (ochre) like the ”red volcanic earth (g) Variations are also obtained by saw me clean bowled. I’m swiping at a showing through melting snow.” using two or more Shino glazes. I use few balls now, so I hope a few connect. (c) Pinholing and crawling induced two, one drier and high firing, 70% When I am asked for my experiences by glazing over heavily grogged Nepheline Syenite, 30% Kaolin with Shino type glazes my reaction is I bodies, roughened surfaces from com- (1300 °C) and the other softer and more should be a spectator as I tend to get bing or incising, tooled ridges and orange, 65% Nepheline Syenite 25% excited about things which probably hollows. Kaolin 5% Yellow ochre (1280 °C). seem like trivia to others. (d) Gradation from dry glaze to Used on the same pot one glaze com- I remember achieving my first Shino sheen by altering the Kaolin content of plements the other. Bowls dipped in glaze test after many previous failures the glaze. The drier glazes offer more of the thick white glaze, centre waxed and showing my diminutive pinch pot the classic attributes described above. then rim washed and reglazed in the with its pinholed, crawled, crazed These have more Kaolin in them. orange glaze, results in an emphasis to white and orange glaze. I found it hard (e) Combination glazes. Some both rim and bowl centre while not to find anyone to share my en- Shinos can be incompatible with some detracting from the whole. thusiasm. Since then ”everyone” has others such as iron reds, producing Strong flame flashing produces dry ”discovered” Shino, and it has become bubbles or blisters. Like other de- pink Shinos, much appreciated by the even more ho hum! Or has it? ficiencies this may be turned to ad- Japanese tea ceremony masters. The pearly Shinos of our wood firers, vantage producing “leopard skin” ef— All these effects on pots glazed in salt glazers, the striking crazing em- fects if fired long enough. Unwashed Shino produce detailed areas worthy of phasised by those applying the glaze ash glazes tend to flux the Shino contemplation. They provide added cam variod‘iom thickly and the manganese/iron slightly and provide green areas which interest at close quarters to a pot which spherulites produced in over-glazing contrast nicely with orange and white. can also be an integrated and complete with other glazes are innovations giv- Some care needs to be taken as some- form at a distance. The details still ex- ing new vitality to an already complete times unpleasant pale puce colours re- cite me and once again I become a glaze. sult if the Shino is too thick. spectator each time I open a kiln. It is the detail in variations over (f) Variation in thickness of the glaze Warwick Lidgard small areas of pot surface which pro- to emphasise combed patterns can be Rings Beach vide the added interest as a decorative achieved by glazing then wiping back, RD2 Whitianga

Right: stoneware bowls decorated with a pohutakawa motif, photographed at NZ Craftworks by Richard Hendry. New Zealand Potter Page 12 Andrew and Jeannie Van derPuflen In Coromandel there is a shortage of 1 . plumbers and an abundance of full-time potters. Among this happy majority are Andrew and IEannie van der Patten and here, eschewing philosophy, they de- scribe their work methods. Our average work cycle takes two months with Jeannie working on press moulded and slab pots, me on the wheel making domestic ware. Our stoneware clay and porcelain are pre- pared at home by mixing the dry in- gredients on a concrete floor and ad- . ‘. . ding water. I make up a sloppy mix of at” .; each and leave it to sour for as long as Shine_ J“‘5 IWM Wv‘é. 3.0.35) possible. However, often I’m using it WGL. _ wimws within a week which means drying the MIN) clay on plaster bats to bring it to throwing consistency. STONEWARE Kopuku fireclay 90 Hyde ball clay 40 NZ ultrafine china clay 10 NZ Feldspar 10 R313 '03) WWW Aaioove :KW. M (We, WSW. Silica sand 10 W151 UL M 90HM.DLUV(M PORCELAIN ‘wcttae w—mrd. Australian Ballclay 50 fine V‘timga Shufcoaapsafaam po‘f became Australian Feldspar 50 chamber to produce good clean bis— by which time the temperature behind swbpMers.MIe/q n“ mI Ultrafine China clay 80 que. The bisque pots are then glazed in the bagwall in the salt chamber is (dieMfiMLecW' MEEWRAK Silica 15 the usual manner, stacked in the glost 1150—1200 °C. It takes two and a half After three or four weeks of throw— chamber and fired to Cone 10, but this effortless hours to raise the tempera— Suede/$35424. way of— room/mug We 5. M W ing, slabbing, press moulding,the time the second chamber acts as a ture to Cone 10 and complete the salt- . WW W Lam-2,4 séde wkwl workshop is full and pots are ready for sidestoked salt kiln. This adaptation is mg. c4. Sill—e. MOM all 056 firing. Ieannie’s pots are fired in her recent and I am delighted with the re- The salt is introduced through the own kiln, an 18 cubic ft vertical jet- sults. The original bisque chamber had side stoking hole. -. camctaumgmawmwm burner, brick, kiln fuelled by diesel to be changed from updraught to After the firing comes the tedious . WW state swat-o Come io¢sweot.%1~% and waste oil 50/50. I have found it downdraught by the addition of a part of the cycle. It takes a week un— ’ coinage!" carbwaiewas «Mafia-Ia w . works better to pre-heat the kiln a little bagwall and the opening up of the stacking, grinding, invoicing and by dripfeeding the mix on to a pan. bottom of the bisque into the stack. packing by which time we have lost the Wmlwo I at}: L “5‘“: Codoaxi‘ Carbmai‘e auto“- to M6 Cm‘ After that the waste oil burns as well as Behind the bagwall is the firebox, only ability to judge the merit of the work SW [swam W Welt hr» ctr-e (cam? right. diesel without any glaze contamina- 6 inches wide. The wood is inserted from over exposure, over handling and . +0 W W‘a rm tion or clogging of jets. through a 6" x 6” hole from one side of workshop dust. dMSOfIC' i’D “Wan-0t I fire terra cotta pots in the main the kiln and falls in to three hobs acting Thankfully pots look better as soon 0. Wfl (Ia—raw chamber of the wood kiln which leaves as fire bars. Side stoking is started as as they leave the premises and find mfirc photos log Jeff-MAL“ ¢UmicA enough residual heat in the second soon as the first chamber is up to heat, themselves a fresh start.

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.nmi 5,. .' Barry Brickell 3iii, .‘ Barry Brickell was commissioned by “My personal feelings about labour, skill and work have coloured my Waitaki NZ Refrigerating Ltd to design whole attitude towards the mural. Irrespective of the nature of the work and make a mural to mark the company’s being carried out, any human being working diligently and with skill 100th year of involvement in livestock exhibits a dignity of form and movement of everlasting value from which processing and meatexporting. The mural artists of all ages have drawn inspiration.” is in the foyer of the company’s new building in Kilmore Street where it can be Below: terra cotta panel showing mutton chain and tilesfrom the executive series and the ancillary viewed. seriesi

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It is perhaps not as relaxed a way of working as that followed by the tradi- tional country potter, but its extremely stimulating, a better deal financially and its part of a significant trend back to the city and in some cases back to the street front. The new-fangled gas/fibre kilns have been a major stimulus to the back to town movement—reduction firers can now come out of the closet and talk to their neighbours again.

