New Zealand Potter Volume 27, Number 2, 1985 M/l’féfi/E/Wér/ [47?WW (pk/'42s _WWeM/egagaar Q 4426235026? New Zealand- Potter Vol 27/2 1985 ISSN 0028-8608 Price $5

Cotter: Wood fired plate by Aim Ambler, Box by Robin Pendrcd. Plioto: Howard S Williams. See story “Evocation” p.13.

Editor: Howard Williams 2 Through the Filter Press Assistant editor: Margaret Shimmins Exhibition Calendar AdYerttsfi‘g managérJOhn Deal 3 Books Reviewed — Howard S. Williams D6518” oward Wllhfims 4 Pottery in Vanuatu — Barry Brickell Correspondents: Hamilton, Sue 8 Wanganui _ Grace Alp Knowles; Wellington, Anneke . . . . Borren; Nelson, Julie Warren, Peter 10 A Unique Exhibition at Pots of Ponsonby Gibbs; Christchurch, David 12 Moyra Elliott — Francis Turner Brokenshire. 13 Evocation — Shona Scott 14 Of Course You Can Make Your Own Clay — Royce A DESLANDES McGashen publicatlon, also _ 16 Philips Studio Class Award — Sam Halstead pUthers 0f theN‘j‘U 19 Theo Schoon — Steve Rumsey Zealand journal or . . _ 22 New Zealand Pottery makes it in London —— Agircultuic,. , and the Nt’tu . Zealand Ga 'dt’ 5’ '. N1cola Holmes Managing dirgcior: 26 Cable Price Toyota Award Exhibition — Suter Art Alex Dunnett Gallery Managing editor: 28 Lynne and David Griffith — Peter Gibbs A Rafi of first—Class Clays available from he fOHOelg Jim Moffat 30 Wairau Valley Special School — Howard S. . . _ ‘ Williams OH : Distributlon: Plrect 33 Barry Brickell Mural from the PUthEr at 35 Fletcher Brownbuilt Pottery Award 1985 P ' t B , P t . . . . C.C.G. IN DUSTRIES LTD. SOUTH ERN CERAMIC Trellggfionfflifgé 39 Maureen Hunter, Mainly Raku — Daphme Hendne 33 Crowhurst Street, Newmarket, IMPORT COY. 41 Waikato Technical Institute . . 42 Potters Market COASTAL CERAMICS NO. 1 R.D. Invercarglll. . 124 lu Road, Paraparaumu. STUDIO 803 The New Zealand Potter is published three times a year, in April, August and December. The price is $5 per and the United States $US24; COBCRAFT POTTERY 803 Eaton Road, Hastings. copy, or $15 pa by subscription. Overseas subscriptions: Australia $A20; Canada United Kin dom £10; other $U82-1. . 4 . . SUPPLIES LTD. TALISMAN POTTERY SUPPLIES g the written permissmn ofthe publisher. All rights 388 Montreal Street Christchurch. 171 Archers Road Takapuna Articles in the NewZealand Potter are copyright and may not be reproduced in any form in whole or in part without unless initially specified otherwise. The editor invites submissions but retains the right to accept (3r rgglect any material. if] l l ‘ reserved in material accepted for publication responsibilityisacceptedforunsolicitedarticles,photographsorartworkand anysubmissionswillbereturnedonlyifaccompaniedbyastampe a resse enve ope. MCSKI M MING IN DUSTR'ES LTD. WESTERN POTTERS SU PPLI ES _ queries must be accompanied by a stamped addressed envelope. unless intended as letters to the editor, 322 Tuam Street, Christchurch. 18 Clark Street, New Lynn, Auckland. . . . . Main North Road, WaIKIWI, Invercargill Northway Street Te Flapa Hamilton. Typeset and printed by Deslandes Ltd at Publication House, 22 Walone Street, Petone. 65 Brid man Street, Dunedin. Postal address for editorial, advertising and subscriptions: New Zealand Potter, Private Bag, Petone. SOUTH. STREET GALLERY 9 ; Telephone 687-179. 10 Nile Street, Nelson. Display advertising BLACK an d WHITE @317”! ..) 4'COLOUR . _ , lnside front and inside back covers: $484 Back Cover: $1500 (minimum three issues) Full page: $440 Half page: $269 McSkimmingIndustriesO O O LimitedO O I:Hfffgageggo‘g9 Quarter page.. $163 PO. Box 2105, Dunedin. Telephone 883119. Telex N2 5320. ‘ Potter's Market: Display advertising: Full page: $380 Half page: $230 Quarter page: $140 Eighth page: $85 C 1409 Classified advertisements will be charged at 50 cents per word, minimum 10 words. Cash with order. Unless finished art work is supplied by the advertiser, cost of preparing such copy will be added to the above rates. g ifi EXHIBITION CALENDAR sive notes on fuels, combustion and CLAY—-|N THE BEGINNING THROUGH THE FILTER PRESS BOOKS firing systems. With its excellent diagrams and ta— Scientists in California have reported a Reviewed by bles this book is essential for anyone major discovery that supports the Pottery and Friends, Christchurch intending to build a kiln of any type emerging theory life on Earth began in By John Crawford, President, September 12-25. Richard Parker and Howard S Williams and should really be read by all potters Clay rather than the sea. New Zealand Society of Potters. Scott Hockenhull in order that they more fully under— The discovery showed that ordinary October 10—24. Chester Nealie and stand one of the most important pieces clay contains two basic properties es- Merilyn Wiseman _ of equipment in their pottery work- sential to life: The capacities to store November 14-28. Margaret Milne and shops. and transfer energy. Chris Cockell With such energy, coming from CLAY STATEMENTS radioactive decay and other sources, the early clays could have acted as Artisan Centre, Newmarket Edited by Bruce Anderson "chemical factories” for processing in- October 7-19. Ruth Castle and John Hoare (Darling SALZBRAND organic raw materials into the more complex molecules from which the first Downs Institute Press) life arose some 4000 million years ago. This excellent book is a catalogue of the ’86 In their analysis of common ceramic Being Professional — to a potter, what If we as potters wish to have our Albany Village Pottery Darling Downs First National Ceramics clay, the scientists said they had found should this mean? work considered as a viable art—form October 5—16. Anneke Borren and Award held in Toowoomba, evidence that ”mistakes” made nor- Is it simply doing a job well for remun- we will have to be more professional, mally Owen Mapp Queensland, Australia. Clay State— Salt Glaze Competition and repeatedly in the formation eration? I hope not! keeping working drawings, visual re— of clay November 10-20. Chester Nealie ments is destined to become the crystals, presumably create the Professionalism should encompass all cords of past works, making commit- authoritative publication on the study A magnificent catalogue of Salzbrand conditions by which the material traps aspects of your approach to clay, such ments to personal aesthetic goals, energy Pots of Ponsonby of contemporary ceramics ’83 has just arrived from Koblenz in the and holds it for perhaps as commitment to technique, materials Alan Peascod, our Australian guest in Australia. October 6—20. Penny Evans It consists of full page colour photo- Federal Republic of Germany. This thousands of years. and design expression. Clay has the at the recently held convention in Such November 17-24. Campbell Hegan and graphs of pots from 46 of Australia’s was from an international exhibition defects in the clay microstruc— amazing ability to be worked in so Hawkes Bay, had one over-riding mes- ture could also Andrea Barrett leading ceramists, each one accom- and competition of salt glaze pottery be sites for storing in— many different ways, enabling the sage for New Zealand potters. We must formation panied by details of the artist’s back— from 15 countries. It included work necessary to direct the craftsperson to create works that ex— as individuals strive to create some- chemical reactions The Potters Gallery, New Plymouth ground, their understanding, their from 3 New Zealand potters, and organise the press something of themselves and thing of our own. Potters here have a eventual proto-organisms. September 29-October 12. Cecilia Par- work and their philosophy. The top Madeleine Findley, Philippa O’Con- eventually create a ceramic language all real opportunity to take the best from kinson and John Parker quality photographs are by John Ball. nor and Valerie Wright, all from Can- So, if the theory can be confirmed, it their own, whether it be domestic or long established pottery traditions and seems an accumulation The works for this exhibition were terbury. of chemical sculptural pieces. create something uniquely NZ. mistakes led to 12 Potters, Remuera selected by Janet Mansfield, Glen Salzbrand ’86 is the second of these life on Earth. Until recently there has been a re— After having seen both of New Zea— September 22-October 5. John Parker Cooke, John McPhee and Mitsuo Shoji. competitions and will be held in Kob- The theory is also evocative of the luctance to accept craft as an art form by land’s most prominent exhibitions this biblical account of the creation. In It is an excellent representation lenz at the Gallerie Handwerk about a majority of our established public year, the National and Fletcher of Gallery 5, Invercargill new developments and directions — a May 1986. Several prizes will be Genesis, it is written ”And the Lord galleries. An example of this would be Brownbuilt, I feel this is just beginning God formed man of dust of the September 14—28. Rosemarie Brittain survey of the ”state of the art” of awarded, the first being 6,000 DM. All the Auckland City Art Galley who still to happen and the thought of that is ground.” In common usuage this ceramics in Australia, and is an essen— applicants must submit at least3 pieces will not allow craft through its doors. very exciting. primordial dust is called clay. tial addition to the libraries of all who of salt glazed work, domestic or (Except for installations such as those Auckland Star. are interested in this field. sculptural. The work must arrive in recently seen, by Bronwynne Cornish It will retail for $A19.95 and Koblenz by the end of December next. and Denis O’Connor. This I believe is can be APOLOGIES obtained directly from the pub- Full information and entry forms can more a policy of the City Council than of lishers... be obtained from: the Art Gallery — Ed.) Quote from James Mack, Director of In POTTER ’85/1 in the article on the Darling Downs Institute Press The Editor The art versus craft argument has the Dowse Art Museum, from the NZ exhibition Water/Clay I omitted the PO Darling Heights NZ Potter ”No significant pot can be made apart been bandied about Listener of 15 June 1985. name of Wellington potter Flora in New Zealand Toowoomba PO Box 79 from one’s living. Therefore you quite long enough, perhaps ”In very simple ways the visual arts Christeller who was co—organiser of it has Queensland 4350 Albany should not expect your work to be of something to do with might embellish television. Let’s do the exhibition as well as an exhibitor. the fact that we Australia. Please enclose a stamped addressed great importance until your life is what somehow still consider that art works away with those ghastly things that The photograph ofPeter Collis’ pots on Please enclose an extra $A10 for air— envelope and 50c in stamps for photo- you want your work to be.” Shoji must come from Europe, Asia or North backdrop the continuity announcers. page 10 was taken at Pots of Ponsonby. mail, or $A4 for surface mail. copying. Hamada. America. What about a different New Zealand The three photos on page 4 should Maria Kuczynska, an inter- painting every week and an accom— have been credited from the top to: nationally acclaimed ceramic artist panying piece of craft from New Zea— Flora Christeller, from Poland, on her recent visit to land public collections? This could be David Shearer, judge the Fletcher Brownbuilt Award programmed, and a small picture re- Gulielma Dowrick. exhibition said, ”In Poland we do not produced in the pertinent Listener.” Didn’t I do well! — Ed. THE KILN BOOK have Art separate from Craft, there is only Art or Non—Art". By Frederick L Olsen (A & C Black, $44.60) I am pleased to say that the NZ words Society of Potters has begun a positive G This is the second edition of a book and constructive dialogue with the Art Editorial copy for The New Zealand already widely known by potters as with Potter 1985 Issue No. 3 must be in the Gallery Directors Association of New being one of the most comprehensive 79, Al- Zealand in an effort to establish a hands of the Editor, PO Box semantics manuals dealing with kilns. It is a play mechanism through which NZ pottery “Earth, Air, Water, Fire. These are the bany, by September 30. practical guide to the construction, to will be given its deserved place in ingredients of pots and human beings who TletcherBrownhuilt maintenance and repair of electric and up public galleries. We found the Art Gal— alike, and each formula contains also fuel burning kilns. lery Directors Association do wish to the element of chance. Do_n0t seek The text is revised and expanded get show pottery and would like to collate perfection in pots or people, for your Editor’s rejection slip: ”Dear contributor. from the first edition and includes new People grateful for a generous grant from properly the information on the pots search will go unrewarded, and you Your story was good and original. Un— problem-solving sections on fibre and New Zealand Potter is they show, and the potters who make will miss knowing many good pots and fortunately that which was good was not modular construction. It includes de— Fletcher Brownbuilt towards publication costs. the work. Their approach has been many good people.” Ross Murphy, original and that which was original was tailed plans and working drawings for entirely professional. USA. not good.” 22 different types of kilns and exten-

