I ’ve given myself the taste Of writing about standards and the first thing that occurs to me is that when craftspeople sit down with each other to tal/e about standards how often it is that they seem to be talleing ‘about ’ some things out there apartfrom us with a life all oftheir oivn. Well they ’re notyou lenozv. Standards apply to e1 'ery part ofez 'ery thing that we malee. and in talleing about them in abstract ways we 're denying responsibilityfor our own creations. It 's appropriate that the ostrich and the kiwi have a lot in common as I believe that as a race ofpeople we are readily prone to burying our heads and pretending that everything is OK. In fact it s not OK, at all. Certainly not asfar as New Zealand crafts are con— cerned. We are so ready to applaud the splendid standard of crafts in New Zealand without really thinking about what we ar I saying, The reality is that there are veryfezvpeople in NewZealand producing truly superb craftzvorle. There are a large number doing quite good zvorle and there is a very long tail ofu'orle that 's not very good at all. But. WHERE ARE THE CRITICS? The obvious place to loolefor them would be amongst the craftfaculties of universities and tertiary institutions — but that 's another story. Forget about the newspapers They 're‘far too busy with theirpages ofracingjbrm In this issue we focus on projects andfootball results — matters ofgreat in'zportance 1 'm sure. So in New Zealand and overseas, u e 're going to have to do thejob ourselves, and to do it well we 're (Zover story is the Great New going to have to grow up a little. ’/.ealand Box Show held at the Informed critical opinion is necessarily. firstly. inclusive before it \V'ellington (2i Art Gallery can ever be exclusive. To really see everything that a craft zvorle has (opening just as we go to press); Small Treasures from offer us we must have our channels as wide open as possible. To see Kahurangi: New '/.ealand. currently on show the merits andfaults ofa worle we must be able to put it in its own in l.os Angeles; Warwick context and this often means going outside the confines of our own Freeman and Alan Preston report ideas and loo/sing at and teaming about other media. disciplines and on their Fijijewellery Project: milieu. Northland (Iraft 'I‘rust; Catherine Finally — and this is the important bit — we ’ve got to be more Lomas describes how Queen ready to talee theplunge and offer our observations and criticisms Elizabeth ll grants are made and to each other. profiles some recent recipients of I 'm a potter and can almost count on thefingers ofone hand the craft grants: Margery Blackmail number oftimes that otherpotters have loo/zed carefully at my u tor/e reports on her QEII funded study and offered me their critical observations It ’s worth considering in “’l‘extiles Abroad": Jenny that thefetv times that it has happened 1 can remember almost Pattrick profiles Debbie Pointon verbatim what was said, and the criticisms without exception have and Graeme Storm in proz ten helpful. How marvellous it is to have someone look. atyour "Singlemindedness". worle with clear eyes In the September/October issue If we have any real integrity as craftspeople we must surely we will provide indepth reviews welcome such critics and be ready to hear what they are offering of the 198+ Fletcher-Brownbuilt To be a reallyfine craftsperson is not easy. It talees a great deal of Exhibition (congratulations to integrity and honesty about ourselves, and we must ultimately Merrilyn \Viseman — it's just ta/ee total responsibilityfor setting our own standards. been announced!); the Philips But we can help eachother. and we must do this if we ’re tofully Studio Glass Award (as yet realise our potential. unselected. Philips have recently 50 how about it. Let 's ta/ee afezv risles and offer each othera bit of announced three year support the hard stuff. for this award); Pacific Adornment at the Dowse Art / Museum; a focus on New Zealand instrument makers: profiles ofoverseas guests Peter. (Iollingwood and Marlise Stachelin; coverage of the \V’oolcrafts Festival and the Embroiderers~ Conference. The Crafts Council office and gallery is located at:

First Floor James Cook Arcade Lambton Quay Wellington

Phone: 727»018

OFFICE BEARERS

President : Carin Wilson Vice—presidents Tony Williams Campbell Hegan l ~ve given myself the tasle of writing about stanc Secretary/Treasurer : Jenny Shearer thing that occurs to me is that when craftspeople other to talle about standards how often it is that the; STAFF ‘about ' some things out there apartfrom us with a li Executive Director : John Schiff Well they 're notyou lenow. Standards apply to every Resource Officer Philip Clarke that we malee, and in talleing about them in abstract Gallery Director Penny Harrison responsibility for our own creations. Secretary/Typist Senga Anderson [t ’s appropriate that the ostrich and the leiwi h as I believe that as a race ofpeople we are read EDITORIAL TEAM our heads and pretending that evetj'thing is l ().K. at all Certainly not as far as New Zeal Jenny Pattrick, Suzy Pennington, cerned. We are so ready to applaud the spit Philip Clarke. crafts in New Zealand without really thinking SUBSCRIPTION, ADVERTISING and sayitt I. The reality is that there are veryfew peop EDITORIAL ENQUIRIES producing truly superb craftwor/e. There are a la quite good worle and there is a very long tail ofwot Crafts Council of NZ good at all. But. WHERE ARE THE GRIT/CS? Theo PO Box 498 loolefor them would be amongst the craft faculties l Wellington and tertiary institutions — but that ’5 another story. the newspapers They 'rebfar too busy with theirpages ( ADVERTISING RATES andfootball results i matters of great importance Full colour page : $640 we 're going to have to do the/ob ourselves, and to a' Full page black 8: white : 3350 going to have to grow up a little. Half page black 8r white : 3175 Informed critical opinion is necessarily. firstly. it Quarter page black & white : 888 can ever be exclusive. To really see everything that ( Eighth page black & white : S44 offer us we must have our channels as wide open a Enquire for four issue-volume reduction the merits andfaults of a worle. we must be able to and classified rates. context and this often means going outside the co; ideas and looking at and learning about other med DEADLINE FOR COPY FOR milieu. NEXT ISSUE Finally a and this is the important bit — we '1; 1 August 1984 ready to talee theplunge and offer our observation: to each other, Design and Layout: Suzy Pennington I ’m a potter and can almost count on thefingers ( Typesetting and composition: number oftimes that otherpotters have loo/zed carefl Computer Setters Ltd and offered me their critical observations. It '5 nor Printer: Roberts Print Ltd that the few times that it has happened I can reme‘ verbatim what was said, and the criticisms without proven helpful. How marvellous it is to bat re someon wor/e with clear eyes. If we have any real integrity as craftspeople we welcome such critics and be ready to hear what they To be a reallyfine craftsperson is not easy. 1t takes a Erratum integrity and honesty about ourselves, and we mu The photographer of the cover talee total responsibilityfor setting our own standa photograph of the MARCH/ But we can help eachother, and we must do this if realise our potential. APRIL issue of ‘New Zealand 50 how about it, Let ‘s talee afew risles and offer eat Crafats’ was erroneously the hard stuff. referred to as Tony Savidan. The photographer was Murray Savidan of Savidan Productions Limited, Auckland. I apologise for this mistake: Suzy Pennington. an enjoyable holiday priority was the Council of New Zealand" season. establishment of a resource and an incorporated office. In the setting up of society u'asformecl. . . . INTRODUCING JOHN SCHIFF Letters Sincerely this national office we There/ore. l/Je Crafts Michael Scott were encouraged by the Council as it nou' evists John Schiff is the new Executive Director to the Craft Council. He took up Marketing. Where is it? Editor, The Crafts interest and co—operation [was established in NY). his appointment on 5 June and we extend a very warm welcome to him. John Dear Editor Report whom of the Crafts Council of 1 am sorry that my was selected from more than twenty applicants for the position, many of The September/October US magazine of Marketing Australia. In the beginning, statement has been had impressive credentials. From a short list of nine John emerged the clear issue of New Zealand and Management for Crafts office equipment was construed as rlismissii'e of favourite of the small committee appointed to make the selection. We were Crafts just arrived, and I Professionals. the i'isions donated and the office and efforts of impressed by his qualifications, and the appropriateness of his background, am more and more those int'oli'eil in the early completely staffed by but particularly by his eagerness to turn his experience to the needs of our impressed with each issue. History of NZ Crafts years. This was certainly volunteers but eventually craftspeople. This really is becoming a Council not my intention. In my we were able to impress In confirming his appointment we emphasised to John the changing nature superb publication, and Dear Editor time as Erect/tire [)irector. adopt on Government the need of the activities of the Craft Council. We pointed out that it needs to reflects the maturing of the Christine [found inspiration in Ross, Executive for a paid administration. a more entrepreneurial stance, not merely acting as administrator of the in- crafts movement in New Director of the Crafts reatling the records oft/mt Although we assembled terests of the craftspeople, but further, to actively assist our members with Zealand about which Carin Council, in her editorial in formatii'e periocl and in finding new markets, exhibition opportunities, commissions, and pressing for what records were talking Wilson writes in his Guest the December/January u'itb those who bad the highest of standards. available, I can but agree ”)0 i'isions and Editorial. issue of your magazine, We have asked John to talk a little about himself, and to outline some of that the very informality of aspirations. The Crafts I noticed the makes some pertinent his plans. the early organisation Council ou'es them a great announcement about the observations on the Carin Wilson meant that Minutes and tie/)1. Crafts Council Conference development of the craft other records were limited. and was struck by the movement showing an overseas visitor around New in New Zealand This, and perhaps the fact Handcrafted Publicity? Last Christmas I spent some time absence of a key ingredient and the and, in particular, draws that the Crafts Council did Dear Editor Zealand. I wanted to give an impression not only of the countryside of a successful crafts attention to the visited not become an Refreshing as it was to read people, but also some of the things special to New Zealand. The areas we movement today, namely comparative youth of the weavers incorporated society until the article “Solid Wood, soon came to be determined by the location of potters, woodworkers, some attention to the variety representative about 1976, could explain The Alternative" which and other craftspeople. We were very excited about the quality and “business and marketing" high organisation To illustrate why, in recent years, both was at once practical and of the crafts we saw. Questions raced through our heads ! why are the side of being professionally the point in the larger centres, why isn‘t the craft in she claims “the the president and the alive, there was just one quality crafts so difficult to find engaged in crafts. I know of the growing number of tourists coming to Crafts Council was director speak as if the note that jarred: the dustry taking greater advantage that artists and arts established only seven New Zealand, why do the crafts in New Zealand not have a higher profile Crafts Council had no avoidance of the word organisations have been years ago“. This statement at that time that I would be working history before 1975. “craft” in their publicity, etc., etc? I would never have imagined reluctant to talk about is incorrect. The NZ Crafts Christine Ross further which in the author’s view, for the Crafts Council five months later! “money” — as though that for Council was founded in comments . . .“In looking gives to the public an I am very much lookng forward to committing my energies to, what is somehow in conflict 1965, me is a completely new area of work. I have always enjoyed the crafts although only a year after the for directions and image of “unsafe, leaky with “art" — but if we parent body, the World as little more than an observer. I was able to see some local crafts during my signposts for the future it is pots and collapsible accept the premise that time in Europe and Scandinavia and it was interesting for me to make a corn- Crafts Council was formed. not a bad idea to look furniture. . artists are also entitled to The first New Zealand backwards from where we Sure, there are an awful parison with New Zealand crafts. The more I saw overseas, the more convinc- eat three times a day, then and relatively high standard of New Zealand President was Nan have come" . . . a laudable lot of “bandwagon ed I became of the uniqueness the subject of marketing by what I have seen since my return Berkeley. Many prominent idea indeed. To do this amateurs", but it is no crafts. This belief has been strengthened and management would craftspeople served on the to New Zealand last September. effectively the present different for the artist who seem to have an There are several major issues on the boil for the Crafts Council at the mo— committee in those Crafts Council should give has to shoulder his way appropriate place on the formative ment ; crafts training, the marketing of crafts and pressing for the removal years . . . Muriel urgent consideration to the through all the Sunday agenda of a conference No doubt Moody, Dorothea Turner, need to talk to pie-1976 painters. In one sense of the sales tax restrictions on crafts operations, to name but a few. such as yours. Jenny Hunt . . . to concern to craftworkers and I want to get a name office bearers (and their everyone is an artist and a there are many other issues of What I’m leading up to but a few. in Well- nominees). Hopefully craftsman, for we all have a feel for those issues quickly. I have no intention of being officebound is that perhaps we can During the 6()s and 70s, ington. I plan to get out and meet as many craftspeople and crafts groups around when the complete history certain sense of think a few years ahead by the Council sponsored the country as possible so that I am directing my efforts to those areas of real of the crafts movement in proportion, but the Artist, which time I should be many exhibitions including New Zealand is written, with a capital ‘A' is a rare concern. ready for a return visit to one featuring international to be working in, and I am glad there could be much more bird. Come to that, so is This is an exciting and challenging area New Zealand. The two craft and another useful material available the craftsman. to have the opportunity to work towards the further development of the crafts weeks I spent in your representing craft from the than limited records and There is, of course, not in New Zealand. country last year really Asian region of the WCC. mere conjecture. only the badly constructed John Schiff wasn’t enough time, and I In 1976 Council took a but also the other extreme, made a number of friends Dorothy Pascoe major step forward. Crafts, the arty/crafty, so I’d like to see again. If you and (Past President) other interested pretentious as to be way are interested in having me people, met at the Dowse above the heads of all but participate in such a Gallery to look at the role Christine Ross replies the “in" set. Either will programme and can let me of the Crafts Council and I clon 't (can! to be repel the public, and thank Annual General Meeting know some general dates its place in New Zealand per/antic and split hairs goodness! The Crafts Council Annual General Meeting will be held at Fairfield House, far enough in advance, cultural life. A steering but. . .pre-l‘Fo. the Between these the artist Van Diemen St, Nelson on Sunday September 50 at 4pm. The meeting will perhaps I can schedule a committee was elected and organisation was called and the craftsman has the be preceded by a show of slides from the Resource Centre starting at 5pm. trip at the appropriate the recommendations from “\l‘brla’ Crafts Council 7 task of creating and of A panel discussion with members of the Executive will take place at the end time. this group became the New Zealand C/Japter ' ‘. In “finding” his public. of the meeting and following the discussion we invite all members to meet All good wishes for a guidelines and goals of the that year the name was the Executive. successful conference and new executive. The first changed to “Crafts John Stevens 2 it. If a hundred hours of stitching are judged as wasted time then one must see that as part of the creative process. The selected works which make up this exhibition say much about the high levels of achievement of craftspeople in New Zealand. The work of many of these people is of the very highest quality and deserves to be much better known abroad. I hope that major exhibi— tions of contemporary New Zealand crafts will tour internationally over the next few years. I want to express my thanks to the Crafts Council of New Zealand and the Queen Elizabeth II Arts Council for having made my visit to New Zealand possible. It has been, in every way, a most enjoyable and stimulating experience." Carl Andrew

Philip Heath is a young Auckland interior designer. Since obtaining his Diploma in Design in 1982 Philip has been involved with a number of major projects. During 1985 he designed the interiors and the displays at the Waitangi National Trust Visitor Centre and Forest Head— quarters Waipoua. Waipua Forest. His interests are diverse; industrial archaeology, book illustration, natural history painting, special pur— pose furniture design, stage design and model construction. A number of entries were highly commended by the selector and some of those are featured here. The Crafts Council would like to thank the following companies for their sponsorship of the exhibition and award. Winstones (Well- ington) Ltd, NZ Forest Products Ltd and Bright Building Supplies. The Crafts Council gratefully acknowledge the assistance of the QB 11 Arts Council in bringing Carl Andrew to New Zealand.

