5 Z738 NEN V . New Zealand Potter

Volume 26, Number 2, 1984 7 it ,,

l’uri‘i'lnln Wall Piece by Tr'll [lute/1, Auckland, ,v/mmgrap/ml by C05 Thomas.

New Zealand Potter Vol 26/2 1984 ISSN 0028-8608 Cover: Rhenish stoneware Bellarrnine, 1599. Photo: Graeme Storm. See page 5.

Editor: Howard Williams Through the Filter Press—Sally Vinson Assistant editor: Julie Grace Letters to the Editor. Exhibition Calendar Advertising manager: John Deal Physiotherapy for Potters—Judy O’Hara and Grace Alp Design: Howard Williams Beards, Bottles and Bellies — Graeme Storm Correspondents: Hamilton, Sue A Wall is Born—Doreen Blumhardt Knowles; Wellington, Anneke Borren; Nelson, Julie Warren, Peter Crafts in Architecture—David Clegg Gibbs; Christchurch, David Fire Big Brokenshire. The Fletcher Brownbuilt Award—Tara Werner Japan—Pottery Study Tour 1984—Ann Matheson A DESLANDES Japan—Land of Traditions—Robyn Stewart publication, also Japan—A Personal Glimpse—Ann Ambler publishers of the New Clay-Water-Fire-Anagama—Estelle and Bruce Martin Zealand Journal of Anagama comes to Wanganui—Grace Alp Agriculture and the New A Visit to the Fujiwara family—James Greig Zealand Gardener. Thoughts on contrasting materials—Owen Mapp and Linden Cowell Managing Director: Kahurangi—Treasures from New Zealand Alex Dunnett Pit Firing—Peter Collis Managing editor: Big Pot Workshop—Peter Collis Matthew Bird Pottery as a Business—Steve Yeoman Distribution: Direct Water-Clay Exhibition—Wellington City Art Gallery from the publisher at Gallery File Private Bag, Petone. Philips Studio Glass Award—Auckland War Memorial Museum Telephone 687-179. What it was like Fifty Years ago—Mirabel Hawthorn W ._ .. i O O O 0 ' 'a' .a g _. . . 5:59.130S ' '1 . no .. «a From 1985, the New Zealand Potter will be published three times a year, in April, August and December. The ,, price will be $5 per copy, or $15 pa by subscription. Overseas subscriptions: Australia $A20; Canada and the .‘00.i'y”x United States $USZ4,‘ United Kingdom £10; other $USZ4.

(Vii‘!!‘l!!1‘fi Typeset and printed by Deslandes Ltd at Publication House, 22 Waione Street, Petone. Postal address for editorial, advertising and subscriptions: New Zealand Potter, Private Bag, Petone. Telephone 687-179.

Note to subscribers and advertisers

From 1985, theNew Zealand Potter will be published in April, August and December. Among changes to be introduced will be the inclusion of a section in full colour and new classifications for advertising. Advertisers, please write or phone John Deal and ask for the rate card.

Articles in the New Zealand Potter are © copyright and may not be reproduced in any form in whole or in part without the \_/ written permission of the publisher. All rights reserved in material accepted for publication unless initially specified New Zealand Potter is grateful for a generous grant from Winstone (Wgtn) Ltd towards otherwise. No responsibility is accepted for unsolicited articles, photographs or artwork and any submissions will be publication costs. returned only if accompanied by a stamped addressed envelope. LETTERS TO THE EDITOR Sir, EXHIBITION CALENDAR May I make a plea to aspiring author/ potters. I frequently come across glaze formulas and technical articles in the Potter and other publications, which do not convey sufficient accuracy to be

PRESS of any use. For example, on page 25 of the Potter Canterbury Society of Arts, 1984/1 are listed 4 leadless earthenware Art Gallery, Christchurch Sir, glaze recipes. These all contain borax I was pleased to note the prominence fritt. One can make an informed guess Four Potters 1—11 November given to the Fletcher Brownbuilt Pot— as to whether this would be soft, hard, Bishopdale Potters 14—25 November tery Award 1984 in Volume 26, No. 1 of medium soft etc, but this is not good Canterbury Potters 18—31 March 1985 the Potter. May I however comment on enough. FILTER Halswell Potters 8—21 April an all too common confusion about the I would also like to suggest that more Wellington Potters 22 April—5 May name of this museum. Auckland precise terms be used when describing Museum began in 1852 but since 1868 temperatures. As most potters would when the Auckland Institute, the local be aware, cone temperatures vary ac— Auckland Studio Potters 20th Annual THE branch of the Royal Society of New cording to the type of cone used, i.e. Exhibition Zealand, was established the Institu— Orton, Staffordshire, etc. I suggest an Auckland War Memorial Museum, By Sally Vinson, President New Zealand Society of Potters tion has been the Auckland Institute absolute term such as °C be used, then 14-23 October, 10 am to 4 pm and Museum. the potter can easily match this with Guest Potter: Paul Fisher In 1929 the Auckland Institute and the type of cone he has. Selector: Campbell Hegan Museum moved into the new building As a potter and scientist of some 20 Designer: Julia Galbraith built as the Auckland Provincial War years standing I also make a plea for Exhibition Officer: Jill Hay Memorial on its present site in the more clarity in describing chemical Expo 86, Vancouver, Canada. We are at Stamps. The New Zealand Philatelic Auckland Domain. Thus the organ- compounds. For instance, iron can be present negotiating with the Bureau is seriously considering the isation which I direct is the Auckland added to glazes in many forms with Accent Gallery, Howick.

THROUGH Richmond Art Gallery in Vancouver to publication of a series of stamps cel- Institute and Museum, which is different chemical formulas, so it is not mount an exhibition of New Zealand ebrating the crafts of our country. This housed in the Auckland War Memorial sufficient to describe colouring oxides Enormous planters by Kate and Mat- pottery, weaving and prints. This will will probably eventuate in 3 or 4 years’ Museum building. It would therefore merely as cobalt or iron. If exact chemi— thew McLean 8—20 October In line with the new editorial policy of be on display during the ’Expo 86’ ex— time. Our approach to them received be correct to say that the Pottery Award cal details are not known then a Studio glass by Gary Nash 15—27 Oc-. the New Zealand Potter the New Zea— travaganza, and should be a very use— an enthusiastic response. was held in the Auckland War Mem— catalogue number would go a long way tober land Society of Potters hopes to contri- ful exposure of our work. The Potters’ Pack. Our insurance orial Museum, or in the premises of the to defining the material for later read— ”Basso Profundo”, murals and bute regularly to this magazine. For Gas Kiln Book. You will be aware that scheme continues to grow in numbers Auckland Institute and Museum, but ers. sculpture by Jan and Jeff Bell 29 this issue I would like to take the op- this book is now published and avail— of participating potters. It has recently not the Auckland War Memorial In- I hope my comments are of a con— October— 10 November portunity of bringing readers up to able. It is the outcome of the very suc— been re-organised on a regional basis stitute and Museum, which does not structive nature and that they may date with news of the Society’s current cessful Gas Kiln Seminar held at New to respond to its growth. I’d like to take exist. prompt people to think a little more activities. Plymouth as part of our Convention in the opportunity to remind potters that detail into their pottery. Fisher Gallery, Reeves Road, Potters and Pots ’85. Planning is well 1983. The need for such a publication this insurance scheme, at competitive GS. Park Pakuranga, Auckland. Director R.K. Panckhurst ahead for our next convention, a 3 day became apparent and it will put to rest rates, has been specially designed with October 22-November 18 Auckland Christchurch event to be held at Hastings, starting many myths and legends surrounding our own unique problems taken into Institute and Museum Invited Auckland weavers and Peter on January 18th. It will include our 27th the techniques associated with gas account. It is available to Society mem- Collingwood. National Exhibition, to be held at the kilns. It is a totally all—New Zealand bers, and a percentage of income thus Peter Collingwood is one of England’s Hawkes Bay Art Gallery, and our reference book. generated is a useful contribution to best known weavers. This exhibition Society’s AGM. Our special guests will our funds! of his work is currently touring New be Alan Peascod, a potter from Aust- Directory of Potters. A new directory of Faenza ’85. We are once more or- Zealand. ralia who specialises in his own potters and their work has long been ganising a joint NZSP entry of pots for The Auckland weavers are: hand—made lustres. Alan’s work was needed, and our Society has set itself this prestigious exhibition in 1985. QE ll ARTS COUNCIL Marie Abbott recently seen here in the Australian the task of publishing such a docu— With the financial assistance of QEII Anita Berman touring exhibition, ’Contemporary ment. We are planning that its first Arts Council we are sending work from GRANTS Tandi Bloxam Australian Ceramics’. As usual with edition will be a modest affair, costing Katherine Sanderson, Barry Brickell Adele Brandt our conventions there will be many little to produce or acquire. If success— and Gail Weissberg. This is always a Jeff Healy other exciting attractions for all sorts of ful, in its second printing it may be— worthwhile project as the International Adrienne Marten pottery interests. For further inform- come more substantial and up-market. Exhibitions for Faenza are such a chal— Yvonne Sloan ation please write to Julie Mair, 803 We plan to make it nationally avail- lenge. Bronwynne Cornish. $1500 short term New Council Members Ian Spalding Eaton Road, Hastings. able, and in the long term, an attractive Our Newsletter. This is still, I believe, travel/study grant towards researching Two new members have joined the Judith Wilson Further conventions are also in the document. the Society’s most important function; historic ceramics and earthwork sites council. Retiring members Andrew Sponsored by ”Walls and Floors” pipeline. We are planning, however, Pottery Leaflet. Another publication in the publication 6 times per year of our in Britain in May. Sharp and Len, Castle have been re- to be more regular with our timing, hand is a leaflet for the general public own modest newsletter. It aims to keep placed by Eric Flegg and Jenny Pattrick and Christchurch as a venue in May describing the various types of pottery members in touch with topical news of respectively. Eric Flegg, currently Pots of Ponsonby, Auckland. 1986 will be the first of our strictly available for sale in New Zealand gal— pots and potting, and each other, andl Head of the Art Department at Hamil- October 7—20. Terracotta by Leone Ar- annual events! leries and craft shops. We aim to dis- believe succeeds in doing so. Our Christina Conrad. $1000 to enable the ton Teachers’ College, was formerly an nold. Domestica Exhibition. This was a very tribute these leaflets to all retailers as a editor Cecilia Parkinson, continues to preparation of ceramic sculptural elected member of the Northern October 22-29. Window display by Sue exciting specialist exhibition held in service to them, and to potential cus— require your support for this venture works for three exhibitions in Auck— Regional Arts Council and has just Lorimer. May this year, planned and organised tomers. With the variety of types of and appreciates having your views. land, Wellington and New Plymouth. been appointed chairman of that November 9-17. Window display by by us in conjunction with the NZ pots now available to the public, it has This will be the last time I will be council for a three-year term, in which Wendy Ronald. Crafts Council. The concept of one become evident that confusion as to addressing you as President of the capacity he joins OE II. Jenny Pattrick November 18-December 1. Exhibition theme exhibitions is attractive, and we various pots’ suitability for use has Society. I would like to thank all our Otago Potters Society. A guarantee- is a well-known Silversmith and crafts by Peter Shearer. are planning to mount more of these arisen. It is envisaged that this leaflet members for their support during the against—loss of up to $1050 to offset any teacher and was president of the New November 30—December 8. Window types of shows, perhaps bi-annually, will answer the questions often asked last 3 years. I have really enjoyed the losses associated with National Zealand Crafts Council from 1979 to display by Joy Wheeler. and perhaps as touring exhibitions. by the public. challenges of this office. Ceramics ’84 at Dunedin in April. 1981. December 9-31. A Christmas display. 2 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 3 Physiotherapy for Potters BEARDS, BOTTLES