Lex As an inhabitant of the Mt Eden time zone I find I can accomplish twice as much work and still have more plea- sure time, if not leisure time, than I did in my rural solo workshop. Most of my pottery is domestic ware, I hope re- flecting my belief that the production of well made functional pottery is itself a worthwhile goal. My other continuing major interest From left: lustred teapot Peter Lange, bowls Nicky lolly, Raku, Lex Dawson. is raku. This rather brutal firing method with great stresses being put Diana Wyler’s 10 cubic foot L.P.G. kiln what colours are preferred and I make upon the pot—and the potter— five minutes walk from my home. This use of the city’s resources of pottery paradoxically produces a soft quality in is just one example of the sharing of and books. pots that I admire. I also like the im- resources possible in the city. I like to I make pots quickly with little mediacy of raku—being able to view think that the co-operative spirit at the finishing especially in my handwork the pot at any stage during the firing Potter’s Arms extends to the wider as I believe if they are laboured they cycle. In raku the interaction between community of potters in our tend to look like it. Pots that feel good clay, flame and smoke becomes a major neighbourhood. to touch and hold appeal to me more component of the finished pot. Cur- than delicate untouchable ones even in URBAN CO-OPERATIVE rently I am using smoke on stained, Nicky porcelain. Rarely do I use porcelain for thrown forms with no glaze, to obtain As a new potter I find the co-operative its translucent qualities, but more as a Peter Lange, Lex Dawson and Nicky [Olly have established The Potter’s Arms at 223 Dominion Road, Mt Eden, Auckland. subtle colour changes. helpful. I absorb the differing background for colour. I like pots to While my domestic ware helps as- technique and style of Lex and Peter look as if they are made with the Peter suage the appetite of the co-operative’s and use what suits me from each. I hands, handles squished with my My family and I came to Auckland in the same building. We established a among those who are not drawn to 35 cubic footer, my raku is fired in learn through the shop what sells, thumbs rather than pulled. early 1979 looking for a completely new small but steady business, largely un- traditional stoneware. inner city environment after five years noticed and unpromoted because that We run our business on an entirely living in an isolated country area. My was the way we wanted it. equal basis—time, money and work idea was to create an eye catching Late last year we bought a house 400 that is invested comes one third from Firing updraught fibre and gas kilns shop-window potters wheel where yards away and suddenly we had a each. We get paid for whatever of our there would be queues of people surplus of space, all costing money but own pottery sells and this varies forthe ‘FI’OM WIS To “His waiting to help me unpack the kiln and all useful. We’d had Nicky Jolly a three of us from week to week, but #1 L_ 1 forcing lots of money into my grubby young part-time worker last year—she within a year I would estimate the re— I fire a 35 cubic foot updraught mains little hands—a ”clay in the back door, became fulltime and together with Lex turns will be pretty evenly distributed. gas kiln and have experience with money in the front door” arrangement. Dawson whom we lured into the city It costs over $100 a week to run the smaller LPG and mains updraught The reality was not so straightfor- with tales of non-stop parties and shop—rent, power, phone—and this kilns. Without exception the manu- ward. I found a good shop with balmy days at the cricket we formed a does not include potting expenses facturers of these kilns have little idea reasonable rent and facilities, but we three potter co—operative ”The Potter’s which are the individual’s responsi- on how the flame in an updraught kiln were still faced with costly setting up Arms” working and retailing in the bility. To help cover some of this should be distributed. They all tell you ====-=l expense, and hooked a 35 cubic foot now vacant upstairs and extra room amount we have started to retail other to fire at the base under a false floor and updraught fibre kiln into the city gas downstairs. We have two studios and a potters work. you do that and all the props collapse ==Ll= mains and started potting back from drying room upstairs, studio, workers Our policy is to avoid buying and the pots that survive have exciting the window, just in front of the down- cafeteria and shop downstairs and domestic ware or small handbuilt work fluffy white fibre bits on them and the stairs living room. With wife, kids and glazing and firing out the back. because we produce plenty of this our- walls of the kiln have similar shaped customers and social callers whirling We each work independently in selves. Instead we are concentrating on holes in them. around me my brain went fuzzy and separate studios and generally we fire promoting more experimental and The basic principle with any up- :1 K: / I we had to head back to the country for a separately. Basically we are three controversial work, the sort that many draught kiln, gas or otherwise is to throw the flame up the sides of the kiln 2%. f:«m. couple of days at a time for a draught of domestic ware potters, Lex and myself shops hesitate about handling. We clean air until finally we weaned our- fairly well established and Nicky just have a happy arrangement with Bron- to the flue and not create a fireball baswa“) Soy-n! “whims bu‘i' no'i' bad . selves from mother nature. starting. wynne Cornish, Peter Hawkesby and under the first shelf and hope the heat This description of the way we set up I have an interest in on—glaze lustre Denis O’Connor who provide ex- will make its way up. My first firing Judicious use of the damper to create Many manufacturers know how to hardly expresses the hassles and stress on porcelain which I enjoy for the extra tremely stimulating displays. As well under the manufacturers directions a completely flame filled kiln enables build a box that will reach 1300 ° in 20 we actually encountered, but the point colour and extravagance. It is fairly ex- we have Scott Hockenhull’s fantasy had about a 4 cone difference and 4 great reduction of almost perfect heat minutes but know little about firing is that we finally made it to the stage pensive to produce and to buy, but it pieces, Diana Wyler’s porcelain and collapsed bungs. I gradually evolved distribution. You also gain an extra 6” pots. where we did live and work and sell in seems popular and strikes a response blown glass from Rob Hooper. my system as follows: stacking space by using the floor. Peter Lange New Zealand Potter New Zealand Potter Page 19 mafia/a) mm at 'auwm‘ w molt am 14016i Mama/13M built by Matt, m Kata M‘W {0173 Me All W. Now o‘lokugéfi q: Mbw mic m hobo +akea w) m OUTREACH The kilm Mao cam/63 no a mm 5} Vi bVm&Mi JpePlc bgwio +0 opal/ode, law awn/Z WavksMJaAshwal’Piecasaowlm Pia/vam- cw/ (Si/M .lA/ti'llfl/k MIA/cod er 6W duh/motto Wt am. We adao M fldlgwdr/M City workshop with a big wme kibm‘loba 14435 uioéealaie 116:3? wflalvlca W0? W ' MM wood burning kiln @l M W fl Wu ' ’Péli'm/o 4 b0 .TL‘L 52:: fat/ODD Md ft; flan/ad's} Anti/16M W” awvg do/ 6V «Mt s 73/5656) wmfi'Md 4M. WWW jw , moo/t3 with dim M43 occupant/v33 M H Mao W5 digs/{dock Mao a suitablejuei mm m as.“ User, «mm s mw Outreach an extension of the Auckland makes up for giving up my own diesel MAW b3 W amoketl lbw/mu 0+ City Art Gallery is housed in the old kiln. baa/woe fl : lb Mailaléila'i’j 33:14 9% m police station where Ponsonby Rd People attending the four weekly ipeo. Woibé M Wow/'3) M We meets Karangahape Rd. Facilities classes are encouraged to come to more WW W Va tucked away behind those brick walls than one class if they can. They are also abawge 6t costlg b 0, W6 provide activity for printing, weaving, able to rent the studio during the week m?) (icmfle H123 m m w‘fiagm Kit/w) lq. (33v wheHAWfHA‘xzise pqebteaaittfl ‘ lie.) puppetry, painting, flax kit making, to practice throwing. mama! debt cm omealazeo | and pottery. At present we are doing ash glaze m3 fat/mafia. 