Carl Andrew made the following comments on the entries and his selection. Helou'; '\Y'/.I{Ik(l/lnfu'by ’b/‘lfp [lea/l7 Lacquered [rum]._/'/(I.\‘x/ri/1,Q. “The selection of an open exhibition is always a challenging and exhausting experience. The first stage is easy * those works which are obviously of no merit and those which are conspicuously ex- cellent can be put at opposite ends of the room. But the larger number which need careful individual consideration constitute the real task of the selector. If the selector is an outsider, as I have been, then he or she has several advantages. Personal friend- ships and loyalties can play no part at all and the aftermath is dealt with by others. The outside selec— tor must judge the individual works submitted without knowledge of their context within the maker’s history of achievement. And so a major figure might be rejected because she or he didn’t take the ex— hibition seriously enough and sent in a minor work at the last minute. A local selector, aware of that person’s high standing would possibly have included that minor piece. In selecting this crafts exhibition I have looked for quality, concept and design and then for ap— propriate levels of execution. As with any work of art the concept of the work determines the criteria by which it must be judged. A hard—edge painting must be immaculately executed and will be judged in accordance with that requirement just as a silver box of classical geometric form must have a tight— fitting lid if it is to satisfy the requirements of its own concept. Entirely different criteria apply to the execution of an abstract—expressionist painting or a raku ceramic form. Many of the works which were not included in this exhibition were well conceived but inadequately executed. Others were poorly conceived but wonderfully well made. In some crafts media, embroidery and jewellery in particular, the demands of the medium in meticulous work and time spent have often been disproportionate to the quality of the creative concept. The execution has become an end in itself. The crafts media are now demanding, and rightly, that they be taken seriously by public museums and galleries, by critics and by collectors and that they be accepted as forms of expression as valid as painting and sculpture. This acceptance is now occurring all over the world and is manifested in the collecting policies of art museums, the market values of the finest craft works and the international publications devoted to crafts media. But craftspeople must individually apply to themselves the highest critical standards

if they are to achieve the status which they seek. If four pots out of five must be smashed then so be 07 SPECTRUM.

—

Langford

Michael

Photography:

Top: Cornered — Carin \Y/ilson fl/liddle: Box 7 Stephen Mybre Top: Raku No .723 — Rick Middle: Trace)": Box — Trace ' (Auckland) wood, 95 x 105 x (Pukerua Bay) hone. shell. 82 x Rudd (Auckland) rakzl 190 x Collins (Auckland) mixed I] 5. Highly commended. 4-1 x 2!). [3 5 x I 10. Highly commended, media. 700 x 200 x 300. Bottom Left.- A Box of Words — Right; Quarter Acre Section Bottom Left: Long Time ; No Bottom Right: Music Box — Jill Tony (Auckland) paper: with Compartment —— George See —— Nick Charlton Gloria Young (Wellington) card. 1 50 x 460 x 550. Kojis (W’anganui) ceramic 150 (Auckland) titanium, silver; ceramic. 160 x 120 x I 10. x 2.25 x 21!), Highly acrylic base. 40 x ()5 x 45. commended.

)

I

Slur/1'0 51mm

Pub/Ion

Debbie

l’bomgrpber: (Nu/mm

A look at two potters, in experience almost a Style generation apart, totally different in style, work- Graeme Storm has been a practising full-time potter for ing habits and background, but surprisingly similar twenty years. He established a reputation (in the sixties) in one important aspect. for his use of blue and green glazes and still largely uses these colours. His shapes are simple and classic and have . 8 When I talked separately to Graeme Storm and Debbie not altered dramatically over the years. He makes con, : Pointon, both highly regard New Zealand potters, the in- tainers and is particularly known for his large full—bodied ' tention was to write two separate profiles. But since then pots. - the differences between the two have fascinated me. In Debbie Pointon has never earned a living from her pots, . almost every aspect of their potting lives they differ. It She enjoyed a meteoric rise in the New Zealand pottery NESS would be facile — and incorrect # to say that it is the who’s who by winning, in 1980 the coveted Fletcher difference between the Old school and the new. But each Brownbuilt Award. A relative unknown then, she has since is, in part, a product of the times in which they trained. established a fine reputation for her delicate airy porcelain

Each has been a trail blazer, though it is perhaps too early pieces. Her shapes and concepts are always on the move slur/m.

to see Debbie’s trail clearly. In New Zealand pottery we and recently her exhibition work has moved away from '5 are only just reaching a stage where we can look at genera— container forms to purely sculptured pieces.

tion differences so perhaps a writer may be excused for Training and Background Poi/[Ion exaggeration 1 making a point out of what are largely Graeme Storm like most New Zealand potters, is self personal differences. The differences, any way you look taught. he was first introduced to the medium at Auckland

at them, are fascinating. Teachers College. “It didn’t come naturally to me, throw— I)ul)l)lc , . ,..,., .mflfwfzfm

ing a pot,” says Graeme, “learning techniques was a slow and art materials and left them to it. “It was a marvellous business for me.” year,” says Debbie. “I suppose I’ve always been single~ “The equipment was there at the college. It was up to minded. We worked very hard, prepared folders of work me to learn how to use it. None of the staf knew.” (A and all three of us were accepted for the graphic art course familiar story even today in many tertiary institutions.) at Wellington Polytech School of Design. He learned in the same way at Dunedin Teachers College. Debbie began to establish herself as a painter, winning It would be an interesting survey to see how many pot- a merit award in the National Bank Art Award in 1975. ters who started their careers in the fifties and sixties were Six years ago, feeling a stranger in her new community sparked by the innovative art and craft policy of the Educa- of Raumati, she went to pottery classes at the Kapiti Arts tion Department at that time, and the enthusiasm of those 8; Crafts Society. A six week course with Wendy Masters, first generation craft lecturers. another with Jean Hastedt, then further advice and help From there it was travel overseas 7 especially in Canada from Jean. But the break—through came when Debbie first — and opportunities to gain experience in workshops or worked with porcelain. “I got my hands onto porcelain informally at art schools. In Finland at Arabia pottery he and that was it,” she says. “Something to do with it’s was attracted to blue/green glazes and learned something fineness, its whiteness. Like a sheet of paper waiting for of their chemistry. Back in New Zealand he experimented me to paint on it.” further and began producing brilliant peacock coloured From then on there was no stopping her; the Fletcher pots. Brownbuilt, recognition at the NZ Society of Potters show, “This was a shock to the establishment,” he says, “all an award at the Crafts Council Bowl exhibition. In the the pottery world worshipped at the Japanese shrine last four years her graphic work has rapidly taken a back where natural earth colours were proper for pottery. I seat and she has established a top national reputation as was an admirer, but not a worshipper. To start with no— a potter. But the influence of the painter is always there,

“Q’s/m. one wanted my colours. I still remember the sinking feel— the carved tree forms, the dreaming faces, (in her unglaz— ing of carrying my heavy suitcase of pots into New Vision ed porcelain), are like paintings on clean white paper. Aux or Art of the Potter in Auckland « the only two shops that sold pottery, most of it imported ! and trying to Influences

l’lm/o: sell my wares. It’s a very different story today, with any Graeme Storm has travelled widely and has broad in— number of craft shops all prepared to come and buy direct ternational interests in the arts. “I’m always plucking and from the door.” delving,” he says, “and though I’m not aware of influence

Gradually critical praise spread to general acceptance. in my work, other people see it. Like my black and white porcelain. Graeme Storm’s work was hailed as a welcome new direc— flowered pots. People see an Indonesian influence there

'red tion, a break from the Hamada/Leech stranglehold and and certainly they came after a trip to Indonesia where fl a sign that there was a virile new generation of New I was fascinated by batik.” wr

Zealand potters on the way. In 1967 he was invited to spend a year demonstrating sag Debbie Pointon has come to pottery from a full—time and lecturing in Canada. This was Expo year in Canada 4 art training. As a 6th former she and two friends badgered and Graeme spent many days absorbing the rich ex— the Mother Superior at Sacred Heart College, Lower Hutt, periences available there. Another time old locks at the Bowl to let them drop formal studies and work full time on art. Victoria and Albert Museum fascinated him. A lifelong

The far sighted headmistress gave the girls an attic room obsession has been with Bellarmines. Graeme has a superb Faerie IO .ilaf Mai — szlggm‘fl'red porcelain with black bamboo (Hid blade waxed [bread ~ Debbie Poi/Iron. Pbo/o: A HS 11' extra.

and

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I

Jenny

charcoal ash, orange saggar she ment of Debbie's tains close could

similarity, coal ed sawdust was ing flower “That‘s

a magpies Zealand way have both develop now." Finally, I

refinement tively row discriminating. discarded by Graeme, in

suggested

new

Debbie’s

Her

This

It’s “I

Our

clay,

New

cones

picking

some

has

leaving

doing

range wanted

and

the

fifteen yet

have

of to

a

a

not

firing

pot,

one

pot,

is

Pattrick

good

Jean

blush broken

my

vivid

developed

Zealand,

top in

craftspeople

car,

techniques

saggar/charcoal children’s your

with to

colours

also side

on

that

of

their

equipment

basically

market

a

7

up

and a side

scraping fibre

to see

a

in

technique

saggar a

came

years

to

the the

heavy

the

example same

and takes fire back, there

might wandering to really terested ring

whatever earlier of friends?

course,” personal Usually

imagination 250—500

people,

on

gives where

a

techniques, is

try smoky

information soul.”

is

whether

shards,

get

Mastery single

perfection

bed Finally,

and In

people

a

lined have

mower

bag

the

a

charcoal and

Jacquie

the

the

out.

up

jumble a

up

is

hence. this way

new

pot,

and

herself. place.”

in

open,”

equipment.

stuck

the ceramic

ring

ofpounded three

that’s

off

;

and

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wall

the

technique

could

porcelain;

with live

porcelain And

the

effect;

mindedness.

a

pots,

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of

of ;

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time

Our

more

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accept

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master

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modern craft

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Debbie fired

and

and

lot

two

we

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how

last

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month

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people

ofJean

with

Lou’s,

(Debbie

left."

of

within sharing that’s

excitedly

a

burns

It’s

the

here

says

She when

depending

workshops says.

that

all or

well

have

single their

bowl

of

a

found of say,

invite

the

saggar

and

porcelain

year’s of have

potters

shop

kiln

few

distinctive

New whatever

three

have

idea

a

the

their whatever

people

places

and

burned a selling,”

will Graeme.

which

the

the

OK,

charcoal. she

the

learn. cycle

way,

lesson

residue

can

“He asked away,

a techniques, to you

Hastedt‘s

they

soft

something

is

ideas tools

Pointon), technique

our

freedom Both

style rung

objects

them

of

blue/green

Zealand

or

black

times

pots, give

popular an

there,

be says.

in

next

Browns

running

and

show I

crafts,

have

the

on

suggested

dull Graeme

the bring

something

the

know

for

two

Because

I John

firing

are

home. open

we

right

and

and

turns

(Graeme leaving

that

have

wanting

your

use

that

all we

transformation

and “We

he size.

Lou’s a

soot

pounded

layer charcoal,

During

Debbie

porcelain

family

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and

to

year,

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lined

oil—fired

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don’t

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craftspeople

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to

skills three

or

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technique. Parker

Bay

says,

many in exclusively

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though pioneered,

out.

remains

are day.

fairly pot

tend “I

don’t

important that

will

this

glazes

use an

A

side

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burns

the

we

or

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go,

Graeme

like

ask

with

putting

Storm). garage.

to

house,

a

the

assort—

— which

a

freely. that

friend be

gentle to

of In

know

form—

make

a more

effec—

time.

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“Not

char— wide

to same

learn

note

tidy.

who

New bags con—

with

kiln,

step

buy

like

nar— in

this

and

the

my the

for

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enable ington

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pressed to

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1984.