By Judy O’Hara and Grace AND BELLIES Alp, Wanganui

By Graeme Storm, Auckland. The stress caused by occupational hazards is well known and potters often suffer from back ache, sore wrists, elbows etc. So it was with much interest we went to a Wanganui Pot- ters’ Society meeting to see and hear physiotherapist Graham Hill. He showed us exercises which may help to Photographs: Graeme Storm prevent pain before it starts. For wrists and finger joints: Hold joint Cover photo is of a 23 cm high, Rhenish firmly, stretch gently, hold 30 seconds, stoneware Bellarmine, decorated with release. Repeat 3 times. No pain Breakdance? three similar panels, including the date should be involved in this exercise. 1599, and a coat of arms with flenr—de—lis, For back: Lie on stomach, raise head a so—called “hausmarke” and the letters and shoulders and lean on arms, H:D:D and B:B:T, all beneath a mask of keeping elbows straight. Hold 30 sec- the cardinal. onds. Release. Lie on back, arms out wide, swing legs over head and touch toes to floor. Hold for a time. Release. Lie on back, arms wide, head facing left. Bend knees, lower them to left side, touch floor and back again in a rocking motion. Repeat to right, head Bellarmine with script hand is 16th cen- facing right. tury, 21 cm high. Others are all 17th For thighs: Sitting position, knees century and vary in height from 19-31 drawn up, press outwards with arms cm. on knees. Hold 30 seconds. Repeat. For ham string: Sitting position, knees straight, stretch and hold toes. Hold 30 seconds, release, Repeat. For shoulders: Stand and hold each Kendi Jengot, Bartmannkrug, ’d’ Alva side of a door frame for support. Lean Bottle, Greybeard, Bellarmine. Get- forward. Hold this position for a short ting warmer? Yes — all names for the time. same thing. That rather jolly, fat bel- For hips: Lie on floor. Raise one leg. lied, saltglazed jug with the bearded Have someone pull your leg. (What face at the neck opposite the handle, does he mean? They’ve been doing which we know most commonly by the that to me for years!) Change legs. Re— latter name — Bellarmine. peat. These casual stoneware pots, made Pain and injury can be caused by in their thousands in a variety of sizes, staying too long in one position, so originated in Germany around the year stand up and stretch frequently. Also 1500. They were made primarily in the watch when stress occurs, and alter the Rhineland areas in and near Cologne. height of your chair or your work to Towns like Frechen, Raeren, Wester— suit the amount of strength required. wald and Seiburg, some of which still Keep elbows bent when gripping have potteries producing saltglazed something to avoid the strains known wares today, albeit mainly in the brick, as ’tennis elbow’. Footware is import- tile and pipe line. ant, running shoes or similar air— The German name for the jug — cushioned shoes are recommended. originally made to contain beer, wine, Bend your knees, not your back when sac or the like — is Bartmannkrug or lifting an object from the floor. Above Bearded-man jug. The other names, all, if a process is painful, try to find a Greybeard (obviously English) and different way of doing that work. Kendi Iengot (Indonesian for Bearded Bottle) and ’d’ Alva Bottle (named after Fernando Alvarez de Toledo, Duke of Glickdance Alva, who was active in persecuting Protestants in the Netherlands in the Did you realise that in the recent latter half of the 16th century), give Olympic Games at Los Angeles, all of Iohn Glick deitionstrates exercises for potters. the eight New Zealand gold medallists won their medals sitting down? Photographs: Lynne Griffiths and Elizabeth Vli'mnlt'ield. continued overleaf 4 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 5 Bellarmine bearing the royal seals of BEARDS, Elizabeth 1. Sometimes there will be three seals on a Bellarmine — to the front and the sides of the belly —— but BOTTLES these are less common than those with just the one seal to the front. Seals and mask may be splashed with cobalt be— AND BELLIES neath the salt glaze — these also are more rare. In later examples, the mask seems to degenerate to a very rough facsimilie of a face — rather more of a death’s head — often badly applied, set askew, or half wiped off. some clue as to the widespread nature Early large examples were covered of the export of these pieces from their with sprigging and an all-over Vine- place of manufacture. like twining. Some 16th century pieces From Germany and the Low Coun- have a central band encircling the belly tries the wares found their way in and containing a legend in old German quantity not only to England, but as far script. Rarer still are those which have off as Batavia, on the vessels of the East the semblance of a torso beneath the India Company. The dredging of face. There is even a lovely small (11 cm wrecks of East Indiamen which found— high) example in Cologne bearing the ered along this route via the Cape of image of a woman — without a beard Good Hope and the northern coast of of course! Some pieces were obviously Australia, have inevitably produced made for a tap house, beer hall or some examples of Bellarmines. Some such such establishment and carry the coat are to be seen in the Perth Museum. of arms or device indicating this. As Cologne Wares, as they were called the bearded face became more mask- at first — the later name Bellarmine like and symbolic, so did the seal, often being a reference to Cardinal Roberto degenerating to a simple rosette. Bellarmino, (1542-1621) much hated in Handles vary considerably. From Protestant countries for his counter those which appear to have been pul- reformation zeal — were very popular led (or oozed) from exceedingly wet in England during the reign of clay, usually round in section, to those Elizabeth I. In fact in the later 16th pulled flat and more strap—like. Yet century they were esteemed enough to others are plaited or twisted with sev- be mounted, like Isnik earthenware eral individual coils intertwining. and Chinese porcelain, with elaborate Common to most types is a rat’s tail silver gilt covers and feet. Pewter lids termination at the base of the handle. and footrings were also common and This sometimes carries finger inden- some pieces bear marks showing tations. where these were formerly attached. The salt glazing itself can vary John Dwight, the potter of Fulham, greatly, depending on the clay body applied for and was granted a patent to used. This can vary from dark brown make “the stone ware vulgarly called through grey to almost white. Often a Cologne” in 1672. A patent which he light wash of iron (or iron-bearing slip) vigorously defended in court on sev- has been applied over a pale body prior eral occasions against other London to firing to give a more living colour. potters. The only excavated stoneware it is clear both from the continuing Sometimes this results in strong so— kiln to pre-date John Dwight’s patent, imports and from the manufacture of called ”tiger ware” markings. On other was probably constructed by immi— lead glazed earthenware copies of bot— occasions a heavy salting can result in a grants from Germany or the Low tles, surviving well into the 17th cen- clear glass—like surface, (particularly Countries. This small oval kiln was tury, that the early experiments were over a whitish body) with none of the discovered unexpectedly at Woolwich able to offer little competition to the orange peel texture normally as- Ferry, and associated finds suggest highly productive Rhineland pot- sociated with the typical saltglazed that it was in operation for a short time teries. Bellarmine. about 1660, supplying stoneware bot- Generally speaking, the quality of As with present day salt glazing, the tles to Woolwich dockyard and to a modelling in the applied masks and variations of colour and texture are lesser extent London. Although there seals on Bellarmines deteriorated with limitless, depending on the vagaries of seems little doubt that stoneware was the later wares. Early examples from packing, firing and salting the kiln. So made in several places in the London the 16th century show very detailed are the blemishes where pots have fal— area before Dwight’s patent, perhaps and sensitive relief work. Long flow— len together during firing or been as early as the 16205, their identifica- ing beards on the faces, sometimes stacked in contact with one another. tion, due to lack of excavated material, with masses of intricate curls — finely The series of accompanying photo- remains conjectural. Bellarmines of modelled noses and mouths and even graphs will serve to illustrate varia- debased form have been found in large individual teeth showing, where the tions in form and decoration. Close- numbers all over England and it may lips are parted. The seals applied to the ups show some of the detail in seals or well be that some of them are not, as belly of the pot can also be very intri— “Hausmarke” as they are called, and has been hitherto supposed, products cate, with complicated escutcheons the series of “mug shots” demon- of Frechen. and armorial devices — in rare in— strates how varied the mask itself can Whatever the scale of English stances including a date. look — from realistic to stylised; from stoneware production may have been, The British Museum has a large, fat humorous to fiercely grotesque. 6 NEW ZEALAND PO'I'I'ER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 by Doreen Blumhardt, CBE, FRSA, MIAC. bright green bottle glass in some of the hollows in the textured surface. A WALL IS BORN The first step was one of reconnai- sance at various beaches to find the rocks I would use. Rolling out 10 mm thick clay slabs on the slab roller we did thirty of them at a time, and stacked them on boards in the back of my sta- tion wagon with bricks between the boards to keep them apart. These slabs were then pressed on to a variety of rock surfaces. The clay, by penetrating the interstices of the rocks, made most interesting textures for me to work on. Back in the studio I cut and shaped the impressed pieces, joining the tiles with slip to previously made square tiles, which were laid out in three rows of ten. When all had been modelled and matched, the first two rows were put away to dry while the third one was left on the table and kept moist. From then on two rows were added after each visit to the beach, and two taken away to dry. This system made sure that each new row could be prop- erly matched to the preceding work, and the flow of the pattern through the wall maintained. continued overleaf

Photograph: Brian Brake

In March 1982 I was approached by the Just about this time Jenny Wrightson menting with patterns taken from building committee of a new Christian knocked on my studio door. She had rocks which are so much part of Wel- Science church for Willis Street, Wel— some experience in working with clay lington’s marine environment. I had lington, and asked ifl would be willing and asked if she could come and learn made a number of wall panels using to carry out a commission for a decora— from me in return for helping me in the clay impressions taken directly from tive panel to be incorporated in the pottery. Her approach was most timely rocks on local beaches. These early building. Ian Athfield, the architect and she agreed to help me with the panels had mostly been unglazed, came to see me and suggested that wall. using iron or manganese oxides for rather than having something to deco- I worked out a system for construc— colouring. On the wall for the church rate, possibly the foyer, he thought tion and set up one of the rooms in my was the new challenge of colour. that a ceramic wall in the garden court studio, which is an old house entirely Behind the planned wall site, there is would be more in keeping with his devoted to my pottery. Three hundred a car park backed by a row of tall lom— ideas. He showed me sketches of the and ninety tiles had to be made each bardy poplar trees. As I stood and building and I visited the site to gain 200 mm square when finished. It was watched them move in the wind with some feeling for the environment. important that they should be com— their brown wavy stems and green The wall needed to be eight metres pletely flat on the back so that they leaves, I realised what the colours long by two metres high andl accepted could be cemented to a concrete block should be for the wall. I planned that the commission to be completed in one wall. Sculptural finish on the top of the surrounding tiles would remain year. I produced a number of water each tile, I decided, was to be achieved just iron washed, and the centre would colour sketches and sample tiles, and by modelling tiles separately and at- be glazed. Also it seemed a good idea had further discussions with the taching them to a flat tile with slip. to have some small areas that would building committee and the architect. For some time I had been experi— sparkle in the sun, so I decided to use NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 9 the tiles. Some of the surfaces were I passed him the tiles one at a time and Architectural ceramics, like architecture A WALL IS BORN sponged to give a range of tones within checked for accuracy and for the first CRAFTS IN ARCHITECTURE itself, relates specifically to each site. the terra cotta colour which would time I saw the wall as a whole, on a David Clegg discussed the craft and its blend with floor tiles used in the Vertical surface. by David Clegg place in the ceramics field, viewed building and in the garden court lead- I suggested that the wall should have through the works of Paul johnson. ing to the wall. water trickling over it to keep the In the drying process it was most The colours for the glazes were the glazes fresh and sparkling. This water important to keep the tiles completely greens of the poplar trees and the blue runs into a reflecting pool at the base flat, and weights were put on the four of the sky behind, with dark brown and at night, spotlights shining from corners of each tile until completely areas to give contrast. All the glazes the sides give dramatic emphasis to the dry. Before putting the tiles away to were brushed on to several rows laid modelled surface. The now planted dry each one had a number scratched out at a time, and fired in an LPG gas garden and the poplars behind give the on the back of the top right hand kiln in a reducing atmosphere. When wall a feeling of belonging. It can be Our mutual friend and noted glass— corner. Work proceeded throughout they came out each row was again seen through a glass wall when enter- blower Tony Kuepfer has pointed out the year, and as each row of tiles dried, stored in a numbered carton ready for ing the front door and all along a glass that clay is merely dirty glass. How— they were bisque fired and packed in delivery. walkway from the car park entrance. ever, my interest in Paul Johnson’s suitably numbered cartons. By March 1983, all tiles were com- When standing in the garden the wall ceramics is not based exclusively on The next task was to mix yellow pleted and ready for the builder’s tile is reflected in the glass and gives one a this tenuous premise. Unlike most ochre powder with sufficient water to layer to attach them to the completed feeling of being surrounded by a series New Zealand potters, his working give a good dark tone when applied to concrete block wall. During three days, of walls. methods more closely approximate those of people who, like myself, work in architectural stained glass. He relies on commissions. ‘ In a recent exhibition at New Vision A closeup of Doreen’s wall tiles was Ceramics in Auckland, Paul displayed featured as the colour cover of NZ Pot— the Various facets that precede the in- ter 1984/1 — Editor stallation of his sometimes monu- mental ceramic murals. They included competition advertisements, working drawings, site photographs, scale Photograph: Brian Brake models (often two potential solutions to a problem) and colour photographs of the installed commissions. What struck me most, and presuma- bly other people not intimately in— x'. volved in clay, was the diversity of Construction of the mural ”Craft and Architecture” 1982. Pauljohnson. ideas within the one context. In both figurative and abstract forms there were glossy, low—fired glazes, bright lustres, unglazed and oxided white While a space can be decorated with employ many artists and craftspeople and terracotta clays, high—fired stone- artworks bought off the shelf, commis— in the process. ware, pit—fired and raku—fired clays, sioned artwork tends to be more suc- Many commissions for glass and low relief, high relief and small cessful because it addresses the ceramic artists are offered directly by sculptures. specific functions and character of that architects, developers and interior de— If one took the time to read the space — a factor that becomes in— signers, usually on the basis of previ— exhibition material, it became clear creasingly important as scale in— ously successful projects. Domestic that this was the result of the artist’s creases. commissions such as Paul’s ”Breaker willingness to respond to the client. To New Zealand architecture in general Bay”, which must be the largest raku- quote from his publicity sheet: ”Ar- has still to outgrow the catalogue— fired mural in New Zealand, resulted chitectural ceramics creates artworks purchase ethic that evolved in the 60's from the client seeing an earlier mural

in fired clay that relate specifically to and dominated the 70's. In contrast, in an art gallery. In this regard, the ms each site. Each piece makes reference Ian Athfield’s Christian Scientist dealer gallery assumes significant re— to its Visual environment, its particular church in Wellington is a rare example sponsibility as an agent for architec-

“2" architectural character, the colours and of an integrated involvement of vari- tural artists working on commission. textures around it, as well as making ous arts, ceramic, fibre, glass and Increasingly though, competition is , reference

, to the nature of the business wood into an aesthetic unit. a format for many civic and public

. house or interests of the client. Each is It is, to my knowledge, the only ar- commissions. In two examples illus— a totally unique chitecture in New Zealand aligned to 131%w and personal art trated in his New Vision Ceramics statement." contemporary trends overseas, the exhibition, Paul outlines his approach Architectural crafts does not mean pluralist approach that unashamedly to competition. The architectural firm simply an extra large pot or hanging refers to other ages and styles without of de Lisle, Fraser, Smith and Pickering but rather an artwork selected to relate copying any one of them, and which sought stained glass and a ceramic on equal terms with all the other ele- acknowledges the post—modern joy of mural for their new facilities block for ments within a given space. It means decorativism. the Hamilton City Council. involving artists in glass, ceramics, As always, New Zealand will come The architects researched the field wood, wrought-iron and textiles in the to accept such radical shifts in direc— for a short list of significant artists in building design process. These crafts tion with much kicking, screaming each area who were then invited to are part of the building, not whimsical and persecution of its early propo- compete. Each submission returned (or desperate) additions. Only these nents. But this direction, like minimal $200 as a token for the work involved. craftspeople know the proper lighting modernism before it, will be a fact of A selection panel involving the ar- and spatial considerations their pro— life in time. However, unlike moder— ducts require. nism, this movement will certainly continued overleaf

10 NEW ZEALAND POTTER No.2, 1984 NEW ZEALAND POTI'ER No. 2, 1984 11 chitectural firm, the city council, the The design submitted might include Canada (he already had a Bachelor of derneath for reassembly. Waikato Art Museum and a sponsor— a scale model set in a mock-up of its Fine Arts from Auckland University) Equally difficult is the task of fitting then made the de- architectural environment, with scale he developed the traditional skills of these enormous projects, which, from ing civic group ‘—MW .c cision. ’people’ to provide realistic perspec- wheel throwing which he sub— initial discussions to installation, take iat‘ll '" ‘5":;,- (Since the time of writing, Paul tive. There is obviously months of sequently passed on to his art students three to five months each, around a ~‘jfl4h ’ .7 Johnson has been awarded this com— work and a possibility of no reward. in a number of Canadian high schools. full-time job as exhibitions officer at mission. — Editor) Artists are gamblers too! It was there, in Nova Scotia, that he the Govett—Brewster Art Gallery in «9-! R! With the glass competition, a short The major difference between the first worked the rich, red Lantz clay of New Plymouth. This particular gallery list of three artists were invited to make studio potter and the commissioned the region— a predeliction apparent in has an excellent reputation for its chal— personal submissions to the panel. artist is the involvement of the client this large terracotta outdoor sculpture lenging programme of exhibitions and While this method has much to com— before work proceeds. To identify pre- called ”Broken Grid”. Against the this, it seems, has as much to do with mend it, it does not guarantee a suc— conceptions and attitudes is often ex— warm salmon and deep red tones is an Paul’s commitment to the job as it does cessful solution. The selection panel tremely difficult and to present new intense leaf—green line of acrylic paint with the gallery’s policy. His wife, In- must be very well informed to assess possibilities can be impossible. infilling a deeply scored organic line grid, and their two young children are the submissions properly as, in the Just as often, however, the commis- that weaves across the face of the grid. usually found helping during various short term, it states clearly the panel’s sioner displays gratifying faith in the It was also in Nova Scotia that he‘first phases of a big project. Paul admits perceptions and understanding and, ability and integrity of the artist. realised the potential of adding somewhat reluctantly that these are the in the long term, will help or hinder the Winstones (Wgtn) Ltd held such faith brightly-coloured, low-temperature rare occasions when the family is all growth of architectural arts throughout in Paul Johnson that they required no glazes to the traditional earthy tones of together. the entire country. drawings or models; they merely set high-fired pottery. In stained glass there seems to be a As is evident from his exhibition, the spatial and cost limitations. The The struggles to produce large—scale wider acceptance of contemporary Paul’s research for such a project would resulting graphic play in deep relief of ceramics are many. There are the obvi- abstract graphics than in ceramics. A include a study of the architect’s plans, brightly coloured sections of the ous logistical problems of handling a struggle Paul often faces is handling a dis- Winstone logo, set against earthy im- thousand pounds of wet clay at one client’s preference for realistic imagery site visits and photography, Paul quenching raku work. cussions with all interested parties, ages evoking the building industry, time and the race to finish a piece (up in face of his own preference for drawings, working scale-models and was a delight to everyone. to seven days with very little sleep) abstract. Perhaps this is a legacy from finally a submission that included de- Paul says he is not a potter, he does before its natural tendency to crack and historical murals whose purpose it was “Landsat Wellington” 1982. Low fired stoneware, 2460 by 2040. Paul Johnson. tailed information on materials, cost, not make pots. While that is true, he warp destroys the intention. They are to tell a story. The owners of ”Breaker delivery time, copyright and warran- certainly knows how to. During his then cut into jigsaw puzzles, 150 pieces Bay” wanted to see the seascape tees. studies for an Art Education degree in or more, and coded with oxides un- nearby in the work which was sub— sequently accommodated in the dark blue and black horizontal element. But for Paul, the more exciting part CRAFTS IN ARCHITECTURE was the vertical totemic abstract, de— rived from local rock formations, but through form and colour assuming its ”Breaker Bay” 1983. Rnku fired stoneware, 2675 by 3465. Pauljolmson. own identity in sculptural terms. It is probable that the abstract segment will retain the longest interest value. Like myself and other architectural artists, Paul looks forward to a time when New Zealand adopts the heal— thier climate for arts enjoyed elsewhere in the world — tax incentives for cor- porate art purchases, better govern— ment subsidies for art and craft purch— ased for public collections, and a percent—for-art legislation adminis- tered by a suitably informed body. Maybe then he could survive full time on architectural ceramics.

stood the rain and snow and a force 7.7 Insecticide Sprayers were used, with earthquake. The vaulted adobe (sun— low firing glazes of ground glass and baked brick) roofs of the houses often clay. The villagers were so impressed '2 FIRE BIG softened and collapsed, sometimes they ’souvenired’ bits of the walls killing the inhabitants—whereas the chipped of with pick axes! Then other x """"-I kiln vaults were rock hard. houses were fired in the same way and s‘ Houses as kilns ,5 So the first volunteered old house also used during the firing as kilns for

m»... =3 was fired to a bright orange glow, tiles and paving. -v ‘- 5 using kerosene burners for 24 hours. Nader then designed, fired, and Nader Khalili has built, fired and Steam escaped in clouds, roaches, mice glazed a 15—room school for one third glazed whole houses, and even a 15- and lizards scurried out as the heat the conventional building cost. It was room school. rose. But for Nader this bisque firing very successful structurally and well While touring the Iranian desert vil— was not the end. Glazing a few pots can insulated—an excellent habitat for

;, .,_-L.v-r.éw-.':'z<:vfi~ ' lages, Nader noticed that kilns were be a laborious enough task—but a that climate. And a new scale for the often the only structures that with— whole house? ceramics world.