0 we 5: w cam , The pottery department is well tests in the stoneware kiln and using TV biz “ASE/Vivi? Mdmo‘hdi/SW glaze formulas of the We’A/e Wu) about I W +0 daft equipped with a slab roller, seven late Oswold w . Stephens in the electric kiln. This close J: win/loot wheels, a gas fired raku kiln, an electric is lie W M mag admit; g blow law’s only fired to 1100 ° to save wear WWI/L oiliz gift mag/w} W kiln and the 500 cubic foot wood kiln. and em; a AMI/WM xu/e M/O’Vkeb (S14 u/vl'k tear on the elements. Students may pay for space in the We ()0V1M at M b ml neat/lea The gallery at Outreach Alba/to 18mm Alma av AMI/kw ummig wood kiln and are encouraged to make is available to anyone. Work does not go before a Wedmb at {40ml do lam/ill Vet/b Iowa g bricks??? g the Mp4; "33W WA? big pots at classes. Woe/Wilt; bvioks “do (344(k- selection panel or judge. It is in con- seas wade tlw ki vio Moib ‘fi/flwts dvpah 0W, stant use by the unknown at. ww eiq jIWD we Ml Hookah efl’lm Before I came to teach at Outreach I and the fam- Fit/Wig) . [$01 about 20 hows/.3] aldwh was a full time potter in Central Otago. ous and gives young people an op- . Mo to bA/gw/ jiowue «MDWW Having to come back to the city after portunity to exhibit their work. 115v m 0n +l~z 244) MW +0 IO living in the wide space of Otago has m3 a long {614W +> WWW, “(Ti-”:3 Mo M both/6. not been easy but I enjoy teaching and Pamela Webster amt/jive, Pottery tutor, Outreach 1981 mm ' 1+. 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~ .52: An exquisite porcelain bowl won for Beverley Luxton’s winning bowl. The porcelain bowl has an exterior coated in slip containing Beverley Luxton of Auckland the pre- copper and manganese—the interior has a satin glaze lustred in the third firing. "When [started on mier award of $2000. There were 240 this series my intention was to bring out the contrast of a sombre outside and a glowing inside entries, 22 per cent of those from over- varyingfrom white to grey to pink. The main difficulty wasfinding aglaze which did not shatter the pot by stress created by glazing one side only. (I seas potters: out of the 240, 100 pots were chosen for exhibition by the land, Australia, ”Microcosm” porce- Leo King, Birkenhead, Auckland, NZ, judge Richard Shaw of the San lain and pre—coloured porcelain (set of ”Control”. ”Sci-fi look handled well. Francisco Art Institute. He viewed his three) ”I particularly like the change The name Control says it all”. short list of ten entries as representa— between the outside and the finely Ray Rogers, Waimauku, NZ, ”Pit-fired tive of current international standards. photo: Steve Rurrisey scaled landscape interiors”. floor pot”. ”A change from the The winning bowl ”had a personal feel [on Aida, Gellibrand, Victoria, Aust- ordinary with good surface treat- Five about it which made it into something of our potters with widely differing styles contribute accounts of their attitude to pots, their ralia, large platter ”nice presence and ment.” special”. Merit awards went to the making and firing. Moyra and Gary Elliot, Wendy Ronald, Gerald Hope and John Parker. nice drawing not overly stylised”. Steve Rumsey says ”In designing the other nine:- Yoshiro lkeda, Manhattan, Kansas, exhibition John Parker used an in- Alan Fox, Dunedin, NZ, for ”Hydra” USA, ”Black Swan” wheel thrown and dustrial unit, the forklift pallet, so the hand built stoneware, a multifaced hand built, black glazed. ”A sensuous exhibition was permeated by the scent military monster described by Moyra and Gary Elliot, Auckland Richard piece that uses the material well with a of freshly sawn pine. For award win— Challenge of the copper reds Shaw ”funny and awful at the same good surface finish”. ners the display surfaces topping the time”. ”We live high on a ridge at the top of fitting decoration. A good deal of time at other times plain awful and we have Walter Keeler, Monmouth, England, pallets were 1/4inch plate glass mirrors. Iames Greig, Carterton, NZ, ”solid Auckland’s Waitakere Ranges where can be spent discussing and adjusting a lot more to do in this area before we and ”Salt glazed teapot”. ”An imaginative The pallets were stacked in four as— void series” slab dense bush separates us and the road. a new piece before it is included in the can hope for more consistent results. built sculpture ”good way of handling a teapot. A real fluid cending staircases each terminating From our house and workshop there are range. We can’t resist the temptation to scale and nice perspective”. feel with lay-back lines”. with a large Gary enjoys making big pots crocks lighted candle.” panoramic views over the city and two decorate the domestic ware although Connie Hoedt, Townsville, Queens- and urns, which he finds a welcome Below left: microcosm by Connie Hoedt. Right: teapot by Walter Keeler. harbours. Altering weather giving this is mostly confined to the lids. Most contrast to the smaller domestic ware. differing light patterns creates an ever— work is decorated with wax resist de— At least one is now included in the changing backdrop to our lives. Although signs originally based on a non- weekly kiln load. These are mostly our situation is rural, downtown is less oriental Chrysanthemum and varia- thrown in two pieces to approximately than half an hour away and we regard tions of this theme. We use a waxy matt the final shape, joined when fairly wet ourselves as city potters making ware base glaze (based on one of Royce for again to comple- city dwellers.” McGlashen’s) with tessha over. By and the form worked tion. After an initial interest in ceramics varying the thickness of the overglaze developed in London at the Camden application, the colour varies from rich Over the last few years we have been Institute, Moyra came through the rust to olive green on the one piece. We doing some work in copper red glazes. usual night class routes. Gary’s inter- also regularly use cut work under a Gary’s interest was kindled when he est was at first only in firing the warm ochre matt spodumene glaze read an article. He chose a recipe at kiln—a fairly standard Cowan oil fired which breaks pleasantly on ridges and random and put in a test. Voila— twin chamber—but this gradually ex- is useful for cooler areas of the kiln. We brilliant carmine red. Hooked. We tended to the full range of potting ac- similarly use a Shino for the very hot wondered what all the fuss about the tivities. parts. glaze’s difficulty was, then began to ”Our current work falls into several We have recently experimented with find out when subsequent firings distinct categories. The basis is a range oxides such as rutile and copper rub- brought variations on a dried blood of domestic ware with each of us mak— bed into bisque ware with celadons theme. However we were by then de— ing the forms we prefer, although Gary over this and the pots further embel- termined to succeed and have kept ex— now makes the majority of the work. lished with on-glaze brushwork and perimenting. We now have four diffe— We look for the lightest appropriate stamps. Results have so far been rent glazes which give fairly consistent weight and good functional form with patchy, at times really interesting and results, a purple/red, carmine, textured New Zealand Potter

pink and bright scarlet. They are all Sculptural work based on landforms Iridescent Pink Cones 9-10 fussy about their kiln position. has been a interest since a workshop We don’t consider ourselves glaze with Roy Cowan solved some persis- Potash Feldspar 7 lb photos: Left opposite page shows one of the latest landform sculptures, smoke patterns formed by sawdustfiring after the body maturing fire, flashings of chemists, we have learned by gradual tent technical problems. The surface Silica 2 lb 12 ozs orange fromferric chloride applied betweenfirings. Above left: Stoneware jars 45 cm high made by Gary. 2 pt pitcher 25 cm high by Moyra, both shino adjustment and rule of thumb methods patterns of these forms are becoming Calcite 1 lb 10 ozs type glaze. Right: Domestic stoneware made by Gary decorated by Moyra. based on reading everything we can. It more complex with landscape Copper Carbonate 1 ozs photos: Michael Dawson and Steve Ramsey seems to us that the firing cycle is the symbols—natural and man—made rep— Ash, washed x6 1 lb 2 ozs most important resented, (at least they mean some- factor for obtaining this recipe can be varied to Chun blues good reds. We reduce thing to me!), I’ve been intrigued re— lightly from by substituting 3.5 ozs iron for the 800 °C then increasingly cently to observe that despite some- heavily to copper. Results differ widely accord- about 1200 °C (varied times violent contours of the land, a little according ing to the type of ash—Kauri for soft to weather conditions), subdivision is still in straight lines ig- then light re- pale blues, pine gave us aubergine noring all convolutions. duction to the end of firing. We have I’ve incorpo— tones over a white body. not rated those ideas in the current series. I found that a final burst of oxidation For