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a ()ther recipients of major project tion of a large scale tapestry loom. Ms grants to help them work during the Vos was trained in the traditional year and to establish appropriate European tapestry techniques and she working environments went to San- is willing to undertake major commis dra King, a woodworker from Kaeo. sions and to train others in this craft. Ms King is a young woodcarver who She is currently working on a large impressed the Panel with her work designed by an artist from meticulously crafted and well design- \‘L’estland. ed puriri combs and small scale A group of Auckland potters. sculptures. She explained that her Harold Barton, Paul Christian, workshop was very simple and Lynda Kerr, Adrienne Patterson, therefore her production was ex— Victoria Smith and Brett Smout, tremely limited. The Panel felt that a received an equipment grant of $3500 workshop development grant $2,000 for the construction of a salt» could help her to increase her produc— glaze kiln which they will communal- tion and to explore new directions in ly use. This kiln is currently under her work expecially by carving dif- construction. ferent types of wood and other alter Overseas study grants were native carvng materials. Ms King is made to. Marion Fountain. self»taught but has demonstrated that bronzecaster of Auckland. who she has a great potential to extend her received a grant of 87.000 to help her current carving practice. She has since to study methods of bronzecasting in (jw‘mnics by Denis () rim/nor, reported back to the Council that she small foundries in Africa. Asia. Europe year. Margaret Finnerty has also used children that I come into contact is experimenting with inlays at present and the USA. Ms Fountain’s work im- her grant to prepare work for a fibre with.“ using Stewart Island paua shell and pressed the Panel and they felt she sculptural show at the Christchurch Denis O’Connor received a grant that she has also begun making con- could only develop her talents further Arts Festival in February 1984. She is of 53,000 to enable him to prepare tainers. Her workshop has been by travelling abroad, since she has ex- currently working with a local coms work for a major exhibition entitled reorganised to provide more efficient hausted the possibilities for study munity church by designing panels “Songs of the Gulf" which is to be working conditions. within New Zealand. Ms Fountain has for the interior of the church in addi- shown at the Auckland City Art Rick Rudd. and Auckland potter. been asked to prepare a report on her tion to spending time working with Gallery and the Dowse Art Museum in received a major special grant of investigation for publication on her pupils at a Christchurch country Lower Hutt later in 1984. Having seen $4,000 to help him improve his work— return from her travels. school. In June 1984 she is to be the the preparatory work for this project, ing environment. The Panel con» Howard Tuffery, woodworder of guest exhibitor at the Aigantighe Art the Panel regarded it as having the sidered Mr Rudd‘s work to be of a Taranaki, received a travel grant of Gallery in Timaru. ln reporting to the potential to be one of the major very high standard and that he has the 85.000 to enable him to study wood: Arts Council. Margaret Finnerty wrote ceramic art works created in this talent and commitment to continue working with Kevin Perkins in “The grant has also meant time to country. At this stage in 1984 the making a significant contribution to Tasmania and to visit other wood read, research, design and think about work for this exhibition is nearing ceramic practice in New Zealand. workers in Australia. Mr Tuffery has my own work and the direction it is completion and Denis O’Connor is Since his work is relatively slow to reported back that he has had great taking; to experiment and use currently documenting the works to produce. a grant has meant that he has benefit from this trip, which is still materials I could not previously af- prepare a catalogue for the exhibition. been able to obtain a more efficient under way. he has met up with other ford, as well as being able to par» The grant has enabled him to work workshop in a shorter time than wo<,>dworkers who would be in- ticipate in school and community fulltime on this project and to help would have otherwise been possible. terested in coming to New Zealand to activities with a view to extending the with the costs of documenting the Grants for equipment were share their knowledge including artistic vision of the adults and pieces. made to: Leo King, potter of American woodworker jon Brooks. Auckland, who received $1500 to John Shaw, a woodworker of help him acquire and install a spray— Nelson received a grant of $7,000 to booth. Mr King is considered to be .'lh()1'(.’.’ Set of 6 Hitch: [fro/1:0. Mar/on enable him to attend a year‘s course l’umzlm‘n. one of the leaders in the sculptural in woodworking with james Krenov .llfrldlt': (.‘cmmicx by Leo King. ceramic field and the Panel agreed that at the College of the Redwoods in a spray-booth was very necessary to [Jo/(om: Margarel Filmer/y preparing California. The Panel felt that Mr

.{1 his/allnn'onfiir Roht'l'l .tlcl)ougull Gal/err

'. his work and to maintain health safe— Shaw‘s talent and commitment were I:‘.\‘liil)i!im1. ty standards. particularly outstanding and that he Ross Mitchell-Anyon. a potter of had the potential to make a major \‘C’anganui, received an equipment a hotglass studio. The Panel regarded contribution to woodworking grant of 82.500 to help him acquire her as a promising young glass artist developments within New Zealand. a pug mill. The Panel felt that as one who after an apprenticeship with john Shaw will be leaving New of the younger generation of commit- Tony Kuepfer had the potential to Zealand later this year to take up his ted and promising potters Mr Mitchell- develop into a successful, professional study grant. Anyon merited support for his finely glass blower. They hoped that her Applications for grants under the controlled and distinctive work. A studio in marlborough might attract 1984 Annual Grants to Individuals grant at this stage of his career would other glass blowers to that area. At Scheme close on 24 August 1984. help him towards his professional present the glass studio is under con» Details of the assistance schemes can establishment. struction. be found in the Funding Guide which Julie Petersen, glassblower, of Joss Vos, tapestry weaver of is available on request from the Queen Marlborough received an equipment Karamea, received an equipment Elizabeth 11 Arts Council. PO. Box grant of $5,000 to help her establish grant of $2,500 towards the construc- 6040, Te Aro, Wellington. Puriri Combs by Sandra King. M l5 A different aspect of my museum study work which trasted sharply with that of designers/weavers where the I found particularly rewarding was to examine collections conception and execution are the work of one person of Maori cloaks. Among some early cloaks I'observed in— who thoroughly understands the advantages and limita— teresting structural variations in the taaniko borders which tions of the medium. Marta Rogoyska is one artist whose add to the design possibilities of the technique. These work I found impressive at this and other exhibitions. structural features appear to be unrecorded and I am con— Throughout my time away opportunities to meet with tinuing this study with the aid of photographs and by both individual and workshop tapestry weavers were reconstruction of details. One outstanding and unique most valuable. I had useful discussions about common cloak was collected by Joseph Banks on Cook’s First problems and was able to measure my own work Voyage. I had the privilege of looking at this in the alongside that of others. Ethnographic Museum in Stockholm. I saw other cloaks of interest in London, Oxford, Liverpool and Philadelphia. Lausanne Biennale The 11th Biennale of Tapestry entitled Fibre/Space at Exhibitions Lausanne in Switzerland could be better described as a In London, at the Crafts Council’s Gallery in Waterloo Fibre Art exhibition. It was the first Biennale with a set Place and at the British Craft Centre in Earlham Street, theme. For those familiar with the catalogues of previous I enjoyed a range of exhibitions of contemporary crafts. Biennales and the two large art fabric books by Mildred In the textile field lively use of pattern, colour and Constantine and Jack Lenor Larsen it was a fairly predic— materials was most evident in knitwear. In recent years table exhibition with few works reflecting new directions both hand and machine knitting have been included in in fibre art. It was valuable to experience directly the many art college textile courses and their graduates, along works many of which were quite beautiful in their with others whose backgrounds range from painting to simplicity and mastery of technique. However, other fashion, are making significant innovations. Kaffe Fassett, works appeared to disregard the theme and pretentious with his infectious enthusiasm has for more than fifteen statements in the catalogue are of little value if the works years encouraged exploration of this simple and endless— don’t challenge and stimulate. I wonder if it was the selec- ly adaptable technique. I was fortunately able to attend tors who were partly responsible for a rather passive a short workshop on design and colour in knitting with event. Several important fibre artists known for the depth Kaffe and his ckorker Zoe Hunt. of their artistic intellect such as Abakanowicz and the Jacobis were not represented at the 11th Biennale. Textile Students I think it is very important that the QEII Arts Council The Degree and Diploma shows of a number of art col— should continue to encourage craftspeople to study leges enabled me to see something of the range and quali— overseas. We are frequently urged to draw on the sup— ty of work currently being taught. Staff and students were posedly unique qualities of our New Zealand experience usually present and I took the opportunity to discuss with as a basis for development but unless we have understanr them the nature of their courses and the employment ex» ding and experience of the historical and cultural basis pectations of the students. of our craft we are unlikely to realise fully our potential There are positive moves in Britain to encourage the and meet international standards. better use of the talents of young designers and craftspeo- Margery Blackman

ple. For example, a large exhibition entitled “Young ,

'

u

s

.

Cl

U

, Y

Blood — Todays Young Designers — Tomorrows Way n!

I'

In

5

v

1 ?\',

of Life”, featuring work by students and recent graduates 72:9

~

0

n: : from 60 colleges of art and design was presented, with r. associated seminars, at the Barbican Art Gallery from :

-

i

7

1.4, .

November 1985 ! January 1984. t",

«a

r

. ‘

v .r.‘

.... obs-x

to take a

Also the Crafts Council is planning a seminar . ,1

place at the Victoria and Albert Museum in October 1984 ‘11,.“

1.. ‘i’ which will encourage closer co—operation between the o and manufac- \ craftsperson producing functional textiles nun/e. With the assistance of a study/travel grant from the Queen Elizabeth 11 Arts Council Margery Blackman ABROAD turers and retailers. Bit spent eight and a half months- overseas during 1983 visiting Australia, Egypt, Turkey, Great Britain,

Switzerland, France, Norway, Sweden and the USA. Her aims were to extend her knowledge of historical Tapestry Workshops 1‘ and cultural aspects of textiles, to see the work of contemporary craftspeople, to become better inform- More directly related to my own work I attended two ed about teaching programmes in textiles and to learn new skills in her own field of woven tapestry. summer schools. At the 10 day Summer School of the Ltmsamie

British Association of Guilds of Weavers, Spinners & Dyers 8‘.

Textile History I studied free—wrap tapestry techniques with Tadek 'x ’/2 The 4th International Conference on Oriental Rugs took place in London early in June. Distinguished Beulich. At West Dean College in West Sussex I advanc~ cons/rucli(»1;

scholars in [2 the fields of archeology, anthropology and textiles lectured on aspects of pile and flat weave rugs and several ed my knowledge of traditional tapestry with Joan Bax—

imporv '.\‘ Rope tant concurrent exhibitions were presented. Outstanding among these was the contribution of the Arts Council of ter and visited an important exhibition entitled “Attitudes l Great Britian at the Hayward Gallery entitled “The Easter Carpet in the Western World 15th—17th Centuries”. Rugs to Tapestry”. It was organised by Ann Sutton in from Southampton University’s John Hansard Gallery. This museum and private collections in Europe and America were superbly displayed and the exhibition included japan. two remarkable recently discovered rugs from the vaults of the Pitti Palace in Florence. wide ranging exhibition clearly demonstrated some of the ) The Victoria and Albert Museum has a large and easily accessible textile study collection and in the Tapestry and problems facing tapestry workshops which interpret other

Islamic Galleries many textile masterpices are on permanent display, Their summer lecture programme strongly emv artists’ designs. The patronage frequently only exists for .1101- phasised textiles and covered a broad range of topics. Study days with the recently formed Textile Society I also “name” artists’ designs and despite the undoubted inter-