12 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 13 points out, but recently up to 200 sent a telegram to the potter asking THE FLETCHER BROWNBUILT AWARD people have taken classes per term. whether he wanted his work returned, ”We have a lot who have a go and at his own expense, of course. He po— N.B.: FLETCHER then find that it’s not for them. Others litely but sadly wrote back, ’I am only a go further and buy a wheel and then a poor potter. Please sell for what you BROWNBUILT AWARD 1985 kiln. It’s like any other interest. The can get for it.’ Well, what could you do? centre plays the part of bringing people The result you see in front of you.” This Exhibition will be opening on 1 together who normally work individu— June 1985 at the Auckland War Mem- ally.” (Editor’s note: FBB don’t do this as a orial Museum. Entries must be in by 17 By Tara Werner, Auckland Members of the ASP help directly matter of course, so don’t try it on as a May 1985. Entry forms may be ob- with the Fletcher Brownbuilt Award, way of avoiding return freight charges tained by writing to: as mentioned. Pam elaborates, ”They on your rejected or unsold pot!) The Exhibition Officer Photographs: Alan Cooker organise it but we’re responsible for Fletcher Brownbuilt helping unpacking, numbering and Private Bag exhibiting the pots. The judge sees Auckland them with numbers only so they can’t New Zealand. identify potters by name. Anyway, Love it or hate it, The Fletcher we’re so busy unpacking that some— Brownbuilt Pottery Award is a well- times we don’t know who’s exhibited established and important event in the ourselves!” New Zealand ceramics calendar. For Fletcher Brownbuilt and the ASP eight years now around mid—May a also choose the judge, the former pay- flurry of activity ensues as pots arrive ing all the expenses of bringing that from all over the country and overseas person from overseas. A costly busi- Len Castle tutoring at Auckland Studio at Fletcher Brownbuilt’s headquarters ness but one well worth it, Trevor Hunt Potters Centre. at Penrose. They are carefully un- feels. ”Having an overseas judge has packed, numbered, and the invited been one of the primary concepts of the overseas judge makes the selection. award. It gives an impartial factor and In early June the chosen few are dis— also views are passed from overseas to played at the Auckland War Memorial New Zealand potters.” Museum; the winner and merit awards Trevor Hunt, Managing Director, Fletcher Brownbuilt. With judging being such a personal are announced. A glittering occasion choice, each year’s selection does re- indeed, with bubbly to boot. Two fre- flect the judge’s bias. But that is not netic weeks later the exhibition is dis- necessarily a bad thing, says Pam. ”I banded, and potters with unsold wares personally think it’s good having one collect their pots. Those who have put person. There’s nothing to be ashamed in a great deal of work organising the impression gained from visiting the Studio Potters’ Centre, a relationship about getting your pots rejected.” In event give a big sigh of relief. Another Fletcher Brownbuilt headquarters is with mutual benefits. The ASP gains fact this year’s judge, Don Reitz from award over and Fletcher Brownbuilt that pottery is held in great esteem. A the commission on pots sold at the USA, rejected for display pots from gains another pot to put with its few of the award—winning pots are award, plus door and programme two previous winners. growing collection. displayed there (all circulate within the sales. It in turn helps with the organ- Potters who have had works de- Cynics and sceptics may be wary of Fletcher companies as a whole), but the isation, unwrapping of pots, door at- clined often joke about the select club what they feel the award represents. It company has also bought many others. tendances, and all those things which to which they belong. But the judge’s is, they say, an undisguised competi— They are everywhere, on counters, go to make the award a success. And subjectivity is definitely one criticism tion, and Art should be for Art’s sake. shelves, nooks and crannies. Large both parties find the publicity the levelled by Len Castle against the Secondly, Big Business is obviously colour photos of all the winning pots award attracts helpful. award. ”The person who really wins involved, with an eye on the com- take pride of place in the foyer. It’s a Pam Robinson, the present director does so on a basis of a lottery. It’s mercial rewards as a direct spin-off somewhat surprising twist to a com- of the centre, is understandably interesting that previous winners can from the sponsorship. Ironically, these pany initially more noted for its roof— enthusiastic about sponsorship. be rejected. It’s not that their work has Viewpoints are not refuted by Trevor ing products. Possibly the interest can ”We’re a non-profit making organ- gone down in standard but it hasn’t Auckland Studio Potters Centre,Onehunga. Hunt, managing director of Fletcher still be attributed to the tastes of the isation and the help we’ve got has met the eye of the judge. It can fluc- Brownbuilt. He acknowledges openly managing director. enabled us to get the facilities we have, tuate so much from year to year.” that his company has gained publicity Trevor Hunt admits he is not a potter the kilns and equipment. Otherwise Whatever criticism the Fletcher through the award. But commercial himself (”I’ve taken a few classes, but we just would not have been able to Brownbuilt draws, it will continue to rewards? He doubts it. More to the only really to appreciate the work it cover our costs.” attract attention from both New Zea- point, he feels, is that the award has takes to make a pot successfully”) A visit to the centre on a Saturday land and overseas potters. Now an helped with what he calls ’internal’ However, the idea for establishing the reveals a hive of activity. Potter Len international event, the substantial company building. award came from his friendship with Castle is giving a demonstration to a NZ$3,000 for the winner makes it the ”Fletcher Brownbuilt is one of many Auckland potter Ruth Court and fam— group of 20. The workshop attracted so largest prize in the southern hemi- in the Fletcher group; a lot of little il . many that it was over-subscribed and a sphere. Both local and overseas entries companies with individual identities. y”Years ago both families were holi- repeat day was needed later. Especially have steadily increased over the years, Within Brownbuilt itself, collecting daying in Fiji and while we were sit- on a sunny morning the centre’s old and for the first time pots from France pottery has struck a chord. with ting on the beach, Ruth was talking but beautifully restored house seems a and West Germany were submitted in everyone. It helps to build up the com— about her ideas and plans for the new very warm and alive place. Not in the this year’s award. Some have been pany image internally.” Auckland Studio Potters’ Centre. They best of settings perhaps, opposite the forwarded at great personal expense by Since the award was instituted in hadn’t much money at the time and ARA rubbish dump, but nevertheless the potter concerned. 1977, seven New Zealanders and one were trying to shift an old house on to a popular meeting point for profes- Trevor Hunt sums up that in the Australian have won. Not bad going the site at Onehunga. Sponsorship sional and amateur potters alike. Fletcher Brownbuilt, the losers some- for an international exhibition and came up in the conversation.” During three terms various classes times gain as well. He points in his Trevor feels that Fletcher Brownbuilt From these informal beginnings are held, from beginners’ throwing to office to a large, beautifully glazed pot has been privileged to own eight pots came the relationship between advanced refresher courses. Attend— from Japan, for some reason rejected of a very high calibre. Certainly the Fletcher Brownbuilt and the Auckland ances do Vary from term to term, Pam for final selection a few years ago. ”We 14 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTI'ER No. 2, 1984 15 JAPAN PO1TERY STUDY TOUR 1984

Photographs.- Ann Matheson By Ann Matheson, Tour Leader

Even after living there for many years, each time I revisit Japan I feel again the thrill of experiencing a very different culture — the different language and lifestyle of a warm and friendly people —— the Japanese. I am most fortunate indeed in being able to escort special interest groups to Japan to show New Zealanders a little of the fascinating cultural heritage of the Japanese, whether it be woodblock printing, tie dyeing, traditional doll making, spinning of silk, bamboo craft, pottery or some of the many Work by 76—year—old Toyo seasonal festivals. Tamamura ready for the electric kiln. Through the eyes of each new group I see anew the unexpected beauty of the lush spring green and brilliant azaleas, the kindness and hospitality of the people, the challenge of the underground trains which stop only a few seconds at stations — no waiting for stragglers — the maze of narrow streets and unintelligible neon signs of downtown Tokyo. The second group of 20 New Zealand potters to visit Japan JAPAN — LAND OF TRADITIONS with me returned on “cloud ninety-nine” totally stimu- lated, with a new understanding of oriental shapes and glazes, of pots through the ages, of ancient kiln sites and shards, of modern kilns built by traditional methods. We By Robyn Stewart, Auckland The following day was spent in the neighbouring village met more than 25 potters, male and female, young and old, of Mashiko. Before the arrival of Shoji Hamada in 1924, traditional and avant-garde, outgoing and friendly to Mashiko was in decline in both production and traditions. business-like and busy. We were treated to spring water His influence over the following 50 years meant that and strawberries, sweet cakes and tea ceremony tea, rice ceramics have again become the mainstay of this commun- biscuits and green tea. Sometimes we even received Japan — land of traditions. One of which is ceramics. A ity. The number of shops and potteries on the main street is souvenir pots as priceless reminders of our visit. tradition going back a thousand years. rather overwhelming. Most are making and selling mass- The warmth of the welcome into their homes, the trouble Our travels took us to four of the six old kiln areas. produced work of indifferent quality. I personally discov— taken to show us family treasures — pots passed down Tokanama, Seto, Tamba and Echizen. However, let’s start at ered only three galleries with work of interest‘and a high through the generations — the beautiful countryside with the beginning, Tokyo. Here we visited the gallery and standard, Mashiko is largely trading on the name of grey tile roofed houses reflected in the water of newly school of Mura Kawa, a young woman whose classes in Hamada, I fear. planted rice paddies; bamboo groves and wild wisteria ceramics cater for 150 part-time students each year. The first Tatsuo Shimaoka’s Nawame (cord impressed) is world year’s tuition is in hand building, the second wheel work. paint a memory picture never to be forgotten. Craggy west Q, . V! IN». renowned and extremely expensive — a tea bowl, NZ$1000. coast scenery, pink pots of Hagi, ”snake” kilns of Tamba, Robyn Stewart at Seto with Kato Tosaburo and family. There are few professional women potters in Japan but A young Indian woman student who had been working many who work with husbands, or in family potteries. skirt-eating deer at Miyajima, the pathos of Hiroshima's Robyn has just presented one of her pots suitably boxed, to with him for a year, guided us around workshops, kiln and Asako Watanabe was the only other woman visited — she Peace Museum, the bliss of the Inn at Kinosaki Spa, .cross— Kato. showroom. cultural swapping of information late into the night at was the 1983 Fletcher Brownbuilt judge. In her country Takeo Sudo works in folk art style using kaki and tetsu Koishiwara and the extraordinary welcome we received in retreat, a 150-year-old farmhouse at Okazaki, were several glazes typical of Mashiko. He had a young Australian ap- Fukui — us on TV news and in the newspaper and free beer pieces of New Zealand pottery. prentice who pays for his bread and butter (shouldl say fish at the beer garden! Leaving the immense city of Tokyo, we travelled north and rice) by teaching English. For foreigners, quite a com— Everywhere we went the potters greeted us warmly and through the spring countryside to Kasama. Edward Sellen, a mon way of supporting oneself in Japan. answered our many technical questions, even to the extent young English potter who was delighted to speak his own We travelled rapidly by bullet train past glistening Mt of giving away family secrets. In return, our group had a language, took us around the government—sponsored Fuji, through hilly tea-growing country to Nagoya, a heavy New Zealand gift for each potter we visited, received with Ibaragi Training School for Potters. (Where incidentally, industry city of two million people and smog! Tokoname is surprise and appreciation. Several of the Japanese potters kaolin imported from Matauri Bay, Northland, is used for its situated on the coast south ofNagoya. During the Kamakura indicated that we are welcome to return for further study. purity in translucent glazes.) Each year six promising young era (1185—1333) its pottery was much sought after for tea I feel that this group had a marvellous experience, not people from known pottery families are given special tui— ceremony use. Simple forms with random natural deposits only in seeing many types of Japanese pottery and visiting tion. According to Edward, foreign students could work of ash glaze were fired in long anagama kilns, cut into the kilns and remote areas, but also in meeting a cross section of there and use the equipment free of charge. soft hillsides. These fallen and abandoned kilns are . the people and seeing how they live, how efficiently they We walked over country paths, alongside flooded rice everywhere, revealing much about the ancient style of pot- manage to produce beautiful works, often in spite of paddies newly planted, to visit several potters working in ting and firing. Modern Tokoname is best known for the cramped conditions. We were inspired by their dedication, contemporary styles and living in very pleasant surround- production of sewer pipes! their total honesty, and in the shops by their helpfulness ings. Two of note — Kosho and Chika Ito, a young couple, Ryoji Koie — a very colourful potter, personality and and service. We realised that perhaps we New Zealanders gave us a warm welcome, green tea and the cups it was clothes—wise, gave up a working day to show us around. He served in. Their avant-garde work has been widely exhi— have a lot to learn. comes from a very long line of Tokoname potters. His style bited throughout Japan and overseas. Also, there was of Work It truly is the experience of a lifetime to visit Japan. I am - is modern, and he fires in both an electric kiln and a looking forward to putting together a new itinerary with an Motohika Ito whose Nunome (cloth—textured surfaces) deco— traditional anagmna. rated with flowers and grasses, are very beautiful and much emphasis on spinning, weaving and general arts and crafts Roof of kiln shed atAkako Watanabe’s pottery, Okazaki. Mrs in demand. for 1985, possibly with another pottery tour in 1986. Watanabe was the Fletcher Brownbuilt Award judge in 1983. continued overleaf 16 NEW ZEALAND PO'I'I'ER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 17 JAPAN — LAND OF TRADITIONS