more on copper reds see STUDIO became dissatisfied improves results at all. with the effect of POTTER V018/1, Ed. Thickness of glaze is almost as im— glazes on these works and the most I portant as the firing cycle and to get recent forms have been first high-fired - \ ° I - intensity of colour and texture we like, and subsequently smoked after appli- 4- 1816» the glaze must be very thick. This has cation of heat sensitive chemicals like meant spectacularly coloured kiln Potassium Dichromate and Ferric Royce McGlashen’s stable base glazes shelves but we’ve largely solved this Chloride. There is a lot more work to be done to gain greater control of these problem by spraying and tapering off RCG 126037857YY °C thickness of glaze toward the base. effects.” Moyra Elliott NZ Feldspar 50 We get the best and also the worst Quinns Road NZ Dolomite 10 results over a white body. Where the Oratia RD Auckland NZ Calcite 15 colour break is clean and even its great, Silica 20 but it can be patchy and messy, a hap- Purple/Red Cone 10 NZ China clay (ultra fine) 40 pening that is less offensive over Potash Feldspar 13 lb Iron oxide (opaque matt) 1 stoneware. We look for reds and pinks Silica 6 lb 6 ozs which have colour so intense that the Grertsley Borate 1 1b 10 ozs Smokey 1260 °—1300 C’C mouth almost waters. Sometimes there Dolomite 9 ozs NZ Feldspar 50 are bonus little bright turquoise Zinc Oxide 9025 NZ Dolomite 20 ”eyes” within the texture of the glazes Copper Carbonate 2 OZS NZ Calcite 3.5 which heighten this effect. The reds Tin Oxide 2 ozs NZ China clay 30 are used on both handbuilt and thrown Bentonite 2 ozs Coarse ash (40 mesh) 5 pieces where the form appears approp- Needs a lot of heat but is best protected (apply thin, interesting at low riate to the opulent colour. from direct flame. temperature as well as high)

glaze by Moyra. Right: Handbuilt bottles in porcelain 28 cm-45 cm high, copper reds, purples and grey/blue chun glazes by Gary Elliot. photos: Michael Dawson and Steve Ramsey Domestic Wares A little known Auckland Pottery Factory, The Vortex Works, was a rival to Crown Lynn hand thrown ware in the mid nineteen-fifties. The Works, dating from around 1947,7was a small owner operated business, sited first in Mt Albert and later moving to the Waiatarua area. All the work was made by the owner from one clay source. The stylistic features of Vortex Ware are a single shiny glaze on simple forms with most surfaces being a heavily tooled ridging reminiscent of ”coil” pottery. Vortex ware was purely utilitarian, featuring ashtrays, cigarette boxes, planters, vases, flower troughs, bowls and pineapple stands —— all indispensable in the modern home. The work was relatively unnoticed in its day, as was the recent retrospective exhibition at Alicat Gallery, which presented the pieces in their appropriate lounge and sick room settings. The Vortex Works had a limited output. Pieces are now eagerly collected for their rarity, and may have found their way into at least one important public or private collection somewhere in the world. However, would be collectors should be wary of fakes. John Parker Photographs by Peter Shaw New Zealand Potter Page 26 New Zealand Potter Page 27

Studio on the beachfront, big coffee pot, 310 mm high, bottle white glaze with cobalt decoration, teapot (6-8 cups) base glaze, pure rutile decoration. Pots refined and quiet Gerald Hope, Marlborough photos: Paul Restall

it. .' a. r'. ‘3 t 13;? ’1: ., :j n ‘V ,_ 5. . / N2 lb \. ( ’ a! $41 x, :9 avg“3:) . l » \XK

My first opportunity to work with clay fibre down-draught fired with LPG. the same results I follow exactly the the gas flow—try for a compression of For a very soft ash glaze which is New Zealand e.g. Awatere Valley; was provided at Wellington Teachers The kiln has four burners firing same length of firing cycle. I tried fast flame within the chamber as evidenced better suited to a cooler placing in the Marlborough, or on road cuttings is College by Doreen Blumhardt over the vertically, taking six hours to bring the firing (6-7 hours) but wasted fueland by flame at the lower spy hole. A bal- kiln—as overfiring makes it glassy worth experimenting with. years 1969—71. During my early teaching kiln to 1100°C, a further three hours in ruined glazes which became glassy anced reduction can then be achieved. green—prepare clean, washed, hard— The range of colour is wide with years weekends were set aside for estab— reduction and gaining a further 20°C in and harsh. To repeat the diesel fired The final two hours is a solid soak wood, e.g. Macrocarpa, as follows. variations caused by additional lishingapottery workshop,lbuiltawheel a final two hour soak. The two kilns are results follow the established cycle, but period bringing all cones to the re— Use the already mentioned base glaze. materials such as ash. and a kiln after the plans in NZ Potter fired alternately with indistinguish- because the gas allows finer control quired degree of melt. For best results I Increase the china clay to 1000g. The following recipes should be 16/2. This kiln is still in use with only able results, though with LPG natural note the following: close my damper by as much as 3A and Add clean ash-dry weight of 375g. thinly applied for initial experiment- minor modifications over the years. glazes using papa and ash have a more 0°C—1100° reduce the gas flow to a minimum. The Over this glaze base I use various ation. pyrometer is essential for maintaining combinations of oxides to Living in Blenheim in the early ’705 even quality. LPG can enhance the col- over 6 hours—neutral flame decorate. our of a good glaze. temperature. The burners are neutral My decorative technique is based on in comparative isolation from other 1100°C-1260°C at this stage and the kiln is using all traditional calligraphic brushes or Red-Green-Yellow potters made for self reliance. In Reduction setting over a 3 hour period heat generated. whatever else in readily purchased (dependent on reduction or hindsight my early pots were over in- 1260°-1280°C brushes catches my eye. With a little temperature) fluenced by magazines and books ADAPTING TO LPG Soak included for balance When I first started potting I made the effort and boldness applied decoration rather than by design consciousness Total 11 hours mistake of having too many glazes Papa 750g. can enhance a basic pot. and by the limitations imposed by The firing cycle of Nelson RMKZ and The early flame is not reducing, but mixed, but failing to develop them Ash 250g. Basic washes contain either red iron, using local materials. A trip to Britain the glaze recipes to follow are closely neutral. I don’t use a gas analyser be~ fully. Now I use one for most of the Plus either Tin Oxide" 25g. rutile or cobalt—or any other material and the opportunity to visit numerous related. cause I have developed a work—a glaze I obtained from a or Feldspafi 30g. visual or glaze that can add richness to a sur- potters helped consolidate my style, bisque to 900°C technique for adjusting the burners printed source and modified. If fired or Calcite" 10g. face. All washes are mixed in readily which is for refined, careful workman- glaze to 1280°C from neutral to reduction. It works like using the cycle mentioned, it can be fat *Use individually with papa/ash mix. available screw top jars which make ship and quiet glazes. ( 6- 7 hours) this. Four burners are firing vertically, and lovely. ideal shakers. In 1977 I commenced as a full-time (10-11 hours) close off the primary air until a strong BLUE GREEN GLAZE The degrees of thickness of applica- domestic potter at Rarangi, yellow light reflects on the Feldspar (Mintech F) 1512g. Gerald A. Hope floor be- tion will effect the colour. Marlborough. The workshop is Note that the reduction cycle and neath the kiln—when the flickering Dolomite (Mintech D) 504g. Wairua te Wairau Pottery Calcite Rarangi RD3 Blenheim situated on the shores of Cloudy Bay length of firing is critical. By hour 8 glow is constant you have a reduction 84g. Washes (Lime with a view that takes in historic Port (1260°C cone 8) should be reached, setting. For a neutral setting open the 8: marble red stripe) Red iron oxide 50g. over the next 2-3 hours 1280°C. Then China clay Underwood and the North Island primary shutters until the glow just 900g. Illmenite (course) 50g. finish with a balancing (Mintech G.M.35) mountains. soak. Reduc- disappears. This simple technique China clay 50g. tion in the diesel kiln is Add 1 level teaspoon Diesel is still the most viable fuel for automatic from works well. of Cobalt Red iron oxide 100g. 1000°C upwards, probably due to tight Oxide (note small measure) South Island potters. My oil kiln is ef- The use of the damper in this kiln is Rutile 50g. Add 1 level ficient for its size but could be im- stacking. I waste little space and allow most important. During reduction the teaspoon of Chromium China clay 25g. proved with a ceramic fibre internal the burners to oxidise only at the end of damper should be closed slightly Oxide (note small measure) lining. However, when I needed a big- firing. causing only a lick of flame at the Natural glazes using soft rock— ger kiln, I chose a 20 cubic ft ceramic The gas kiln is different. To achieve flue—it may be necessary to decrease If no colour required leave oxides out. Papa—which is found throughout New Zealand Potter Page 28 New Zealand Potter Page 29