2 NEW ZEALAND POTTER No. 1, 1985 NEW ZEALAND POTTER No. 2, 1985 and make the simplest of useful pots. This all proved difficult as fir'ebricks POTTERY IN VANUATU were unobtainable at the start. The word went out and gradually the clay samples started coming in, also the By Barry Brickell, Coromandel. news that there may be a few bricks left buried under the remains of the huge American bread oven in a nearby coconut plantation. We unearthed enough full and half—bricks to build part of the kiln only. I therefore set to and made some simple wooden tile- Early in 1982, Ken and Betty Rabarts of sized moulds (250 by 250 by 60 mm) Coromandel pursuaded me to take into which the students were shown a month at Lugan- time off to spend how to press the clay mix, wire cut and town on the island of ville, a small obtain kiln building tiles. island of the inde- Santo, the largest As the only clay with any refractory pendent republic of Vanuatu (formerly ability at all was Sylvester’s white ear— known as New Hebrides), to establish thenware, I had to use this mixed with a pottery workshop there. This project sawdust from the local joinery factory. was being funded by an American- I showed the boys how to foot—wedge based aid group called Code], with the this. My kiln plan required 30 odd aim of creating employment and as- tiles, some bent to form the crown and sisting small business establishment firebox arches and the others straight for the young people of the area. for the floor and walls. We saved the The Vision behind the pottery precious bricks for the bagwall, scheme originated from Ken while he firewall, setting pieces and the door was administrating the affairs of the and stack base. The power station Anglican Diocese of Vanuatu on previ— people relinquished a short length of ous Visits, and we discussed it at some steel pipe for the top of the stack. We length over the years. As working had to force—dry the tiles by warming in members of the Vanuatu Association the electric kiln to maintain schedule. Inc., the Rabarts arranged for me to Meanwhile, I had the added respon- Visit the country for the month of June sibility of trying to maintain 1982 as a member of the annual work enthusiasm and stimulus as a pottery party from NZ. tutor with energetic, charming but On my arrival at Vila, the capital on scatty students trying to do claywork iganville, Vanliata the island of Efate, I contacted Ken Barry Brickell at the Wheel at (coiling, pinching and moulding) in Calvert a New Zealander on a work some semblence of order. They all permit in the Central Planning Office wanted to become instant skilled of this newly independent country, to throwers and I did pine for a fellow find out all I could about the geology tutor with good patience while I bat— Sylvester Bulesa, a young man who and clays as well as the attitudes and stages of repair. I was given a spartan tled on with the kiln and testing, and trained in pottery craft at an customs of the people. To my pleasure but sufficient room with an electric had been the various errands that this entailed. Polytech (sponsored by there was some interest in the pottery light and communal cooking and Australian The humid heat did not lend me as to project, but nobody had done any ablution area situated in the church Lions International) was attempting much energy as I needed at times, had returned a work with the local raw materials in the grounds. The church is comparatively tutor the students. He Using the bricks, I built a very crude before with a small electric sense of proper testing and suitability new, a fine hexagonal structure in con- short time vertical “chimney” up‘draught kiln in a ton of white for a craft approach. There was abun— crete block. The trees scattered about kiln, an electric wheel, the side of a bank into which we placed clay, some dant geological information of an are very handsome and give shelter to Australian earthenware the now dry tiles. The firing went quite and dozens of small academic type with economic geology the population about their very hum- made-up glazes smoothly and all the tiles were satis- studies of such things as mineral de- ble huts and sheds. The people are very jars of bright underglaze stains. This factory. The municipality showed us a a disadvantage in that his posits (manganese, pozzolan etc.) and attractive, smiling and welcoming and placed him at kiln site nearby (one has to be very was that formed from the rapid weath— fired in open fires (no kiln) then training was thoroughly alien to the remarkably full sets of coloured walk in large numbers around the old careful with land rights) and with the ering of ”recent” basaltic ash, “glazed” with vegetable gums or which was to geological maps, but typically, not a laid-out streets of the town. There is a real needs of the students help of the boys, we took only a day to probably deposited aerially from vol- extracts to help make them waterproof. pottery as mention of suitable pottery materials, very large proportion of young people; create as much basic, usable build the kiln. As the walls were less canic eruptions within the past few I was fortunate'in being taken for a minimum cost (there is let alone clay. one is continually offering greetings all possible with than 3 inches (50 to 70 mm) thick, it was thousand years. The central and west— speedboat trip around the open about) and maximum The small plane trip to Santo, about the way along the streets. very little money necessary to plaster the outside with a ern bulk of Santo Island is volcanic in south—west coast of Santo to the village valuable an hour’s flight, included a landing at a The next day, the Bishop introduced use of local raw materials. The mixture of local red clay and sawdust. structure, but fine secondary clays will of Wusi, where-some of the women grass airstrip to pick up an unwell lady me to the 8 pottery students, all young Code! funds should, in my opinion, be Using salvaged timber and roofing be very difficult to find. The weathered continue to make traditional pots. We so that the thing from a remote village bound for the men between 13 to 21, selected from used for this approach iron, we built a crude shelter over the ash clay of red to chocolate, and occa— were amazed at the almost unplastic was hospital at Santo. The coconut and among the church community. In the could become self-reliant as there kiln. A local metal worker let us have sionally yellow colour, forming a layer earthy nature of the clay used, it being palm trees lent the landscape a very well-built pottery room of the young not another chance. Sylvester kindly old rods and pipe for kiln bracing and over the coral substrate is high in the a weathered volcanic tuff of light distinctive appearance which I had people's communal centre (built by the agreed however, to my using his kiln he also made a very simple kick wheel clay mineral montmorillonite and has a colour. Before firing, a fine red slip is never seen before, it being my first trip French before Independence) there and some of his clay for tests in order to to my design. This was installed fired shrinkage of about 20% at applied and after firing a sealing to the tropics. At Santo, about the size were four electric wheels, of various get things started. Electricity costs against one of the posts of the kiln shed 1,100°C. It can be very smooth, plastic ”glaze” made from grated arrowroot say of Taupo, I was met by Bishop odd designs. None of them seemed to were very high, the power being gen— and a timber-slab wedging bench and pleasant to work with. and seawater is applied to the hot pot. im- Harry Tevi and two of the anglican work properly, but after some atten- erated by diesel engines burning erected against the other. Pottery has been made in Vanuatu (In Fiji, a true red body clay and glaze priests from the local church commun- tion, I was able to demonstrate on one ported fuel. I was fortunate to be taken for one or for perhaps thousands of years. It is made from ”kauri” gum is used). The action which ity. The town of Luganville is the site of of the standard commercial models. It I soon formed a plan of two exploratory trips in the local area, similar to the traditional pottery of Fiji museum in Port Vila contains a cabinet an American World War II camp and was clear that we would have to build a had to be compressed into less than a but as it is almost entirely of coral (cal— and Papua New Guinea in that the display of the local traditional pottery much evidence remains in the form of simple kick or foot-treadle wheel to be month. We would build a small cium carbonate) the only clay nearby hand—beaten and formed wares were techniques. The pots have a simple corrugated iron buildings in various of any real use to the students. wood—fired kiln, test local materials NEW ZEALAND POTTER No. 2, 1985 5 4 NEW ZEALAND POTTER No. 2, 1985 form with rich ornamentation built Back at Coromandel two weeks later, into the surface and are mostly used for after the kiln was built, Matthias and slow cooking of the staple foods on Manly worked daily at my place and smouldering charcoal fires. Betty Rabarts hosted them. I was be- Meanwhile, we were building up a ginning my work on earthenware fair collection of pots by the students then, which was, in fact stimulated by and myself. Shrinkage and texture test the trip to Vanuatu. With volcanic bars fired in the electric kiln showed clays of the type so prevalent in the that approximately equal proportions South Pacific, earthenware seemed a of white earthenware and local ”hos- more logical choice than stoneware, pital hill’ red volcanic clays produced a the kiln and firing problems also being very satisfactory body at about 1,050cC simpler. and a total shrinkage of 15%, which is acceptable. The gas-fired kiln kindly lent to me My geological map indicated a river by Rosemary McFarlane of Coroman- flowing through volcanic country to- del, was a great asset in that the stu— wards the west, which should provide dents’ pots could be fired often enough a coral-free grog or sand. Indeed, the for us all to experiment with a new range of earthenware Adsone River sand and some finer glazes and slips. material ' forming cliffs on its south We prepared my local terracotta clay bank were our main source of temper- bodies in the ball mill and by hand and foot wedging and I was able to borrow ing grogs. Another source, discovered Throwing another room at Driving Creek, Coromandel almost by accident, was from the in- potter’s wheel. We used Hyde Photos: Gil Hanley ball clay as the essential ”imported” sulation around the kiln. After firing, William practices the red clay/sawdust mix shrank and body ingredient and lead bisilicate frit Barry Brickell wit/1 students from Vanuata at Driving Creek, Coromandel throwing, for the glaze base. I was also experi- tended to fall away. It was burned to a Laganville rich red and we could easily powder menting with cheaper glaze materials such as and sieve it for grog. The addition of borax frits and cullet (ground the maximum amount of grog to not glass). inhibit workability of the body too We tried to keep foremost in mind much, allowed us to reduce the pro- the various problems the boys would portion of Australian white clay to have after their return home, when about 35% to 40%. My experiments planning their work here. To my de— showed that fired shrinkage of the local light, they showed their excellent and red clay was not reduced as much by eyes behind every blade of grass. I much so. The fun aspects of decora- free sense of design and enjoyed doing the grog as by the white clay addition. gave countless throwing demon— tion, design and form appealed to sgraffito in the white slip over the red Before the first firing of the home- strations on the kick wheel especially them. The stricter business of learning body. Although a little more than two made wood—fired kiln, excitement was to the throngs of children from school to throw became absorbing to only months was_not long, their potting mounting. We scoured the town for classes. The little kiln shed with its about three of the students. I resolved showed steady improvement and a demolition oregon wood from old wheel, bench, kiln and now properly to select two of them for training visits sale of their work organised by the army buildings and a local man kindly stacked firing wood was a useful, com- to NZ for the next year. Rabarts and local church people gave lent his truck for us to collect old slab- pact entity which the local people On reflection, I am still learning from them some much appreciated pocket wood from a nearby sawmill. Here I could accept and later, enjoy. the Vanuatu experience; I think I money. We arranged to send them the had to monitor the wood being so I entrusted the firing to Sylvester learned an awful lot more than I tried to money from their pots that we sold enthusiastically collected as the boys who soon blew up a pot by diligent teach. From time to time letters come after they returned home. did not understand that it had to be old stoking. ”Something wrong with kiln” from one or two of the students re— About a week before the boys were and dry, not still ~”green”. The first said Sylvester. ”Something wrong questing information or materials. due to depart, I asked them if they (biscuit) firing drew crowds of young with your fire” I humoured to him. One must never assume, however, that would like to build another kiln, simi— people and children from the district The firing was a success, Heaven’s once started, things will continue as lar to that which they would be advised and the nearby Catholic school and blessings. The pots were actually one would wish. However, as the Codel to build in Vanuatu. They were very peoples react intuitively and earnestly tential for a handcraft pottery outlet, was attended by boys climbing the glazed if but rather thinly. Also the funds provided for a visit to NZ for keen and with a great flourish, we de— to one’s, face. It must be regarded as but the ware must have a distinctive- coconut trees over the kiln then copper and cobalt brush strokes advanced training, we dicussed this molished my old small two-chamber two—way traffic, any sharing of tech- ness befitting the country of origin if I breaking out and roasting the resulting showed up well much to the delight of matter by letter after my return to NZ. kiln and in its place, built an nology or ideas. the craft is to succeed. The local people edible lining, on the top of the firebox. the students. Apart from the kiln in— suggested that the two older boys who ”economic” type kiln (somewhat like One day, I visited a Catholic Mission have abundant access to cheap import- from sulation Apart from the odd ”boomph” having to be continually showed a strong interest in their the ”fast-fire” or ”Phoenix” design) station on the Island of Malekula and ed manufactured pottery and of the coiled pots were patched up, the kiln worked throwing be invited inside — some well to come. It was with dutch oven firebox underneath. I the Sisters there were very interested enamelled tinware etc, so for them, firing was a success. enough up to 1,050°C, rather thick —the although a agreed that Matthias Tevi (a son of the designed it to use 800 bricks (two pal— in the idea of clay bread—making ovens handcraft pottery would have little ap- longer pipe on A suitable glaze, was the next the stack would have Bishop) and Manly Christopher be in- lets) and standard kiln shelves. The and pots. Sister Patrice (from NZ) had peal unless it totally suited their needs improved the draught. problem. Fortunately, I had brought vited. They arrived about mid March, day before the boys left, they fired the been doing some experiments with and limited ability to buy it. The indi- some gerstley borate and feldspar with Because the church was the centre of 1983, for a two and a half months stay. still wet kiln and were very pleased local clays and she later visited us in genous handcrafts of Vanuatu are me and managed to make up a crude the community (there being several At this time, Baye Riddell, a potter at indeed with the wood-flame effects on Luganville to meet the students and principally woven items and hand— raku type glaze. The thixotropic nature different Christian denominations in Tokomaru Bay, north of Gisborne, was the clay. It was a good climax, and compare notes. Another form of pot carved kava bowls but a limited of the borate did not make for easy Luganville), I tried to encourage the planning to build a fairly large wood— Baye, Gemeaux and their baby son which the local people wanted was a amount of native pottery from Wusi glaze application, and I wished I had making of pottery items for the church fired down-draught kiln. He keenly Kahu turned up just in time to enjoy it ”100” for siting over a hole and having can be found. We do hope that a pot— brought some made-up glaze. How- as well as popular use. We made carved accepted my suggestion that the two all. a specific shape. After some experi— tery craft industry will eventually be— ever, it did work by the test kiln results plaster letter sets and printed clay tab- Vanuatu boys help him build the kiln Progress over the past year or so is ments, I came up with a form which come established, albeit that some im— so we prepared for the first glost firing lets with biblical extracts on them. and gain valuable experience in this. rather difficult to determine as com- seemed to appeal but I do not know ported materials have to be used, but in our new kiln. The month was com- Some of the students'showed a real Baye and his wife Gemeaux kindly ac— munication by letter or even phone is whether or not it has proved useful. the spirit of the people and their sensi- ing near to an end and I had time only flare for this. They also became adept at commodated then and they also met not easy. There is certainly no substi- In both Vila and Santo, there are tive appreciation of design might one for two firings in quick succession. printing each other’s and friends’ Helen Mason whose collection of pots tute for actually being there in person; shops selling local crafts and the gov- day combine to yield a type of pottery Meanwhile of course, our kiln shed names on their pots, some com- was interesting and instructive for despite books, photos, or any other ernment is cautiously encouraging which the South Pacific would very was the centre of attention — faces and plimentary others maybe not quite so them. form of help non persona, Island tourism. There is certainly the po- much love to see.