We visited Jyosan Yamada, top master of five master potters who live in this area. His anagama kiln had just been unoaded after eight days firing. One longed to see what was under all the ash ~— the two or three pots already cleaned had wonderful firing patterns. Seto. Another of the old kiln areas, with many potteries and kilns. Tenmoku, Oribe and Shino glazes in all their various tones are produced here. An abundance of fine clay with appropriate percentages of kaolin and feldspar made Seto the centre of porcelain manufacture from 1600 on. We Visited two master potters; Katsumi Ito, whose work— shop produces the finest blue and white translucent porcelain, hand thrown and painted, and Tozaburo Kato, who traces his lineage back through 30 generations of pot— ters. His work is mainly traditional Ki-Seto, a light yellow ware, portions of which are highlighted with small over- glaze patches of green or brown. Often with intricately carved patterns. Also from his gas—fired kiln comes Ofuke ware, a creamy clay body decorated with underglaze gosu. This strong blue can result in any shade from black to a light faded blue. Beautiful pots and beautiful people. On to Fukui, ancient Echizen. Here we were given a warm welcome, and a bus with crystal chandeliers, brocade lining and blue velvet seats! The press and TV were out in (1' a: full force, and we were all squeezed into the main room of , _ a w the house of Zekan Hatakeyama where he talked of tea 1 ceremony ceramics and we handled old Echizen pots and shards under the watchful eyes of the cameras. Five years Outdoor sculpture by Ryoji Koie at the T0k0hame Art Museum. ago the local government asked this master potter to set up Tour members are Barbara Vigor—Brown and Judy Wood. Tokei-mura, a potters’ community, including a ceramics museum, restaurants, independent studios for potters and Pots by Nobuhiko Taneko at the Hagi Art Museum. several commercial ceramics workshops, all set in park-like surroundings. Pollution control laws prohibit traditional kiln firing in Photographs,- Kez’th Blight. most populated areas but by forming a community like this, potters can continue to fire as they wish. The public enjoy visiting Tokei—mura and do so in large numbers. Later this Down day those feeling energetic dug for shards at an old kiln site the Japan sea coast to Hagi, a large port city where one under the amused eye of Hatakeyama san, a delightful man may catch a ferry to Korea. Ceramic production here dates who hopes one day to sail his yacht to New Zealand. Our from 1592 when Korean potters were brought back as gift to him was a woolly hat to wear on his journey! hostages and prisoners after the Japanese inVasiOn of their Old storage jars. Aichi Prefectural Museum, Tokortame. In the old city of Kyoto, in between wandering around country. In Hagi one is overwhelmed by pastel pots, but wonderful temples and gardens, we saw the home of Kan— after a day or so, when they had been looked at individually, jiro Kawai, full of his handmade furniture and fittings, I found some of their glazes very pleasing. Pinky apricot, wood sculptures, calligraphy and ceramics. A definite feel— grey on a cream stony body and grey and white on a red clay ing that a remarkable man lived and worked here. Takeichi body. There were several ceremonial tea bowls here that I Kawai, his nephew, lives around the corner and had his really coveted. pots displayed for us around his garden as his home was too We travelled by train through an undersea tunnel to our small to contain us all. He will be remembered by many last pot stop, Koishiwara, on the island of Kyushu. This area potters for his visit to New Zealand some years ago. and the neighbouring one of Onda are known for the While in Kyoto we spent an interesting hour at the com- production of true folk pottery, mingei. Two unique mercial ceramics studio of Tadisha Kawai. A designer of methods of decoration widely used here: Hakeme —— where large murals, his work can be seen at Narita airport, Tokyo, thick coatings of white slip are applied to the surface of pots and in public spaces throughout Japan. with a wide flat brush called a Hake, leaving a grainy Daniel Rhodes has written a good book, Tamba Pottery, pattern; and Kasuri-mon or chatter decoration, a technique the Timeless Art of a Japanese Village. I shall just add — I borrowed from the Chinese where a slip is applied to a enjoyed this little Village of Tachikui where in 1960 there leather-hard piece and literally chipped away with a vib— were 12 families involved in ceramics and today there are 60. rating knife. Wheel speed determines spacing of the chatter I enjoyed too, our guide for this day, Chiyoichi Shimuzu marks. A demonstration of both these techniques was given and his serene, elegant pots. His modern adaptations of to us by very spry 76—year—old Kumao Onta. traditional forms in the deep red—brown Tamba clay, with There is certainly a wide variety of ceramic styles in Japan. natural ash and flame patterns, are fired for 100 hours in a I saw a few superb pots, some good, some bad, the vast 500-metre-long hebi-gama. All the pottery areas have a majority indifferent. I came back with the definite feeling ceramics museum and we once again spent an interesting that professional potters in New Zealand are producing hour looking at ancient and modern pots. some Very good work, comparable to that seen in Japan. 18 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND PO'I'I'ER No. 2, 1984 19 Nakazato san speaks good English, but only when he chooses, so it was all very lively. He is tense, slight, fine— JAPAN — A PERSONAL GLIMPSE boned and restless with a pent-up energy whichI imagine is very productive when unleashed into work. He invited us to return the next day and Janis drove us back to our hotel. By Ann Ambler, Wayby. We arrived around 10.30 am to find Janis throwing and Nakazato san practising his golf on the small flat lawn outside the workshop. Janis jokingly said that Sensei was ’working’. After tea he started throwing as I watched quietly It takes Pottery from the kilns ofJapan is diverse and distinctive. and tried not to ask too many questions. The pots are a while for the traveller to realise that what he sees in one region thrown from the hump, and he uses a hera, traditionally will not be repeated anywhere else in the country. Local clay and carved from a solid piece of wood, as a type of rib to form glaze resources have traditionally determined the style of ware and alter the bowls, which swell out from the inside pres— made, and while one can be overwhelmed by the sheer quantity sure with fluidity and grace. The clay is quite soft. of pots, in any given area they are all quite similar. Quickly the long boards were filled and I carried them, Visiting another town or village one sees a different kind of with trepidation, to the damp—room where they dry slowly ware, which makes it very exciting. It also handicaps the until ready for turning. Nakazato san suggested I might like collector, who has to buy yet another bag to accommodate an to throw on the wheel beside him and I agreed that it was a ever increasing load offragile parcels, because he knows if this great idea, while inwardly quailing at the thought. chance is lost, it will not come again. Fortunately it was lunch time and we all went up to the Each pottery area visited presents a challenge to one’s aesthe- house where he prepared a meal of beer, fish of his own tic ideas, and one is constantly re-evaluating these ideas in the preserving, noodles, pickles, rice and green tea. As guests, light of new perceptions and experiences. we were given long chopsticks, which he joked about, saying it was to stop us eating too much as they are more difficult to use. It was hot and the windows were slid open onto the trees outside. There was solo flute music playing on the stereo and I noticed a spinnet to one side of the big room. Nakazato san On the island of Kyushu, the most southern and mountain- bought it as he has a friend who comes to play it several ous of Japan’s four main islands, lies the city of Karatsu. times a year at musical gatherings. He is very fond of Situated on the Japan sea coast facing Korea, Karatsu Bay is western classical music and professes (I wonder) not to dotted with small steep islands. During my visit in May the know about the Koto and Samisen. sea was calm, and a soft spring mist blew in from the sea, covering the land with a grey-green haze. Because it is close to Korea this coast has many fortresses and castles along its Kei—rokuro (wheel) at the Nakazato Takashi workshop. hilly length. In the middle of Karatsu city there is a large reconstructed castle, floodlit at night and quite magical, seeming to float in the darkened sky. This proximity to Korea has influenced the style of pottery and makes its impression with Hakeme Karatsu, a thick Nakazato Takashi. white slip, swiftly brushed over the turning pot; Mishima Ann Ambler tries out the wheel Karatsu, impressed designs inlaid with similar slip, and E Back to work — my hour had come. I wedged about 10 lbs Karatsu, which with its pictorial designs is reminiscent of Photograph: Barbara Hockenhull of clay and proceeded to centre it on the kick wheel. I had Oribe and Shino. Transparent glaze, or thick white overglaze never used this kind of kick wheel before and found myself makes these the most appealing pots to me. absolutely hopeless. It stopped the instant I put my hands The production of all varieties of Karatsu ware is best seen on the clay. Takashi and Janis explained the technique of in the work of the Nakazato family who have been potting When Nigel and I arrived, Janis made tea and took us to the kicking with the right foot to gain momentum, and then for almost four centuries. The present head of this family, showroom where the different kinds of pots from the kilns with the left to maintain it while throwing. Difficult. My Muan Nakazato is one of Japan’s ”Living Cultural Trea— were displayed. There was a range of tableware made using respect for what he was doing increased one hundredfold as sures” and he has three sons who are equally well known a shiny transparent glaze, with either white slip or brushed I struggled on. and highly regarded potters. I was fortunate to obtain an iron decoration underneath; bowls in the Hakeme and Mis— The gap between the intellectual understanding and ap- introduction to the youngest, Takashi Nakazato who in- hima style and the Yakishime, which are unglazed wood— preciation of what is happening and the actual doing of it, is vited me to visit his kilns. fired pots, mainly tea bowls, water containers, flower vases so wide. I made a mental note to remember this painful In the hills 15 minutes from the centre of the city and up a and large bowls. These are fired in either the climbing or lesson, when I superficially comment or make judgement on narrow, rutted, pot-holed road (left that way to discourage tunnel kilns. pots in the future. visitors and ensure some privacy), is ”Mirukashi”, his The forms of these pots are very beautiful. Gently altered I produced two small bowls and gave up. Around me the workshop — a steeply sloping site with the buildings pre— rims predominate, following in some cases the shape of the work flowed effortlessly. Nakazato then suggested we ssed into a fold in the wooded hills. The house lies to the persimmon flower. They catch the ash, and the fire on the might like to stay to dinner. I was overwhelmed. He had right up a wide paved pathway; to the left, the large climb— clay gives magenta and seagreen hues. Having admired the given so much of his time and of himself, I wondered if we ing kiln, tunnel kiln, showroom and workshop are sited pots of Bizen and Tamba, I was still not prepared for the should accept, but he insisted and said he would cook beside a sloping driveway. It was very quiet, apart from the depth of colour and jewel—like quality of these pots by something special. His wife was away for the day, but even steady purr of a ball mill coming from one of the smaller Takashi Nakazato. so, it is most unusual to be hosted this way by a Japanese buildings. From the showroom we were invited to the house to meet Gentleman. Janis took us off to visit the brother’s kiln before The workshop is earthern floored, lofty and light, with Nakazato san and have tea. The house is only 6 years old and dinner. small panes of glass in shoji screens which reach the eaves on although of traditional architecture, is also modern. Adobe Nakazato san is very interested in the food that was the end wall and slide open in hot weather. Above the plaster between wooden exterior wall panels is stained a served in earlier times with the Tea Ceremony, and was very stacking racks is a mezzanine bedroom which overlooks the faded russet/rose and the whole house gently glows against much the preserve of men. He said that today, women have throwing area. This beautiful bedroom, also with sliding the surrounding greenery. Inside, the floor boards are 2 feet involvement with Tea, but that they really only play at it. I screens, is used by one of the apprentices, in this case Janis wide — great planks of softly waxed wood. could see that he has controversial opinions on many things Heston, an Australian who had been there 6 months. All the We were seated at a long refectory table and served Japanese, including music, pottery and Tea. pots are thrown on Kei—rokuro , foot—turned wheels of which Habit-Elia, a delicious nutty Japanese tea. Conversation was there are four. a mixture of English and Japanese with Janis translating. continued overleaf

20 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 21

relaxed

with

manner couldn’t

and

Arakawa

fish.

balloons

I

noticed

formal

instructions

other

although

at

cannot

refusing, also

us even

22

Nakazato drink.

all positioning and with our shadows

JAPAN

was

I

I

home

Takashi

Evening Before

to

washed helped

was vi

hotel.

offering

receiving hospitality.

Karatsu

a

confusion

seated deshi, longer! 43

parcel

Then

refuse

and

occasion,

complimented

my

in

of

of

do I

accentuated still

the

san

We

Takashi

had

New

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dishes

things

closed

cognac.

bowl

apprentice)

confident

little

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from

of

himself Nakazato

where

for

train

very

said We

—

sake

when

sake.

offended

the

highly

Zealand I

us.

and

A

in

held

served Takashi I

and in

in

were

expecting

goodbye

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san.

unless

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truly A replied

the ..

we Arakawa

Two and

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with

cup spite

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0n

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san kitchen

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and

offered

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feeling wonderful

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size

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in

my as

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individual

I

of with

beer

I explained

her

day

acceptance

rejected

to

made

was

Kyoto to

had

way

and san,

and cup

up, our

different

I

the

be and

own telling

music;

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in saw

glasses

gratitude

for

superb,

the

already I

beauty

then

for

refused.

a

placing in

a some

apparent

held

—

explained

way.

visit. Fukuoka,

small fatal

pots

him.

this

chopsticks

offering

sake.

another

the

trays

him

there

of soft

Nakazato

from

by

of of

and mistake.

especially

Arakawa

Horrors! me

of

was had

restaurant

for

ritual

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it

sake

my

iced

Janis

lights

for people

this

was

the

as

the

informality. his

two

GLIMPSE

Janis

me

that

nervousness

too to

serving.

dinner

a

cup

had

of water

house. others

bowls

generosity

person.

like be

san told

hera

and

sake

I

much

Covered

san

one

offering

refused

offer

the

and arrived

beside

grown

a being

drove

with

me deep

from

very

was

(the

and

and

raw

and just

We

felt

all

In

to

I

I

I'oofed

expanse

Rice

Late

spring

fields

country

reflecting

NEW

were

in

Japan

houses,

flooded

ZEALAND

blue-grey

saw

like

the

and

islands,

skies.

last

planted

Arakawa

POTTER

of

Small

Photographs.-

the

floating

—

yellow

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compounds

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pale

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No.

.

irises

.

green

Janis

Ann

2,

of blooming.

Ambler.

Heston.

thatch-

watery

1984

WATER

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ANAGAMA

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Potter

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work

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Fujii

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kiln

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it

Osaka,

months.

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Japanese

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made

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pots.

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Pottery,

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incense

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in

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with

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into

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events

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vases

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in New

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POTTER

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Bruce

between heat some

a

pots

front

Mr

during

anagama

water

learning

time

which

and

flower

from

10—day

red/purple.

green

the

apprenticeship

Hastings

the

a

led

learned

used

Fujii’s

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thatlfeel

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and

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—

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similar

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stack

the and

to

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feelings

jar,

dish

to

late

May

we

our

arrangements.

running

understood

Japan

where

learn

Ceremony in

at

time

ash,

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period,

from

flame

Martin No.

to

when

effects. our

we

the

expertise

successful

in

now

the

much

where

the

for

visit

29

gain

time

faced

the

having

1982

Temperatures

giving

found

powdered

we

anagama

this

Mitsukoshi

him and

to the evoked

Tea

we

2,

wish

markings

Tea

glaze,

to

shown

about

maximum

June

concentrated

each

and

for

the training.

with

wish

1984

sweets,

skill.

Ceremony Japan

New

was

Masters

demonstrated wares

many an

that

a

to results.

cooling,

stayed

front

The matt

3

the

by

exhibition

piece

directness

bring

the

to

fired

by

green

with

Zealand. 1984.

we

in

go (see

Gallery natural

aspects

so back

the people

reality

obser—

would at

of

white As

effect

1982,

were

with

with

This

pots

into

that was

this

can

NZ

the

Mr

tea tea

we

on

in

of

The

Japanese

Japan.

part

hundred

Japan-New visited

brocade including

ting”

were

New

intriguing

distribute

photographic

each

custom the

flowers

Japan’s

placement

Mr as

Fujii’s very

captured opening Performing

we Zealand

people

surprise

meet

we

To

Mr

The

The

Over

sponsors.

did

Shimizu

had

small

of

high

help

given

Zealand

containing

ceremony

Fujii

and

pots

former

opening

get

in

responded

the

many

the

Living

characters realised.) appropriate

bags

that

clays.

of

the

included

jars

Japan

having

as

closer

talk invitations.

standard

ensure

were

and

made

Zealand

kiln

six

our

also.

the

Kosho,

they

Three

it spirit

and

teacher,

postcards

for

important

for

was

A

days

National

with

of

tape

to

pots

lighting.

shown

marked

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to

connoisseur

wooden

a

the

had all

ivory

the

arrange

promotion.

the

read,

very

Japan’s

so

thousand

of

Society

many

message

Superior

technically,

of

cut

to from

the

the

powdered

different

been

Mr

exhibition

about

ancient

success

very

the

This of

the lids

warmly

‘Clay

was

the

Treasures.

arrangements

people

Kosei

people

Some

boxes

our

for

this

shores

notable

made

exhibition

representing

simply Tea

were

occasion,

aspect

1340°C

Dr

of

invitations

from

people

—

said work.