found very imformative. In France, at Angers and Paris direct experience of the most important collections of 14th pretive and technical skills of the weavers a convincing Kilo/feds_wzfl.7cflcfibrc. and 15th century tapestries was revealing and memorable. finished work does not always result. Such work con— Sacbilet) 16 The PM"? Doubly Torn 1985. 5 x ,5 x 7m (weaving and own technique). l7 ,lhztgorzala Kaminslea-S/eiba (Po/and). 11117 Lauswme Biennale. KAHURANGI Peter Rule, curator of this exhibition writes about exhibition proper, its background. Photographer, Brian Brake, was in Los Angeles at the time for the opening of his “Tangata’ series at the Los ‘Kahurangi’ was the name selected for the first New Angeles County Museum of Natural History. A meeting Zealand craft exhibition to be shown at a World Craft was arranged at the Pacific Asia Museum and a proposal Conference. During 1979 the Crafts Council decided to to set New Zealand in the Pacific through the eye of his take up an invitation from the world body to exhibit some camera was agreed. of New Zealand’s best contemporary work at the con; There are many items of traditional Maori art in private ference that was being held in Vienna, Austria. Lacking collections in California and to complement the contemi the financial resources to fund the project itself, an ap~ porary nature of the other two galleries, the Pacific Asia proach was made to the Ministry of Foreign Affairs and Museum is selecting works that represent part of New the Queen Elizabeth 11 Arts Council, who both saw merit Zealand’s earlier Maori cultural history. in the idea. The three agencies combined forces to The new show was born. organise a prestigious exhibition that attracted favourable The majority of the craft pieces are new works that the comment both from the Viennese and the international artists have created in the last year, including some that delegates at the conference. Word passed quickly and have been specially commissioned for New Zealand’s par- there were requests for the exhibition to be shown in ticipation in the Olympic Arts Festival. other capitals of Europe. What started out to be a three The works made in the last few months specially for week showing, eventually came home after three years, the exhibition include a beautiful korowai cloak executed having passed from Europe to China and back through by Erenora Hetet. Over 500 hours of work has gone into the Pacific. making this ceremonial garment that will show the finest Selection of the objects had been the responsibility of workmanship with flax and feathers. The fibre work is Doreen Blumhardt. set off with a selection of pheasant feathers and taniko At the end of its tour the original exhibition was being weaving. Erenora’s skills were learnt from New Zealand’s dispersed when an invitation was received for New most famous traditional Maori weaver, Rangimarie Hetet, Zealand to participate in the Olympic Arts Festival being who has one of her korowai cloaks permanently displayed held in association with the 1984 Olympic Games in Los at the Tew Zealand Embassy in Washington DC. Angeles. At a preliminary meeting to discuss this, one of Amongst the newcomers to the Olympic exhibition is ficial said ‘we are thinking of sending a few objects to John Edgar whose work with argillite is recent. The die— display in Los Angeles at the time of the Olympic Games’. tionary reference to clay slate does not carry the image A hold was put on the remaining items just returned to of what he has achieved with the material. Carefully work- New Zealand while more details of the proposal were ed stones have been combined with inlaid materials of established. Imagine the surprise when a visit was made jasper, copper, paua and glass to create pieces that are uni- to the proposed venue and the Director of the Pacific Asia que internationally. Museum in Pasedena said ‘these are the three galleries that The argillite stone was highly prized by the early Maori we have reserved for New Zealand’. A few objects indeed! because it’s hardness and fine grain makes it easy to shape The original Kahurangi had been designed for a small by flaking. Before the introduction of metals it was used gallery space — certainly not three such areas, and already to make a wide range of tools, including adzes and many of the objects had been dispersed. Time was also scrapers. getting short with less than six months to do all the While he is a perfectionist whose works have a notable preparation. A plan was evolved to acquire new material, presence, he sees his objects not only as they are now to update the original concept and to include a series of but how they will be regarded in the future, ‘1 hope that photographic panels that would provide a lead in to the they all last a hundred years, and that at least one lasts l8 ‘Momaia‘ Neil Hanna. ‘A grotesque beatedfz'gure carz'ed 1'27 urbalebone u'z‘tb greenstone and silver eye. 1 1.55m x 5. Sam. Photo: Brian Brake. a thousand’ that the pieces will be as significant to the Maori carver Hepi Maxwell, has taken the jade material future as they are to the present. to the extremes of design feasibility, while retaining Driving up Six Mile Road out of Murchison and past gracefulness and balance in his symbolic Kiwi figure set the sign that tells you that it is “Not Main Road’ is‘J'ohn amongst a native forest background. - Hadwen’s A—frame weaving studio. It was here that John Neil Hanna is exhibiting both the jade and bone designed a brilliantly coloured tapestry which will il— mediums that he is well—known for. The grotesque bone lustrate hs mastery of loom techniques. The work, the manaia drew much attention in Vienna. first of a new series, has been titled ‘Snapshot’ and will Porcelain forms by Julia van Helden are the only clay certainly catch the eye of visitors to the Pacific Asia mediums which she describes as ‘reminding me of the Museum. stresses and influences the land had endured, where the He says ‘my‘work is primarily concerned with the landscape we experience is evidence of its personal dynamic character of the world in which I find myself. history’. The specific qualities of my environment are very clear A new and impressive range of Geoff Fairburn’s shaped intense light; a mountainous landscape dramatised by and coloured gourds have been collected to replace those glaciation and early movement; a combination of native left at overseas posts. His inventiveness and design skills forest and vigorous rock formation — an awesome are evident where no design is ever repeated — there be- timeless world. I want to catch the sensation of something ing a right pattern for every shape. seen in the corner of the eye ! which on scrutiny shifts Guy Ngan’s three wooden sculptures are based on and changes to something else. ‘Snapshot’ is concerned Maori anchor stones he observed round the Maori canoes with the magic of this indirect vision for there is as much at the National Museum. The sculptures cleverly invert mystery in the world now as there ever was’. to fit inside their plinths for safe transportation. He has been experimenting with dyeing his own wools, Boneearver Stephen Myhre has a series of bone hooks mixing chemicals in an old farm shed on the property. displayed, one of which has been featured on the exhibi- ‘Snapshot’ is the firstproduct’of these experiments. Once tion poster. This striking piece has a traditional pattern he has achieved the results desired he will pass the for— built up from double spirals representing a spider’s web. mulae on for commercial dyeing to enable him to spend Two sculptors show work in quite different mediums. more time at his loom. Marte Szirmay has been described as a ‘sculptress in com— In recent years Elizabeth Fraser has been working close— plete control’ and exhibits abstract forms in marble dust ly with woodworker Doug Thomson, together produc— and resin. Campbell Ewing, on the other hand, having ting exquisite treasure boxes. Elizabeth’s finest enamel back packed his material from out of the Cobb River area work is well known and the matched grains of the heart has carved three landscape forms enhancing the beauty rimu boxes, masterpieces in their own right, complement of the colour~flecked soapstone. the Cloisonne disc lids. Paul Mason’s exquisite small pendants inlaid with silver, Working primarily with silver, Jenny Pattrick combines amber and other precious materials has further enhanc— many different materials in her work — including the ed his reputation of meticulous craftsmanship with three sometimes denigrated paua sea shell. Recent pieces have recently completed inlaid rata wood bowls. seen her presenting this native shell in different aspects In the contemporary Maori section, Ron Williams ex- and combinations, showing off the beauty of its blue— hibits both bone and carved woods. Apart from the tradi— green irridescent colouring. tional wakahuia or treasure box, his so called nose flute She prefers working shells from the far south of the (it is not played from the nose!) will draw attention South Island, where the colder waters give a thicker shell because of its figure carving. From the New Zealand Maori formation, and more intense colouration. Arts and Crafts Institute taniko and piupiu weaving are After a period of carefully studying the form and col— combined on woven skirts made by Emily Schuester, our of the shells, Jenny polished and cut shapes that are Donna Waiaraki and the Guides. /)('('I!I'(I/('I/ (fol/His by (fen/fI-‘uirlmrn. each set into skillfully executed sterling silver bases to Another form of weaving can be seen in Ruth Castle’s form what she has called hand bowls. baskets. These discs have a great sense of movement and Russell Beck joines others exhibiting greenstone with balances of space and line. Her work was examined in a piece called ‘Tail of the Whale’. Made from Inanga jade, detail in the previous issue of NZ Craft. the pendant is based on the Southland Maori legend that Not far from Ruth Castle’s Titirangi home another craft— the southern end of New Zealand was the tail of the sman, Levi Borgstrom can be found working on in— whale, fished from the sea by the mighty warrior Maui. digenous native timbers creating some of the most Although a newcomer to the exhibition, this piece of beautifully executed wooden ladles and spoons. Russell Beck’s was actually made in Vienna when he was This will be an impressive line up of cultural fare for conducting jade workshops at the World Crafts Council both the local residents and the Olympic visitors. conference. Alongside the jade will be small marble The Director of the Olympic Arts Festival says ‘these sculptures derivative of the way Maoris cut greenstone rich and varied treasures from New Zealand add an im» by sawing through from both sides — they can also be pressive dimension to the spectrum of traditional and con- related to the glacial U—shaped valleys showing one of temporary art forms the Olympic Arts Festival is proud nature’s ways of cutting through terrain. to present. All the other exhibitors in the Olympic show have had The exhibition will be further enhanced by a visiting work in the original Kahurangi, although in many cases New Zealand crafts demonstration programme by Erenora ‘Kahurangi — 'I‘reasures from New Zealand’ opens at the Pacific new items are now being shown. Hetet, Stephen Myhre and Hepi Maxwell. The demonstra— Asia Museum. Pasadena on “June W84 and runs till 50 December Veteran jade carver Donn Salt, has included an exquisite tions have been made possible by the generosity of Air 198—}. perfume container with paper thin walls that admirably New Zealand, international carrier of the Kahurangi ex- It is the New Zealand Government's contribution to the 198+ exhibit the translucency of the stone. hibition. Olympic Arts Festival. 20 everybody making work in the cur— have only increased the price, us that the core group is continuing rent souvenir style, e.g. turtles, palm something he was unwilling to con— to work together within two private trees, hearts cut from coconut shell. sider as in the cut—throat market he workshops belonging to students. The souvenir manufacturers made it sold in everybody made identical One of the students is working within known that their main interest in at— items. his educational/church institution tending the workshop was to learn Design with some equipment leased from the how to cap pig‘s tusks with metal. We Arts Council. The design lessons involved asking FIJICRAFTJEWELLERY PROJECT said we could when we had the gas the students to consider the shapes Conclusions equipment organised. they were producing in terms of the Initially it was thought that the I visited the workshop of Rakesh, materials and the forms within them, workshop would be directed at the

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[ml/wit”. Usually we int/)(n‘l experts to lead.) SUVA WORKSHOPS relate to the workshop. our New Zealand croflispeople. llere The first day in Suva was spent in- Warwick Freeman reports: one of the manufacturers, He and and also how they choose to repre- existing souvenir industry. We found the process 2's I‘CI’el‘Se’d. Auckland troducing ourselves. The group at this another worker produced an enor— sent the idea of ‘Fiji‘. Fiji is not only their needs, or what they believed to jewellers Alan Preston? and Wane/ck. stage consisted of two men who These were instigated by the Fiji mous quantity of brooches each day represented in the obvious forms of be their needs, not to be within our Free/nan lalae lbelr slellls lo lit/‘1'. manufactured souvenir jewellery for Arts Concil. They requested, turtles, palm trees, bures. etc, but also workshop approach. As a craft through the handicraft market, eight craft— in mother of pearl. using only a the Crafts Council x sawframe and two electric motors for in a host of bolder abstract forms, the jeweller in New Zealand. I would not of New Zealand, swomen (a potter, basket weavers and the services of a jeweller polishing and grinding The clues to which could be found within consider approaching souvenir experienc- shell jewellers) and others associated ed with the materials the materials themselves and also in manufacturers used by Fijian with the craft committee and educa» workshop was outside and the dust and suggesting what souvenir manufacturers; these being tion. We constructed makeshift ben- from the machines had coated the sur— the work from Fiji‘s past. they make. Despite the similarities in

shell, turtle _,.,____V. shell, bone and wood. ches and spent some time locating rounding bush white. This was a pro The work soon reflected this in- technology between the Fijian Both Alan Preston and blem Rakesh wanted help with as his manufacturer and the New myself design equipment we needed. The process of fluence and stronger design pieces Zealand and work with these materials -v-—— neighbours were craft jeweller the in our finding out what equipment was complaining. l sug— resulted Most of the students were same difference :11} own craft jewellery businesses plies. For and we available and what could be adapated gested he considered his own health familiar with the museum work and me it comes back to the have experience in marketing first, as breathing basis of craft - making them continued for the duration of the the dust would they type of work shown in the slides things for through our retail jewellery their own sake, gallery. workshop. Only one piece of vital cause lung disease. I outlined two but they were looking at it again in not only as a means of income. Further contacts with the Fiji Arts equipment (the jeweller’s sawframe) systems of dust control # one using terms of their new jewellery skills. By wet Council involved trying to establish could not be easily obtained in Fiji and dry abrasive paper on the the third week the workshop had YASAWAS COURSE what equipment was available in Fiji and in this case we found a locally machine and squirting a fine jet of settled into a good working routine. and what we would have to take. Also available model that could be adapted. water on it as it rotates, and another — Alan Preston reports: in preparation we visited the We tried to teach with basic equip— enclosing the machine and extracting Display This course was to have been for Auckland Museum to study and ment that was of moderate cost and the dust with a vaccuum cleaner, This The final week finished with a two weeks. However, as the islands record the collection of Fijian and easily obtained. The one exception second method we had set up on the display day for interested authorities were still on rations after the hurricane Pacific work held there, This was was an old fridge or washing-machine electric motor at the workshop so he A diplomatic, educational, etc, — and earlier in the year, the Assistant most rewarding and proved to be an motor to use as a grinder/polisher. could see it operating. Rakesh’s other the friends and families of the par— District Officer, Mr Naivalu said that invaluable teaching resource. We also This proved difficult to find and quite queries related to the cost of his pro ticipants. This produced some good there were difficulties arranging food coordinated slide and written expensive (F.J.$55,00). duct. The areas he wanted to reduce comments and was very encouraging for people coming from other islands material of contemporary New On the second day we started work costs in were already pared to a for the students. Some of the work for the course. We agreed to have a Zealand work we thought would with the sawframe, this new skill set minimum. In fact, any suggestions I was sold and a few orders were taken. shorter course with fewer people. He made to improve the quality would Correspondence with Fiji since tells thought there would be about five 22 23 women. This suited me as the Suva other religious symbols to begin with belts is replacing cheap metal hook course was going well and I would be similar to the Suva workshop. and eye catches where appropriate. able to be there until it finished. As it People moved to other materials as This gives a much better finish. Many happened the Yasawas course was it suited the, 'Gani vono, mother of of the incomplete shapes are on a shorter but the numbers were much pearl shell, large black mussel shell. piece of white fishing cord for display larger than anticipated. Sea urchin spines were sawed and purposes (their idea). Very good Tuesday 13th September 1983 drilled and made into beads. A dog results for such a brief course. took our only bone so that will have I made my way to the Blue Lagoon Sunday 18th to wait as a material here. Adi boat as arranged at 6 am. During the Today is a big Magiti on (Selema’s wife) has already made a voyage I talked with the crew telling Matacawalevu. It celebrates the necklace, a series of hearts with a bird them what I was doing, where I came building of thefirst wooden house in at the bottom. from, who had sent me etc. This is an 1948. I have time at last to talk to Tevita, the Chief, and his family are important thing to do all the time in some of the people. by now fully involved. As in Suva Fiji I think. You cannot assume that Poni Nakiaamo stood as Govern— there is a lot of co-operation with one people will know who you are or ment representative for the island. He person sawing while another is clean— why you are coming. After a while did not get in but he does speak good ing up the elements and combining Siliveno, one of the cooks came and English and wants to apply for aid for them into a necklace or whatever. talked with me. Siliveno comes from the jewellery project. I referred him At night I joined Tevita for yaqona Matacawalevu. He was concerned to the Fiji Arts Council. and found Wanise his wife had already about me going there alone and said I also met Mesu Lami Soloi. He has made a very nice necklace incor- he would accompany me when we ar— worked Black Coral and possibly porating the bead and seed catch from rived. I asked him if he would arrange silver at the Regent Hotel. He now P.N.G. that I had shown her the for someone to give Sevu Sevu to the lives on the island. He has used some previous evening. chief when I arrived. It is customary equipment, a grinding wheel, flexible Everybody wants glue. for a visitor to a village to buy Yaqona shaft and some sort of cutting tool. I (Kava) from the market. This is think he is another good contact Friday 16th presented as Sevu Sevu and there. I could easily have missed him We did a little gluing as promised. somebody will do it for you. One of because of the shortness of my stay. A lot of the pieces were unsuitable. I the students on the Suva course went I’m sure there is other hidden talent tried to discourage its use as with me to market to buy the Yaqona. much as there. It needs time. possible. Today is the last workshop The Chief was not there when we From the New Zealand end I would day. I have agreed to stay until Mon— arrived. Siliveno took me to Selema, not have considered teaching thirty or day so that we can have a display and the Chiefs brother. He speaks some so people alone. However, in the (,‘IJu/u'l.