Slowly and carefully with hand pinched pots Copper reduction in raku firings Bill Malcolm Wendy Ronald Auckland Raku firing differs from other kinds of from the pot during the reduction. If tially oxidising it and colouring it with A weekend workshop conducted by Pat- pottery firing in only one important you just dump the pot into sawdust in rainbow hues. That same process car— ricia Perrin and Rosemarie Brittain intro- way—at the end of the firing, pots are the open air, sure the sawdust burns ries on even after the pot is cooled to duced me to porcelain clay and hand— reduced outside the kiln. There are (oxidises), and loses electrons, but room temperature, but more slowly— building. I like this method of working so myriad kinds of raku kilns and pot- oxygen in the air quickly swoops up the pot tarnishes. Tarnishing is an after six years potting at home with pre— handling tools and firing techniques, those electrons and the copper never everyday reminder of the ther— schoolers about, Ibuilt a small two cham- but in Virtually all the variations, the gets them. The oxygen is reduced, not modynamic reality that everything in bered diesel kiln and turned a hobby into a red—hot pot ends up reducing in a fuel, the copper, and who needs that?—after the universe is steadily going bung. If full—time occupation. usually sawdust. That external reduc- all, reduced oxygen is just water. But you want to stop that entropic tailspin I did not have a great amount of suc- tion is the flashiest part of a raku firing, with a muffle over the pot, the wee bit on your raku pot, you must lacquer the cess with finely pinched porcelain and it’s what on-lookers remember of oxygen inside the muffle is quickly pot or get into a .Brasso routine. bowls at first, until I read Mary Roger’s most. But it’s also the part that goes reduced to water and so can’t do any (5) Whatever you do during the re- book. Here I found most of the wrong most easily. Indeed, raku pot— more harm. But the sawdust continues duction to get special effects, don’t re— answers. To get the results I wanted I ters have so much trouble getting good to oxidise (lose electrons) even without move the muffle until you can safely had to be prepared to work more copper reduction that they often don’t oxygen because at such a high temper- touch it with your bare hands. By then, slowly and carefully paying more at— even expect to. They prize the rare ature, the copper on the glaze grabs the the pot is fully reduced and any raw tention to form. There is a particularly penny-copper lustres that unexpec— electrons lost from the sawdust. In body is blackened, the sawdust is high mortality rate in this type of work. tedly turn up, but they despair of doing so, the copper is reduced. 80 heavily charred, and the smoke is Finger print denting can be a problem making every firing a success. Admit- that’s what you need for copper gone. Some raku potters water-quench and to overcome this patience is re- tedly, few of them grumble at such reduction—a hot pot, dry fuel, and a while the pot is still hot—it’s a flam- quired for scraping away—difficult in- mean results, because they fire raku muffle. If you see to those three things, boyant end to the firing, but it’s also a side a tulip form. I have encountered just for fun (at potters’ do’s and you get copper reduction every firing. quick end to many of the pots, and it’s few problems over glazing or firing weekend workshops), or else for Now for a few details. altogether unnecessary. although there is always the possibility secondary-school demonstrations (1) Get sawdust that’s bone—dry, un- (6) If your pots turn out green rather of slumping when firing to 1300 °C. where, some claim, good results aren’t treated and free of chips. Tamp it than penny-bright, yet your sawdust is Sometimes slumped flared forms turn important (“We’re teaching attitudes firmly into a shallow basin—6 inches dry and the pot is well-muffled, then out to be the best. here, not techniques”) And besides, depth is enough for even big pots. Site you’re either not heating the pot Half my work is stoneware—from part of the ancient raku mystique is the basin close to the kiln on a sturdy enough in the kiln or else you’re letting Jack Luckens clay bought at nearby accepting whatever comes out of the table, and clear everything from the it cool on your way to the sawdust. Hobsonville. My porcelain is a mixture firing. That centuries-old tradition sits short path you’ll take between it and Waving the pot in the air is dramatic of wheelthrown domestic ware, bot- altogether too well with the current the kiln when you’re firing. entertainment for on-lookers, but if tles, vases and handwork. I use Pod— laid-back school—”Hey man, we just (2) For muffles, get tin cans with your aim is copper reduction, it’s plain more’s porcelain clay for its translucent get into it, ya' know, and whatever joins that are crimped as well as silly. qualities. happens, that’s cool.” Well, often as soldered—joins that are merely sol- (7) Some raku potters bury their pots . .‘§ not what happens in raku firings is a dered will buckle open as the hot pot in the sawdust rather than use muffles, bright purple disaster, and if those melts the solder, letting in oxygen and but burying is a poor substitute. For same potters suffered such dismal ruining the reduction. Choose cans one thing, you don’t exclude all the dart—board results in their bread-and- about 4 times the volume of the pots oxygen so you may get patchy reduc- butter stoneware firings they’d smartly you’re going to fire. If they’re much tion or none at all. For another, you find a fix or go broke. And happily smaller, the pots will coat with hard— make a lot of flame and smoke. Ad- enough for raku potters who do want to-remove wood tars and resins, and if mittedly, you’re tempted to think that to control copper reduction, the fix is much bigger, the sawdust can’t reduce if you’ve got a furious fire going, then easy—if you meet three conditions, the oxygen before the pots cool so you’ve got furious reduction too, but you can reduce copper whenever you much that they won’t reduce fully. you’re wrong about that—the more like: (1) the pot must be hot enough, (2) (3) When firing, set the hot pot down flame and smoke you make, the less the fuel for reduction must be dry and gently on the surface of the sawdust. copper you reduce, because as we’ve highly flammable, and (3) the pot must There’s no need to jam it into the saw— seen, your sawdust’s electrons are be muffled (sealed off from the air). dust, but if you like the speckling that going to oxygen in the air rather than to Now let’s see why. sawdust makes where it touches copper on your pots. Besides, you ir— Reduction is a gain of electrons. melted glaze, either lay the pot on its ritate the fire brigade and your insur- And, because accounts in our universe side or throw a handful of sawdust at it ers if the flame gets out of hand. And, are kept strictly, electrons gained by just before you put the muffle on. But the smoke assaults you, on-lookers, one thing must have been lost by get the muffle on quickly, and twist it and anybody else unlucky enough to something else nearby. That loss of down firmly an inch or two into the be downwind, with nose—and-throat electrons is oxidation, so wherever re- sawdust. ills at the least, and with bronchitis, duction is going on, oxidation can’t be (4) If you like a mixture of reduced emphysema, or lung cancer at the far away. In a raku firing, green copper and oxidised copper (red, green, blue, worst. That sounds exaggerated, but carbonate brushed onto a pot changes and yellow as well as penny-copper), isn’t—~the smoke is highly reactive and to a brilliant penny-copper because lift off the muffle after a minute of re— chockers with carcinogens. It could electrons leave the sawdust (it’s duction, letting in some air (the saw- start something serious for the unlucky oxidised) and go to the copper (it’s re— dust will burst into flame, so be care- few, and anybody who works in it con— duced). Trouble is, there’s something ful). After 10 to 30 seconds, replace the stantly is taking big risks. There’s no else near the pot that’s far more likely muffle, again twisting it down into the excuse carrying on when going the reduction Above: pinched porcelain sea green glaze and to pick up stray sawdust electrons than sawdust, and put out any fires. You’ll smokeless also improves collection of rose coloured porcelain bowls. copper is. That something else is oxy— get paua—shell iridescence that way— effects. The same criticism holds for a Left: hexagonal porcelain jar in sea green gen, and it’s the certain ruin of copper oxygen in the air that you let in strips low-fire potter who wants only to glaze, bought by Auckland Studio Potters from reduction. Hence the need for a muffle, electrons off not only the sawdust, but smoke his pots, and maybe doesn’t a one man exhibition at Alicat Gallery. like a tin can, to keep oxygen away even the already reduced copper, par— even glaze them—without a muffle, New Zealand Potter Page 30 New Zealand Potter Page 31