6 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 7 WANGANUI EDGES: In Thought. In History. In Clay.

The Fourth International Ceramics W Symposium of the Institute for Ceramic WANGANUI REGIONAL History will be held in Toronto, Canada COMMUNITY from October 17 to 20, 1985. Five hun- COLLEGE dren participants will come together to By Grace Alp probe the state of ceramic art through attendance at lectures by leading ceramists, historians and critics. There will be special presentations and tours One of the most fascinating Community the shape needed; letting the piece get of the city’s public collections and College workshops in 1984 was Michael too busy — some plain surfaces work contemporary exhibitions of ceramic Dee’s on ceramic sculpture. Course wonders. Wheelworkers at first felt art at over forty of the leading public art members ranged from interested be- guilty about the thickness of the clay, galleries, museums and private gal- ginners and sculptors with little or no then later enjoyed their guilt. Cracks, leries. clay experience, to skilled potters with fissures and surface flaws became in— The program is directed towards the little experience of free-form abstract teresting accents instead of horrible recognition of ceramic artists past, sculpture. disasters. We were finding a much less present and future, who have chal- Using heavily grogged clay, Michael stressful way of enjoying clay. True, it lenged and changed the format of the demonstrated two main methods of is difficult to get started with an infin- vessel and the figure. The construction. ity of possible choices of what to make, presentations will have an inter- Firstly large fat coils eased and but each piece gradually takes on its national focus. The general registra- pinched on, with sharp changes of di— own life and makes its own demands, tion fee is $165 Canadian. For appli— rection or with a spiral effect — like an while suggesting all sorts of variations cation forms write to: asymmetrical Tower of Babel or a for future sculptures. Ann Mortimer soaring cliff. The walls grew by three or Time stood still. Absorbed, we pur— The Fourth International four coils before being scraped and sued our ideas and explored with im- Ceramics Symposium paddled for strength. Particular care is mense satisfaction, lines and rhythms 878 Yonge Street needed at the corners to make a strong and the different relationships in these Third Floor join while avoiding extra thickness. more open pieces. The traditional Toronto, Ontario The piece must flow and look in— potters still harboured doubts. ”But Canada. M4W 2J1. teresting from all angles. will they fire?” They did, magnifi- The second type of sculpture did not cently. have a continuous surface or definite Michael Dee stresses the usefulness container-type inside/outside — a of this free—form experience even for greater challenge to those of us who those aiming to make conventional usually do wheelwork and make pots. pots — especially if they are feeling On the first day textured ”building stale or formula—ridden. We certainly blocks” were prepared, either with a gained a new awareness of form and slab roller or by beating on the table movement and a renewed joy in hand— and stretching like thick apfel-strudel ling clay, a new vigour. pastry. These slabs need not be used One thing the course could not cover flat, but can be draped, wrinkled, in the time was how to finish the bis- curved. When hard enough to hold qued sculpture — a whole new study shape the assembling and the fun be— especially for the non—potters with no gins. Rolls of softer clay are used as experience of oxides or glazing. Apart buffers to join slabs and absorb’. .iy from George Koji’s monoliths and Rick tension caused by uneven drying. Rudd’s black raku pieces, most of our The class became so involved during acquaintance with abstract ceramic ]eff Mneham the initial demonstration, we were all sculpture came from pictures. deluging Michael with our differing As well as using oxides, how to advice — which piece to add, what to manage gradations of colour and tex— cut off, the angles, when to stop. He ture, how to emphasise or highlight showed us how to follow imaginary some areas, how to get reflected high- etcheewnlaui lines meeting in space, how a detail lights in hollows, exits and entrances? added to one aspect needs a balance How to exploit the inside/outside elsewhere. We learned a great deal dichotomy or the relationship and ten— about three dimensional composition. sions between planes? ward Then our turn. Traps for beginners fl So much to explore, so many ex- Pottery —— too many differing textures; con— periments to try — with this stimulat- centrating on one side instead of ing and most fruitful course Michael working in‘the round; unwillingness Dee Opened up a whole new world of Peter Shearer at Pots ofPonsonby, to cut up a nicely patterned slab to get art and ceramics to us. Plzoto: Ces Thomas. 1985 NEW ZEALAND POTTER No. 2, 1985 A UNIQUE EXHIBITION AT POTS OF PONSONBY

The Fletcher Brownbuilt Award is un- deniably New Zealand’s and arguably one of the world’s most valuable pot- tery awards. Concurrent with this year’s exhibition at the Auckland War Memorial Museum, Pots of Ponsonby mounted an exhibition of current work from all the past winners of the Award.

. They are John Anderson of Wellsford, 1977; Rick Rudd of Auckland, 1978; Carl Phillip McConnell of Queensland, 1979; Debbie Pointon of Wellington, 1980; Beverley Luxton of Auckland, 1981; Chester Nealie of South Kaipara Heads, 1982; Ray Rogers of Auckland, 1983 and Merilyn Wiseman of Auck- land, 1984, The list of exhibitors says something about New Zealand pottery. In an exhibition where entries are received from all over the world and are selected quite anonymously by a non-New Zealand judge, all but two of the nine winners have come from this country, Ray Rogers Carl McConnell and six of them from the Auckland/ Northland region. This demonstrates a depth of talent of which we can be rightfufly proud.

Bower/0y Luxton [0/111 Anderson Photos: C05 Thomas Debbie Pointon

Merilyn Wiscmnn

Rigk Rudd C/wstgr Neal/'0 This exhibition also represents a significant milestone for Pots of Pon- sonby. Started in 1981 by a group of potters who wished to establish an outlet for their work and an environment where exhibitions could be held in sym- pathetic surroundings, the co- operative now enjoys an international reputation as a place to" go for fine . pottery. It is a measure of that reputa- tion that they were able to mount this exhibition with the enthusiastic sup- port of exhibitors of such prestige. With 10 original members, the group now numbers 13 — 11 women and 2 men. Some members rely entirely on pottery for a living, others less so, but for all, the group is a means of sharing the challenges, disappointments and excitement that comes from working with earth, water, fire and air. Members’ work is represented in collections in New Zealand and over— seas, including the contemporary NZ Pottery collection of the Auckland War Memorial Museum. 10 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No.2, 1985 11 MOYRA ELLIOTI' EVOCATION