a closing ceremony on Saturday. of English and when the Chief (Ratu village situation this was possible as There is a lot of activity now. Many Tevita Navo Laca) returned he there is a lot more co—operation bet— of the men have become involved presented Sevu Sevu for me. We ween people there than here. They

when they are free from their garden— III/eiror discussed the requirements for the worked comfortably together in small ing, fishing activities. workshop and agreed that it should groups so you didn't have to deal with As there is no electricity on begin the following morning. In the the thirty individuals. evening there was a meeting where island I was unable to show slides as we my sleeping and feeding arrangements did in Suva. However, I did show Return to Suva. them some of my own work and were discussed together with the ar— On return to Suva I found that the HECHAPELOF them examples of Fijian design from rangements for the workshop. students there had continued to come publications I had‘bought in the Suva Wednesday 14th while I was away using the remaining Museum and was able to leave with By now I am staying tools and making new work. I intend- with Epi and the people there. eating with his brother ed to have a short holiday before Erimasi and his I felt that traditional design forms wife Nasau. coming home but became involved in were emerging more quickly here THE HOLYCHILD Epi and I the workshop again. It was always Ann Gambrill writes about new craftworks commissioned for King’s School, set up work benches than on the Suva workshop where Auckland. which were meant to be closing tomorrow but the long planks on concrete they seemed to come after the slide blocks at sitting students kept working and it eventual- The Chapel in this Anglican Boys Preparatory School was the stable level. The students arr shows and Museum visit. built on the site rived. There were thirty, mainly ly closed when the rent for the in the 1870’s. In 1928, it was converted to :1 Chapel designed by Mr. D. Patterson and women but some men also. I Saturday 17th building expired and the electricity dedicated by theArchbishop of New Zealand as the Chapel of the Holy Child. The fur- demonstrated the use of the tools and We had a display of work with a was cut off. nishings were minimal and the School was only a hundred boys. everyone began their first shapes us— closing ceremony, speeches and Since then the School has grown. The Chapel was hand-winched to its present site ing coconut shell. I was flat out chang- thanks were given to the Crafts Coun— Conclusion I feel that our role in 1972, and a pipe organ and Whitefriars glass have been added. However the interior ing blades and helping. As in Suva cil of New Zealand, Fiji Arts Coundil was one of introducing techniques furnishings have been fairly minimal. there was great excitement and en» and myself. Hopes of another course rather than dictating design. The way In 1981, the writer‘s family proposed to make a gift to the Chapel and approached thusiasm with no lack of designs and were expressed. I formally handed these techniques were used and corn— Beverley Shore Bennett, M.B.E. Of Wellington to design an Altar frontal, furnishings, ideas. over the tools which are in the care bined with the skills the sutdents linen and other pieces for the Chapel. of Selema Navoti. already have was very exciting to me. The funding for the project was paid for by'the Friends who run a successful second- Thursday 15th I photographed the work. The new I am particularly impressed with the hand clothing shop in the School, all School uniform being recycled and the profits I photographed the first shapes. forms have been incorporated into use of fibre in the Suva workshop. I’m of about $7,000 per annum from this shop, together with the work of the parents, made Some good strong forms from black the basic Matacawalevu shell necklace sure this would have happened given the whole project possible. coconut which had been mud cured. design. The bead and loop catch from time in the Yasawas. They certainly The Friends also solicited donations from some of the School parents and past parents, A lot of initials, hearts, crosses, and P.N.G. which they already use on have the skills there. which paid for specially commissioned embroidery works to be made. 241 25 The children who use the Chapel are four hundred and sixty boys ranging in age from five to thirteen. Essential- ly. Beverley conceived the idea of a cave-like dimension, glowing at the Altar end and based the design on the hymn “0, Worship the King”. Simplicity was essential to enable the children to feel at ease with their Chapel NORTHLAND and the designs were as follows: (a) Sets of altar panels to meet the seasons of the Church year. I The Three Kings, orginally designed as an all seasons panel but subsequently utilised for the Advent and Epiphany period. CRAFT The Lenten panels. These were made on soft woollen fabric and were hand embroidered using silvers, tur- quoises and plum colours on an ash-grey background in wools, cottons and beads. Mar/e Derby reports on this pioneeringproject The Whitsun panels. These show the red and gold TRUST flames of Pentecost-season, hand embroidered with the dove symbolizing the Holy Spirit as the theme of the central panel. The Trinity panels based on a concept of “All things Bright and Beautiful", are applique and machine em- broidery. Apart from the design and time spent cutting and choosing fabrics, the work of actually sewing represents many hundred hours work by Beverley. (1))Vestment and the Chapel Banner. These were designed by Beverley and made to her design by an old friend, Alison Nicholls. (c)Margaret Ross, an embroidery tutor in Wellington, made to Beverley‘s design the Preaching Scarf and mat- ching Bookmarks for the frontal. The Preaching Scarf bears the King‘s School crest. (d)Altar Linen. This was made to Beverley’s design on Glenshee cream linen carried out under the supervision of Elizabeth Ellett and Moira Appleby, both experienced needle- workers. (e)Woollen Work. This has been the mammoth task where the School family has become involved. The mothers were very keen to make the pew cushions to Beverley’s design and a hundred and twenty have undertaken the task. (i) Reredos Panel. This was designed by Beverley Shore Bennett and woven by Zena Abbott with Margaret Norris in hand- dyed, spun and unspun wools and raw unspun silk. The theme is “Holy, Holy, Holy” written into the panel, and was a gift of the Standard VI leavers in 1981. The boys’ name tapes are sewn to the back of a linen backing hanging behind the panel to protect it. (g)Silver. Candlesticks and Cross were given in memory ofJohn Morris, a former Headmaster. These were made and The first thing you notice is the spectacular setting. The and conditions. However, inside these wellvventilated designed by Tanya Ashken of Wellington of silver and Northland Craft Trust is sited in the floor of an old metal walls, something is happening which has significance for kauri. quarry, so that it’s partly encircled by sheer 30—foot rock crafts all around the country. The thirty—odd people work— Top: Lenten Frontal — Beverley Shore-Bennett. (h)Vases and Pottery Flower Stand. walls topped with pampas grass and native bush. Although ing here are part of a craft—training scheme unlike any These were designed and made by Sally Vinson. it‘s only a few minutes walk from the centre of Whangarei, other in New Zealand, which is teaching unemployed Veslments —— Designed by Beverley Shore- Middle: Throughout, all the designers have worked closely with the impression as you arrive is of a sort of primitive speni people how to earn their living from craft, and at the same Bennett. Made by Alison NicIJolls. Beverley Bennett to achieve the overall end result. dour, compounded by the sight of the Craft Trust time providing a number of new services to Northland’s Bottom: Silver. Tanya Ashken. In addition, Beverley has designed stained glass win- buildings. They stand in two rows like a little pueblo existing craftspeople. dows for which the School has received some funds and village made out of knotty logs, red ochre earth—cement, These twin aims, to provide craft-training for employ— hopefully will achieve their placement. They are further scrap timber and whatever was available. ment and to service the needs of craftspeople in the area, seeking money to complete the payment for the pews. Unemployment Scheme have remained central to the Trust since it was formed It’s immediately obvious that this place has grown four years ago. However the means to achieve these aims without following any clearly—defined plan. Instead, like have altered considerably in that time, in response to 26 a village, it’s evolved to meet very particular local needs changing demands. When work first started on the quarry 27 site, the main emphasis was on using local raw materials one of six people working in the stained glass studio. This lectively. Noisy meetings of the whole staff are regularly (leather, flax, clay, bark), a reflection of Trust founder building seems to be a highlight for visitors to the Craft held and everyone is encouraged to voice their opinions J Yvonne Rust’s deep commitment towards unprocessed Trust, perhaps because of the almost tangible air of and feelings. I materials and basic craft techniques In fact it’s to Yvonne, creativity in the small workroom, refracting through the The latest step for the Trust is to increase its involve- the pioneering potter and life—long craft teacher, that the I jewel—like sections of colour glass hanging in the windows. ment with the wider community, and so its activities are Trust owes much of its present shape. Her monumental I Kharen started working here six months ago, after being starting to spread in some unexpected directions. About ’1. energy and determination overcame many of the unemployed for a year and a half. She came to the job 30 feet straight up above Sam’s office, on top of the rock- obstacles at the formative stage, and she later became the l. after she was told by an Auckland glassblower that the face surrounding the site, a crew of landscape gardeners first full—time supervisor. I Craft Trust was the one place in New Zealand where she are putting a walkway through the bush, which will even- 9. could find the training she wanted. “It’s mind-boggingly tually lead visitors up and around the perimeter of the Creativity amazing that I get paid to do what I really wanted to old quarry. The next stage should be even more dramatic. Although local materials continue to be used where do . . . An ordinary six-month PEP scheme leaves a young A stream which at present causes problems with flooding possible, the Trust has lately shifted the emphasis of its person basically back where they started, apart from work will be diverted through the side of a hill to plunge down training programme towards greater activity and design, experience, but we come out of this with a skill that we the rock face as a small waterfall. The water will then col— in recognition of the requirements for self—employment can use to be self—employed — it’s brilliant!” lect in a specially made pond, planted in native ferns and in craft. Today most of the activities are based around two Within three months of its inception, the stained glass water—lillies. studios, one of them used for stained glass production studio was producing private commissions. But despite With the increasing importance of tourism for the and the other, containing two speciallyidesigned kilns, for this early success, Sam makes it plain that the Trust as a whole of Northland, the Craft Trust looks certain to pottery. Some of the products from these studios are be— whole has to remain a training centre rather than a become a key attraction. The growing number of visitors ing sold through a recently opened craft gallery on the business, a place which emphasises individual develop- can sometimes be disruptive to a quiet working environ- crafts— site, which also sells the work of other Northland ment ahead of production. “Our aim in training is always ment but the staff are well aware of the advantages of cop- people on commission. to give a rounded craft education. We don’t encourage ing with them. Already visitors to the quarry can see pot—

t‘c. " Ilnu—i’u- fi early specialization, but we try and give everyone the tery and glassware made on site, with the opportunity to Local Clay O Iv [ ,- o/ :§:t::' chance to explore and experiment, to go in the direction purchase. The craft gallery also stocks one—off pieces made

In addition, the Craft Trust produces and markets its nu a I in bis that suits them. From now on we’re turning more and by other local people, and the Trust hopes before long own pottery clay which is selling at just 60% of the cost 1'21 of the nearest alternative. This locally—abundant raw more to ideas of design and the creative aspects of crafts, to involve these independent craftworkers in a more ac— material has also been incorporated into the building pro— not just the basic techniques.” tive way. An ambitious new building programme aims to gramme. Several of the smaller buildings now have walls provide much-improved facilities in a style which is in