he’s putting less char on his pots, not pet’s volume), or by wetting the saw- jacket or gown and come away spot- more. And if he wants only partial dust to make it less flammable, or by less, with no sore throat or burning Potting in Waikato charring, like a flame mark, he can get firing to a lower temperature. eyes, and your only hurt is from aching it smokelessly by using a muffle much arms toting all those pots with copper Hand crafted pottery was first made in Brian Batten’s evening Few local full-time potters have been larger than the pot (say 10 times the You can fire raku in a white dinner reduced just the way you want it. class became the district by Elizabeth Lissaman. She a day course at the newly named seen at national level. Margaret Rad- Bill Malcolm, an expatriate American, pots with his wife Nancy at Sunday Creek Pottery, Stanley Brook RDZ Wakefield. He also farms worked in isolation near Morrinsville Waikato Technical Institute in 1970. ford (now of Warkworth), Kevin cattle and trees. In the next Vol 24/1 he promises a production raku kiln. making earthenware from the early Margaret Radford became fulltirne McCaskill at Raglan, Barry Ball at Te ’20s. General interest developed from tutor, then Kevin McCaskill and finally Kuiti, Peggy Judge, Ann McCartney, two part-time classes taught by Brian in 1980 myself, Val McArthur and Elizabeth Wood- furniture, props and shelves, how a Batten, a Hamilton art teacher, as early In 1971 at the Hamilton Society of field in Hamilton are the exceptions. Summer simple filter press can be made using a as 1962. Among potters attending the Arts, local potters had their first ex- Suggested reasons are the conservative workshops vacuum rather than pressure. classes were Margaret Radfbrd, Peggy perience of oil firing in a brick kiln audience and the extraordinary Evenings were spent pleasantly with Judge, Elizabeth Woodfield and Val built for community use. John Mitchell amounts of pottery made by part-time Self Sufficiency Course 1981—Harry talks on geology (Harry has an excel- McArthur. Toby Easterbrook Smith ar- of Te Awamutu supported by Peggy hobbyists, meeting the needs of most Davis lent collection of minerals to illustrate rived from Wellington in 1965, built a Judge and others formed the Hamilton local buyers. Too many potters Early in the year, twelve potters com- the subject), talks on glaze formula- Cowan type diesel kiln and made Society of Potters in 1972 and had their spending time teaching rather than pleted two weeks of intensive learning tion; slides showing aspects of the domestic ware including particularly first exhibition in October the follow- potting! Perhaps also far too many still at Crewenna Pottery Nelson. They Peru project and always given with a handsome cider jars. Eric Flegg took ing year. Melis Van der Sluis set up his looking for a direction, attending clas- were mostly from the younger genera- friendly exchange of knowledge. regular monthly workshops at workshop/gallery in 1968 giving ses where yet another style is offered. tion of potters still in the process of Field trips were organised taking us Teachers’ College from 1969; few pot- Hamiltonians opportunity to see the Eclectic work ”reminding one of setting up their workshops—three inland to see different clay and mineral ters in Hamilton have not benefited processes of making and firing and someone else” often results. were from Australia. deposits and the type of country where from his in-depth tuition. also to buy locally made pots direct As in most smaller centres, work The first day was an eye-openerto all these can be found. Over the Takaka A locally well-known pioneer potter from the potter. matures at a slower pace; pottery of when Harry showed his self suffi- hill past Collingwood we saw the of particular interest is Enid Lyons, Learning to pot has not been dif- strong conviction might be just around ciency techniques in drilling and cut- commercial clay pits, the iron-ore who uninfluenced by others, has an ficult. Weekend workshops from well the corner. ting metal by using tools we could quarry, the dolomite quarry weather- ability to model clay in the trompe— known New Zealand and Visiting make ourselves. Projects were discus- ing granite and silica sand. de-l’oeil manner that is rare and con- overseas potters have each left their sed and it was decided that two ball- The group was thankful to Harry and troversial (see photo). mark. Don Thomley mills, two pugmills, a blunger and a May for their wonderful hospitality toggle or brick press would be made. and for passing on so much of their Several of the trepanning tools for cut- knowledge. ting metal, and the parts for the beam Bruce Martin drill were also made, All projects were If you are interested in taking part in completed, or nearly so. \F‘ one of these courses conducted by t i s»)’ Interspersed between the cutting, Harry Davis, write to him at drilling, filing and hammering of metal Crewenna, Wakapuaka, Nelson RD1. Patea, Taranaki, $25, limited to 30 par- ‘ were the other facets of self sufficiency There is a waiting list. ticipants, write to John Rough, High in potting which were more directly School, Patea. Anne applicable to our own workshops. Borland Lodge, Monowai, Southland, Royce McGlashen, Nelson, summer McCartney How to make our own pyrometric 16-24 January, tutors Roy Cowan and Jan 24-31, autumn 7-14 March, details Anne McCartney cones, how to make saggers or setters Jean Hastedt, write to Audrey, S.A.E. Cob Cottage Pottery, Bright- has been potting full time for ten for plates and bowls, how to make kiln Simmons, Heddonbush RD1 Winton. water, Nelson. years gaining experience through Hamilton Potters Workshop and week—end schools. She specialises in domestic what’s happening, and why. On and help set it up). If you missed ware and has been de— veloping her interest Potters convention Monday 26th, the five potters at work Palmerston North, most of the video in burnished and smoked pots. will be; David Brokenshire, George material taped there will be shown She has been firing a large Cowan Kojis, Royce McGlashen, Chester continuously during the weekend. type down draught oil fired Following the success of Ceramics '81 kiln, Nealie and John Parker. There’ll be a yoga workshop, a forum but has changed recently to a 17 cu. at Palmerston North, it has become ft on firing with gas, competitions, a kiln firing with gas and is finding this apparent that New Zealand potters are Throughout the weekend, the pot— kiln easier to handle. hungry for more. As John Pollex said tery department of Nelson Polytech creche, films, social functions, and after the Don Reitz show, ”it’s a pretty will have (literally) tons of clay avail- much more. As well, the A.G.M. of the hard act to follow”. “Clay—The Con- able for participants to use, and low New Zealand Society of Potters will be vention of the New Zealand Society of temperature kilns, fired with wood, held on Sunday October 25th, and as Potters" follows with a different act. gas, diesel and sawdust will be with all A.G.M.’s, the doors will be open to all. The Nelson Potters Association will operating continuously over the three host the convention, for all potters, days. f during Labour Weekend. The A wood fired kiln will be fired to weekend will feature New Zealand— 1300 °C on Sunday 25th. Pots fired in CERAMICS 81 its materials and potters. Ten well this kiln, from potters all over the A record of the symposium by New known potters will be working over country will be auctioned during the Zealand Society of Potters contains two days during the weekend. On afternoon of the following day. kiln plans, glaze recipes of interest to Saturday 24th, Len Castle, Neil Grant, Most of the problems of National all potters. A chapter on the low-fired Jack Laird, Debbie Pointon and Rick exhibitions have been eliminated for workshop. Rudd will work for six hours—each the Nelson exhibition. No selection Retail $4.95, discount to members of doing their own thing, but working (only convention participants can pottery societies. Contact them or together. The audience will be able to exhibit). No freight (bring your pot write NZSP PO Box 881 Auckland see them all at work, and will be kept in with you—take your purchases home $4.95 Aust.$4.95 USA and other touch by an M.C., who will field ques- too). No bickering about setting up (if $US6.25 Britain $3.80 tions, and keep everyone in touch with you feel that strongly about it, come 1 V l New Zealand Potter Page 32 New Zealand Potter Page 33 HONEY HOUSE CO-OPERATIVE PO'I'I'ERY WORKSHOP Gaynor Nairn