Ambler at the Albany Village Pottery High in the Waitakeres, Moyra’s work- By Ann shop blends in with the house and the _ surrounding bush — dark stained FranCIS Turner, By Shona Scott, NZ Herald walls, cobble and brick paths and rhododendrons. Inside, it is “a plea— Auckland sure to work in”, spacious, light and Plzoto: Howard S Williams airy, and with a gleaming hexagonal stainless steel kiln. Here Moyra “when I can” works on Ann Ambler’s recent exhibition Evo- the burnished pieces that have cation at Albany Village Pottery cel- occupied her for the past 2—3 years. ebrates her assimilation of many These first started after a visit to the Japanese ceramic traditions experi— south-west of the United States where enced last year during her second visit she watched the Pueblo Indian women to Japan. During part of this return making pots and caring for their babies visit, Ann was privileged to be able to simultaneously. work briefly in the studio of master ”I had a six month old infant and was potter Takashi Nakazato in Karatsu. stuck in the groove of being a produc— The smoking fire is done with saw— (see Potter 1984/2.) tion potter up to my elbows in slurry. I dust in a loose brick box. This is Wood firing is Ann’s earthy, tradi— was suffering withdrawal symptoms another area of trial, finding the right tional and tiring method of producing from a lack of exciting clay work. Then I sawdust. Too fine and the fire it a broad range of plates, bowls, lan— realised these women coped magnifi— engenders means a high risk of crack- terns, containers, vases and platters in cently with all the domestic side as well ing; too coarse and the flashing isn’t soft, warm shades of great subtlety. as making good pots. I decided that sufficiently subtle. The source and Individual pieces do not compete for theirs was the way to feed my habit — type of wood seems to matter a lot also. attention; each one will stand comfort- 'dry hands you see.” Highly resinous woods or that from ably on its own or with company. On returning to NZ the early pieces furniture factories, which include In a step that moves to incorporate were very much Moyra-and—the— glue, sometimes leave a sticky deposit. elements of the Japanese culture of Navajos until a deliberate change in Following the smoke firing the packaging, Ann has sought the skill of pot profile from rounded shapes to pieces are dusted off and, if the smok— professional wood—crafter Robin straight—sided severe bowls, meant ing has been satisfactory, treated with Pendred of Warkworth to design and that the colours and decoration virtu— a polish. Otherwise they are re- craft fine lidded boxes for a range of ally altered themselves. A further bisqued and the smoking repeated, ceramic items. change occurred when a bowl, drying though a few are lost this way through The Japanese art of packaging, now a upside down, suddenly looked like a cracking during the re-firing. Output vanishing art, is one aspect of that helmet. This form has since been her is presently small, but moulds for new country’s cultural heritage that rivals main interest. shapes are in preparation and glaze its ceramic traditions. In earlier times Originally thrown and altered, the tests are being made for different ef- the act of packaging had important helmets are now press—moulded using fects of surface. meaning in itself, with symbolic value SC80 and although 3 basic moulds are quite distinct from its practical func— used, every helmet is different. They tion. For those imbued with the are burnished as they dry, using a Japanese cultural traditions, packaging variety of polished agates. Moyra of precious objects becomes a ritual of thinks the timing of the burnishing is Mai/W Elliott, and purification, of distinguishing the probably more important than what lll‘l' harm's/ml lzulmct contents of a package from all similar tool is used. forms, 267280715 lag/z. objects that have not been thus Terra Slglllata is applied. “I’m only purified. using two colourants now, chrome and Thus, in this exhibition finely iron, the other colours I was using wrought presentation boxes of oak, didn’t feel right for the helmets and Photos: H Samuslzima rimu, kauri, totara or macrocarpa are they made the pots dry very slowly.” matched with heavy moss—green silk They are bisqued sitting in bowls of and hand made paper to heighten and silica sand. The bisque temperature complete the value of the ceramic items has varied and is still experimental. they contain. On each plate the lip of Arbitrarily at LOOOCC initially, the high the rim is slightly flattened at one edge mirror shine of the burnished surface to indicate a base, then a small design was lost and firing temperature has is impressed under the rim. (Cover been steadily reduced to its current photo.) 750°C. “This maintains the surface, but In this exhibition Ann has con- the softness means the clay is highly firmed her position as one of our lead- absorbent and I’m not so happy with ing ceramists while offering new con- the amount of black produced in the cepts of presentation that elevate her subsequent smoke fire as it obscures craft to art. Her belief, that the New areas I’d prefer were more subtle. I Zealand potter can learn the Japanese intend gradually increasing tempera— traditions then enhance and extend ture again to try for the right balance of those styles and techniques into new surface shine with colour flashing.” forms, is confirmed in Etiocation. 12 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 13 The clay body is quite dense with a OF COURSE YOU CAN MAKE low water content and relatively low iron content. It matures at cone 9-10 Shrinkage is 14% overall. Our glazes fit well and the body is durable in every- YOUR OWN CLAY day use — an important factor for the consumer. At present we have one per- By Royce McGlashen, Brightwater son employed to operate the clay plant — mixing and processing the clay to the finished state ready for sale. We produce two types of clay in line with our original purpose of supplying our own needs for a stoneware and a porcelain body. Recently we obtained a pan—mill which gives us a good range Clay has always been a high interest of equipment for manufacturing a for me right from the beginning of my variety of clay bodies for special career. I remember when I was quite purposes, in small or large quantities. young going for Sunday drives in the Many potters may consider this an Nelson area with my father, finding expensive and complicated process, this marvellous plastic material which but there are other methods of drying x}. :5 we took home, dried, broke up, sieved clay which use little equipment, though Filter press and dried to the right consistency on they do require more time. plaster moulds. A shallow trench in the ground lined An article by Chris du Fresne in the Since that time the pottery industry with synthetic cloth into which you Potter 12/2, 1970, Make your own Filter has developed and with it the as— pour your slip and leave it to dry in the Press, is worth reading if you are in- sociated industry of clay manufacture. summer sun is effective, taking 1 — 2 terested in making your own clay. I am Many potters today buy clay, using it weeks. always happy to talk with anyone in— from plastic bags with no under- Alternatively, a metre of synthetic terested in clay making. standing of its actual creation. cloth into which you pour a gallon or I hope that potters will attempt to My early enjoyment of discovering tWo of slip can be hung like a cheese in make their own clay at some stage in clay has finally led to the production of an airy place. This method may be a their careers — it gives a greater under— clay at Cob Cottage Pottery in Bright- little uneven, but is effective for smal— standing of the materials and a terrific water. With this idea in mind I have ler quantities. feeling of satisfaction. Filter press plate, shouting eentre [role for bought equipment from various slurri/ teed, filter (lot/1 anilgasket Clot/I, sources — it is difficult to obtain as the lnu‘kinggrooves and water outlet. Pressed New Zealand ceramic industry is not rakes of clay at bottom. very large. While I was gathering the T: ,.. . . . “’7‘. equipment my interest in exploring gallon storage tank with an agitator to Clay Bins. Raw clay is stored in these and WV- '93" M‘T“. the geological make-up of the Nelson hold the clay in suspension. From here can be kept dry 50 as all materials have area was continuing. I spent time in— it is pumped into a pressure tank and similar water content. vestigating the possibilities of various into the filter press. materials. The filter press is mounted on legs This all changed my approach to my and consists of rails holding a series of work. I considered more the type of plates (50 to 100 depending on the clay I required for a particular pot, amount of clay required). Each filter Bliinger tank and self cleaning sieve. rather than compromising with what plate is hollow, to receive a portion of was available. You could decide on the slurry, and covered with a filter cloth. properties required, dig the clay from At one end is a queen plate, at the the ground and process it to meet your other, a large king plate which is particular needs. screwed inwards to clamp all the plates In 1982 we built a clay shed at the together. Slurry is fed in through the back of the pottery and concrete centres of the plates, the water being floored clay bins for storing raw forced out through the cloths leaving the materials. We installed and extended clay behind. When the pump is started the filter press, constructed a blunger it takes a few minutes to fill the press and sieve and bought pumps and with slurry and then the pressure motors. After investigating the relia- builds up to 100 lbs/sq.inch. It takes 3 bility of raw material sources and to 4 hours to press 1/2 tonne of clay, testing clay properties we were ready depending on the amount of pressure to begin. used and the water content of the The procedure involves weighing slurry. proportions of each clay in the formula, At the end of the pressing the pump into a front—end loader to a prescribed is switched off and the valve at the ratio totalling 200 kgs. The loader is queen end of the press is closed — the then tipped into the blunger which is king plate is then unwound and the half filled with water, and 15 — 30 slabs of clay removed from between minutes later the high speed blade the filter plates. These slabs are pugged (like an egg beater) has mixed it to a through a de-airing pugmill and bag- slurry. The slurry is run through a vib— ged in 8.5 or 25 kg lots which are then rating sieve to remove gravel, sticks stacked on pallets — 40 bags to the and sand and then pumped into a 1,000 tonne. 14 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1985 15 The Philips Studio PHILIPS STUDIO GLASS AWARD 1985;

Glass Award 1985 By Sam Halstead, Albany. Auckland War Memorial Museum Many readers of this magazine will though their activities are subsidiary at all? And if they do try harder, what either have been to, or been in Studio to the creative act, they collectively and will they be trying harder to do? Photos: George Kolap Class ’83. It was this country’s first singly hold considerable influence By their nature true works of art are major glass exhibition and is still con- over exhibition content, exhibition honest, autobiographical and diver- sidered by many to have been the best. patronage and most importantly, the gent expressions or communications. The show was staged in the Auckland careers and reputations of artists. Be- If original, expressive works of art Museum Exhibition Hall which had cause the process of selection and must be compared to each other they Award Winner, "Variations”, been remodelled by NZSAG (Society of judging is a huge factor in the appear- can only really be judged on their ar— Auckland John Abramczyk, Artists in Glass) members into a t- ance and success of an exhibition it tistic merit and that is almost imposs- shaped gallery. The flat glass was hung should also be up for review along with ible to quantify or prove. Doesn’t Art in made—to-measure holes in the walls the creative content. transcend all formulae? What we really Highly Commended, Iohn Abbott, Auckland and each panel lit from behind. The hot The Philips Studio Glass Award 1985 expect a selector to do is weed out the glass was arranged over white boxes was preselected by James Mack, Di— amateurish, the badly made, the badly and spot lit from all angles. The first rector of the Dowse Art Museum in designed, the derivitive and the trite, Philips Award show was in 1984 at the Lower Hutt, and judged by Klaus Moje while putting his or her own taste on “Dragon Skin Vessel”, Highly Commended, same venue and with a similar layout. who is currently Head of the glass de— hold. Then it’s over to the judge. Gary Nash, Auckland The Philips Studio Class Award 1985 partment at Canberra School of Art. An annual show like this is a useful was sort of ”Son ofStudio Glass ’83” in chance to review the development of The criteria for selection and judging that the success of that first individual glass artists as well as to show were ”originality, innovation and ar— encouraged Philips NZ Ltd to enter into gauge the progress of the craft in NZ. tistic merit”. Personally, I don’t see a reviewable deal to sponsor similar This show can not deliver how a piece could have artistic merit that oppor- annual events. without being original or innovative. tunity while there is a chance that some Because many people were some— good artists and some good There is not much more than a subtle work could what disappointed with this year's difference between these last two be excluded. The alternative, which is show, a look back to the successful ’83 to open it up to all-comers, could prove qualities anyway. Does a selector really show would be useful for comparison. embarrassing because some obviously look at a work and say “Hmmm, This 'The first difference is the obvious substandard, certainly scores high for artistic merit archaic or derivitive one of quantity. The 1983 show was a work and originality, but I will have to dis- could claim space alongside free-for—all on which any NZSAG works of real merit. There card it — it’s only 40% innovative”? I must be a member could exhibit. There were 146 sieve somewhere and I can’t help feel- think not. works from 31 craftspeople on display ing that the answer lies with the glass and it was almost impossible to take it Some people feel that these sorts of artists themselves. Collectively their all in. The 1984 show, selected and guidelines encourage novelties. It is knowledge is second to none. Surely judged by guest artist Maureen Cahill, fine to give criteria for theme shows the members or executive of NZSAG boasted 73 pieces from 39 artists and like The Great New Zealand Box Show, could be trusted to nominate a small this year’s selection was down to 43 but for an annual single-medium show selection panel from within their ranks works from 29 artists. like this, craftspeople should be and either give them some meaningful The second difference is that the encouraged to do what they like doing criteria that remain the same every 1983 show bowled everyone over be- most. For instance, one glassblower year, or just leave them to it. It would cause it dramatically showed what has been working for months at refin- also be interesting to discover what the amazing technical and artistic ad— ing a very fluid vase shape to the point Artists’ choice is in each exhibition. vances had been made in the medium where he is finding expression in small The judgement of one’s peers is likely in the preceeding few months. The variations on a theme. The work is to be the toughest and best informed greater proportion of the work was for subtle and he is known for it. Given the and therefore the most meaningful. the first time, of international quality. demand to be ”Innovative” he appears In summary, this was a good but not Individual differences of style were to have hedged his bets and manu— a great show. It could have been big— more marked than before and there factured up a tongue-in—cheek ger, but the absence for various was celebration amongst exhibitors, of sculpture which was selected for the reasons, of some of the more adventur— each other’s achievements, especially show, while the work of his heart was ous stalwarts of the glass scene is partly in hot glass with Garry Nash, John relegated back to the cardboard box. I to blame for that. The contributions Croucher, Ann Robinson and Peter hope it is not possible that he could from John Croucher, Ann Robinson, Raos displaying unforgettable work. It have missed selection, had he not David Clegg, James Walker and Ken is unfair to expect that degree of ad— made something novel. Cooke could all have been exciting. vancement in subsequent shows, be- A follow—on problem is that glass Not all exhibitors were in their best cause that was really the end of a de- patrons Will have seen his piece on form and some of those who were may velopmental phase after which the display and drawn wrong conclusions be wondering if anyone noticed. We New Zealand Potter is grateful for a generous grant craft could be expected to maintain its about the directions in his work. In should be able to expect that in lots of new found high standards. this system an artist of stature is good different ways this show will provoke from Winstone Quarries Ltd towards publication costs. .? . unnsmnt Thirdly, I would have to go for the enough to create original works, but and motiate the glass artists of NZ. presence (or absence) of preselection allowed no say as to which of them is All credit to Philips NZ for the slick \vJuunnmesim and judging as being another major exhibited. We don’t get to see the presentation of the show and the difference. Normally judges, selectors pieces that were rejected, which makes Award, and most of all, as they say on and reviewers are answerable to no— us realise that there are quite a few Oscar night, for making it all possible. body and are hardly ever publicly disappointed glass artists out there. Don’t miss the 1986 show —it could be questioned about their decisions. Al- Will they try harder next year or not try a beaut.

16 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 17 THEO SCHOON THE POTTERY AND FRIENDS IMPRESSED DECORATION 114 Cashel Street, Christchurch, New Zealand. Telephone 793-035 OF CLAY Flight

Lots of friends Introduction and photographs On a Northern flight by Steve Rumsey, Auckland. Names Now familiar faces Faces giving new ideas To cylinders lost Theo Schoon came to New Zealand in the space of time from Indonesia in 1937. Centuries of clay in a Gin To his surprise he discovered here a familiar form fascinating Maori culture. Its heritage Edwin of art was also its main permanent Planets and clay means of historic record — there was Clay and space traditionally no written Maori Tlu’o Sc/ioou, 1952. Lots of space to move language. This ”art-language”, rich in

Photograph abstract symbolism and highly de- Better try veloped sense of design excited the Wayne Tasker young artist, who had been born ’ W among the aesthetic exuberance of The Canterbury Shop Javanese and Balinese cultures, edu- cated in Europe and significantly in- fluenced by the teachings and activi— A study of the design structure of Maori tattoo, with curved gourds — ties of the Bauhaus. loft, Schoon motif. He subsequently spent the best part of a lifetime seeking out Maori art (public awareness of Maori cave South Islands complete supplier... drawings is largely due to his dedica- tion and enthusiasm) studying it, un— Cobcraft means quality — a company small enough to care ravelling its underlying structure and with a back-up service second-to-none. finally developing his own unique sense of abstract design in relation to Cobcraft are agents for Pottery Cobcraft design and manufacture it. His impact of the New Zealand art Crafts (Wengers, Podmores and HEXAGON, OCTAGON AND scene during the 19505 and ’60s was Harrison/Mayer) Winstones, DECAGON KILNS. Quality considerable and our art heritage is the McSkimmings, Utopia clay, materials and workmanship. It only richer for it. This article on impressed decoration Talisman, Cowley, and Cobcraft takes 8kw to fire a 5 cubic foot kiln of clay deals with but one small aspect wheels, Kemper Tools and Acme to 1300°C quickly and efficiently. of his many—faceted activities in a vari— Marl refractories. ety of art media, and for a more Cobcraft operate a mail order rounded View I have included some LUSTRES, GOLD and ON-GLAZE service throughout New Zealand. photos not directly related to this colours from Degussa. Harrison Write for a price list and catalogue. present pottery theme. and Bell low and middle fire brush Though better known as a painter, on glazes and stains in a vast range print maker and master of graphic de— of colours. sign; as a carver of gourds, as a super— lative sculptor in greenstone, as an ex— ponent of Balinese dance and costum- ing, as a perceptive photographer his activity in ceramics is perhaps less POTTERS SUPPLIES LTD Well known. However, his life-long 388 Montreal St, PO. Box 25063, interest in this area is not. altogether Christchurch, Phone 67-229. surprising as pottery had been the family business — his father built up thriving industrial potteries in both Java and Bali before the Second World War. In recent years Theo has returned to clay as a medium of aesthetic expres— sion. The following comments are in his own words.