Ilr/ls/uz/(l made from a mixture of red earth and cement, using a Tutors keeping with the quarry setting and the existing rough— technique specially developed here to meet building code Sam Finding full—time tutors to supply the kinds of craft skills hewn structures. Construction is due to start shortly on a large pottery studio designed by local architect and requirements. Because of its potential for providing badly— He took the job after several years working with stained needed has proved a major difficulty, due to the low needed low cost housing in the North, the Trust’s soil— wages offered under the Labour Department’s scheme. sculptor Graeme North, and a hot—glass studio is planned glass in Auckland, producing a number of large architec— for later in the year. cement research has attracted keen interest from prospec— tural commissions. As the author of “The Stained Glass Sam is now trying a new approach ; bringing experienc— tive ownerrbuilders, and a booklet is in preparation to ed craftspeople in for short periods, up to six weeks, to Handbook” and the founding editor of Glassworks Visiting Craftspeople meet the demands for more information arriving from all magazine, Sam’s also aware of the requirement to teach teach particular aspects of the work. “It’s got several ad— All of these facilities will be available to outside craft— over the country, and encourage his craft where possible. vantages actually. Our trainees get the benefit of a range speople who want to come and work, experiment, or run It’s apparent in every brick and boulder that the pro Sam works under a voluntary Board of Trustees and of outside influences, and for the craftspeople themselves seminars. (One on raku pottery is already planned). Some gress made to date is the result of an extraordinary outlay he employs a small administrative staff, several experienc- it’s a good deal because they can take a break from hav— of the present trainees are thinking of staying on here to in improvisation, faith and hard work. Yet these ed craftspeople as project supervisors, and a total of 14 ing to earn their daily bread and try out new techniques work as a self—contained co—operative, and there may well acheivements represent only the beginning of the story. full—time trainees, all paid under the Labour Department’s — in effect, payment to experiment.” For the glass studio this will mean the chance to ex— be other new developments depending on changing cir— Now finally, three years after it was opened, the Trust is wage—subsidy programmes, The Craft Trust has made use plore new areas including glassblowing, kiln work and cumstances in the area. “We envisage ourselves also starting to move beyond the establishment stage and is of these programmes ever since it started, and the Labour becoming a sort of adventurous craft research agency A looking outward at its place in the national craft scene. Department’s wage—subsidy programes. The Craft Trust combining glass with other media. However it also means testing out new techniques without the usual financial The chief of this village is Sam Halstead, its manager for has made use of these programmes ever since it started, recognizing the difficulties inherent in combining creative work with a 40—hour week. For Kharen “my most creative pressures faced by self-employed crafts—people.” the past year. “What we’re starting to do now is to find and the Labour Department’s support represents a con— time is late at night, just before I go In opening the new craft gallery in February, Whangarei ways to give something back for all the effort that’s been siderable investment in the potential for craft to provide to bed.” Some of the Craft Trust’s critics point to the creative freedom it Mayor Joyce Ryan made it clear that the city has high put in here. People are starting to seek us out for training permanent new jobs in Northland. The Trust has found allows hopes for the Craft Trust as a big part of its cultural and in certain crafts, and we’re enjoying a lot more contact that its current trainees, all of them formerly unemployed, as possibly leading to inferior craftsmanship and recreational life. with outside craftspeople and the public.” are entirely capable of developing into competent and inadequate production but to Sam these criticisms aren’t There’s no doubt that inside the craggy frontage, the original craftspeople. Sam says “We only take on people justified, and he questions the assumptions behind them. Training “The commercial craft world seems to be getting very Trust has developed a uniquely northern character in the It‘s no coincidence that the Craft Trust is based in Nor— now who are committed to becoming full—time craft— competitive, a lot of talk about standards of excellence. course of shaping a craft—training policy to the problems thland, the region with the worst rate of unemployment workers, We’ve found that there are plenty of potential Obviously there’s a certain level of attainment to be aim— and strengths of the region. It suits Sam that this should in the country. The people involved in setting it up in craftspeople registered as unemployed because they don’t ed for, and we impose some standards on the work here, continue. “This is an isolated part of an isolated country. the early days shared a conviction in the future of crafts fit the traditional job descriptions. They’re intelligent, but it’s necessary to remember that everyone’s learning Being cut off from the current urban trends is really good despite the increasing pressures on labour- creative people who want to work for themselves or be as a livelihood, at a different for developing orginality in our work, but it’s bad from part of a co—operative, but they don’t know how to go rate. A place like this, a large group of crafts— intensive production. The Trust’s continued growth sug— the point of view that we miss out on a lot of valuable about it.” people with varied skills, has to encourage co—operation gests that their inspired optimism is paying off. Although new ideas and influences. That’s why we’re All the trainees are employed under the Work Skills among its members if it’s going to function. People here trying to at— making a living from craft is never easy, thorough train— tract top craftspeople from outside the area. Development Programme, which gives them a minimum are asked to help each other rather than trying to be the ing which imparts a technical and creative understanding, “This place makes no claim to have the answer for 18 months continuous work with an experienced super— best. combined with hard—nosed business pragmatism, does every craftsperson, but the results are proving that our visor. Sam likens this to “an informal apprenticeship “To me that’s part of the purpose of this place. provide a good chance of commercial survival. particular solution is suited to the people up scheme” which can give aspiring craftspeople the techni— Everywhere else we’re being urged to compete, to set here . . . We’re no better, only different.” Management ques and design ability to find work for themselves. criteria and standards. I see craft as an escape from that.” To maintain this realistic approach it’s vital, in Sam’s “A damned good idea” is how one of the Trust workers In practice this policy has also meant that many deci— View, that the Craft Trust manager be also a craftsperson, describes her own training programme. Kharen Hope is sions on the day—today running of the Trust are made col- Mark Derby 28 29 LABOUR LOOKS AT CRAFTS NATIONAL LOOKS AT CRAFTS Although Parliament may seem far away The people best equipped to formulate from the daily, schedule of a craftsperson, policy on arts and crafts in New Zealand EXHIBITION its role can affect many lives. Parliament are the artists and crafts people themselves ROBIN ROYDS POLITICS oversees not only the placing of taxes but 7 and the Government has done its best from the Arts spokespersons also the funding assistance available to the to encourage development along these REVIEW fabric Labour and National Parties were in— Arts Community in general. lines. statement on ititea’ to contribute a The Labour Party sees Arts as an integral The Government has a policy of sup— their policies for the crafts. Here are part of people’s lives, and Crafts represent port rather than direction. Funding for the their policies. [fyou agree or disagree a very special place in‘there. Crafts mean crafts industry is handled through the with their policies let them know 7 many things to many people. They may Queen Elizabeth II Arts Council, which NOEL GREGG they ittantfeeabac/e. And it is up to be a hobby for those wanting to fill in has its own fullrtime crafts advisor and a you, voter, to ensure that they get leisure time, a training for a child in voluntary Crafts Advisory Panel. iron feedback. from you. discipline outside the scope of the New Zealand's crafts industry is rapid- classroom, occupational therapy for the ly gaining in economic importance, both An exhibition of the craft of Noel is one exhibit that is based entirely on sick or aged, or fulletime employment for in terms of creation of jobs and in the Gregg, working in iron and Robin an organic form. a growing number of people. value of production, Royds using fabric was held in the Robin Royds has been working In terms of Labour‘s overall policy for There is a ready local market for the Brook Gifford Gallery, Christchurch, with fabric for many years and her this year, no occupation can “add value" high quality work that is being produced, from 5 March. knowledge and skill in using material more than Crafts, The changing of a piece to the extent that New Zealand is reputed It is through the work and achieve, is clearly evident. This is the craft ele- to have among the world‘s greatest of clay, or a blob of glass into articles of ments of craftspeople of this standard ment of her work. However, it is on number of crafts shops in proportion to beauty and utility adds value in a way few in design and imagination that the ar— ly in the last three years that she has the population. other processes can do. We recognise tificially drawn line between art and been working on these large scale wall need therefore to institute research and The Crafts Council has played no small craft is challenged. Good craft is hangings, development programmes into craftebased part in this development, and recognition essentially developing good designs to make the best use of the of its role has come in the form ofsteadie Her designs are continuing to industries and sound techniques through what— resources we have. We also recognise the ly increasing assistance from the New develop and excite with the variety of ever medium the craftsperson need to emphasise investment in craft pro- Zealand Lottery Board. of which I am approach and the extent of her im— chooses, The hours of time and duction, as a major potential source of jobs chairman. This, however, has never been aginative ideas which are drawn from degree of skill are only fruitful if the both directly, and indirectly by encourag- intended as a permanent source of fun, her own personal environment, in- ideas and designs are also of quality. ing in-bound tourism. ding and the Council is now exploring terests and experience. In Robyn Royds large wall hang, The placing of sales tax on pottery and other areas of financing with a view to have expressed her in- There is really no other individual craft items represents a direct attack on the make it less dependent on the Lottery ings, she could working in a similar mode in New skills of New Zealand crafts people. Labour Board. terest to sensitivity and colour, shape Zealand. Royds, however, was for— would I believe ensure that this could not Direct assistance in the crafts field and texture through the more con- occur again, The Governments lack of comes in the form of funding for specific ventional medium of paint, however, tunate to meet the talented Australian concern for the crafts has been shown by projects. such as attendance at con it is clear that she finds fabric a highly fabric artist, Heather Dorrough, when its continuation not only of this imposi- ferences and in the development of craft rewarding material in which to ex- she visited Christchurch in 1980 as a tion but also ofits stopestart funding. The training. ecute her designs. guest at the Christchurch Arts Festival, Crafts Council has yet to receive realistic Recent examples have included the The variety of surface effects, tex— Here she found a kindred spirit. Even funding on a long term basis. This will be joint project by the Crafts Council and the tures, lustres and rich colour combina— so, Heather Dorrough’s work has a matter for the next Labour Government Vocational Training Council for research tions she achieved could only be quite a different emphasis as she to seriously investigate. into the need for craft training in New obtained by using the fabric medium “draws” with the stitches created by Labour views training as crucial to the Zealand; funding to enable the Council‘s with great understanding and skill. the sewing machine and uses cola development of professional crafts in New President to prepare a report on training The selection of rich juxtaposed oured dyes to create her forms. The Zealand, Although educational facilities are for crafts overseas; and assistance for the fabrics with their range of surface tex- greatest influence on Robin Royds readily available at levels suitable for President and Executive Director to at tures; created endless contrasts. The would be the fact that Dorrough’s amateurs, the needs of the professional tend the Asian Regional Conference ofthe sheen of satin with the warmth of cot— work is acknowledged as an art form, community are more specialised. It is on- World Crafts Council. ton create designs which both delight expressing ideas and visions through ly with :1 crafts community of size and Expertise has been made available the eye in a similar mat— the craft media. This could have acted strength that these facilities can be effec— through the Department of Internal Affairs and stimulate tapestry or a Persian as the stimulus for Royds to express tively utilised, but without the facilities the to carry out crafts surveys in the areas of ter to a medieval her work in these, the larger scale community may not be able to grow. pottery and weaving to help identify areas rug. designs which are intended and sue Labour will enter into discussions with of special need, Architectural lines and shapes, ceed in enlivening and enhancing ar- educational authorities to assist with the The Government is constantly review— Eastern, Baroque and contemporary chitectural spaces. development of suitable courses and ing its policy on the arts in line with are the basic subject for most of the workshops. developments, but we feel it is important wall hangings, but an abstract quality Noel Gregg’s exhibits include a The Labour Party is concerned with the that decisions on the future of the arts conveyed through a strong sense of group of iron organic leaf forms on future of New Zealand. In this should be made by the people most af- balance, proportion and the inter- long stems which are designed as technological age the crafts will continue fected. I "r relationships of shapes, colour and garden flares. Each shape seems en— y to grow for they offer an opportunity for — We will continue to provide support - texture becomes the essence of the dowed with a life of its own as the - people to express themselves and to con- — where necessary in the confident — designs. iron is twisted and hammered to ex- — tribute at the same time to our identity as - knowledge that there will always be a de- - Another theme expressed in the press these organic forms. In another 1— a nation. — mand for craftwork of good quality both - hangings is the organic forms of plant exhibit, a low gate, the iron appears «- u- on the domestic and increasingly on the - to take on the appearance of tough — foliage. This is expressed in the use of John Terris export market. strong flowing lines which inter—relate flexible leather. A further high gate has Opposition Spokesman on Hon. Allan Highet and overlap the geometrical architec— the iron design incorporated into a Internal Affairs Minister for the Arts tural shapes. A giant leaf shaped design timber framework which is locked 30 SI together with intriguing iron-worked achieve recognition as a serious con background to pottery and organisation of the co» management have said that so seldom shown in its operative but, were it not they would like linkages. tribution to the art world. this to own right. The market for the work and include a much larger area All Gregg’s work expresses a seem— NOTES Penny Orme . management had declared enthusiasm of Carole for active craft workers ingly effortless mastery of his craft. THE DETAILS GROUP that they wanted to attract Zelcer, I doubt if we and that they would be This absolute skill however, has been GALLERY A new national body in the Aucklanders and visitors to would have started or kept prepared to subsidise the built on over many years’ experience. crafts has been formed. a seven—day-a—week, 9am going, rent since we would be Gregg’s interest in iron craft began The jewellers, metalsmiths to 9pm ‘up-market‘ The space secured for unable to pay full when as a schoolboy he saw NEWS and stone and bone marketplace. the co—operative is a corner commercial rates for the carvers have formed photographs of Fritz Kuhn’s work in “Pots Domestica” was the first exhibi~ Here was the chance for immediately facing the space we would occupy. themselves into a loose a book. On leaving school, he spent tion jointly organised by the Crafts Court handweavers to work entrance to the ‘crafts hall’, However, as we also organisation called Details. which used to be one of nine years in a blacksmith appren- cil and the New Zealand Society of Potters. together co—operatively to complement the market by At a meeting in Auckland sell the best of their work the two old stables and is being a drawcard ticeship, receiving a thorough groun— Both organisations recognised the need to in our in May, 30 professionals in and for this to be for approached by a ramp own right, there is an ding in the trade in order to undertake publicise proposed changes to import these categories met to handweaving only. The from the main market area. element of quid pro quo in licence provisions which will allow easier the craft. discuss the outline for a call went out and drew a ‘Crafts hall’ is somewhat of these proposals. market access to imported table ware. Forging with iron requires strength, fullitime jewellery and good response: ‘a great a misnomer since, aside What they, and we, “Pots Domestica” served to focus knowledge and skill and there would carving course. The Details idea‘. from two potters, a worker envisage is an area where parliamentary and public attention on the be no one in New Zealand who Group emphasised the So, a meeting was called in ceramics and a members of the co- high quality of domestic pottery available would approach Gregg’s calibre. Apart need for such a course at a to discuss the setting up of leatherworker, the other operative could have from a large number of full time studio from the practical applications, iron time when their skills are the co-operative. That‘s areas are not crafts. looms set up and use it as a porters who earn their living producing in great demand but when the proverbial goats Members receive their working area, open to the work as a craft is another dimension pots for domestic use. training facilities almost were sorted out from the selling price for their public. In our present and designing as practical ornament is potters invited to par— Of thirty five non-existent. sheep, as it was explained articles, less a commission space there is only room clearly where Noel Gregg's interest and sent ticipate. thirty two responded In the next months that the co-operative of 10% to meet co~ for one person on duty to lies. To this end he works the hard Antipodes work to be displayed at the members of Details will would need capital to set it operative expenses. Some spin or to work on a small ridged metal into flowing and refined to Gallery, Wellington. from April fiOth lobby in their particular up, and work to make the work of non-members is tapestry loom ~ both lines which express his organic sense May 1 lth. Work ranged from fine areas for the introduction area which had been displayed and, if sold, a activities which interest of design. porcelain teacups by jenny Shearer to col- of tertiary level training tentatively booked commission of 25% is visitors to the market. A These strong curving lines are con— ourful flowery earthemvare by Christine courses. attractive so that our taken. Results of our first truly co-operative working trasted with fine twists and turns to Bell Pearson; elegantly restrained dinner Peter Woods, Auckland weaving would be six weeks trading (the area would bring us build up asymmetrical but highly set in white with fine blue lines by Sally silversmith and secretary effectively displayed. (I market opened 10 days together so that we could of the group, will edit a balanced compositions created from Vinson contrasted with freely decorated was determined that there before Christmas) have benefit from each others' newsletter, Details to go to the network of interconnecting iron stoneware luncheon plates in subtle shades should be no rugs hidden exceeded our expectations. different approaches. The by Chloe King. all financial members. lines and the spaces they form. The away on shelves nor the We also give ‘tone’ to the extra dimension of being Pauline Stevens, of the Antipodes Contributions are bring and buy type of market, to the extent that open to the public would sense of strength and endurance of Gallery. said it was noticeable that pots welcome. display with work piled on we notice that the be an educational one in materials being used and the the browns. salt glaze and dull colours sold Subscription is 315. tables or shelves which management make a point that they would see what delicate, sensitive lines of the designs more slowly. Buyers were looking not on- Write to: soon look like a bargain of bringing visitors whom handweavers actually do. contributes to a sense of tension and ly for well executed pots. but also for Peter Woods basement.) There would they want to impress to It would, admittedly, put excitement to Gregg‘s work. those with flair in colour and distinctive 6 Laxon Tce also be a commitment to see us! us in a goldfish bowl but Gregg was awarded a Qlill Arts style. The public appreciated the personal Newmarket share the staffing of the The market itself is maybe this, and the Council grant in 1980 to attend the In photographs and Pauline remarked on the Auckland stall. successful because there genuine interest which the ternational Conference of Blacksmiths popularity of the potters' business cards 14 TO THE INCH In December last the co- are very good reasons to general public take in in Herefordshire, Iinglzmd. He has also and promotional material, HANDWEAVING operative was formed. For go there. It is evident that people engaged in the the record, the creative travelled through Europe and \X’hile political impact is difficult to CO-OPERATIVE founder the management is setting process, will spur Can handweaving stand on members, each of whom a high standard and that it us on to better work and, America. He feels that the most ex- evaluate, sales showed there is still a de , its own as a craft in the contributed setting up will not tolerate operators particularly, improvements citing work in iron forging is taking mand for good domestic ware pottery. gave porters the opportuni- marketplace? money were: Carole who do not match up to in the design of our work. place in Central Europe where he The exhibition ty to display their “bread and butter” lines The establishment of the Zelcer, Norma Webster, their standards, These are Karin Wakely found the work most stimulating and in an exhibition situation and the Crafts Victoria Park Market in Karin Wakely, Hanne positive aspects which lead sympathetic to his own developments 'Vibeke, Council and NZSP. the opportunity of Auckland has given us the Christine Piper— us to hope that the market in designing in forged iron working together to promote an often uni chance to prove that it can. Haskell, Connie Newman will become a permanent THE MILL The artificial lines between art and promoted area of pottery, The market, which is and Dianne Kelly (with, in feature of Auckland life The Mill, New Zealand’s not a fleamarket or a particular, Jack Webster and craft have been clearly bridged by Penny Harrison. that it will continue to first craft co-operative, is Noel Gregg’s collaboration with the bargain basement and Gerald Wakely helping attract people throughout celebrating its 16th year painter Phillip Trusttum, and the operation, has been set up in the setting up). A the year. with a new surge of where the city’s rubbish committee of five What, then, sculptor Bing Dawe. In 1985 Trusttum u of the creativity. The co- II destructor used to be, members has been formed, future? operative, well known and Gregg designed and executed a for opposite Victoria Park. It is the intention being that New members are its consistently high quality quite spectacular iron gate with Trust— EI dominated by a tall brick two members should retire welcome provided that craftwork, wishes to tum using Gregg’s skill to express his chimney which, together every six months to give their work meets the co— contact old members and distinctive and energetic lines in iron. with the other brick everyone the chance of, operative’s standards. They l’lmlo.-./wnr1'llamas. invite new artisans to join Bing Dawe also clearly found work- buildings, give the area a and responsibility for, will be charged a joining them in on location ing with Gregg has extended his character and charm of management. fee to go toward our demonstrations to be held

horizons and expertise in producing Vii/sen. their own which have As the instigator of the expenses. at Durham Lane in sculptural designs using iron and steel. been retained and project (and also the The Victoria Park Market Auckland. This is a unique