Japanese

Two

from

firing

of

Tanimoto

the

made

T.

green

to

Ceremony. pots

Water

who

but

in

also

to with

handmade

the

that

Kawase,

our

with

New

the

Todaiji

people,

any

newspaper

of

be

Mr

for

of

more

were

differed;

were

exhibition,

we

followed

came.

to

our

tea.

the

high

continued

pots —

our

for

introduced

Fujii

pottery.” concept

sponsors,

three

careful

New

Zealand

fit

were

of

were

Fire

”paddling”

chosen

exhibition

important,

the

pots

Temple,

each

Iga,

arranged

from

standing

and

including

Guests and

The for

Zealand,

days.

distributed, —Anagama’

a

attention

required

exhibition,

by

now

interviews

we were

the

”tape

pot.

expressed

with

ourselves

the

Japanese

(Perhaps

it

overleaf

to

and

a

have

and Nara.

chairi,

at Three party.

one is

Also,

go

to

Kobe

”of

New with

than

was

cut-

and

had

23

the

the

Mr

six

act

in

to

to

to

of

to a ANAGAMA COMES TO WANGANUI

By Grace Alp, Wanganui

For the official opening week of the Wanganui Regional Community Col— lege, George Kojis persuaded Chester Nealie to run a workshop on wheel— work for an anagama firing and then to build, stack and fire a miniature anagama kiln—an absorbing and exhilarating experience for potters who came from all over the region and from Wellington. On the Saturday and Sunday Ches— ter, an inspired and inspiring teacher, showed how a successful anagama firing is a total approach, involving a new awareness of the subtle, sensuous rhythms and play of shadows which make good pots ’work’. First one must completely visualise the piece to be made; the size and placing of the handle or other detail, the spaces and negative shapes, a rim and bottom that make a unified whole. Then the flames will flow creatively, enhancing the form with subtle gradations of colour and unpredictable flashing. With the pot thus clearly visualised, Slab bottle by Bruce Martin Vase by Estelle Martin throwing is very spontaneous and lucky, seemingly casual, yet dis— Water jar by Sanyo Fujii ciplined by the maker's sureness of purpose and craftsmanship. When it is firm enough to handle, the pot is carefully observed, touched, Photographs are from colour postcards printed to accompany picked up, gently altered by hands or the exhibition invitations. paddled till it looks and feels right— but know when to stop! It is fondled, rubbed, perhaps polished. Surface de- coration tends to fight with the unpre— and 500 booklets Many people attended the exhibition dictable flame effects. about New Zealand, supplied by the New Zealand Em— Since the kiln is fired to cone 10, and given away by the end of the second day. bassy, had been the pots ’soaked’ at this heat for as long disappointed that we saw only five Europeans at We were as the wood supply and the potters’ our exhibition. Of interest was one Japanese gentleman stamina holds out, glazing is not al— clays into Japan. whose wish was to import New Zealand ways necessary. If desired it is done of our Japanese friends, we Even with the support of many while the pots are still damp. Unglazed this time at the exhibition quite difficult, mainly found rims make pots easier to stack. We of our lack of Japanese language skills. because used a celadon glaze inside and a white the gallery expressed their At the end of the exhibition clay slip glaze outside over our com— showing. Seventy pleasure at having had such a successful mercial iron—bearing clays, (as these do shown was sold, which is considered percent of the work not give as good results as a white clay) asked whether they could keep high in Japan. The gallery or Walkers white clay. Porcelain is best about 15 of our pots on permanent display, and invited us to of all. have further exhibitions with them every 12 to 18 months. Meanwhile, Chester was building to be able to exhibit in a In Japan, for a New Zealander his kiln. On Monday he adapted the public gallery such as a department store gallery, we think it eight—centuries—old Japanese anagama would be necessary to exhibit with established artists. The plan to our landscaped site, producing high, costs of mounting such an exhibition are extremely a beautiful tiny replica which works rather than the point appearing to be to have work shown, perfectly, yet at the same time is a fine for monetary gain. Without the support of Mr Fujii and his modern sculpture—the first of many high standing as an artist potter, and without the assistance such pieces, Principal John Scott of his many friends, it would not have been possible for us hopes. to have exhibited successfully at the prestigious Mitsukoshi Gallery of Fine Art in Osaka. continued overleaf 24 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 25 By about 9.30 am Friday the temper- ANAGAMA _ ature was approaching 900°C, and later when cones 9 and 10 were down, side— stoking began—three or four bits of COMES TO very thin wood both sides, every two or three minutes, the stoke-hole bricks WANGANUI being replaced immediately each time. This side stoking alternated with stoking at the entrance and gave Chester quite a measure of control over the swirling of the flames through the kiln. Photographs: George Kojis By mid—afternoon cone 10 was down in the front, and as it grew dark the metal chimney pot placed on the brick chimney glowed a glorious red. Rich white-hot flames could be seen rolling over and around the pots Whenever we stoked. (One must not focus on this The kiln is 8 feet long with a 3 foot white heat as it is liable to damage the entrance arch narrowing and stepped eyes.) There were two easy signs ofloss up towards the 4 foot high, round of heat: a lessening of the chimney chimney. Just wide enough for 'a slim glow, and white—hot pots becoming potter to load. It is only the fifth visible. These cannot be seen if the anagama kiln in this country—and temperature is high enough. probably the smallest in the world, The waiting, the mixture of control (See Potter Vol 24/2 for details of Ches- and unpredictability, were all part of ter’s own kiln) yet it fires a goodly the steadily mounting excitement. number of pots, as the photographs Soon the front was sealed off while side show. The carefully chosen fire bricks stoking continued. At this stage it is were part of the old brickworks kiln. possible to put in salt or charcoal, or to The arches were plastered with a fume the pots. But we were purists; no cement-pumice mixture and buttres- additives or ‘treatment’. We shut down sed with landscape boulders. Brave about 7.00 pm—earlier than wished, white polyanthus, planted on either but the kiln had to cool in time for side—clear of the two stoke holes— Chester’s departure. The next firing survived the firing, testifying to good will last three days and take as long to insulation and the sobriety of the stok— cool. ers. When the kiln was opened at 10.00 Opening the kiln. Two days’ steady downpour meant am on Saturday it was still uncomfort- building a temporary shelter—like ably hot for the unloaders. A few really something out of Footrot Flats—over beautiful pots emerged, many good with NZ’s master potters relaxed and m the kiln. We had trouble drying out our ones like Bizen ware, two small pots happy, full of laughter and good fel- pots and keeping the firewood dry. were write—offs and two became in- lowship and packed with learning op- WANGANUI REGIONAL However on Thursday the stacking teresting sculptural pieces. An over- portunities. Exciting things are hap- COMMUNITY began—a very slow, intriguing Day-time front staking. whelming success. Chester told us a pening at Wanganui Regional Com— COLLEGE process—with loving care given to the longer firing with non-demolition munity College! placing of every pot. Juxtaposition in- Night-time side staking. Cone 10 down. timber should produce more blues and fluences flame effects. Big storage jars greens, more ash glaze, more flashing. can serve as saggars, but these big pots Working as a team, sharing the re— must be staggered; a straight line sponsibilities of the firing was an un- would create a barrier to the rolling, forgettable experience, a heightening swirling flames, which also pass under of awareness. We could sense what the the pots as they sit on kiln shelf chips. tension and excitement of a full-scale, Little pots were placed in or on the big seven-day anagama firing, of half a ones, separated from one another or year’s potting work must be. their lids by small silicon carbide During the week a thousand or more chips. These were placed with the adults and school children poured same exact care because the un— through the spacious pottery depart- coloured spots they leave will be an ment, watching the hands—on throw- integral part of the flame design. ing and hand building classes, seeing It took all day to load and finally the the high—tech kilns—and our little heating of the kiln began at 6.30 pm beauty which works so well. One or Thursday. Time was pressing. On two asked plaintively, “But do you do Saturday the Minister of Education ceramics?”——most were captivated, was to arrive and Chester was due to especially when the kiln was firing. leave, so two natural gas burners were It was an exhausting week for Ches— used until midnight when stoking ter, who shared so generously and began in the firebox. Nothing larger enthusiastically his Vision, skill, ex- than kindling wood can be used in this perience and sense of fun, and for the miniature kiln—treated or painted Department Head, George Kojis, who wood or nails are undesirable. has a gift for making these workshops 26 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 27 Bizen pottery, I think, seems to wit- weighty, have a slightly ’held back’ kiln. A VISIT TO THE FUJIWARA FAMILY ness that those intuitive links have not feeling which creates a more sturdy Yu Fujiwara believes that ”my work been entirely lost in Japan, but are monumentality than more obvious should be a transfiguration of myself; different — there they seek the eternal swelling curves would. my joy, my sorrow, my tenderness or outside the self, not the corporeality And, of all Bizen pots, by some sub- harshness. My helpless wistfulness Photos: James Greig, Y1! Fujiwara at Honami. within. But there too, they have had to tle alchemy the richest range of flame should be felt in it. Only then should it By James Greig, Carterton. be renewed, as materialistic concepts reds, orange flashes, purple to blue become an object with a life of its I! invade modern Japan. To the Japanese sintering, is coaxed from the Fujiwara OWN . artist, pots reflect nature’s processes, not its substantiality. A central concept of Japanese Light of the September full moon Buddhism is that ’reality’ exists in the bathed the landscaped garden by the ’present moment’, and many arts re- Kei Fujiwara Museum. Lamplight, flect this. This is one aspect of why music, food and drink, conversation of pottery is so valued — with its asym— the mingling guests — friends, artists, metry, melting glazes beginning to provincial and local dignitaries — flow, thrown forms in arrested move- created a friendly echoing glow. My ment, its transmutation of substance arrival at the Fujiwara home and pot- by fire and in Bizen ware, the flash tery on its hill above the Inland Sea at marks of the licking flames made visi- Honami in Bizen happily coincided ble in colour. Through such attributes with this birthday party for Yu Fuji- it captures an image of that elusive wara’s daughter. ’present moment’. Yu Fujiwara and Mrs Kumiko Fuji- Traditional crafts, such as Bizen wara are gracious hosts, and there is an ware which goes back a thousand atmosphere of bonhomie, but it is years, are important in Japan also as a tinged with sadness, as the loved and means of experiencing cultural iden— venerated Kei Fujiwara, National tity and inner stability in these times of Living Treasure, lies ill in hospital. I dynamic change. ,,2,; ililti remember him for his gentleness, sen- In following tradition there is a Throwing tools. sitivity, and concern for quality. danger of falling into formalism and Guests are introduced. We each give a ' indeed in Bizen, as elsewhere in Japan, small speech. and everywhere else too, we find mas— Yu san remembers his visit to ses of mediocre genre works of little Christchurch in 1980 with his son Kazu depth. Hundreds of Bizen district (he gives each worker, in turn, an over— shops bulge with such pots by the seas trip) for the opening presentation thousand. of the mainly Bizen ware Kurozumi other fish from local waters. Splendid Later, former apprentice Okada san But paradoxically, in sensitive hands collection there. Holding exhibitions pottery bowls give added enjoyment takes me to his kiln around the Bay, for these styles can still be the basis of real in many countries, Yu has done much and wooden chopsticks allow un— first hand experience of stacking and strengths and the real heart ofJapanese to make Bizen ware better known glazed bowls to be used at table. Work firing a Bizen kiln, which takes 8 days. pottery. For neither conformity nor worldwide. schedules for the day are allocated to On my first visit in 1978, Okada san originality of concept is valued in itself The Fujiwara Pottery was estab— the staff. In the traditional way there is had been excited that after 8 years of by discerning people, but rather the lished by Kei Fujiwara in 1938 when he a sort of benevolent paternalism — all service he had just been given the op- quality of the experience. At the high— returned to his home district at Bizen, workers share in the life of the house— portunity to make pots for his own est level the traditional form is only a after eye problems curtailed his career hold and identify with its mana. In- local exhibition debut as a potter. Since ’given’, through which the inner de- in publishing. He had great difficulties stead of wages, their needs are taken then his independent career has been velopment and sensitivity of the potter with economic survival, but main- care of. shepherded by Yu san, and the close can speak. This accounts for the widely tained his integrity as an artist — the Work in the pottery is quiet and or— relationship with his teacher will al— differing values in Japan of works affluence of top potters in Japan is only derly. Clay is laboriously prepared by ways remain. which are superficially similar — one a recent event. His work gained pro- assistants in the old way, impurities I have to miss the end of the firing, is full, the others, empty vessels. found depth, leading to his recog- being removed with the fingers. Now and make my farewells, grateful for the The pot is expected to embody a friendship of the Fujiwaras. nition as National Living Treasure. dug from 5 metres below the lowland My belief philosophy which creates a unifying Firewood stack. Yu Fujiwara, Kei’s son, also returned rice paddies, love and respect for it is in art as a means of peaceful inter— purpose over and above the staging of to Bizen and pottery because of eye fostered. I make some pots which will national communication and a univer— fortuitous effects, however appealing 8’ problems, after university study and be fired later, Kazu prepares clay and sal language, is strengthened. Not only these may be. literary work in Tokyo. So both gener- weighs out lumps for his father to can one fully develop and meet one’s This is why the great reputation of ations have brought a depth of learn— throw that day. His days are to assist own inner self through art, but the Fujiwara name established by Kei ing and culture to life as potters. Yu san his father; after dinner he can practise through it one also communicates with Fujiwara (who has died since this visit) is a warm-hearted man, lively and on the wheel. one’s fellow human beings. does not automatically continue with jolly, but with earnestness of purpose, One evening Yu san shows me his I leave for Osaka to see a Tachikichi the generations. It has to be earned restless and energetic, impulsively storeroom of Japanese pottery trea- exhibition in which I am participating, anew. To follow such an eminent generous. With Kumiko’s vivacity, the sures. There are pieces by the late Fujio then go to Kyoto to see the Peter Voul- master could be a handicap, but Yu san Fujiwaras enjoy life. Koyama, an early teacher of Yu san’s. kos show prior to a short stay at his has used it as an opportunity and he My stay is enjoyable too. The days Later we visit a memorial exhibition of workshop in Oakland, California on has developed as a potter of high sta— begin with breakfast where all the ’ex- his work in Okayama and I learn about my way home to New Zealand. Voul— ture. He is asserting his special tended family’ of the pottery meet a stream of Japanese pottery little kos’ exploration of the expressive character while maintaining tradi- around the large table — Yu and known in the West — Koyama and qualities of clay through pushing it tional Bizen forms, rather than in in- Kumiko, their son and daughter, the other aesthetes such as Munemaro past its limits, epitomises the yearn- novation. He has become famous as a secretary, several assistants, the cook, Ishiguro, seeking spiritual rejuvena— ings of a generation of Western potters ’Man ofTsubos’ (large jars) through his a student potter from Hawaii. The food tion through poetic naivety and who sought new emotional links to “100 Tsubo Exhibitions”. These jars is delicious with baked salmon and simplicity. nature. have power — their swelling forms, 28 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 THOUGHTS ON CONTRASTING MATERIALS BOOKS Reviewed by Howard S. Williams IMAGINATIVE POTTERY By David Harvey (A & C Black, AS USED BY POTTERS $23.25)