18 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 My Work with Plaster Stamps. Theo Schoon.

There were two factors which deter- mined the nature and character of my recent work with plaster stamps in ceramics. The first was a training in Holland in graphic design, the second was a strong influence by the legacy of the Bauhaus. All arts and crafts of any con— sequence of the last fifty years owe a Sclzoon pattern based on the design structure of Maori tattoo. debt to this legacy. Among its many major contributions to modern art has been a process of incisive analysis and synthesis which brings real under- standing and clarity to the study of the structure of art. Without this event in art, the exploration of the art of man- 1985 kind on a global scale, would have TAO SCHOON DIED IN SYDNEY, 14TH JULY been impossible. The art of other races and cultures can only be assimilated intellegently with the tools the Bauhaus provided. Practising artists and designers are ill—served by the babble of those art historians who have remained totally Press-moulded dishes were stampedwllile in the mould. ignorant of this all—important revolu- tion in art. For many modern designers — and myself — these dual factors of analysis and synthesis have played a major role in the study and assimilation of many art forms which have so far remained outside the realm of academic European art. Only the strictly formal abstract artists have been able to crack the codes of this wide range of man’s art, geographically as well as in the Photos: Steve Ramsey context of time. The Bauhaus approach brings a sharper understanding of this thing called style, as well as aesthetics. Whenever art forms, trends or theories of the last few decades have ignored these fundamental and universal fac— tors in art, they have been sawing off Things have to be learned at every In painting or graphic design I usu- the crutch they stand on! stage of their making, from the first ally proceed with the simplest funda- I have digested and absorbed many pencil drawings on paper, to their mental design ingredients, whereas forms of primitive art, not in order to carving in plaster blocks, and then fi- my stamp decorations are conceived become a pseudo primitive (that nally what they do when pushed into according to the principles of their would only be another form of the clay. To use the positive aspect of a physical structure. After gaining an plagiarism), but to gain understand- design or the negative, or both. Only understanding of design structure in ing. It is the understanding gained that practise can reveal the potential of Maori tattoo, I could evolve some sort really matters, so that some or all of it what you have. When I say this work of richly textured tattoo style of my can be given new life in one way or was done systemically, it does not own, which owed nothing to its another, in a really valid and coherent mean that it was in any way precon— original source. Something old has way. All art forms that have gone into ceived. Some combinations or patterns been made new, in a legitimate and decline can be re-Vitalised if and when work, and others don’t. It is a matter of authentically creative adventure. desired. finding out why they work or why they In my lifetime I have gravitated more It is from this background that I ar— don’t. When this is carefully analysed to potters than to my own tribe of rived at a systematic design for stamp there emerges what I call a systematic painters, because I liked their earthy decoration. An ever growing number law. Once you grasp its implications, sanity and unpretentious aesthetics. of patterns evolved which would be you can build or enlarge upon it. It has They seem to have a better instinctive related in such a way that they could be evolved to its present form intermit- taste, which helps to sift and sort the used in any number of combinations, tently, over a period of two decades; superb from the ridiculous. so that each composition would be one most of my early designs were ’dis- of a kind. carded. NEW ZEALAND POTTER No. 2, 1985 21 20 NEW ZEALAND POTTER No. 2, 1985 New Zealand Pottery makes it in London

by Nicola Holmes, London

The quality and originality of New Zealand pottery is fast becoming a popular drawcard in the heart of Lon- don. The reason is Kiwz’fruits, a craft shop dedicated to New Zealand—made products, located in London’s Covent Garden. Under the guiding hand of Lyn Milne, formerly of Christchurch, Kiwifmits has been operating just 15 months. Lyn reports she is very op- timistic about the reception New Zea— land pottery, woollen goods, native timberware and foods have received. Souvenirs are out — all the emphasis is on high quality, hand-crafted originals. ”My aim is to highlight the artistic side of New Zealand which is so little known in the UK because sporting u ‘ - achievements, lamb and butter usually at.” i take the headlines over here,” says Lyn. Already she has a group of ’regulars’ who pop in to check up on the latest arrivals. Some are New Zealanders re- siding in London who are keen to keep up with new developments at home, while others are English fans who have been delighted by the originality dis— played by New Zealand potters. New Zealanders travelling through have also found Kiwifruits a popular location to choose distinctively New Zealand gifts for their British hosts. Amongst her line—up, Lyn displays a wide range of domestic and decorative pottery, selected by her Auckland agent, Peter Thomas. Work by Patti Meads, Anneke Borren, Keith Blight, Cecilia Parkinson, David Brokenshire, Alan Kestle, Rick Rudd, Iill Totty and Subtle colourings common in has to offer.” Michael Lucas are just some of the porcelain and china have been re- The Kiwifrzzits foray is Lyn’s first solo potters whose craft and style now has a marked upon in the glazes of New venture into the world of business and following in London. Zealand—produced items. Sea greens, some eight months were spent in or- Initially, British buyers were reluc- blues and dusky pinks are three ganising the opening in July 1983. tant to think of pottery as a quality popular tonings and recently Lyn had Plenty of advice and support has come product. Lyn believes this is because silk scarves of similar shades displayed from Fiona Thompson of the New the English have a long history of as- in tandem with pottery items. Zealand Crafts Council, and Trade and sociating quality with fine porcelain Part of Lyn’s welcome to new cus— Industry officials at New Zealand and bone china. On the other hand, tomers is a ’Browsers Welcome’ sign in House, London. Enthusiasm is almost she is also aware of a definite trend to the front window. “Many people feel too tame a word to describe Lyn’s individual crafts which are not mass inhibited about entering a small shop feelings about making Kiwifrm'ts suc— produced. Customers want quality, and I make an effort to reach out to ceed: ”Having faith in hand-made originality and value for money, and them so they’ll feel comfortable about products from my own home country the variety of New Zealand pottery — browsing. It’s really the only way cus— is half the battle and I believe New in all price ranges — seems to fill that tomers can find out more about the Zealand potters should step out and be bill. varied range of pottery New Zealand proud of their craftsmanship.”

22 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 23 Due to BEYOND ENCORErecent improvements CRAFT _ NATWEST ART AWARD 1985 to equipment in our Nelson plant, Experience An exhibition of craft, small art works and we are pleased to announce that Goods and Services Tax sculpture suitable for the enrichment of our the ever popular HGB clay is once The Society’s submission on Goods and Ser- living and working environments. vices Tax produced by the standing com- Receiving day for work: 17 September again available. and considered by the best mittee has been accepted Exhibition Season: This pre-grogged the Governments Brash committee. The 13-28 October version of Brash committee’s recommendations to gov- ART FOR THE ENVIRONMENT _ G82 is ideal for dramatic, toothy ernment have been for a $25,000 exemption WILLIAMS ART AWARD 1985 pieces .and will level. This fell in the middle of the Society’s An exhibition of painling and sculpture especially hold its recommendations and will perpetuate the own in large pots. worst features of the sales tax regulations suitable for use in commercial premises. now in effect. The society will be making Receiving day for work: 29 October Now available another submission on your behalf later this Exhibition Season: 24 November-8 from your year. Your local delegate has a copy of the December society’s submission, so it is important that local stockist you contact them with any comment you Each exhibition carries two $1000 may have. After all GST will effect all of us. awards. or: Winstone Iolm Crawford, President. P.O. Box 619, Nel- son. Entry forms are available from the PottersClay, ' New Zealand Academy . WIHSWI'IE John's new phone number is Granity 28-107 of Fine Arts, Private Bag, Wellington. Nelson. PO' BOX3’ @nunnnltslmWST 288 OGILVY

NEW VISION CERAMIC ARTS GT NORTHERN ARCADE, 45 QUEEN ST, AUCKLAND. PH: 34-149 The Dowse Art Museum

City Centre Kilns from Lower Hutt Furnace Engineering Ltd Collects Fine Craft & Ceramic

Hours, Tuesday-Friday 10.00 am Supply Co. - 4.30 pm. Saturday, Sunday CEMI'IIC mom-Is and Public 10 Ward Street, New Lynn BY Holidays, 1.00 pm - 5.00 pm. PO. Box 15293, Auckland 7, New Zealand. PAUL PACHTER Closed every Monday. Phone 873-604, 875-081.

24 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 CABLE PRICE TOYOTA - AWARD EXHIBITION,

The Suter Gallery, Nelson A further $200 award was sponsored by the Suter Art Gallery. Award: $1000 plus three merit awards of $200 were sponsored by Cable Price Toyota (Nelson). P/zotos: [alian Bowron

Peter Gibbs, Pit fired

Vic Evans Ross Richards, 3200 merit award SUTERD Winner: Carol Crombie. Press moulded, ART GALLERY NELSON brine soaked and wood fired bowl

Photos: Michael McArtlmr David Griffith NZ CERAMICS 1985 Royce MeGIas/zen, Teapots, porcelain ONE HUNDRED POTTERS FROM THROUGHOUT NZ A DAZZLING COLLECTION OF THE BEST WORK NOW BEING PRODUCED

PRESENTED IN COLLABORATION WITH THE NELSON POTTERS ASSOCIATION

26 NEW ZEALAND POTTER No. 2, 1935 NEW ZEALAND POTTER No. 2, 1985 27 LYNNE AND DAVID GRIFFITH PORT-O-KILN COMES TO NEW ZEALAND! By Peter Gibbs, Nelson