Sal/y developed sympathetically member living closest to site is being developed in opportunity for serious One may conclude that craft that by the market’s promoters. Victoria Park Market!) I stages. Stage I has proved craftspeople to practice achieves such excellence in design It had annoyed me for have been closely involved so successful that plans for their skills and share their and execution as that of Robin Royds years that handweaving with the management of Stage II have been talents as well as make

and Noel Gregg should certainly [Nunerxet was so often used as a the market and also the advanced. The sales. 32 33 Already the storefront is Also, any former members references covering their business or profession or Council is well aware of July 7-9 Aug 5-17 Workshops bursting with original are urged to contact the professional work to be will in some way be to the the mutually beneficial Patchwork & Quilting Peter Collingwood Zealand, or fashions, accessories and Mill, PO Box 567, submitted independently. benefit of New relationship between the Exhibition 8: Workshop. Exhibition. Waikato July 2 1-22 of jewellery. There are Auckland (AK 752-493), to . Selection will be based on will aid the maintenance arts and business. We Edgecumbe College, Society of Arts. Feltmaking workshop. as a leatherworks, pottery, join in with us to organise the Foundation’s the Commonwealth believe it is our role to Edgecumbe, Bay of Plenty. Tutor Ronelle Hyde. wool products and our big celebration party assessment of the beneficial influence in promote this relationship Aug 24-Sept 10 Shirley Community handmade toys. this November, candidates performance world affairs. Fellowships by various means. We are ANZAS 1983 Woven Centre, Christchurch. July 8 According to co—op and potential, and the are not intended for the currently setting up a Tapestries Exhibition. ContactJean Double (05) Great NZ Box Show members, the public Award Winners contribution the successful gaining of academic database which arts Manurewa Community & 584-758. Auction, 4pm, Wellington demand for these crafts is Congratulations to applicants could be qualifications. Cultural Centre. organisations and City Art Gallery, 63 growing. So is interest in Merilyn Wiseman, expected to make upon Applications for 1984 businesses can draw on for July 28 Victoria St. weavings, fine woodwork winner of the 1984 their return to New must be with the Board by information. We have a Aug 24-Sept 17 Demonstration with Len and glassware, which they Fletcher-Brownbuilt Zealand. no later than fil July 1984. small professional staff Peter Collingwood Castle. Textures and would like to add to their pottery award, and to The closing date for Applications and who can assist both parties July 9—14 Exhibition. Manawatu Art Natural Ornament. stock. Another growing Judy Patience, and the applications is July 51, enquiries: to make useful links." Pauline Jones Display. Gallery. Auckland Studio Potters. market they want to Fabric Art C0., winners 1984 with: The Secretary Information: Twelve Potters, 57S Phone 665-622. encourage is fine Maori of the 1984 ANZ Bank Art The New Zealand Winston Churchill Arts Business Remuera Rd, Auckland, Aug 26-Sept 9 craftwork, traditional and Award — Fabric and Fibre. United States Memorial Trust Board P.O. Box 6040 BN7. Art Award. Pottery, PO Box 12847 sculpture & prints. N7. contemporary. The time is Educational Foundation Te Aro July 1 3-30 August 13-17 Wellington. Ph 758699 Academy of Fine Arts, ripe for more members. West Coast Marketing PO. Box 5465 Wellington. ANZAS 1985 Woven Workshop with Australian Joining the Mill brings a At its meeting in Wellington. Tapestries Exhibition, Wellington. glass artist Klaus Zimmer. craftsperson in direct Dunedin in November. the Papermakers Society Stratford Art Society. Proposed workshop contact with other artists Southern Regional Arts Tourism Design Awards A New Zealand Events Aug 26-Sept 7 concentrating on design, and the buying public. Council authorised the Entries are invited for Papertnakers~ Society has Patti Meads Porcelain. painting and kiln work. Because of the co- expenditure of 32300 for a the 1984 Tourism Design been established with the June-July 6 July 1 5-2 1 Gallery 242, 242 $110.00. Enquiries, operative set-up, each artist special West Coast Awards. purpose of “sharing ‘The Great NZ Box Show'. Architectural Pots. 12 Heretaunga St E, Hastings. Whitecliffe Art School, PO remains in direct control of initiative. Aimed at The Awards are made experience and Crafts Council exhibition Potters, 57S Remuera Rd, Opening by Evelyn Kelly. Box 37.10336, Parnell, the retail of his work. He assisting artists and in every two years to knowledge. It will also be at the Wellington City Art Auckland, Auckland. Phone 7702s 1. decides on the displays particular craftspeople on recognise good design in available for those who Gallery, 65 Victoria St, Aug 3 1 and the costs of items. Due the Coast with the facilities, books, souvenirs, have little or no Wellington, July 15-28 Valley Survey. Dowse Art August 20-3 1 to low overhead, the marketing of their activities and other matters knowledge of Sculpture 84. Group Museum, Lower Hutt. Approaches to Design. prices are very reasonable. products, the initial concerning tourism in New papermaking, but wish to June-July 8 Exhibition. Alicat, 32 Tutor Fientie Allis—van Both the artists and their seminar in Greymouth in Zealand. learn.“ The Society Philips Studio Glass Award. Jervois Rd, Auckland. Sept 3-5 Rossum. Two week customers profit. November helped focus To be eligible, entries publishes a monthly Auckland Institute 8; South Pacific Lifelong residential course specially Each member also works attention on specific needs. must relate to facilities, newsletter. Newsletters Museum. July 16-27 Learning Conference. for weavers and artists one day a week in the Two further visits by a programmes etc, which are will include names and A Dimensional Learning for our Future. A with fibre art in mind. store managing sales. Over team of consultants, Mike already operating and addresses of members, June-July 6 Leatherwork — James forum for those concerned Hamilton area. the years, many customers Mellon and ‘wary Moore. available to tourists but problem solving section, Silver by Adrian Sirett, Jade Bowman, Carved about the future and place Applications to NZSWW have come to the Mill have assisted in which have not been in book reviews and by Neil Ilanna. Gallery Functional Leatherwork 4 of education, as part ofa Society Area Delegates by especially to see a establishing three craft co- existence longer than 10 information on 242, 24.7 lieretaunga St E, Cec Blithe. Penny Farthing national development July 7. particular craftsperson, operatives and associated years. forthcoming events. Fee Hastings. Gallery, Dudley St, Lower strategy. Information, Often these meetings result retail outlets on the Coast. Award winners are $700. Hutt. Learning for our Time, PO August 24-26 in special orders. There are already signs of presented with attractive Papermakers' Society July 1-20 Box 12-114. Wellington Residential Workshops. Now the co-operative is greater sales of local crafts wall plaques and (y, Sue Wright Peter Collingwood July 16-28 North 60,58. Potter 4 Len Castle, expanding its role by going and better prospects for certificates. A number of 93 Nixon St Exhibition. Trappings Tapestries by Handmaids. Painting —~ Jeanne beyond just sales. Setting selfiemployed Coast cotnmendations are also Hamilton Gallery. 91 Karangahape A collection of French Sept 10-22 Macaskill, Weaving — up working craft studios at craftspeople. made for good design and R 1. Auckland. D.M,C. Tapestries 7 Jenny 81 David Shearer Gudde Moller, Embroidery the Mill will give members recipients receive a Ars Textrina Nouvelle Tapisserie. Pottery. New Vision — Diana Parkes. Enquiries a rare and valuable certificate. A new semi-annual July 2-14 Square Edge, Palmerston Ceramics. 8 Durham St E, Evelyn Kelly, Wanganui opportunity to work, Fulbright Cultural Further information, journal, Ars 'l‘extrina. has Chris Cockell 7 New Raku North. Auckland. C.A.C. $73.00, exchange ideas and interest Grants together with the been launched. Ars Works. New Vision the public. Members will The New Zealand-United conditions of entry and 'I'extrina will be devoted to Ceramics. 8 Durham St E. July 1 7-28 Sept 1 3-16 September have a chance to teach, States Educational application forms are all aspects of the history, Auckland. Focus on Vases. Coiop Springworld ’84, Waikato Two one day workshops and sharing their Foundation is offering two available from: theory and practice of display, Artisan Centre. Society of Potters with Virginia Avery, 11S knowledge with beginners. 45 day Cultural Grants The Secretary complex weaves. 353 per July 4-1 5 Broadway Plaza, Exhibition. quiltmaker and author. All this activity means tenable in 1985. These Tourism Design volume. Information: Anthony Williams Newmarket. Enrollments Andrea Miller, the Mill is entering a new grants are open to New Award Scheme Charles Babbage Jewellery, C.S.A. Gallery, Sept 19 150 Porritt Ave, phase. Already well Zealand citizens who PO. Box 95 Research Centre 66 Gloucester St, July 19-29 Lecture by Virginia Avery Birkenhead, Auckland. established as an outlet for would benefit from Wellington C/— Dept of Computer Christchurch. Roger 8; Rosemarie Brittain — US quiltmaker and Phone (09) 481 -6.’>8. fine crafts and a good observing and studying Entries and supporting Sciences Pottery, C.S.A. Gallery, 66 author. Auckland Institute opportunity for cultural activities in the material close with the University of Manitoba July 4-14 Gloucester St, & Museum, 7.50pm. craftspeople, the co- United States. Each award Secretary on 51 July 1984. Winipeg West Coast Crafts Co- Christchurch. Overseas operative is now on its provides round trip air Canada R57 ZNZ operative first exhibition. Sept 2 5-Oct 2 1 way to become a working travel and a daily Winston Churchill C.S,A. Gallery, 66 July 20 Stuffed Stuff Soft Aug 6-7 cultural centre, an maintenance allowance of Memorial Trust Arts Business Gloucester St, New Acquisitions Sculpture. Fabric Art Co. Ist International innovative force in New SUSSS. Fellowships are for Is a new bi-monthly l Christchurch, Exhibition. Dowse Art Waikato Museum of Symposium on Zealand crafts. There is no set investigation or some publication of the QEII Gallery, Lower Hutt. History & Art, Hamilton. Contemporary Mosiac. In this 15th anniversary application form and other activity in New Arts Council devoted to July 4-August 5 Trier, Germany. celebration, the co— applicants are requested to Zealand or overseas which the common interests of Taranaki Savings Bank Aug 3-20 Sept 30 Information: Association of operative is inviting serious submit a written proposal will contribute to the the arts and business Craft Review, Govett— ANZAS 1985 Woven Crafts Council A,G.M. Contemporary Mosiac, Via craftspeople to come join to the Foundation. They advancement of any communities. Sir Michael Brewster Art Gallery, New Tapestries Exhibition, 4pm. Fairfield House, Van di Roma 1?), 48100 in the new programmes. should also arrange for two occupation, calling, trade, Fowler has said, “The Arts Plymouth. Waikato Society of Arts. Diemen St, Nelson. Ravenna, Italy. 34 35 Aug 8- 1 2 f N 4rd Pacific Friendship Mullicrafll manuflacluring flag. Fibre Arts Conference. CRAFT lst Hnnual Workshops include MARKET MIKE 20 Tui Glen Road, Auckland 10 Haiwaiian Quilting, A new classified WELLINGTON advertising Japanese quilting, braiding section. HASTIES Minimum size 5cm, HRTS El CRGFTS fiFFfilR Mail order suppliers of textile dyes and tieridye. Last day for 87.50. Overseas Terminal — Wellin ton and ancillaries. registration July 18. HANDCRAFT Thereafter $2.50 a September 28, 29, 30, 19 ll Further information Crafts column cm. * Procion MX Dyes Council. Volume reduction for WOOLS booking ficm in five (raft flffair Promotions invites all interested artists * Manutex Thickener and consecutive issues 3%). crafts cople to enter the first annual i: Resist Salt and a range of processing Thereafter $2.00 a WELLING 0N HRTS a CRHFTS GFFHIR. column cm. comprehensive range of chemicals Awards Copy to be received This is an o portunity for approximately iv Waxes, Tjantings one month prior to SPINNERS & WEAVERS SUPPLIES 65 of New caland's finest artisans to: July 3 1 publication. and equipment Write for colour chart and prices Advertising Editor 0 Exhibit to thousands of poo lo Last receiving day for the ~k Ashford Spinning Wheels, BNZ Art Award. Pottery, New Zealand Crafts Looms and 0 Sell directly to the public C MNISSION FREE PO Box 498 0 Take orders sculpture & prints. Two accessories Wellington * Scoured 0 Make contacts for the future awards $750.00. NZ (04) 727-018 carded wool in slivers ready for 0 Meat and learn from fellow craftspcoplc Academy of Fine Arts, spinning/weaving National Museum, Private * Large range of novelty yarns and animal There will be live music. entertainment. ood food Bag. Auckland. Handmade Felt by Marianne I2I'sL’II fibres and refreshments making it an cnjoyab a, festive The complete guide to making shaped weekend. leIt boots, hats. ett b\ hand (|e.til\ illustrated S I ti So [iom \ our bookseller PLUS weavers remnant yarns July 3 1 or the publishers ['e\ti|e 'l'ools Ltd. COMPLETED HPPLICHTION FORMS MUST BE Last day for applications s‘tinsbinc Iiin liastbournt 'I rade We mail CDahlia/orig enquiries \\ elcomt' order all over New Zealand. RETURNED TO (IS BY HUGUST th, 1984 for Fullbright Cultural Bay oflslands Write for our latest catalogue today. Sftd Grants. Two awards of 45 Property for lease Jimmie days are available to New (iomlortable 3 bedroom house and HOURS: Weekdays 9-5, Saturdays 9-1, For information write to: Zealand stLiLIitii\\Ill'k~IiI!]‘i Suit I.tbiit and blue citizens who artist. glass \\ol'kcr, or similar Sundays and Holidays 1-4. would benefit from Available last August I‘JHI oi |_‘ months (RHFT HFFGIR PATCHWORK & QUILTING SUPPLIES minimum observing PROMOTIONS and studying \\"itte I)a\ is. I’() Iiox J‘. (Human MIKE HASTIES HANDCRAFT WOOLS We specialise in 100% cotton fabrics cultural activities in the us. I’hone 1H1 ()katliau P.0. Box 639 Nelson Quay, P.0. Box 2115, Wellington All mail orders receive prompt attention. Further information: Crafts Gingerbread Gallery and Craft Council of NZ or the NZ- Shop. Ahuriri, Napier. Shop 6 PO. Box 13-316 15 The Esplanade US Educational (State Highway 1) Colonial Mutual Centre Wellington 4 Foundation, PO Box .8465, Paremata, Wellington, N.Z. Willeston St Ph (04) 331-832 Wellington 1 Telephone 730-143 Wellington. The Gallery offers fine handct'al‘ts STAINE and pottery and paintings. We are WINDOW DESIGN & open (i days a week (Ilosed July 31 \Y’ednesday (except during holidays) 'l’our parties. holiday GLASS KILN TECHNIQUES Last day for applications makers and overseas visitors for the 1984 Tourism especially welcome WORKSHOP Design Awards. Awards are Craftspeoplc made to recognise good (:raftspeople required to supply X7. August 14-18 design in facilities, books. company with crafted products for local and export companies All souvenirs, activities and inquiries welcome WITH KLAUS Z/MMER EASTERI EY other matters relating to (Zontaet Robyn (U i) $01781) tourism. Further NZ Emporium (Io Senior Lecturer in stained glass at the Chilshoim PO Box 187(I1H The Cottage Craft Shop information: Crafts (ilen Innes Institute of Technology, Melbourne, Australia. Council, or Tourism Auck Ian d Conducted at the WHITECLlFFE ART SCHOOL Design Award Scheme, PO THE STAINED GLASS ASSOCIATION Spinayarn Crafts, Pottery Box 95, Wellington Manapouri OF AMERICA’S MAGAZINE Fiordland. Ph 667 Screen Printing Spinning wheels. looms. yarns. Over 120 pages packed full of articles by the world’s most Basketry September 1 1 fleeces. quality handcrafted authoritative craftsmen. Wonderful colour illustrations of most “'oollens and pottery. Last receiving day for Demonstrations and tuition \ r recent commissions with historic background articles on the Art Paintings Williams Art Award — We post of Stained Glass. '. Leathercraft Environmental Art DO YOU WANT TO KNOW WHERE TO GET ALL THAT Southern Weaving Exhibition of painting, Ceramic Import Co. STAINED GLASS HARDWARE. THIS BOOK TELLS YOU Potters Supplies. mail order sculpture and or HOW AND WHERE Jewellery Shop at Moha Bush N.Z. SOCIETY OF photographs. NZ Academy Rd (just off SH WHITECLlFFE 1 near Kennington) ARTISTS IN of Fine Arts, Private Bag, Send for catalogue GLASS ART SCHOOL [promise you won’t SAVE OVER $5 Specialising in garden pottery Wellington. No.1 RD Inyercargill All enquiries to the Secretary, Whitecliffe Art School, be disappo’med , Annual subscription 4 issues $38 Ph KAN-8‘s PETER K'RBYS September 28 381 Parnell Road, Auckland. Ph. 770-231. order one copy now $9.50 Closing date for Emmi « (prices include post and packing) Ocean Beach Road, Tairua, NZ entries for Course fee at $110.00. Class Limit 20. the Radio Northland r r with 42 Marine Parade, Send Cheque or money 0 d9 Weaving Awards, Two ' i n Pat Boyes, PO Box 120, Tairua categories. 1. Floor Rug, 2. This course is sponsored by Paraparaumu Beach Instructo 3 Crafts . the New Zealand Society Phone 526 Wall Hanging/Fibre Counctl of Artists in Glass WE ARE NEW ZEALAND'S ONLY DISTRIBUTOR Structure. Selected and the AND PROUD TO BE SO works OF NEW ZEALAN D Whitecliffe Art School. to be exhibited. (INC) 3o THE the Villas gallery CERAMICS — Gail Weissberg 1-14 July is really hot stuff! .§—L.___ SELECTED PAINTINGS, A revolutionary small- CRAFT AND POTTERY A fine selection of size kiln ideal for — FINE NEW ZEALAND CRAFT 16-29 July New Zealand Crafts enamelling * copper 242 Heretaunga St. East, Telephones: Bus. 65-802 87-89 Upland Road, Kelburn, Wellington. Hastings, N.Z. A/H 786-557 Telephone 757-943 RD * china painting STATE HIGHWAY l I l