When the pottery workshop I estab- I started potting at Feilding night school lished at Timatanga Commune phased way back in 1962 at John Fuller’ 5 first out, I decided to look elsewhere. I was classes when none of the students ini- tially knew the slightest thing about still committed to the communal work— ' ‘i‘ shop idea. I accepted a full-time pot- pottery. Eventually, with advice from tery tutoring position at Waikato the late Lee Thomson (”You’ll never get o Technical Institute in Hamilton and anywhere potting once a week”), I set 5,} up my own pottery, put an advertisement in the paper for a l » property near the city. That’s how I My husband built my first wheel with acquired a big lead-light-windowed milking machine pulleys for weight, house to live in, an orchard, walnut two car bearings, emery stone for wheel tree and grape vines, and furthermore head and a tractor seat to sit on and I still an historic concrete walled shed of 2000 use it, although I weakened a few years sq ft: an old honey processing factory ago and bought an electric one as well. on the main highway between Hamil- Laboriously I measured Flora Christel— ton and Te Awamutu. It was the perfect ler’s original Roy Cowan kiln at Pine— place to realise my frustrated haven and was four layers up when the Timatanga dream. plan was published in New Zealand An establishment grant from QE II Potter! I had already built a small helped with the workshop’s 30 cubic smokey twin-chamber drip feed natural draught kiln which reached 1100° in five foot Olsen fast fire kiln and a raku trol- Plate 20 cm max. resist decoration on an iron wash and papa glaze. ley kiln—gas and salt kilns to come. All hours and took another five hours to potters are young in experience, three reach 1280°. After about three firings in discriminating buyers and I consider cent, and you can’t get cheaper than are students I have taught, one a the Cowan kiln I felt some degree of that important. Some craft shops are so that. It has a wide firing range from dull graduate from the Otago Polytechnic Above: members of the co—operative, Helen Lynch, Robert Allan, Betty Litchfield, Don Thornley, confidence and by 1970 when we sold desperate to buy that anything goes; if olive green on the bottom shelf at 1220° course and another self taught. We Anna Amies, Phillip Wiles. the farm to move to the King CountryI we educate the buyers we can eliminate to blue black gloss at 1280°. It has more have a showroom with space for guest photo: Ross Clayton think it was at its best. that poorer quality pottery. colour in the oil kiln but is quite satis- craftsmen to exhibit and the usual In 1973 I completed a larger version of One thing night class teaching has factory in the school electric kiln and Raku Days to stimulate the public. my original kiln fired by Twiss burners, taught me is that there are other means very reliable. Recently I have used What is less usual is our intention to a big improvement on the pot burners. I of potting than the wheel for which I North Taranaki iron sand sprinkled on provide space for a guest potter to work am seriously considering a gas kiln — it previously had an undue bias. I use the wet glaze. for a making cycle of six weeks or must be lovely to feel clean at the end of Macphersons Clay and his slab clay In the last two years I have started as a longer if it is seen to be of mutual a firing. with only three basic glazes in different hobby the propogation of rhododen- benefit. I now teach night classes at Piopio combinations, iron, papa and a tricky drons and that mightjust be at the same We all feel we have been enriched College and although I have not pro— dolomite when I decorate. The papa stage as my pottery was 15 years ago. and challenged by this sharing ven- duced any great potters they are more glaze is papa 80 per cent, whiting 20 per Who knows? ture. Looking back over sixty years potting Elizabeth Lissaman Don Thomley Ohaupo Pottery Below left: Don Thornley in the Honey House. Right: an example of Don Thornely’s recent work, I made my first pot and decorated it local clays and making their own glazes Ohaupo RD3 teapot 16 cm high black slip under white satin opaque glaze. with birds coloured with raw earth\ as it has been reprinted five times and Hamilton shades in 1920. It was fired for me by a published in America under the title Wellington brickworks. I still have it. ”Starting in Ceramics”. As there was no opportunity to learn I seem to qualify for the title of even the rudiments of pottery making ”Grandmother” of potting in this in New Zealand, no materials and no country. I asked Briar Gardner some books in our libraries, I went to Sydney years ago if she was our first studio and made copious notes. I also found potter and she said ”no”, as she began out how to build a small coal-fired kiln the year I had my first exhibition in which I fired with Westport coal. After Christchurch. hard work and many experiments I I now live in Morrinsville near was able to make all my own glazes Hamilton and it is my wish to be of from imported materials. My first help to other potters ifI can. exhibition at long last was in Christ- After using coal and wood to fire my church at the Winter Show in 1927. kiln, I imported an oil burning one Later I demonstrated potting in both which was easier to use and now I have Christchurch and Wellington as few imported an electric kiln. I do not want people had seen a potter’s wheel at to dwell on past difficulties as I feel one work. I taught many including should always look ahead to new ideas Elizabeth Matheson, who came and and above all encourage the many stayed in our country home for an in- wonderful young potters. The number tensive course, and later took adult of potters in this country and their ap- classes in Levin and Morrinsville. preciation and enthusiasm is amazing As I wanted to help others start pot- and long may it continue. ting I wrote “Pottery for Pleasure in Good wishes to you all. Australia and New Zealand” pub- Elizabeth Lissaman lished by Reeds in 1969. I hope this 43 Canada Street book has encouraged potters in using Morrinsville New Zealand Potter Page 35 Val McArthur I enjoy making domestic ware and fire a 4 cu. ft electric kiln to 1230°C— 1250°C. As I have not yet found a prepared clay body that fully Vitrifies in oxidation at cone 7, l have developed my own. Basically this is a blend of stoneware, and earthenware clays and terracotta for colour. I have found that by blending different clays from different areas of NZ. a more satisfactory result is ob- tained than by using say, just all Nelson clays. As each clay batch seems to be slightly different we keep a watch on its water tightness and fired colour and adjustments are made just by increas— ing or decreasing the proportions of stoneware to earthenware. Our current blend is: Ceraclay from Wellington (Screen Printing and Ceramic Supplies). Used to be known as Hume Clay. 51/2 lb A.F. 30 Fire Clay from Huntly (Powder — must be mixed Barry Ball with water and dried to plastic.) 