Lynne and David Griffith live in sub- urban Nelson, perched on a hillside overlooking Tahuna Beach and Tas- man Bay. The story of their develop- ment is fairly typical of dozens of pot- ters throughout the country. When Lynne Griffith began making pots in 1974, her husband David undertook a few furtive raids to investigate the pottery equipment before he too jumped in. The couple commuted ac- ross Nelson to Craft Potters, Nelson’s first workshop group, before joining the steering committee setting up the city-based Community Potters group in 1977. Soon after, David got out from be- William anti Oliver. P/io hind his office desk and began pro— ducing a range of domestic ware. In 1981, two major influences caused him to move into different areas. Marc Sauvage, an Australian potter who worked in Nelson during 1981 intro— duced himto strictly ordered geomet- ric forms, with strong colour in the form of low temperature commercial glazes. In the same year, Len Castle visited Nelson, demonstrating direct and ) rapid hand building techniques. For some time David experimented with applying the glaze in precise stripes and geometric patterns then From left to right: China Painter; Model 2000 Ceramics Kiln; Chameleon (approx. 2 c.f. Stoneware Kiln) firing a third time in sawdust 7 con— Model 40 (Stoneware); Model 80 (Stoneware); 72 c.f. trolley; 18 c.f. model. trasting the rigidly imposed designs with the random effects of sawdust Thanks to the C.E.R. Agreement, PORT/O—KILN (AUST.) PTY. LTD., is delighted to be able to firing. His recent pieces have relied on solid areas of glaze with the geometric present (at long last) to the Potters of New Zealand, our range of Ceramic-fibre lined, contrasts much less dominant. This gas-fired Port-O-Kilns, with stainless steel casing design. work uses white clay (SCSO) bisqued to David’s pots, Lyiziw’s photographs. We will be bringing a representative selection from our range of kilns — which hold the 1150°C, then glazed at 970°C, with bright, vibrant, commercially mixed AUSTRALIAN DESIGN AWARD — to the glazes. New Zealand International Trade Fair Although this work is the most ex— citing area he works in, David still to be held in Auckland from 23rd to 30th October, 1985. gains satisfaction from seeing rows of We would like to invite New Zealand Potters to visit Joe Davis and Allan Clarke at the mugs and casseroles, and this work stand in the Trade Fair, which will be held in the Carter Holt Pavilion, Auckland still occupies over 90% of his produc— Port—O-Kiln tion. This domestic ware is fired at Showgrounds, Auckland — where they will be happy to show you the Port—O-Kiln, and share 1280CC in two electric kilns which op- some of our fifteen years experience in the design and construction of high temperature erate almost constantly. Lynne’s involvement in pottery has ceramic—fibre-lined kilns. declined in favour of photography. Her work, particularly craft photo- graphs, has appeared in a number of New Zealand publications. When not seated behind a wheel, ESE? = E a EIEN David is involved in Ventm'cr Scouts, and is currently president of the Nelson (AUST) PTY. LTD. Potters Association. 26 Brooklyn Ave. Dandenong 28 Victoria, Australia NEW ZEALAND POTTER No. 2, 1985 Phone: (03) 791 6799 At the beginning the students had great difficulty in visualising the end

product - when pieces came out of the WAIRAU VALLEY kiln they could not remember what their own looked like and sometimes a “neat” pot would be claimed by SPECIAL SCHOOL everyone in the class. Every piece is now checked for its maker’s mark as soon as it is made, but another way around this was for the class to produce By Howard S Williams a joint effort and a mural for the school was the result. ”Our mural”, proudly, with no concern for who made which individual part. Photos: Howard S Willams Mm; At the end of the year many of the students had developed a good grasp , A of what was happening and started to Jill Damz with Ric/lard “A real success story” is the way Glen- pottery class all week, planning what pre-plan what they wanted to make, field College people describe their they will make and what went wrong taking into consideration their own special pottery class of IHC children the last time. Children who at most limitations. Now, they often break up broughtin by bus once a weekfrom the times have a concentration span of their finished work if they are not Wairaa Valley Special School. This class perhaps ten minutes will become to- satisfied with their own evaluation of was started as an experiment for one tally absorbed in their clay work for the the result. term at the beginning of 1984, but due whole 11/4 hours, even if working on Enthusiasm runs high. For last 3 largely to the dedication of its pottery only one piece. Christmas Jill decided to have the class tutor Jill Dunn, and the obvious Contrary to some initial concern roll out clay and using biscuit cutters, it has con— there have been few of the clay/child ‘35”.—‘i- enthusiasm of the students, make decorations for a Christmas tree. V tinued ever since. Unfortunately lack problems often expected in ordinary She went out for 20 minutes to load the of money has cut back the operation to schools — no clay has ever been used kiln and on her return found the class— some extent. as missiles and the room remains re- room rapidly disappearing under mountains of ”biscuits” — the clay store almost empty! [ill Dunn Coiling is usually done around some sort of found former. With some stu— dents new pots are coiled around half dried ones, or a third coiled around yet again — the doing is more important than the finished object. Others are totally concerned with the Object and must have successfully completed pots to proudly take home. Once a double pot almost came 5 .4 through the firing unscathed. The '.‘ metal ring being used as a former had Bill been totally covered by meticulous coil work inside as well as out. ”Must admit, I thought it felt heavy when I The 15 children are aged between markably clean and tidy. Lack of placed it in the kiln!” 14-19; when they turn 20 they leave the physical co—ordination does provide Whatever the results, the therapy of special school and most find employ- some frustration for the students, and clay work has proved invaluable to ment at the Slieltered Works/10p. Two of at times good—natured chaffing when these students. The thrill of creating is their tutors come with them each week no-so-nimble fingers and clay with a there. Their caring for for a 11/4 hour clay session with Jill mind of its own provide some each other is spectacular Dunn, after which they go to a wood- humourous situations. Jill has become and they each help the working class. adept at solving problems most pottery even less able, whenever physical dif- Half the costs are paid by the gover- teachers never encounter, often with ficulties become too obstructive. A nment and half by those of the parents the help of Paulus Behrenson’s book successful pot or sculpture to take who are able — or willing. Jill's time is Play ZUll’ll Clay. Because of these home is a real achievement and the paid by Glenfield College. The class was problems the wheel is not often used, students’ unbounded delightmakes all started as a pilot scheme and from its though all students are encouraged to the effort Jill puts into her classes very success it should be extended to at least try; most of the work is handbuilt. rewarding. She and her helpers from 2 hours, twice a week and starting with ”Glazing time can be an experi- the special school just wish the Educa- younger children. ence,” says Jill. ”I asked one boy to stir tion Department’s money would The children enjoy it thoroughly, a pot of glaze and he would have hap— stretch further to augment the time and rightfrom the moment they step off the pily stirred for 7 hours. We wax the materials available for this most worthwhile bus — excited to be attending a normal bases of bisqued pieces and the glaze is Venture. school and being allowed to queue often dripped on with a stick. Dipping with ordinary children to buy their or brushing on glaze can be a problem, lunches. In return, the Glenfleld College as even dextrous potters well know. students accept these special entrants We use only 2 glazes, a white and an readily and show real interest in what iron brown. More often we use oxide— ”You don’t own land. The land owns goes on in the pottery rooms. coloured clays and once—fire in the you and replaces you when you are Worn out.” The students talk about their next M ark electric kiln.” Old Gaelic proverb.

30 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 FOR ALL POTTERY SUPPLIES o CLAY o GLAZES 0 RAW MATERIALS 0 BRUSHES ' o TOOLS Manufacturers of Pottery Equipment 0 Wheels 0 Glaze sieves H.P. Terms now available 0 Pugmills 171 ARCHERS ROAD O Extruders TAKAPUNA 9. Ph. 4180-735 or 482-883 O Slabrollers SIRONG,SM00|H HANDIJNG...SUPERB Ceramic tile mural for Shell BP & Todd Oil Services Ltd, New Plymouth GlAZE RESPONSE. BARRY BRICKELL

Since its introduction into New I replied to a notice in the NZ Society of The company had set an upper limit company drew up, a preliminary fee Zealand, SC80 clay has proved to be Potters newsletter (1982) asking for on the payment fee for the mural but was paid after receipt of my material, one of our most successful products. submissions for a mural for the asked each applicant for their quote. I and subject to its full acceptance a entrance foyer of the new ”tower felt it impossible to give a definite further, smaller sum was paid, total— Its strong, smooth handling block” office complex in New quote and offered to work towards a ling about a third of the agreed price of coupled with superb glaze response Plymouth of the natural gas develop- specific figure which I asked them to the job. I must say that in various ing consortium Slicll BP Todd Oil Ser- give me. We later agreed that this was a ways, outside the formal contract, the makes it the perfect clay for smaller, vices Ltd. I submitted a preliminary better approach as it would not bind company was generous in meeting my sketch and some notes after up the artist but allow costs for travel and for transport of the highly decorated ware. From one of New Zealand‘s leading potters a calling in him/her some to see the premises late in 1983, to try to latitude in terms of finer detail and mural. This clay is moving fast, so place major practical handbook on the potter‘s get some feedback from the firm as to expression. In May I was informed of I have mentioned all this approach your order at craft; The first book of its kind to include the kind of philosophical approach the success of my application, and work, because I feel it is necessary to yourlocal such detailed information about geology, raw they might have towards a mural. I soon after visisted the company’s op— establish a far better relationship be- materials and economics of New Zealand wanted some dialogue as a basis for a erations in order to gain a fuller insight tween client and artist than has been stockist or: craft pottery. design Early in 1984, the firm re- into their work. customary with so many artwork Winstone For the potter, student, teacher or simply the quested a formal drawing and appli— The publicity manager arranged a commissions. Here, the company has Potters Clay, pottery lover this book is a reference cation with the result that I spent some tour of the works for me with access to had the guts to make a decision (with dictionary and manual that will be at home time on preliminary research and came their archives and kindly lent me vari- or without professional advice) with— PO. Box 3, up with an outline drawing and writ- ous publications which I used as out recourse to the “art—competition” I mlnmne in any clayspattered workshop. ten description of what I proposed to sources for the visual impressions system. (see my article ”A Discussion Nelson. 524.9' do. I had changed and refined the basic modelled into the tiles. on Murals”, NZ Crafts magazine, nunnnlesWST 287II”OGILVY A Reed Methien Book design quite substantially In the written contract which the Autumn 1985). It is my opinion that a

32 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 33 one, two or even three-stage selection been richly and often bitterly textured THE WHITCOULLS AWARD system could be the best way of with settlement conflicts and land choosing the final artist for a major wars, it being a fertile and desirable FLETCHER BROWNBUILT New Zealand’s first ever national com- artwork, with a scale of drawing fees farming prospect for the European petition for both sculpture and draw- accompanying each stage. This would settlers. No humane reference to ing was launched in Wellington early not commit either party to too much Taranaki could be historically com- June. work or expense at the early stages, yet plete without the acts and prophecies Offering prizes allow for adequate dialogue and artis- of pacifist leader and chief Te Whiti o totalling nearly POTTERY AWARD 1985 $3,000 The Whitcoulls tic flexibility. Rongomai whose pa was besieged by Award for Sculpture The mural consists of hand- British troops in a bloodless coup in and Drawing is open to all modelled terracotta tiles fired in a November 1881, but whose stature artists and sculptors resident in New Zealand. wood-fired kiln and glued to a cus- transcended the shores of this coun- Auckland War Memorial Museum At tomwood background. A full-sized try to take on a position close to that of least 65 drawings and 45 free- outline with proposed tile boundary Mahatma Ghandi in the philosophy of standing sculptures will be selected for lines was drawn out on thick paper peace for mankind. His four prophetic final judging on 31 August and will be For only the second time in its nine then carefully cut out to form templates stages in the spiritual evolution of displayed from 8 - 20 September at the year history, an overseas entry has to which each tile was made. (I had mankind are indicated in the words . Turnbull House Galleries in Wellington. won the prestigious Fletcher used this method before for the two stamped into the title above Mt The judging panel will comprise Brownhuilt Pottery Award. Waitaki Refrigerating Co. murals). This Taranaki.* The position of Parihaka Pa author and art critic Elva Bett, sculptor gives the opportunity for repeating a is indicated by Te Whiti’s three—feather and artist Chris Booth, Helen Hitch- The $5,000 1985 award was won by tile in the event of technical problems symbol. It is indeed a wonderful ings, New Zealand’s first commercial Jeff Mincham of Adelaide, South later on. I keep the cut-out templates in thought that the oil-gas products of art dealer, Para Matchitt and Peter Australia, with a large raku jar. an ”archive”, even after the mural is Taranaki might ultimately lead to Nicholls, both lecturer-sculptors. installed. In glueing the tiles to the peace within prosperity. In announcing the Award, Michael backing material, I used an engineer- Most of the tiles depict working ac- Pope, Marketing Manager of Whit- The judge, Maria Kuczynska of P0— ing adhesive,Epiglass 195, in the centre tivities and scenes in which the com- coulls Limited, said "It will benefit the land, made 13 merit awards, 10 of of the tile to locate it then a rubber- pany’s employees are involved in their arts in several ways. Commission on which went to New Zealand based one toward the edges to support day-by-day jobs. I worked from works sold during the exhibition will craftspeople. The three overseas merit it fully yet allow for a little flexibility. photographs of my own or other go partly to the Community Arts awards went to American, Japanese The modelling is depictory (realistic) sources but could not hope to cover all Council to help stage future exhibi- and Australian entries. Of the more in nature and thus ”accessable” to of the diverse operations, especially tions and partly to the historic than 330 entries submitted (30 from those who view it, in keeping with the the dramatic and magnificent technical Turnbull House. Whitcoulls recog- overseas) for the annual award, 103 philosophical principles behind it. achievement of the giant Maui plat- nises that sculpture and drawing are were selected by the judge for the In the design, it is clear that the form and its undersea pipelines.“ areas of the arts which do not benefit exhibition at the Auckland War Mem— matau (Maori traditional bone or stone It was interesting to have the op- from major competition in this country. orial Museum. fishook) is married to a map-based portunity of dialogue with the various The award will give both the exhibitors ”plan” of Taranaki. The legend of staff and management people to whom and their work valuable recognition. It Maui, after which the offshore gasfield the world of art seems a rather foreign is structured to encourage maximum Merit award winners. David was named, embraces the rich mysti— experience. Concepts of social har— participation by artists and sculptors of Brokenshire, Christchurch. cism of a magic fish hook by which the mony, conservation of resources, cul— all levels, thus tapping a wide cross- Steve Fullmer, Nelson. North Island Te Ika a Maui — the fishof tural values as well as more per- section of New Zealand’s artistic tal- Yasuta Hashigami, Japan. ent.” Campbell Hegan, Auckland. Maria Kuczynska demonstrating atAuckland Maui, was created by capturing. sonalised things like aesthetics come In the Studio Potters’ Centre. Photo: Tui Morse mural, the particular fish hook form into the picture and one comes to the The top Award of minimum $750 John Hopkins, USA. adopted is a ceremonial one with realisation that art appreciation is a (plus $250 for materials) will be Leo King, Auckland. simple barbless tail and sacred, un- dormant but born-in quality in virtu— presented to the best entry in the Lesley LeGrove, Stratford. adorned head. The gas pipeline to ally all those who do not come into sculpture section, while the drawing Frank Light, Carterton. Auckland has taken on the position of contact with it by education. During the section will attract a first prize of John Parker, Auckland. the cord. The device on the right of the creation of this mural, I became aware minimum $750. A further award of Richard Parker, Kaeo. tail represents the outwelling and ex— of the need to take a more cultural and $500 will be offered in each section. Lynette Persson, Manurewa. panding of the crude gas from the well, less materialistic View of life in my own The Award is being co-ordinated by Julia van Helden, Eastbourne. suggesting its fossil origin from country. Our history, resources and June Martin of Wellington who has Penny Walker, Australia. marine organisms as according to aspirations are sufficiently unique to spent the last ten years working in some theorists. The expanding gas re— require our own solutions, and our art international arts management, mainly in leases its condensates (LPG etc) into a thus has no need to follow slavishly, Great Britain. 3t . receiver and, in the case of Kapuni, is the popular international styles. I am re-cycled by a turbine pump back into grateful to Shell BP 8 Todd Oil Services the gasfield. It is this condensate for their co-operation and their which is marketed. On the tail of tenei acceptance of my rather unusual ap- matau is depicted seafood which, as proach. The Concise Oxford Dictionary: natural hydrocarbons are to industry, References: * Ask That Mountain, Dick pottery (1), n. Maker of earthenware are feedstock to the tangata whenua, the Scott, Heinemann (1975) vessels;——-’s wheel, horizontal revolv- tribal people of the land of the local “The Story of Maui, Maui ing disk in ———’s lathe (machine for area. There is a harmony without pol- Development Ltd, (1979, moulding clay); ---’s asthma, bron- From left: The Prime Minister, David lution indicated by equal, diverging 1980). chitis, etc. (caused by dust in the pot- Lange; the managing director of Fletcher directions. Below the neck of the Assistance with content of the mural for tery industry). Brownbuilt, Trevor Hunt; the judge, matau, a scene depicting the donation which I am grateful: potter (2), V.i. & t. Work in feeble or Maria Kuczynska and the award winner of a Maori'carving to the company is Mr Don Sharp, Shell BP (9 Todd Oil desultory manner (at, in, subject or oc- Jeff Mincham. included. Carved by Hikairo Herangi Services, cupation); dawdle, loiter, (about etc.); of Ngaruawahia, this work is installed Mr Boy Mangu, Te Awamutu trifle away (one’s time etc.). on the Maui offshore platform as a sign Mr John Hovell, Te Aute College If you are an n, do you V.i. 8: t? of goodwill. Mr James Rickard, Waahi The colonial history of Taranaki has Dr Deidre Airey, Coromandel. Photo: courtesy of Bretts DCA Ltd.