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* heat treatment of WEI NORTHLAND CRAFT TRUST WARKWORTH tooled steel Manythousands otNewZealanders (hot die steels) and overseas visitors have said of P.O. Box 452, Whangarei. SPECIAL OPTION New Zealand Craftworks . . . To complement the ‘Little Wonder' Is the Phone: 81-215 MINIMATIC Control Unit, Minimatic 7 “It feels good here", or “This has got fires to a preset temperature 0R Mini to be the nicest craft shop Automatic - automatic flrlng to ore—set A vacancy exists for an experienced potter/ anywhere", or “You have the best Pottery Studio of the Hockenhulls GAS. LPG. 8. ELECTRIC temp: temp hOIdm f I If switiiiwfjv ALSO NATURAL selection of Pottery and G/ass In supervisor. The job includes making pots, IN ALL SIZES Newlealand Z .. Specialising in Ikebana » flower containers I“ l": ' KILNS AVAILABLE experimenting with local For lurther information contact:- CraftVVorks N‘ ' raw materials, supervising & Bonsai Pots WE WOULD LIKE YOU TO COME AND SEE FOR five apprentice potter/clay makers. YOURSELF — FIND US ABOUT 16km NORTH OF arum PARAPARAUMU AND 3km SOUTH OF OTAKI. Facilities include studio space, clay making PRODUCT machinery, gas kiln, coal kiln, and on-site retail OPEN 7 DAYS900-530 pm We are open . .. P.O. Box 30349 LOWER HUTT shop. NEW ZEALAND Ph (04) 672—688 10.00 am. - 5.00 pm. Tuesday to Sunday PHONE 4363 WELLSFORD (also open on Mondays in School Holidays) For more information please write or ring. DRIVE OFF S.H,l. ABOUT 100 METRES THE SPIRIT OF JAPAN CRAFT BOOKS AN AUTUMN TOUR WITH LEN CASTLE We stock books on all sorts of crafts — Pot— Departing 13th October, Returns 29th October tery, Ceramics, Stained Glass, Leathervvork, Weaving, Embroidery and Quilting etc. This is a tour for those interested in the crafts, architecture, gardens and rural life of Japan. Pottery visits at Kyoto, Bizen, Mashiko and Shigaraki. If it’s in print, we can get it. See Tokyo, Lake Hakone, Japan Alps, Takayama, Kurashiki, Matsumoto and Okayama. TOUR BONUS — see spectacular Costume Festivals (Nikko, Kyoto) and Fire Festival (Kurama). We indent titles from all over the world. JAPAN SLIDE EVENING — by Len Castle — 14th May (Auckland only). TOUR INFORMA TION AND RESER VA TIONS BELL’S TECHBOOKS LTD Only through the following Thomas Cook travel shops (phone collect it" out of town) Dunbar Sloane Building Auckland Napier Box 843 Phone 58 788 City Box 24 Phone 793 924 Palmerston North Box 112 Phone 83 002 Takapuna Phone 491 172 Box 33 579 Wellington Box 1661 Phone 753 167 Maginnity St Entrance Browns Bay Phone 478 7118 Box 35 141 Lower Hutt Box 30 130 Phone 660 774 New Lynn Box 15 298 Phone 872 126 Christchurch Box 13 550 Phone 796 600 Howick Box Phone 535 6047 38 407 Timaru Box 185 Phone 86 009 P.O. Box 5006, Wellington. Hamilton Box 503 Phone 80 149 Dunedin Box 1105 Phone 777 204 mamas Tauranga Box 640 Phone 83 119 Balclutha Box 223 Phone 82 941 Tel. 728-544. | New Plymouth Box 545 Phone 75 459 Invercargill Box 3 Phone 82 099 Cook (Formerly Technical Books)

38 39 Application/Renewal Form ; Order your official Name Address 1 Crafts Council

Tee Shirt. . . Telephone Craft Interest For groups: Number of members New Member/Renewal (delete one)

Annual subscription $30 starts 1 July (855 for subscriptions after 1 September). If a new member is signed up and a cheque and form enclosed with your own, discount your subscription by 35 (maximum 4 discounts allowed). Return with cheque to: Crafts Council of NZ Inc. PO Box 498 Wlmgne Potters Wellington 1 Clays: Order Form: Kites We still blend the finest 20 years on. JAPANESE NAGASAKI $7 See page 42 We’ve always used the finest raw materials we can find. And to guard against any incl. postage DELTA $16 natural variations in the clays, we test fire every batch before release. So we’re confident See page 42 plus postage of the quality of our cla bodies. * Indicate how In our Auckland laboratory we are continually researching new clay bodies and many of each ways of improving existing ones, in response to potters’ requirements. * Make cheques NAGA DELTA payable to McPhersons Traditional Range Crafts Council of Yellow NZ Inc. Red X-STONEWARE XXX-STONEWARE NO. 18- WHITE SLAB — No. 21- 1100 RED — A strong, A slightly sandier STONEWARE STONEWARE STONEWARE EARTHENWARE * Allow 2 weeks buff/grey firing version of X, this is A near white/grey This unique, A warm This body tires to for delivery general purpose specially designed firing clay body white firing clay has reddish-brown a warm stoneware body for larger pieces suitable for use unusually high dark-orange colour stoneware body Name 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 Address ...... 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 632. a rough texture kiln firing in when tired. oxidation.

RECOMMENDED FIRING Order Form (To approximately 3% water TEE SHIRT absorption using Black body with pink ORTON Cones) and blue graphics. $12 reducing Cone 9 Cone 9 Cone 9 Cone 10 Cone 7 SWEAT SHIRT oxidising Cone 10 Cone 1O Cone 1O Cone 11 Cone 8 Gone 01 Marl Grey with pink and blue graphics. $25 Potters Clay range also now manufactured by Winstone (Wgtn) ...NOW! * Indicate how many of each TEE SWEAT GB: An easy to throw mottled buff/grey tiring stoneware * Make cheques SHIRT SHIRT RMK2 A very fine plastic light grey tiring stoneware payable to S GEF A light buff firing stoneware, low firing for electric kilns Crafts Council of M NZ Inc. E2 A soft terracotta type earthenware Use the easy L * Allow 2 weeks FIKF A light buff/pink earthenware tear out for delivery XL Full technical data on the Potters Clay range and firing characteristics are still being assessed. order form Name ...... Distribution Address ...... Clay stocks currently available from most pottery unnsront (worn)on supply outlets and most Winstone Branches. 857731 Crafts Council of NZ Inc. PO Box 498 Wellington 1

Crofts Council of NZ Inc. PO Box 498 Wellington 1 CRAFTS COUNCIL KITES Made by internationall)‘ Famous . .4;-

. i ‘ \ PETER LYNN —~ ‘ -. in 23‘ exclusively for ' Eggskvfifi'ig? NZ Crafts (‘ouneil Craftspeople are invited to deposit good quality Guaranteed to FLY slides oftheir work in the Resource Centre. These are used as a visual resource by the staff of the Crafts Council, researchers and by intending com ORDER NOW missioners of craft. 0 Japanese Nagasaki A selection of recently received slides will be Hata (as illustrated ahm'e) reproduced on this page. m x .. :3 m + 2.3m tall Slides and photographs should be sent to Resource incl. postage. Centre, Crafts Council ofNew Zealand, PO. Box 498, Wellington. 0 Delta Top left: Windowfor Auckland Residence. 1.5m x .6111 Linley Adams 1985. Auckland. Beautiful high liver Top right: Brooch c} Pendant. Silz'er, pearl, Crofts Council of NZ Inc. 316 plus postage. shell, onyx and amethyst. Anthony Williams, Dunedin. PO Box 498 (‘( )U )I 'RS: ~_\*e|lo\\'/hlael\'. Middle: Ceramic Panel ‘Wind Tourers’. CB. red/black. Vine. Wellington 1 Bottom left; Office Window, Nelson. Architect.- Send money with order to: [an fade. Glass: Holly Stanford, Auckland. (‘HAFTS (‘()l'l\'(.‘ll. l.\'(‘. Bottom right: Shopping Basket. Cane and PO BOX 498 seagrass. julz‘et Mountford, Christchurch. \\'l‘ll.LlN(}'l‘().\' 1 Allow approx. H days delivery.

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