This is the second edition of an excel- lent basic ”how to make pottery” book already in use as a teaching aid in this By Owen Mapp, country. Clearly written, especially for Paraparaumu beginners, each section is accom- THE POTTER’S MANUAL panied by a case history describing By Kenneth Clark (Macdonald $39.95) how the author took a group of stu- dents through the particular process Some thoughts since Anneke (potter) under discussion. and l (carver) started to combine Kenneth Clark is a New Zealander The book is profusely illustrated With good photos and diagrams he ceramic containers with wood, ivory who has spent most of his working life with excellent colour and black and shows how to build and fire kilns such and bone lids. Reactions from the NZ in England as a practising potter, in— white photos, though in order to keep as the pit, clamp, sawdust, Roman type public have been positive—and nega— dustrial designer, mural maker and the physical size of it manageable, updraught, downdraught raku and tive! teacher of ceramics at London’s Central many of the working sequence photos catenary arch. Also an electric kiln for My research shows that most of the School of Art. He is currently chairman have been reduced to a size where they earthenware, and a downdraught main museums in New Zealand have of the Society of Designer Craftsmen in are not as clear to read as might be stoneware kiln for firing with oil, gas examples of the Japanese cha—ire (tea UK, and an author with two previous desired. Many pots by known potters or wood. Other sections deal with bur~ caddies) in ceramic with ivory lids. For books to his credit, Pottery for Begin- are illustrated by way of examples, in- ners and ceramic fibre insulation, and example, Auckland War Memorial ners and Practical Pottery and Ceramics. cluding some from NZ — Estelle and the clay and glazes suitable for differ- Museum has 5, and a tiny water pourer game, buck He is also known in this country from Bruce Martin, David Brokenshire, ent types of pottery, including those with its ivory lid, to go with an ink 'iuorEVW-enfid.4...bxowewefl Mapp, his lecture/demonstration tours and Brian Gartside, John Sweden, Roy utilising ash, salt and raw glazes. stone. The glazes are black satuma the attendant exhibitions of his own Cowan, Cecilia Parkinson, Una It is a pity that references to the use (dark oil spot) and the glaze types of pottery and that of his wife Ann. Sharpley (called Sharples, as in Coro- of asbestos boards are not deleted. The the Naeshirogawa, Nagato and Kenneth’s third book, The Potter’s nation Street), Margaret Milne who is dangers of using this material are well Taketori areas—all dark, contrasting Manual, is a comprehensive work not attributed to any country, and Julia documented and clay can be just as with the light ivory. Drawings by Owen Mapp Drawings by Linden Cowell which fills in many of the gaps, and Colman who we now know as Julia successfully wedged or dried on bats Other contrasting materials through updates the technical information he Galbraith, and who should have been made of plaster of paris, slate or even the ages have been gold, silver or vga “551) calkzollosak’e Marisa); has previously offered. It makes an ex— listed as NZ, not UK. unsealed particle board. Any use of pewter mountings, rims, handles, lids cellent reference book for potters at all These small printing errors are. asbestos is potentially dangerous to or feet of ceramic containers and Old Szi‘o were. levels of competence, being clearly and among too many similar for a book health and it should be actively dis— drinking vessels. These are found in Ivor?) lid concisely written and illustrated; otherwise so well written, designed couraged, especially in the classroom Carved lacquer many cultures from the West right Saucy- simple enough in its basic approach to and produced. Not only are there many situation. Otherwise this is a good through to the East. Examples of con— the subject to be invaluable to begin- spelling mistakes, i.e. potash filspart teaching book and the author as well as trast in reverse are: the large carved ners, yet full of detailed technical in- for felspm‘, but in several cases whole documenting technical processes, dis- 17th century ivory vessel with a silver formation to please the most experi- sentences do not make sense as incor- plays an excitement for making pot- lid, in the Kunsthistorisches Vienna enced full—time potter. An exceedingly rect words or extra words have been tery, ”. . . once you get involved with Museum, and the 1651 vessel of ivory good book for anyone involved in the included. Final proof reading could pottery you will find it very compelling with gold fittings, in the Victoria and w teaching of pottery. obviously have been better, but in and difficult to curtail your Albert Museum, London. Both these Tea magi (imam) high The format of the book starts with spite of these minor irritations it is enthusiasm; your question ‘how do I museums have in their collections 16th aired, Oknr \qze amt Nag clay, covering all the basic varieties, overall a book well worth buying. start?’ will become ’how do I stop?’ ” to 18th century ceramic tankards with lint, Ataxia cam W.morfod explaining their properties and how pale and dark glazes, and lids of con— W\u$€_uw\. they can best be used, how to test clays trasting pewter or silver. and prepare bodies from them. This is The Japanese combine red or black logically followed by sections on types highly polished lacquer lids with some Comments from Linden Cowell, tech— of ceramic ware, techniques of mak- of their ceramic caddies and miznsashi nician with the Otago Museum, and rec- ing, shape and form. Fully illustrated (waterjars). Another contrast found on ognised expert in things Iapanese, Asian step-by-step chapters follow giving You know it’s going to be a bad day From Nelson Potters in consultation the ivory lid of the caddy, is the gold and ceramic. details of how to make pots by hand- when: with Dr Dolomite: leaf covering the underside, just thick building; pinching, coiling, rolling (by 0 You wake up face down on the foot- Agrathrowbia: Fear of starting work enough to make the lid fit snugly. ”As far as I can find, ivory lids have rolling pin — no mention of the use of path. after lunch. Sometimes diagnosed as The combination of wood, straw and been used at least since the Ming the slab roller illustrated on another 0 You call lifeline and they put you on fear of clay under the fingernails. fibre is common, being found in Dynasty in Japan and China. The page), slabbing and weaving. Then to hold. Pyrophobia: Fear of getting up in the Europe, Asia and Africa, in the form of Chinese have a long tradition of using throwing and turning, making and 0 You go to put on the clothes you wore morning to light the kiln. stoppers, lids or bases. 1 find these an metal rims on ceramic bowls and cups, using moulds for pressing and slip home from last night’s party ~— then Antihandleapillia: Reluctance to name interesting contrast in texture and plus the use of cane and bamboo casting, jigger and jolleying and tile realise there aren’t any. pots on exhibition forms. colour to the ceramic vessel. handles. Ordinary Japanese teacups making. 0 You see a Fair Go TV crew waiting at Mugginsphobia: Reluctance to face fi~ My conclusion is that through the have either lacquer or wooden chntakii The next chapter deals with raw your studio door. nancial facts. ages man has combined many (saucers). These should be carefully materials in common use, pigments, 0 Your identical twin forgets your °Fluxiphobia: Fear of cone 10 not materials with ceramics, for many matched to the cups. The advantages stains and glazes, their preparation birthday. bending. reasons. The contrast of rough to are that there is no harshness of ceramic and their use. On to techniques of de- 0 You wake up to discover your Anagamaphobia: Fear of firings ex— smooth, dark to light, ceramic to metal, against ceramic, and the contrast in corating, a very comprehensive section waterbed is leaking — then re— tending beyond 12 hours. ceramic to ivory, appeals to eye and texture applies equally to ivory lids on indeed which leads into the final member you don’t have a waterbed. hand. It produces a surprise, a point of tea caddies—the harmonising of chapters on kilns, biscuit and glaze fir- 0 Your car horn goes off accidentally primary, or secondary attraction, or it materials is a Tea Ceremony ideal of .ing, reduction and oxidising and salt and remains stuck as you follow a constructs a vessel more practical in course, indeed a ceramic lid would glaze, tools and equipment, health and gang of Hells Angels along the Desert use. transgress this ideal.” safety and materials suppliers. Road. “A closed mouth gathers no feet.” Anon. 30 NEW ZEALAND PO'ITER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 31 KAHURANGI TREASURES FROM NEW ZEALAND

An exhibition of contemporary New Zealand craft from 22 artists, at the Pacific Asia Museum, Pasadena, California, as part of the 23rd Olympic Games Cultural Festival, June 7 to December 30, 1984. Supported by the Los Angeles Olympic Organising Com— mittee, the Times Mirror Company, official sponsors of the Olympic Arts Festival, the New Zealand Government, Air New Zealand, the New Zealand-United States Arts Found- ation, Queen Elizabeth II Arts Council.

Curator: Peter Rule, MBE. OH 11 Arts Council. Photographs: Brian Brake, OBE. Director: David Kamansky, Pacific Asia Museum. “Anchor Stones”, kaltikatea, Guy Ngrm, Stokes Valley.

"Reflector”, porcelain, [alia van Helden, Eastbom‘ne.

m ”Oracle Counters”, kawa kawa stones inlaid with copper, ”Lapp Ladle”, pollutukawa. Levi Borgstrom, Titirangi. jasperand paua shell. Iolm Edgar, Auckland.

Basket, dyed rattan core cane. Ruth Castle, Titirangi. ”Whales Tails”, beef bone. Stephen Myhre, Pukerua Baj.

32 NEW ZEALAND POTI'ER No.2, 1984 NEW ZEALAND PO'I'I'ER No. 2, 1984 33 PETER COLLIS : PIT FIRING : TALISMAN POTTERY SCHOOL PETER COLLIS : BIG POT WORKSHOP : WANGANUI REGIONAL AUCKLAND COMMUNITY COLLEGE

Expectations were high for this weekend. Peter’s big pots were spread around the workroom and outside drying in the sun, and had caused a lot ”Imagination is 'more important than knowledge.” Einstein. of comment during the week at the Wanganui Regional Community Col- lege. Everyone hoped to emulate the graceful shapes (of the pots). Every picture tells only part of the story. Pit firing day for the Talisman pottery school run by Peter Collis. Peter began by demonstrating how to throw large pots in 2 or 3 pieces, using the techniques on small pots. Everyone threw the components for their pots; centring, pulling up, and joining the components, shaping and finishing. Then they threw the sec- tions for their big pots using the same processes as for the small pots. These larger amounts of clay (10-20 kg), were joined and strengthened using a gas burner—the hot pot was pulled up some more, bellied, shaped and finished on the second day. An hilarious, exhilarating and very satisfying workshop with a man will- ing to help people achieve.

Wanganui Potters’ Newsletter

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34 NEW ZEALAND PO'I'I'ER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 35 them to help you. Give them more than PO'I'I'ERY AS A BUSINESS the pot to talk about. Photos of your work in a comfortable setting help the WATER : CLAY EXHIBITION customer feel at home with it. Your name should be prominent on the pot or displayed tastefully nearby. Explain to him or her about your glazes or special firing techniques — anything By Steve Yeoman, Auckland. and everything that will help your Wellington City Art Gallery customer see the value you have placed on your pot. This is called our Unique Marketing Advantage, and we need to see our products from the customer’s point of View, if we are to sell at all effectively. Ask all the time ”Why should she Photographs: Wellington City Art Gallery. Neville Porteous, potter, with Shona McFarlane, watercolourist. Do you know What a cash flow forecast cretionary Spending Power” — spare choose this one?” — the basic shape, is? Can you prepare a balance sheet? money for all the non-essentials like the glaze, your name, her neighbours’ Who would want to anyway? What is car wax, shrubs, paintings, a bach at opinion when she displays this piece Discretionary Spending and who does Pauanui and pots; “Competitors” — etc. etc., and find ways of showing her it? Is it a nice thing to do? Do we need everybody who is trying to attract how your mug will enhance her life to all this? other people’s Discretionary Spending the tune of $7, or she will go down to Power. the supermarket, spend 99c on e1 The answers to these and many other These and other funny words are cheapo, $6 on floorwax and you will be boring questions were made fascinat- used by accountants, bank managers at home drinking from 400 mugs you ing and relevant by Wanganui and lawyers — we need to know what can’t sell. Regional Community College recently they mean to us, so that we can help the Organisation is another skill which is when 14 potters were gently led professionals to help us. relatively easy to obtain. By using through accounting and marketing for When the bank manager looks stern some Accounting and Marketing you 3 days by Graham Westwood and Ron and asks ”What is going to happen in 3 can budget for the year, work out how Rowe. months time?”, he will change to much you need to sell to cover that, The statement “You are in business ’amazed and delighted' if a Cash Flow where your customers are and how to when you sell your first pot” is bound Forecast and Balance Sheet are drop— contact them. It is not foolproof, but it to raise the temperature a cone or two ped on the desk. We should at least does help buy the groceries all year — at any meeting of potters, but the fact know What to ask our accountants to you might even be able to sleep at Wellington potters and watercolour remains that these people have skills prepare for us, so we can appear more night in August when Christmas is an painters join forces in a unique exhib— that are relevant to us and our ap- impressive than we feel. There is also overdraft away. How about a diary in ition entitled WATER : CLAY, showing proach to our craft. Accounting and the possibility we may come to believe which you record all the things you at the Wellington City Art Gallery from marketing will never be as much fun as our own image, then dealing with the think of doing the next day, and then 22 September to 21 October. throwing or firing, but neither is finances will become merely odious do them. It is simple, which is why it wedging; like all skills, some are instead of impossible. works. enjoyable, others merely necessary. Marketing is a frequently misun- Having created a vast income by ap- This was the first business course set derstood and misapplied word. It is plying your talents to marketing, you up with potters as the main target. not hard sell, wearing a suit, or TV will have to keep track of it. This is no Recommended at all times was the advertising with lots of lovely ladies more complicated than anything we purchase and use of Crafts as a Liveli— and handsome horsemen putting have learnt about pottery — if you can Vivian Manthel, watercolourist, and Patti Meads, potter, prepare work together. hood, a folder produced by the Crafts pieces of chalk into ink. It is the whole understand what happens when you all members of Council of New Zealand. It is an excel— process that ensures we produce pots add 10% more nephylene syenite to a Twenty-eight artists, and lent presentation, giving most of the well, understand their value, find the glaze then you can understand balance the Wellington Potters Association hard facts that we need for accounting, right customer (the one who will pay sheets and cash flow forecasts. (If ac— Wellington Society of Watercolour Ar— legal structures, co-operatives, ex— the right price) and ensure they come countants really were as intelligent as tists have been working in pairs, porting etc. Perhaps the Crafts Council back for more. Many of the skills de— us they would be making pots.) sharing their ideas and skills, and in— should read it itself, as when I went in veloped by these marketing types are All the knowledge you need is in fluencing each other to create com- there recently to buy one they were out not only relevant, but essential for us to Crafts as a Livelihood, and if you do not bined works beyond their normal in- of stock, didn’t know when there survive and thrive in our chosen craft. want to become your own accountant, dividual creative bounds. This has re- would be any more and my name was Take a mug for example. We can do at least reduce his bill by presenting sulted in a fresh and exciting new ap- art recorded on a scrap of paper. I have . our costings and find that we need to your figures to him in the most effi— proach to these long established absolutely no doubt that I will receive retail it for say, $7. You can buy a cient way. You will probably find it forms. Subject matter covers a wide my copy, but I’d like to think that my bargain basement model for 99c, or pay will save you time and reduce the spectrum from landscape through per- commercial buffer-zone (the retailer) a small fortune for something with Fitz stress of having to cope with the un- sonal and social comments to the was a bit more businesslike. £7 Floyd on its bottom. All of them will copeable. purely abstract, dealing with colour The immediate hurdle for some enable us to convey a hot liquid to our Do we need all this? Quite simply, and form. potters facing business skills for the mouths, so why all the price differ— but strongly, yes. These skills should first time at Wanganui was the jargon, ences? The answer is Perceived Value. A . be presented to anyone who wants to the technical terms that are used to sale will take place when the customer produce and sell a pot. How we make describe the processes that take place believes that the value to him/her is use of them is, as always, up to the With the support of Odlins Ltd as when money starts moving into, and equal to the price. It is our job, together individual and just as there will always their business partner, the gallery has out of, our pockets. Translations were with our retailers, to help the customer be bad throwers, glazers and firers, so produced an informing and necessary: a “Balance Sheet” became see this value. will there also be bad accountants and entertaining catalogue. Working "What we Owe and What we Own”; a If you are wanting or needing to use marketers, but if we recognise these drawings and notes by the participat- “Cash Flow Forecast” — predicting the retailers as a shield from the hard skills as necessary for our craft we can ing artists will help explain the creative future reasonably accurately; ”Dis- world of selling to the public, then help attempt to improve them. process of these joint ventures.