34 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 35 Julia van Helden, Wellington. “Passing the Time of Day”

Penny Walker, Australia. Teapot Fonn Jeff Mincham, Australia. Raku Jar AWARD WINNER

A: 49

FLETCHER BROWNBUILT 1985 Leo King, Auckland. “Citta”

Campbell Hegan, Auckland, MERIT WINNERS “O'eoid with Window” Richard Parker, Kaeo. Vase Photo‘s: Ces Thomas. All other photos are of merit winning pots.

John Hopkins, USA. ”Spatial Composition No. 4”

Steve Fiillmer, Nelson. “Pilot” Low Temperature

David Brokenshire, Christchurch. ”Great Wave” Porcelain

37 36 . NEW ZEALAND POTTER No.2, 1985 NEW ZEALAND POTTER No. 2, 1985 FLETCHER BROWNBUILT MAUREEN HUNTER —— MAINLY RAKU MERIT WINNERS 1985 By Daphnie Hendrie, Wellington

Some 14 years ago, Maureen Hunter Two years ago Maureen joined with wanted to make six coffee mugs, so she 13 other Wellington potters to form a enrolled in a pottery class at the Petone co-operative which has a shop in up- Technical. Sounds simple enough, but market Tinakori Road, known as The wheels were at a premium so one had Potters Shop. It is fast becoming one of to arrive early, which Maureen never the right places to purchase excellent managed to do, so she settled for pots in Wellington. handbuilding which she grew to love. McDougal Art Gallery in Christ— It wasn’t until 3 years later that she church and the Suter Gallery in Nelson managed to throw those coffee mugs, have each purchased a pot of Mau- but by then the handbuilding had be- reen’s for their permanent collections. come her forte and she became serious Maureen hopes to eventually return in her work, making a variety of to her original potting, but as she stoneware both domestic and decora- wants to explore more avenues and tive. glaze techniques in raku, it may take Maureen’s first glimpse into the re— some time yet. alms of raku began about 9 years ago when participating in an outing with Photos: Gillielma Dowrick the Wellington Potters in the Ohariu Valley. There they built a large bonfire around their raw pots, set it alight and Photos: Ces Thomas before long the sound of pots explod- ing and popping was heard. Miracul— ously Maureen’s five pots survived and were then rakued, three of them being ”quite nice, but very low fired”. She could see the possibilties and worked away perfecting this method of Frank Light, Cartrrton. firing, leaving out the bonfire prelude. Celadon Trough Today Maureen is Wellington’s leading exponent in the art of raku firing. She has taken it beyond what we with lesser understanding would Lesley Le Grove, Stratford. ”Fragile” dare and creates amazing results, in vibrant tones of red, green and blue shading into black. Maureen has a 5 Cu ft fibre-lined LPG raku kiln which is portable in order to accommodate weather conditions. Pots can be bisqued in this kiln in 3 hours with minimal loss and rakued within 40 to 50 minutes. She uses well grogged stoneware clay and also porcelain, although the latter is best for small pieces as even grogged large pieces crack in the cooling. Maureen works in an incredibly small area given the size of her pots. The potting shed lined with shelves is about 10 by 6 ft with an even smaller addition housing her wheel and doubling as a spray booth. In another outbuilding is a 45 cu ft oil fired kiln which hasn’t been receiving much use for the past 3 years as Maureen’s pot- ting has been dominated by raku, working up to eighteen hours a day at times to keep up with demand. Losses in each firing can be great. 38 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND P01TER No. 2, 1985 39 i WAIKATO TECHNICAL INSTITUTE Meg’maor McGregor LPG Gas Fired Tutor: Don Thornley. Examples of work from Student Exhibition. Pottery Kilns. Sizes range from_6 cubic foot up- wards and all are designed to oper- ate at 135060.

Features include: ir Excellent temperature uni— formity , ir Uniform reduction easily obtain— able iv Flame safety equipment as standards iv Brick portal, base and flue iv Stackbonded fibre insUlation iv Slide damper iv Economic performance ivelve month guarantee

Optional extras include: iv Electronic temperature control- Iers iv Kiln programmers Muriel Adams. Unglazed woodflred jar ]ean Judson: lgress moulded form, raku iv Metal flue extensions

Chosen by experts McGregor Electric Kilns— madeto the standard you have come to ex— pect from the professionals will give years of workability and relia- bility.

Features include: Annette iv Low mass insulation Leach. Bottle, fly ash glaze, iv Low cost — long life elements B126” “0’76”” ””13 Shirley Barker. Slab built, ‘ iv Minimal maintenance onglaze decoration, _ iv Long life element support stoneware iv Base shelving i Door safety switch Muriel Adams. Terra Slglllata slips on woodfz'red earthenware ir Twelve month guarantee ' ’ I § - *Castors on base

Optional extras include: iv Electronic temperature control- Iers i Kiln programmers “START WITH QUALITY TO END WITH QUALITY”

)5” a Eg‘p New Zealand’s foremost supplier of Gas and Electric Kilns . Manufacturers of: Replacement elements for all types of Pottery Kilns, using Kanthal A1 Wire. Suppliers of: Kiln shelves, Silicon Carbide and Sillimanite Kiln Shelves and castellated props.

118 St dd d Fl d, Mt R k'll, Auckland 4 W'D' MCGREGOR LIMITED Phgneaé99-60139. TeleXiISZISO 192 WDMG

40 NEW ZEALAND PO'I'I'ER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 4‘ r POTI'ERS MARKET Ann Ambler John Anderson HardwiCk-Smith . . Vanfiflelden Gallery. Mary ‘-41‘. BUSINESS FOR SALE Barbara Hockenhull _ x11 . _ AT LAST! B' h l -- ~ 60/40 cu.ft. DUAL CHAMBER wood fired kiln; 4 cu.ft. DAYS BAY EASTBOURNE p512?$.32?" ”' ALBANY VILLAGE mm B Renton Murray ' r; em electric kiln; 20 ft. by 20 ft. studio; 3 phase/single phase Peter Oxborough power; Gate Sales. 10 miles Upper Hutt, 12 miles Waikanae, PO. BOX 41—031 EASTBOURNE Heather Skeates the'time has come Robyn Stewart situated in Akatarawa Valley. 3 bedroomed house, 10 acres, Peter Stichbury Margaret Symes raising seasonally 70 calves on whole milk from 7 Jersey Howard Williams cows. $150,000. Tel. Wellington 267 523 or Masterton (col— Merilyn Wiseman lect) 82457. We have always FOR SALE been the best. . . Ph. 4159-403 “LOUVRE BURNERS”, two, stainless steel $100. Wood- OPEN Open 7 days 9 aim—5.30 pm field, RD2, Hamilton. SEVEN DAYS A WEEK Hrs 11 am to 5 pm TEL. 628191 GALLERIES ACCENT GALLERY. Exquisite studio glass, porcelain and BEAUTIFUL . . . . now we are stoneware by New Zealand artists. Phone 5347984, Shop 19, pOTTERY & Gingerbread Gallery theViIlas gallery Howickville, Auckland, New Zealand. CRAFTS & Craft Shop ALICAT GALLERY. Fine pottery from selected NZ potters. the cheapest! NZ’s top art workers are 52 Jervois Rd, Ponsonby, Auckland, NZ. Ph. 769 874. to exhibit DOWNTOWN HILTON GALLERY. The Walkway, invited Downtown, Lower Albert St, Auckland 1. Large range of Wide Selection pottery from local potters. Continuous exhibitions of NZ I POTTERY Exhibitions month/y representational paintings. Hrs Mon-Thurs 9—5 pm, Fri 9-9 I CRAFTS Only exhibition stock on sale pm. Sat 9.30 to 12.30 pm. Ph 33836. I PAINTINGS HOURS: MON TO FRI 10.30 am to 4.30 pm GENERAL SAT 10 am to 1 pm THE VISTA, 42 George Street, Palmerston North. Pottery, Hours painting and handcraft by leading NZ artists. Tel: 063/78320 15 THE ESPLANADE Mon. Thur. Fri. Sat. Sun. The Villas at Kelburn, 87»89 Upland Road, Wellington 5 Palmerston North. (State Highway 1) 10.30 am to 5 pm Telephone 757-943 THE POTTERS SHOP. 324 Tinakori Road, Thorndon, Wel- PAREMATA Closed Tue. and Wed. lington. From 10.00 am daily, telephone 738 803. TELEPHONE (04) 331—832