51/2 lb After learning to pot at Chelsea Pottery to produce an unusual effect. The de- sign is lost. Greens and blues have been RKF Nelson Clay 21/2 lb in England and working first at Briglin mand for the ware is such that employ— the predominant colours used so far, GB2 Nelson Clay 71/2 lb Pottery and then on his own account in ment is provided for workers using but gold has just been added to the London, Barry Ball returned to New their own designs to scratch and paint range. The backs of the bowls are This has proved an extremely well Zealand in 1974 and established a pot— on to thrown bowls. One of the full- sprayed with black to complete the behaved body for all thrown ware both tery at Foxton. time workers is Hoa, a Vietnamese re— glazing process. They are fired to 1030°C large and small pieces and also small He moved to Te Kuiti in 1977. There fugee. Although she had had no previ- in an electric kiln using low night rate slab ware. As it is fully vitrified it is not with his wife Jane who handles the ous experience she has proved very power (less than half the day rate). Suc- good for things like large platters as business and selling side, they have skilled in painting. cessful designs are repeated, but de- they are apt to slump. The addition of built up a large pottery workshop and signs are constantly changing and tests more fire clay would possibly help here. showroom employing two full-time The bowls are hand—thrown by Barry are regularly put through the kiln to and two part-time workers. on an electric wheel and turned the fol- keep interest keen. ' Within the last two years he has com- lowing day. They are then bisque fired Upper right: tease! by Val McArthur brown Recently the sgraffito has been ex- matt satin glaze with slip pattern. Below left: pletely changed his ware. Reduction before the women scratch out their de- dragon by Enid Lyons. Right: pots by Melis fired stoneware has been replaced by signs through a white glaze — after tended to decorating earthenware tiles and plates and other flat ware. van der Slais, satin red copper glaze 30 cm decorated lower fired terra cotta. When which they are painted. Various glazes high, matt white dolomite 25 cm high, grogged working in England he observed a and oxides are then applied giving the Having developed this side of the anglazed clay 50 cm high. sgraffito technique in which a design is bowls their highly glazed finish. This business Barry now has the freedom to photos: Alanna Cranston scratched through the glaze. The pots process is time consuming and the concentrate on making some individual were then painted and sprayed with thickness of the glaze application is all stoneware pieces, a pleasant change various glazes. For a year he ex- important. If too thick the glaze crawls after many years of domestic produc— perimented and refined this technique and the sharpness of the sgraffito de— tion. New Zealand Potter Page 36 New Zealand Potter Page 37 Elizabeth Woodfield’s ball mill The barrel rests on the rollers with the the diameter of the barrel and greatest impact. For further reference, corked end away from the pulley. To critical speed. Pottery in Australia, Vol. 15/1, page 23. keep the barrel off the drive pulley a Using 2” diameter rollers and 6”-pul- block with a 4" bolt projecting is ley on the end thereof the size speed = 54-18 pulley on positioned at the centre of the roller critical the motor was figured this way: mounting. V R of mill in feet circumference barrel _ The stoneware barrel was found in a 54-18 = circumference roller second hand dealers. 84 It had no lid so a optimum speed (87% ofC.S.) X 5 = 370 hole was bored through a tightly -645 fitting = speed by 6” pulley cork and an eye—bolt inserted. To re- Optimum speed is between 64 per move the cork after milling, use a rod cent and 87 per cent of the critical speed. r.p.m. motor (1440) = 3 .89 through the eye-bolt to pull. Store the The considerable leeway is due to the 370 barrel without the lid otherwise the differing viscosity of the material. To- circumference 6”'pulley = cork shrinks causing leakage. wards the upper limit the balls tend to 4.84 The rollers and motor are from a ride the wall of the mill till approxi- 3-89 washing machine. The motor is mately half way up, then are projected = circumference of motor pulley mounted on a slotted board so it can be into the void above the general mass diameter motor pulley drawn back to increase belt tension. and come crashing down with consid- = 1 '5" The pulley sizes are relevant to erable force — thus achieving the The 2” V pulley caters for this size. Fissure pot 35 cm high stoneware, manganese glaze. You can’t learn it all from a book Eric Flegg photos: Alanna Cranston Eric Flegg has a diploma of design and and critical judgement often present accomplishments than it is to build an art teacher’s diploma from English difficulties. confidence in the pupil and to transmit Colleges. He joined the staff of There is no simplistic formula for the sensitive awareness one acquires as Hamilton Teachers’ College in 1968 mastering a craft which demands the an ”expert”. where he is Head of Art. highly developed tactile sensitivity Furthermore studio pottery is one of A founder member of the Hamilton implicit in making good pots. No those activities where there is now a Potters Workshop and a tutor for the amount of demonstrating or discussing close relationship between a well— lsmrel rol’al'itm loo fssl' past ten years he has been influential on the ”how” is sufficient to compensate documented and universally re- Gall dbl/ion ol' opl’imvm speed the Waikato potting scene. His pots for the teacher’s inability to physically searched body of knowledge and an if, reflect in texture and form an interest in control the pupil’s hands and fing- intuitive methodology. The proficient *l-bp mol’OY E‘Jx wéslfilng Mosl‘ilhe plosl’lo Jar lid and New Zealand geology. ertips. potter can fuse these influences and nul’s l’o It is probably true to say that what is Developing all the potter’s skills is so make a vital pot, while the learner — Shop bMFcl Aumplhg of? generally difficult to learn is relatively much a self-discovering learning pro— through anxiety to at least have a pro— Sgcbol lI Prov“ difficult to teach; few experienced pot- cess and therefore highly egocentric, duct to show —~ often finds it difficult to ”who: Supplier ters would consider their basic leam- that out-going teaching methods are accept this fusion, preferring to go by ing as having been easy. The tech— required. For example, it is less im- the book. Encouragement of this nology can be akin to an exact science, portant for the teacher to be concerned acceptance is the area where the but processes requiring clay technique with demonstrating personal skill and teacher’s role is all important.

UJrinaer rollers Elizabeth Woodfield ll ‘ L; boll’ l’o grep a Washer \ barrel/jamming Qluminium plal’e For eight years I have been a full-time Cul’ Prom scmp potter making functional stoneware. I Slots Cor bell ,/ Cul’ Ool‘ehds of ex} first exhibited with Auckland Studio adjosl’menl' G" pulls: and Screw l'o base Potters in 1971 the pots being functional stoneware fired in an excellent natural draught drip-fed kiln based on Patricia Barrel size is ”UL" x id'dig-mel'y Perrin’s kiln. This kiln fired to 1300°C in 6 hours. Being in the city it was usually \ fired at night. After moving to a semi- Classes available Flegg. Held in pottery room, Teachers’ Waikato Art Museum rural position I have a cleaner 60 cu. ft College. Workshop meets regularly. two chamber force fed kiln fired with 4 For beginner potters there are a Contact Secretary, 17 Ann Street, jet burners. I don’t use cones or number of High Schools offering night The museum actively promotes Hamilton. pyrometers preferring the excitement Classes. Information from Public ceramics. Our collection was begun provided by judging with my own Relations Office. Waikato Society of Potters: Week-end in 1973: we must acknowledge that it schools held throughout the year with suffers from eyes. Sometimes I single fire, glazing Waikato Technical Institute: Tutor Don gaping holes — potters A crafts centre/ pots when bone dry. After all this time I Thomley. Part—time day classes for well known potters. who should be included are not to be workshop will be established this year. found and some still get kiln fright with each firing. Ash beginners to advanced. Evening classes others are represented by undistinguished papa rock and other materials I like to available also. Information from the Society’s works. However, use in glazes need to be milled. This is Treasurer at PO Box 9299, Hamilton it forms the basis of a good collection the ball mill Gordon Robertson helped Hamilton Potters Workshop: Tutor Eric North. on which to build. me build. Sue Knowles collected and co—ordinated the notes and articles on behalf of the potters of Waikato. Alanna Cranston took the photos. ( 1 r When visiting Auckland remember Mcg’mqar

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