36 NEW ZEALAND PO'I'I'ER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 37 Pigeons by Wendy Masters, at 12 Potters Gallery Pigs by Rosemarie Brittain, at 12 Potters Gallery Photograph: Ces Thomas. Photograph.- Ces Thomas.

Bowl by Melanie CooperatMedia Gallery

Saggar-smoked porcelain by Heather Skeates at Albany Village Gallery. Photograph: Howard S. Williams.

Winged foot by Gillian Pragert at Pots of Ponsonby. Photograph couri‘esy NZ Herald.

Brian Gartside at New Vision Ceramics gallery.

Landscape bowl by Sue Lorimer at Pots of Ponsonby.

“Divergence” 52 cm high slip castform by Leo King. Antipodes Gallery. Photograph: Ces Thomas.

Brian Gartside at New Vision Ceramics gallery. 38 NEW ZEALAND POTTER No. 2, 1984 ‘ NEW ZEALAND POTTER No. 2, 1984 39 Blue bowl in cast glass by Ann Robinson, Auckland. A note COMING UP IN 1985 The Potters’ Market Winner of the $1500 Philips Studio Glass from the editor Award. in the This issue, the second for 1984, completes the first volume since the ownership of the New Zealand Potter NEW ZEALAND changed at the end of last year. Therefore, the pub— POTTER . . lishers and I sat down to assess the magazine’s direc- . . buying tion and to plan for its future. As a consequence, I If your thing IS selllng tO'pOtterS or have drafted a letter which will shortly be posted to all from pOtters 0r swapping W'th potters igfiaigrégigers, detailing the changes we are proposmg THIS IS YOUR MARKET

Personally, I welcome the increase in frequency to Write or phone JOHN DEAL three issues each year. In the past, I have often Telephone (04) 687-179, Private Bag, Petone. lamented the fact that the main events in the potters’ calendar did not coincide with the appearance of the Potter, although this year we did manage to cover the Fletcher Brownbuilt Awards immediately after the announcement. The three issues will enable us to be more up to date and also to be more precise in our publishing dates. Naturally, I also welcome the addition of a section in full colour, and I am sure our readers will also. As good as our reproduction in black and white has been, we cannot do justice to some of the beautiful and delicate glazes that cry out for colour treatment. P The colour pages will also, we hope, help the Potter to fulfil its ”public” role of assisting the appreciation See us in Parnell’s largest studio-gallery, working of pottery by the people who are interested in and down the alley purchase pots rather than pot themselves. 237 Parnell Road, Auckland. Tel. 398-740 A magazine with colour reproduction immediately becomes more attractive in the bookshops, so natur- ally we are hoping that more browsers will pick it up and becomes subscribers. I have always seen the accent potential of the Potter to carry out the dual role of being the channel of communication among potters as gallery well as helping people to become knowledgeable about the pots they buy, about what constitutes good Exquisite pottery and about the history of style and form. Studio Glass, WHAT IT WAS LIKE FIFI'Y YEARS AGO Next year the Potter reaches 27 years of age. There is nothing special about this age except that it presup- Porcelain poses a certain degree of maturity and sophistication. and Pottery by Mirabel Hawthorn from Northland Reminisces We are seeing that this expectation is achieved and I New Zealand artists am sure none of you will be disappointed. At Teachers’ College we learned to Adams’s were willing to glaze them for pile of pots in the window of a little Ph. 5347984 make coiled pottery as a technique for me with their simple glazes, blue, back—street shop. Covered with frog- Howard Williams Shop 19 Howickville Howick Auckland NZ the smallest primary school children. green, brown or cane, but wisely green oil paint, gilded with gold Editor In Christchurch, the little Luke Adams would not allow my own attempts at glitter-wax—I thought the shapes Pottery was willing to fire our coil glazing. weren’t anything like as frightful as the pots—the founder, Luke himself had Later, my father, with a foreman colours—I went inside to check my laid down the policy that students from the brickworks at Beckenham, suspicion, and they were indeed my were always to be given space in the built a backyard kiln for me. Endless failures, tarted up. “i The Old Dairy Factor kilns for their work to be fired. We excitement, loads of bisquit, but never Later, teaching standard 3 in Petone, could also buy from them two grades of a successful glaze. The glaze materials the children made coiled pots with de- modelling clay. had to be imported from Sydney, with light. We persuaded Metters Ltd to fire ‘ " Merv GratisAM; a. With wonder we received our all sorts of forms to be made out in them for us. Metters made not pottery bisquit—fired pots—most of us had triplicate to send the money. The pile but enamelled bathtubs. I didn’t know never come across the miracle that of glaze failures built up steadily. By that they didn’t know that clay has to changes clay into pottery. ”Now you then I had a wheel with two speeds, be bone dry and fired slowly at first. Shir/9y & Bert Bart/er? can decorate them with oil paints,” we very fast and stop, but I was most Almost every pot exploded, fortu- OPEN 7 DAYS were told. Not knowing any better, grateful for it. nately with no damage to the kiln, but to 5pm we did so. Proud, or indulgent, mums A charity bazaar organiser asked for sad indeed for the children. Wonder Mon-Thurs 10am . . .‘ii Fri-Sai-Sun 10am to 6pm put them on mantlepieces. the glaze failures. Anything other than sometimes if any of them ever became Station Road, Waimauku Village I was sufficiently fascinated to keep commercial ware was so unusual, she potters. 25 minutes drive from city. Opposite -.... - n on making pots, carrying them across thought, they could be sold. A year Muriwai turnott. Ph. 41-8665 Auckland. the city on my bicycle for firing. later I stopped to look with horror at a

4o NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 41 Ann Ambler John Anderson WESTERN POTTERS Mary HardwickSmith Barbara Hockenhull SUPPLIES Barry Hockenhull Peter Lange Renton Murray Peter Oxborough AUCKLAND Heather Skeates 18 Clark St, New Lynn Peter Stichbury Ph Margaret Symes 876-099 Howard Williams Merilyn Wiseman HAMILTON ELECTRIC KILNS Northway St, Te Rapa Ph. 4159-403 Ph 497-473 Open 7 days 9 am—5.30 pm DUNEDIN 65 Bridgeman St The new ‘HITECH’ F.E. electric kiln features: Ph 52-014 0 Very even temperature. New McSkimmings pottery clays 0 Radiant tube elements for long life. theVillas gallery Winstones pottery clays 0 Self ventilating walls to positively eliminate NZ’s top art workers are Winstones pottery clays corrosion. . Western Potters invited to exhibit white earthstone clay 0 Built in ramp and power setting control. ‘Western Potters white casting slip 0 Will give excellent results when fired under Exhibitions monthly Air brushes and spray systems Onglaze enamels — golds — lustres reduction with the optional reduction kit. Only exhibition stock on sale China painting materials Ceramic fibre kiln building materials Hrs Mon to Thurs 10 am to 5.30 pm Fri 10 am to 7 pm Kiln furniture — shelves — props Sat 10 am to 1 pm Books — batts — spiggots — corks Wheels — electric kilns — machines The Villas at Kelburn, 87-89 Upland Road, Wellington 5 Press moulds — plasters

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Other features include:- CHOSEN BY EXPERTS Low mass insulation POTTERY SUPPLIES McGregor Electric Kilns - made to the standard you Low cost - long life elements have come to expect from the professionals will give Minimal maintenance years of workability and reliability. Long life element support A complete service for potters including clay — glazes — tools — chemicals — McGregor kilns are based on years of experience Base shelving coupled with modern age technology which makes Door safety switch shelves and much, much more — visit our Pottery Workshop and write for them so easy to control. Twelve month guarantee McGregor kilns are available in composite brick fibre irirltirlrl>i>l> Castors on base current catalogue. construction which custs firing costs but maintains a high standard of production and results in the finest kiln money can buy. Optonal extras include:- it Electronic temperature controllers * Kiln programmers Furnace Engineering Ltd McGregors’ expertise is at your service should you require a kiln of special size or specification m, ; “START WITH QUALITY TO END WITH QUALITY" & Ceramic Supply Co. New Zealand’s foremost supplier of Gas and Electric Kilns 10 Ward Street, New Lynn PO. Box 15293, Auckland 7, New Zealand. Manufacturers. of: Replacement elements for all types at Pottery Kilns, using Kanthal Suppliers A1 wire of: Kiln shelves, Silicon Carbide and Sillimanite Kiln Shelves and castellated props Phone 873—604, 875-081. W.D. MCGREGOR LIMITED l‘8St%%fi$rgo§9&%'.télgi’hkikht‘ék'v‘tBh‘é VVVVVP . The best Place in PVVVV VVPV Christchurch is VV (9 I7 $60 Beginners to Advanced 15 Km north of Wellsford 4 classes. State Highway 1 0 Long term studio space and Tuition. A Fine Selection of NZ Crafts I? 0 Summer and weekend schools. . 0 Peter Collis Studio OPEN 7 DAYS 9.00 - 5.30 pm PHONE 7125 WELLSFORD Pottery. 171 ARCHERS RD. TAKAPUNA AUCKLAND 487-020

HEATHER’S CERAMIC Van Helden Gallery STUDIO LTD DAYS BAY. EASTBOURNE OPEN SEVEN DAYS AWEEK TEL.628191 PO BOX 92, NAPIER. Phone 434-700 FOP porcelain, pottery of all PO. BOX 41-031 EASTBOURNE NZ Distributor for Duncan Products. types, sculptures/carvings in jade, wood, stone and bronze, We also stock stoneware glazes that require weavings and other art works cone 6 firing only. from all over New Zealand. Canterbury Centre Cnr Wairakei & Interested in overglazing? —contact Heather City Mall Aorangi Roads for more details. Phone: 798—321 Phone: 5l7—883

Ask for our full list of pottery/ceramic books. Some titles currently in stock: ELECTRIC KILN CERAMICS (Zakin) $65.50 KILNS: DESIGN, CONSTRUCTION & OPERATION(Rhodes) $49.95 POTTERY ON THE WHEEL (Woody) Seven Apostles THE VISITATIDN (c.1150AD) $24.95 THE LAST SUPPER ransom) (Luke 1:39~ 56) HANDBUILDING CERAMIC FORMS (Woody) (John 13:12.21-30) $24.95 HANDBOOK FOR AUSTRALIAN POTTERS (De Boos, Harrison & Smith) $59.95 'THE DECORATIVE TOUCH — HOW TO DECORATE, GLAZE & FIRE YOUR POTS (Paak) $15.55 THE POTTER’S CHALLENGE (Leach) $22.95 THE POTTERY BOOK: WAY OF CLAY (Memmott) $19.95 STUDIO PORCELAIN (Lane) $86.95 HANS COPER (Birks) Hard cover $95.00 HANS COPER (Birks) THE VINTNER ICJZTSAD) Soft cover $36.95 taking wine to market THE JAPANESE POTTERY HANDBOOK (Simpson, FINDl OF ST STEPHEN (c.1147AD‘ The oldest sunlsv-ng narrative stalned glass wmdow ill Kitto & Sodeoka) $20.95 the world Deplcts the tlnding at the SPECIAL OFFER body 0? 3:. Stephen THE WORLD OF JAPANESE CERAMICS (Sanders fl m 415w and Kaphar Gamal “HAD, $99 each $350 set & Tomimoto) $63.75 * Only 4 in complete series * Money»back guarantee * 7-day delivery. SHOJI HAMADA: A POTTER’S WAY & WORK TO EASTERLEY STATE HIGHWAY ONE ‘k History of window printed on back ‘k Trade inquiries welcome (Peterson) WELLINGTON $30.95 Pottery Complete and return this coupon to : TAMBA POTTERY: THE TIMELESS ART OF A Screen Printing Weldon Marketing Ltd. Box 1300, Hamilton. PYt: (071) 493-173 I JAPANESE VILLAGE (Rhodes) $32.25 s s I Fashioned by the Benedictine SHIGARAKI: POTTER’S VALLEY (Cort) Please send me . . plates $147.95 Pa'mmgs The Cottage Craft Shop Monks in the grounds at EARTH’N‘FIRE: CONTEMPORARY JAPANESE Leathercraft The Last Supper., , St Stephen ...... l Pfinknash I" 07m" I” SUPPOH "19 nle Visitation...... The Vintner...... Full Sells} ...... abbey. The plates are replicas CERAMICS (Saint-Gilles) $19.95 Basketry Name V . . . I 0' “3|" DI the ONES! SUI’VIVIHU SOUTH AMERICAN FOLK POTTERY (Litto) $25.50 . Weavmg narrative stained glass windows New ealand Crafhnrorks Address Please allow minimum $1.80 post/packing. Mail Orders/Credit Cards O Jeweller)I in the world. They can be seen Ocean Beach Road P.0. Box 68 Tuesday-Sunday . .Phone today in the French cathedrals ot welcome. CHARTRES and CHALON-SUFI- iru N.Z. and public holidays Endcssyl IS my Cheque tor S ,,,,,, . Specialising in Garden Pottery Ta a’ Te Horo Pleasu charge my credlt card MARNE. BENNETTS BOOKSHOP 2wpanumamrxxxxmurwpwgmrwr No . .... l. . .Expdate Phone Otaki 43175 10.00 am-5.00 pm (Special Interests Dept) Pat Boyes PO. Box 120 Phone 526 Signature ...... PO Box 138, PALMERSTON NORTH, Ph. 83009/61809. l 45 44 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 CO TIER KENS _ THE STACK GALLERY Essex Road, Mt Eden, Auckland

,y ThroughP PERFECT!a specially designed system of wiring and switching the Arum Kiln Pottery, New Zealand Handcraft OUTSIDE . protects your pottery at its most vulnerable stage to give you perfect results Fabric and Fibre, DIMENSIONS " ' every time. Leatherwork, Woodcrafts Width 1000mm [39in Depth 1020mm [40i Height 890mm [35in Hours: MomThurs 10am-5 pm Fri loam-9pm Sat 10am-1pm Phone 603-603 INSIDE DIMENSIONS These kilns are constructed from folded and Width 536mm [Zlin compressed ceramic fibre which takes 1300°C firings Depth 511mm [20in repeatedly without cracking or falling off the walls. The exterior steel sheathing is ventilated to prevent This 6 cubic-feet Arum Pottery Kiln corrosion and maintains cooler exterior surface single phase, ie. — Household during firing. ower. 9kw. (3.2 cubic-feet also available). Electric elements are used in the kiln to provide flame pre heating Patented, long lite elements and safety on all burners and also give a gentle The finest collection of per insulation gives all the heat for bisque firings. hand-made New the pots. No previous experience is necessary to fire the kiln Zea/and pottery from Fires to successfully in 6 hours from 00 to 1300°C with less 1300°C on minimum N , 80 of New Zea/and’s ‘ , power consumption. than 1 cone difference in temperature throughout. 3 lead/rig craftsmen! ’ . ,* Generous spy hole and vents provided. Only 1 tap is used to control all burners. * Kiln is ready to go complete 10 cu.ft. kiln — $2,250 inc. Sales Tax; 15 cu.ft. kiln — $2,750 ith temperature controller etc. inc. Sales Tax; 22 cu.ft. kiln — $3,250 inc. Sales Tax. " Reduction Firings are easily Other sizes of kiln are also available from done in this kiln. * All sizes of LPG and CERAMIC SERVICES fit‘ Natural Gas kilns also available. 720 South Titirangi Rd, Auckland. 25 Wellington Street'P/cz’o’n, New Zea/and. Phone 313 a/h 1157, * We will give you a no-obligation demonstration at ourlactory before you decide to buy. ’ Full 1 2 months guarantee.