POTTERY CLASSES When in Lower Hutt FROM beginners to advanced in 12 week blocks, private visit Penny-Farthing Gallery tuition, studio rental on long term basis. PETER COLLIS POTTERY WORKSHOP. Write 31 Tizard Road, Birkenhead, Auckland, or tel: 487 020. We stock only OTAUTAU POTTERS’ New Zealand-made Arts CLUB — BORLAND LODGE POT— o Beginners and Crafts TERY SCHOOL. January 18—26, 1986. Tutors — Les Castle & to Advanced Ian Smail. Contacts — Mrs Wynnis Wesney, 30 Rye St, classes. Otautau, Ph. 8506. Mrs]udith Day, 27 Chester St, Otautau, 0 Long term studio space Ph. 8583. and Tuition. $720 \ Whether you pot for a living or PENNY—FARTHING I? 0 Summer and weekend simply for pleasure, you want .— WANTED schools. a wheel that‘s reliable. The Arum electric wheel is your CRAFTSPEOPLE interested in Village type community liv— answer. There are no complicated tyres or cones to go 0 Peter Collis Studio wrong in theArum wheel. Its simple construction and its low DUDLEY STREET WWER HUTT PHONE 699826 ing in the bush of the Lower Kaimais, write to “The Sky is voltage thyristor drive means the Arum wheel Falling”, c/- Ball, RD 6, Tauranga. Pottery. will give you 171 ARCHERS RD. TAKAPUNA AUCKLAND 487-020 reliable service for life. WORK AVAILABLE PRODUCTION POTTER for workshop 120 miles south of Please write for information: Sydney, in coastal holiday area. Write giving experience, Southern Ceramic training, and recent photos of work to: G. White, 142 Island Point Rd, St Georges Basin, NSW 2540, AUSTRALIA. Orewa Gallery Import 0" POTCLAYS LTD it ORIGINAL ART WORK WANTED * CERAMICS STOKE-ON—TRENT * ENGLISH WILLOW ENTHUSIASTIC STUDIO POTTER seeks workshop— * HAND-WOVEN RUGS teaching experience October onwards. Write to: Rose * BLOWN GLASS O Clays O Kilns * WOODWARE . Payne, 141 Ravenhurst Road, Harborne, Birmingham, O Glazes 0 Wheels Quality Crafts — Last forever England. (Ifum '0 Tools 0 Kiln Shelves OREWA GALLERY The charge for classified advertising is 50c per word, minimum 0 Raw materials PRODUCTS Hillary Square Ph HBC 67—068 $5.00. Payment must accompany order. All classified adver— Mail orders welcome: tisements are accepted at the discretion oft/1e publisher, and will 142 Eastern Hutt Road PO Box 30-349 be inserted into the first available issue. Mail order with your Catalogue available from: Taita Lower Hutt payment to Advertising Manager, NZ POTTER, Private Bag, Mona Bush, No. 1 RD, Invercargill Telephone (021) 394-875 LOWER HUTT Phone 672-688 Petone. P/i(04)687179.

42 NEW ZEALAND PO'I'I'ER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 43 buying a pottery kiln? COMPARE THESE WITH OTHERS

A fine selection of FROM US YOU BUY AN ASSET NOT A LIABILITY New Zealand Crafts Ask our customers — come and consult us

TURN LEFT 500 METRES OFF STATE HIGHWAY 1 15 km NORTH OF WARKWORTH OPEN 7 DAYS 9.00 - 5.30 pm WE OFFER YOU PHONE (08463) 7125 RD 6 WELLSFORD I A twelve month unconditional guarantee on materials and performance. Gifts suitable for any occasion I Kilns are designed by qualified furnace designers. Also treat yourself to something special l A New Zealand wide installation and maintenance service. I Any type of kiln, top loading, front loading, truck, tophat, elevator and tunnel kilns, from 0.1 to 1000 m3 gas, electric and oil firing to 2000°C. TO STATE HIGHWAY ONF l A complete advisory service on ceramic processing. WELLINGTON l Kiln shelves and furniture — industrial grade E.C.E., Drost, Royal Sphinx, Koppers—Dynamidon, Annawerke. - o SNELL MGCS MUD ' s s w l Electric potter’swheels, pugmills, filter presses, and other industrial clay processing f. g1‘ machinery. 11’ I We manufactflre pyrometers and kiln programme controllers and supply all leading COMPGNY brands of imported controllers. Sole agents Sigma controls. NewZealand Craftworks I We manufacture and design spare elementsfor any brand of kiln at low cost, 24 hour P.O. Box 68 Tuesday-Sunday R EDWOOD -STONEWAR E serwce. Te Horo and-public holidays l Low thermal mass ceramic fibre lined kiln for fast heating and cooling giving low Phone Otaki 43175 10.00 am-5.00 pm Fine, plastic, grey when fired. firing costs. Overall shrinkage 14 7 Fork lift $320 per tonne.SmalI lots available. l NZ Agents for Sigma Controls Japan loaded kilns

PORCELAIN Plastic, white, translucent. Very throwable. Overall shrinkage 12 /. ” gnnotadawr’ M $26 per 25 kilos. M New Zealand Handcrafts — I.’ St.x .v Pottery, Porcelain, Bone, Leather, Jewellery — also Paintings by talented Royce New Zealand artists MCGIQShQn Shop 42 BNZ Centre 1 Willis Street Wellington Telephone 735-560 128 ELLIS STREET, BRIGHTWATER. Telephone 23585

HIGH QUALITY ACCESSORIES FOR THE CERAMIC INDUSTRY from U.S.A. * GRIFFIN GRIP and LIDMASTER Netherlands it ROYAL SPHINX REFRACTORIES Perforated and solid kiln shelves. West Germany * DECORATING GOLD & LUSTRES * CERAMIC TRANSFERS, world’s largest range. fir ARTIST’S BRUSHES for all ceramic purposes. Top loading kilns 5.1 and 3.5 cu.ft. Italy at UNDER— and OVERGLAZE CERAMIC TRANSFERS. Front loading kiln 40 cu.ft. and last but not least, from New Zealand the AMBIDEX BANDING WHEEL and CUSTOM MADE DECALS FOR YOUR POTTERY. Where not available from your usual supplier, CALL: 152 Greenlane Road. Greenlane. Auckland 5 contact the importers and distributors TELEPHONE: l09I 542-386 or 545-743 WRITE: PO. BOX 17-191. Greenlane. Auckland 5. -® the electric furnace co ltd AFFILIATED INDUSTRIES LTD. CABLE: CERADEC—AUCKLAND TELEX: ZSSIi-CERADEC AKlNZ

Telephone 263-8026 NEW ZEALAND POTI'ER No. 2, 1985 73 Wiri Station Road, Manukau City, Auckland 4'4 PO Box 76-162 Manukau City, Auckland, New Zealand Telex N260017 MORTCO N.Z. SHIMPO AGENT IIIHIIIH I'lllll SUITS VIII] ? ANTIPODES SHIMPO WHEELS AND PUGMILLS AND ALL POTTERS SUPPLIES Both the same site - but different designs GALLERY PERFORMANCE INSULATION AGENTS FOR Both fire to 13000 in a fast economical three hour cycle Both are lined with 'Rigid Ceramic Fibre’ — the best'type — or as slowly as you desire, with a guaranteed evenness of pottery kiln lining (no fluffy blanket falls on your ware) Bill & Pauline Stephen — Directors of 10°. Both achieve even reduction or oxidation atmos~ Rigid fibre is better able to take the knocks — a Rexmark O TALISMAN pheres. exclusive. N.Z. Patent No. 19381. BURNERS TRAINING O COBCRAFT Both have two burners — each with individual gas control For both we offer full training —- Set up — Stacking — O POTCLAYS and preset primary air supply — no other system is as Firing --- Safety and maintenance. Essential for the new Features: simple to operate. potter but equally valuable for experienced potters. O WINSTONES CLAY * Hand thrown pottery WARRANTY O McSKIMMINGS Both have a twelve month warranty but more important * Handblown glass is our unmatched after sales service — we stand behind our * Hand turned woodware O POTTERY BOOKS kilns even after the warranty period. * Hand fashioned leatherware * Jewellery —— sterling, brass, bone WRITE FOR FREE PRICE LIST, MAIL ORDER HOURS 8.00-4.30 SAT. 8.00—12.00 and copper

5000 sq ft to browse through. Cnr Taranaki & Dixon Streets, Wellington COASTAL CERAMICS Phone 851-801 124 RIMU ROAD PARAPARAUMU N.Z. PH. 058-84377

The Craftware EASTERLEY Emporium Ltd Pottery Screen Printing First Floor, Old Auckland Customhouse, Paintings The Cottage 22 Customs Street, Auckland. Ph. 733-214 Leathercraft Craft Shop Basketry . Weaving Displaying the finest of NZ ' Jewellery ROBUST PRODUCTION MODEL PORTABLE LIGHTWEIGHT MODEL craftspeople and artisans. Ocean Beach Road Specialising in Garden Pottery Tairua, N.Z. Exhibitions monthly. Pat Boyes PO. Box 120 Phone 526 twmrwrmmrwmanurmnwanuhum

Heavy steel frame — Baked Epoxy coated with Aluminium frame with lightweight breathing panels ’Breathing Panels to disperse water vapour. Transport weight only 35kgs — fire anywhere without a flue then back into storage FRONT LOADER — TWO LARGE SPY HOLES — TOP LOADER — ONE LARGE SPY HOLE — The Old Dairy Factor CHOICE OF INSULATION THICKNESS: 80mm — 6 to 8 hours optimum firing cycles INSULATION THICKNESS — 55mm 100mm —- 8 hours plus cycles Optimum firing cycles — 4 to 6 hours

”"9”Crafts Crafts —4&3Ab 'I-ll RMD 60/ 80mm — $2195 complete N.Z.’s LOWEST PRICED 6.0 cu.ft KILN . E ‘ -fin'l Sheepskins III- -— 100mm — $2245 complete — $1485 complete Also available Souvenirs Sh/r/ey & Bert Bart/err I ENOUIRE FURTHER FOR OUR RANGE OF N.Z.’s LOWEST PRICED 3.6 cu.ft KILN OPEN 7 DAYS PRODUCTION KILNS — From 6 to 60cu.ft. — $1060 complete Mon-Thurs 10am to 5pm Station Road, Waimauku Vilgge Fri'Sat-Sun 10am 10 Born 25 minutes drive from city. Opposite ‘—- _ BEHIIIIIBII DEUElOPMEIITS [Ill “THE GAS KILN SPECIALISTS — WORKING Muriwai turnoff. Ph. 411-8665 Auckland 58 Athens Road, Onehunga, Auckland. Phone 643-311 EXCLUSIVELY WITH STUDIO POTTERS“ (Previously 663-311) anytime except Thursday and Friday

46 NEW ZEALAND POTTER No. 2, 1985 NEW ZEALAND POTTER No. 2, 1985 47 WESTERN POTTERS .5 par SUPPLIES pounm AUCKLAND 18 Clark St, New Lynn COPPERFIELD Ph 876-099 FINEPOITERY GHANDCRAFTS PARAPARAUMU BEACH HAMILTON TELEPHONE 70708 Northway St, Te Rapa Ph 497-473 OPEN: MON-TUES-THURS-FRI-SAT DUNEDIN 65 Bridgeman St Ph 52-014

< New McSkimmings pottery clays ,Winstones pottery clays Colour range, pottery stains, bulk stocks Western Potters White earthstone clay Western Potters white casting slip Air brushes and spray systems Onglaze enamels — golds — lustres <

The tinestco/lection of THACKwoon hand—made New I ”M Pottery 8: Gallery Zea/and pottery from 6, 80 of New Zea/and’s , . Highway leading craftsmen! Wakapu aka Nelson Ph. 520-978 , . Whether making Open Mon-Sat. 10—5. a purchase or Potters: just browsing, Ross Richards our shop is well Carol Crombie worth a visit. David Wilson

Adrienne Richards 25 Wellington Street, Picton, New Zealand. Ph 36-313 a/h 36-914 Long ”wear life M _7 ortable to wear 5

LAST FEBRUARY, MARJORIE LOWE OPENED ‘ ‘42;a.A ‘ » , ‘ ,, --.., A NEW GALLERY IN AUCKLAND. __‘ DEVOTED TO DECORATIVE, UNUSUAL AND COVETABLE OBJECTS.

DIVERSIONS IS SEEKING TO PURCHASE BOTH LARGE POTS, AND ”“4 SCULPTURAL AND EXPERIMENTAL CERAMICS. ' . nbeam NZ Ltd 1 PLEASE CALL, PHONE OR WRITE TO DIVERSION S 18 KITCHENER STREET, AUCKLAND 1, BOX 46011, HERNE BAY. PH. 396-093

48 NEW ZEALAND POTI'ER No. 2. 1935 xtens

" 5‘p‘. aiftioity has been improved as a result of , of-’the_‘de-airing process, which also means Um green?

Plus their convenient new 20kg pack in a strong, ‘ singlepla‘sti‘c‘baghogmoe W wmsmnenunnnlesnn

WST 289 OGILVY