At last! An all-purpose potter’s wheel that IN FEBRUARY, MARJORIE LOWE OPENED A NEW won’t break down GALLERY IN AUCKLAND, DEVOTED TO DECORATIVE, UNUSUAL AND COVETABLE OBJECTS. Whether you pot for a living or simply for pleasure, you want a wheel that‘s reliable. The Arum electric wheel is your answer. There are no complicated tyres or cones to go wrong in the Arum wheel. Its simple construction and its low voltage thyristordrive mean the Arum wheel will give you reliable serviceiorlive. DIVERSIONS IS SEEKING TO PURCHASE BOTH LARGE POTS, AND SCULPTURAL AND EXPERIMENTAL CERAMICS.

PLEASE CALL, PHONE OR WRITE TO PRODUCTS Please write torintormation: 142 Eastern Hutt Road PO Box 30—349 DIVERSIONS Taita Lower Hutt 1. LOWER HUTT Phone 672-688 18 KITCHENER STREET, AUCKLAND BOX 46011, HERNE BAY. PH 396-093.

46 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 47 BEAUTIFUL . pOTTERY & Glngerbread Gallery BUSINESS FOR SALE CRAFTS & Craft Shop FOR ALL POTTERY SUPPLIES THE STACK GALLERY The Gallery offers fine handcrafts and pottery. Mt Eden, Auckland I Home-spun I Pottery knitware A unique and historic bakehouse selling quality New Zealand hand craft, mainly pottery and turned wood. O CLAY I Clay Sculpture Large space shop with mezzanine floor. (Exhibition area as well as another floor on second storey). A well established business in suburb about to I Leatherwork undergo exciting new development by a go-ahead O GLAZES council and business association. So far worked as 15 THE ESPLANADE Hours Mon. Tue. Thur. Fri. Sat. a hobby so full potential yet to be tapped. (State Highway 1) 10 am - 5 pm 0 RAW MATERIALS PAREMATA Sun. 11.30 am - 5 pm Genuine enquiries: TELEPHONE (04) 331-832 Closed Wednesdays THE STACK GALLERY Essex Road, Mt Eden Auckland Telephone: 603-630 I When visiting Aucklandfl 0 TOOLS remember O BRUSHES ALICAT GALLERY

fine pottery 52 jervois rd ponsonby auckland n.z. phone 769-874

THE POTTERS’ SHOP o 324 TINAKORI ROAD° Manufacturers of for the best available in all crafts THE WELLINGTON POTTERY Pottery Equipment — porcelain, pottery, wood, CO-OPERATIVE DISPLAYING A greenstone and glass. WIDE SELECTION OF SPLENDID POTS 3 St Heliers Bay Rd. St Heliers, Auckland Phone 557-793 I MONDAY-SATURDAY 10-6. PH 738-803

\ Friday till 8.30 pm. — Saturdays 9-1 pm. J

-'|'HE 'I'lllll'l'ED IlllllOlll ° 0 Wheels 75mm $1.95 0 Glaze sieves cnnE 100mm — 2.15 O Pugmills HnnDlEl 125mm — 2.15 150mm — 2.15 171 ARCHERS ROAD O Extruders 9. TAKAPUNA O Scabrollers Ph. 480-735 or 482-883 48 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER No. 2, 1984 49 N.Z. SHIMPO AGENT SHIMPO WHEELS AND PUGMILLS PLAN NOW FOR: AND ALL POTTERS SUPPLIES AGENTS FOR WEAVING AND ARTS AND CRAFTS TALISMAN ° WINSTONES CLAY TOUR T0 JAPAN COBCRAFT ' REXMARK KILNS OCTOBER 1985 POTCLAYS ' POTTERY BOOKS WRITE FOR FREE PRICELIST. MAIL ORDER Aya Kuichi—guest of 1983 Weavers’ HOURS 8.00-4.30 SAT. 8.00-12.00. Conference—meet her again in her own studio on the beautiful island of Hokkaido. COASTAL CERAMICS 124 RIMU ROAD PARAPARAUMU N.Z. PH. 058-84377 Ann Matheson has again come up with a new, marvellous itinerary to Japan, visiting dozens L————l of artists engaged in many diverse crafts. 0 Spinning OWeaving O Dyeing THE POTTERS GALLERY 0 Paper making SEE THE 266 Victoria Street 0 Woodblock prints REAL O Bamboo dolls Hamilton 0 Lacquer wares JAPAN! A wide selection of domestic stoneware on 0 Pottery 0 Wood Carving display from Harrison Potteries O Doll making, etc.

Enquiries to: Call in or ’phone 394—163 SILVER FERN HOLIDAYS LTD, PO Box 206, Auckland, New Zealand Wholesale enquiries welcome Ann Matheson, Phone: 558-586; Kiyomi Gunji, Phone: ’phone studio 72-497 32-558 “bl-I9 BE A SQUARE A Rafi offirstclass Clays available from the following 0L1 : era/AIrig/mama:sea/wwwmw/xm

C.C.G. IN DUSTRIES LTD. SOUTH STREET GALLERY 33 Crowhurst Street, Newmarket. 10 Nile Street, Nelson.

COASTAL CERAMICS STUDIO 803 124 Rimu Road, Paraparaumu. 803 Eaton Road, Hastings, MULTISIDED McSKIMMING INDUSTRIES LTD. TALISMAN POTTERY SUPPLIES 322 Tuam Street,Christchurch. 171 Archers Road, Takapuna. 65 Bridgman Street, Dunedin. POWERMISER Main North Road, Waikiwi, lnvercargill. WESTERN POTTERS SUPPLIES KIIII 18 Clark Street, New Lynn, Auckland. SOUTHERN CERAMIC Northway Street, Te Rapa, Hamilton. i I IMPORT COY. ale/r;FD? Fall Wfiaé/I’MWQ’V/VM \- No. 1 RD. invercargill. s GEM?!) McSkimmingIndustries Limited PO. Box 2105, Dunedin. Telephone 883119. Telex NZ 5320. POTTERS SUPPLIES LTD. Creative 1281 BBaViCTORiA ST. PO. BOX ZSOSSOCHRISTCHURCHOPHONE 67-2290 50 NEW ZEALAND POTTER No.2, 1984 a pottery kiln? buying ROYCE McGLASHEN SUMMER SCHOOL COMPARE THESE WITH OTHERS 21 st-26th January inclusive FROM US YOU BUY AN ASSET NOT A LIABILITY Do you question your designs? Ask our customers — come and consult us Do you want to better your throwing skills? Do you wantto experience aweekin apotterystudio’? Do you wanttospendaweekofclaywith like—minded people? WE OFFER YOU Send SAE to: Cob Cottage Pottery 126 Ellis Street, Brightwater I A twelve month unconditional guarantee on materials and performance. for more details. I Kilns are designed by qualified furnace designers. I A New Zealand wide installation and maintenance service. I Any type of kiln, top loading, front loading, truck, tophat, elevator and tunnel kilns, Tom and Jill Barton, from 0.1 to 1000 m3 gas, electric and oil firing to 2000°C. I A complete advisory service on ceramic processing. 150 Karori Road, I Kiln shelves and furniture — industrial grade E.C.E., Drost, Royal Sphinx, Wellington 5, Koppers-Dynamidon, Annawerke. Telephone 769-126 I Electric potter’s wheels, pugmills, filter presses, and other industrial clay processing After Hours 768-414

machinery. White I We manufacture pyrometers and kiln programme controllers and supply all leading

brands of imported controllers. Sole agents Sigma controls. Jan

I We manufacture and design spare elementsfor any brand of kiln at low cost, 24 hour by serVIce. media I Low thermal mass ceramic fibre lined kiln for fast heating and cooling giving low firing costs. Hrs Mon-Fri 10 am to 5.30 pm Fork lift Sculpture Sat 10 am to 1pm loaded kilns tre’ 3t; Pottery

POTTERY A FRIEND’S AND FRI ENDS HOME WITH GALLERY Rum] vie-w toil/L mountain 114 (harm, Fwnr‘m/ grown padt/or'lrs, CASHEL STREET Hmtffo nix Sm ring in (mow/of CHRISTCHURCH, N.Z. A! a boarded mun Telephone 793-035 T11 rowing trip/w x, with no rmjmrl. POTTERY OF Down (1 ban/c of'unmnm/ UNIQUE CHARACTER (Joy lo (1 workshop. A toil/(mi [in/”(l .x‘l'rmm, home [0 brown l7‘ou/._ A houw, Indy a home. THE A lady. CANTERBURY jm/ as low/y (1x (/11) bearded mam [)o/x. SHOP T/ZI’ [)o/s, m Hogan! as the [or/y. BY Good lino. II'w/l draw! in HIV giant 0 (1 Top loading kilns CANTERBURY m/(Xfr'r. 5.1 and 3.5 cu.ft. . _ Front loading kiln 40 cu.ft. POTTERS TIM bran/ml man 3/17] urn/z. (1 [mg of'lri/J/w x Inn/N 1s arm, (1)] l)l.\‘/)I)‘(l/1()H, FOR {1]}??a (I pol/N. ® the electric furnace co ltd CANTERBURY VISITORS Lawrence Ewing Wayne Tasker

73 Wiri Station Road, Manukau City, Auckland Telephone 263-8026 PO Box 76-162 Manukau City, Auckland, New Zealand Telex NZBOO17 MORTCO NEW ZEALAND POTTER No. 2, 1984 53 Southern City Ceramics 154 Bealey Avenue IIIHIIZH I'lllII SIIII'S VIII] ? Ceramic CHRISTCHURCH Both the same site - but different designs Import PERFORMANCE INSULATION Supplies of all pottery clay and material. Both fire to 13000 in a fast economical three hour cycle Both are lined with ’Rigid Ceramic Fibre’ —— the best type Co. Agents for F. E. kilns. —— or as slowly as you desire, with a guaranteed evenness of pottery kiln lining (no fluffy blanket falls on your ware) Talisman wheels and pottery equipment. of 10°. Both achieve even reduction or oxidation atmos- Rigid fibre is better able to take the knocks — a Rexmark New Zealand agents for: pheres. exclusive. N.Z. Patent No. 19381. BURNERS TRAINING Hours: 8 am to 5 pm weekdays Both have two burners —— each with individual gas control For both we offer full training — Set up — Stacking —- 9 am to 12 noon Saturday and preset primary air supply -— no other system is as Firing w Safety and maintenance. Essential for the new Ph 791-983 POTCLAYS LTD simple to operate. potter but equally valuable for experienced potters. WARRANTY STOKE-ON-TRENT Both have a twelve month warranty but more important is our unmatched after sales service — we stand behind our kilns even after the warranty period. C Clays When in Lower Hutt O Kilns visit Penny-Farthing Gallery O Glazes 0 Wheels 0 Tools 0 Kiln shelves We stock only 0 Raw materials New Zealand-made Arts and Crafts Mail orders welcome: Catalogue available from:

Mona Bush No. 1 RD PENNY-FARTHING gig» Invercargill Telephone (021)394-875 DUDLEY STREET LOWER HUTT PHONE 699826"'7./i.ll\\\V

( ( )) Connoisseur WELLINGTON’S NEWEST ART AND CRAFT GALLERY ROBUST PRODUCTION MODEL (PORTABLE LIGHTWEIGHT MODEL STOCKISTS OF FINE DOMESTIC WARE IN BOTH HIGH AND LOW GLAZES, SPECIAL FEATURE PIECES, PORCELAIN WORK ETC. ALL BY TOP NEW ZEALAND POTTERS. 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 TWO WEEKLY EXHIBITIONS OF PAINTINGS BY TALENTED flue then back into storage AND VARIED NEW ZEALAND ARTISTS. FRONT LOADER — TWO LARGE SPY HOLES — TOP LOADER — ONE LARGE SPY HOLE — CHOICE OF INSULATION THICKNESS: INSULATION THICKNESS — 55mm OTHER ART AND CRAFT FORMS BEING STOCKED 80mm —- 6 to 8 hours optimum firing cycles PROGRESSIVELY. 100mm —- 8 hours plus cycles Optimum firing cycles —— 4 to 6 hours RMD 6.0/ 80mm —— $2195 complete N.Z.’s LOWEST PRICED 6.0 cu.ft KILN - $1485 complete (( )) 100mm — $2245 complete COME AND SEE US, AT onnoisseur Also available ENQUIRE FURTHER FOR OUR RANGE OF N.Z.’s LOWEST PRICED 3.6 cu.ft KILN PRODUCTION KILNS -— From 6 to 60cu.ft. — $1060 complete IN THE BNZ CENTRE, WELLINGTON.

BEIIIIIIIIIII IIEIIElIIPMEII'IS III] "THE GAS KILN SPECIALISTS —— WORKING WE’RE WHERE ALL THE PEOPLE ARE 58 Athens Road, Onehunga, Auckland. Phone 643-311 EXCLUSIVELY WITH STUDIO POTTERS" (Previously 663-311) anytime except Thursday and Friday

54 NEW ZEALAND POTTER No. 2, 1984 NEW ZEALAND POTTER N0. 2, 1984 55 fi on. We’ve always used the finest raw materials we can find. And to guard against any natural variations in the clays, we test fire every batch before release. So we’re confident of the quality of our cla bodies. In our Auckland laboratory we are continually researching new clay bodies and ways of improving existing ones, in response to potters’ requirements. McPhersons Traditienal Range X-STONEWARE XXX-STONEWARE NO. 18- WHITE SLAB — No. 21- 1100 RED — A strong, A slightly sandier STONEWARE STONEWARE STONEWARE EARTHENWARE buff/grey firing version of X, this is A near white/grey This unique, A warm This body fires to general purpose specially designed tiring clay body white firing clay has reddish—brown a warm stoneware body for larger pieces suitable for use unusually high stoneware body dark-orange colour blended to give a and slab work. where the presence strength and low maturing at 1250 at 1100 degrees C. balance between of iron in the body shrinkage. Primarily degrees, (Water through to an plasticity and would have an for large sculptural absorption 3% at attractive dark working strength, adverse effect on and slab work. cone 8) Especially mottled red at 1200 but is less plastic the glaze. A coarse clay with suited to electric degrees C. than em. a rough texture kiln firing in when tired. oxidation.

RECOMMENDED FIRING (To approximately 3% water . absorption using ORTON Cones) reducing Gone 9 Gone 9 Gone 9 Cone 10 Cone 7 oxidising Cone 10 Cone 10 Gone 10 Cone 11 Cone 8 Cone 01 Potters Clay range also now manufactured by Winstone (Wgtn) G32 An easy to throw mottled buff/grey firing stoneware RMKz A very fine plastic light grey firing stoneware

GEF A light butt tiring stoneware. low firing for electric kilns

E2 A soft terracotta type earthenware

RKF A light buff/pink earthenware Full technical data on the Potters Clay range and firing characteristics are still being assessed. Distribution Clay stocks currently available from most pottery LUIIISTBIIE (mam) l'l'll supply outlets and most Winstone Branches. BS7731 COASTAL ~ ER“ ~ 124 RIMU ROAD, PARAPARAUMU O PHONE 058/84377 PARAPARAUMU WRITE FOR FREE PRICE LIST