Open Day. Saturday the 16th of August from 10-3 pm

ACOS LARGE

The Tasmanian Ceramics Association will be having our Open Day on the 16th of August from 10 -3 pm at our Studio at Cosgrove High School.

Click here for directions.

The calendar of events during the day will be,

10 am – 11 am. Decorate a bowl with coloured slip with Kim

10 .30 – 11.30 Handbuilding demonstration and “have a go”, with Robin

11.30 – 1.00 Throwing demonstration and ‘have a go’ with Gary and Rachael

1.00 – 3.00 Raku Firing demonstration outside with John and Gary

There will be ceramic artworks, kindly donated by local ceramic artists available for sale with proceeds to go to the TCA’s Library Fund.

OLYMPUS DIGITAL CAMERACome along for part of the day or for all of the day. Tell your friends, invite your neighbours.

It should be a lovely day.

Dawn Oakford

My earliest memory of clay goes back to an art lesson at a primary school in the English Midlands. I remember the absolute joy I felt as a six year old, having pinched and teased a miniature horse from a lump of clay!

It wasn’t until just over a decade later and a move to Australia that I became more serious about working with clay. During the late 1970s as part of my training to be an Art teacher, I rediscovered clay. I enjoyed the challenge of wheel-throwing and became moderately proficient at making various items of tableware. But I yearned for colour and dynamic forms in my tableware to match the developments in painting that I’d been learning about in Art History classes.

When I discovered underglaze colours and the techniques of mould making and slip-casting during post-graduate studies, I was in heaven! I’ve since built up a small ceramics business that produces limited edition teapots and a range of tableware inspired by Australian wildlife.

1. Dawn_ Oakford-Leafy Sea DragonI enjoy pushing the boundaries of functionality and have created pieces that seem to hover between function and sculpture.

2. Dawn_Oakford_Desert Djembe3. Dawn_Oakford-Skipping with Miro Bowl

I love form and I enjoy experimenting.

In recent times I’ve been working in a more sculptural way.

4. Dawn_Oakford-Thunder5. Dawn_Oakford-Mistress Flora & Lady Ancanthe

I’m very excited to again be hand-building and approaching clay in an even more intuitive way.

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It’s as if I am six again. . . .

Linda Smith

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Linda Smith is a Tasmanian Artist specializing in ceramics. Inspired by nature, her garden and surrounding bush land. Linda is currently working on a Tasmanian Native flowers series. Images of these works can be seen on her facebook page. Linda Smith Ceramics

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Smith_Artwork_Photo_Bernie Carr_09

‘I create vessels on the wheel, some are quite large, with sensual curves and openings, others small and petite; they are an expression of woman with their sensual curves and decorated white porcelain bodies.  Each vessel I make is unique.  They are hand thrown, hand sculpted or slip cast, intricately carved and polished to a smooth surface. Most are limited edition pieces, others are used as models for mould making.

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Linda branches across multiple mediums including wood, ‘barbed bowl’, myrtle burl & barbed wire Linda_Smith_Artwork_Photography_Bernie_Carr__25 01

Linda is represented by Henry Jones Design Gallery and Saffire Freycinet.

Facebook: Linda Smith Ceramics

Email: lindasmith.ceramics@gmail.com

Paula Woodward

Paula Woodward (4)

My journey with ceramics began in 2004 when I retired from a rather stressful public service job.  I wasn’t in a good place at the time.  I was hoping to get back into the sort of creative pursuits I had left behind 14 years previously when I re-entered the workforce.  I had been an avid drawer and painter.  However, I just couldn’t move forward.  I decided to try something completely different.  I remembered that my mother had gone to pottery classes in the 1950’s.  I even had a little box with some of her tools.  I enrolled in Jude Maisch’s Adult Education pottery class.

 Paula Woodward (2)

I could say “the rest is history” and leave it at that, but I will expand my story.  I found that I loved working with clay.  I tried throwing, but it made my back sore, so I decided to stick with handbuilding.  I was very prolific.  I produced a lot of rubbish, but it was all a learning experience.  I found clay a very soothing medium to work with.  Eventually, my creative spirit was re-awakened, and I found I was able to draw again as well.  I attended Jude’s classes for three years.  I joined the Tasmanian Ceramics Association and ended up being secretary for six years.  In 2007, I enrolled in the Bachelor of Fine Arts course at UTAS.  Ceramics wasn’t an option, so I majored in painting and hope to graduate mid 2014.

 Paula Woodward (1)

Although I am back into painting in a big way, I haven’t abandoned ceramics.  I love to play with clay.  I have been through various stages in my work: making boxes, modelling figures, coiling pots.  I make pots for my garden.  In fact, my garden is full of pottery!  Some things get buried , then I re-discover them!

 Paula Woodward (5)

I know I won’t ever be a “professional” ceramicist.  I haven’t got a kiln and don’t really want to get one.  I have only sold a few small pieces.  However, I also can’t see a time when I would want to cease making things with clay.  Clay rescued me from a dark place.  Clay helped me make new friends.  Clay is part of my life, and I love it.

Paula Woodward (6)Paula Woodward (3)

Anna Williams

Anna Williams Sea urchin tea pot, Southern Ice, Thrown with tentacles added while leather hard. H25c,xW25xD25After leaving school I went straight to art school with the idea of spending the rest of my life making art and riding horses. During the foundation year we were introduced to all disciplines and because Penny Smith was such good fun I decided to specialise in Ceramics. Les Blakebourough was not like Penny, he was very serious and had little time for silly girls. Gwyn Hansen expected us to do real maths with our glaze lectures and all in all it was a bit of a shock. Somehow I managed to do four years specializing in wood firing and decorating my work with slips, therefore avoiding most glaze theory.

Anna Williams Horse cylinders Feeneys clay with slips.Thrown range from H55cmxW15xD15

On leaving college I built a wood kiln which took an enormous amount of wood and time to fire. I used to have huge firing parties knowing that even though many of my helpers would get drunk and pass out, one out of every ten people are pyromaniacs and it is those people who will stay awake and split wood. My wood kiln, which was huge, was never all that successful, but we had fabulous parties.

Anna Williams Blue chook. saggar fired with sea weed, huon pine cone. H25cmxW25xD30

After several disappointing firings I left Tassie and spent several years sailing up and down the coast of Australia in an effort to impress a particular man, who I eventually managed to marry.

Anna Williams porcelain slip cast cylinder with crow decal. H45cmxW20xD20

Six years latter, back in Tassie, with 2 small children; I re-embark on being a ceramist. Suddenly there is a huge choice of clays, all packaged up into usable bricks. No more digging, carting and sifting! There are also “under glazes”, the possibilities are endless and for several years I went mad with decoration, covering my work with drawings of fauna and flora.

Anna Williams Roosters from Southern Outlet.thrown and coil built, porcelain slip with under-glaze decoration. H45cmxW45xD45

I have also bought a porta kiln, so easy!!! I can do a stone ware firing, go shopping, ride the horse, take the dog for a walk and its all fine, so much for all that chopping and sweating and worrying.

Anna Williams blue wrens. thrown and coil built, porcelain slip with under-glaze decoration.H 55cm W50 xD50

But the truth is I have built a catenary arch kiln which I hope to fire with gas and wood. I wish I had spent more time learning about glazes which I am now having to teach myself. When I make my pots and sculptures I try and practice “meaningfulness” to slow myself down and make each piece special. Although I have always loved clay, I feel like its taken me a long time to understand its beauty.

Anna Williams Press moulded crows with steel legs (Life size)

Jude Maisch

Jude Maisch  (5)As far back as I can remember I have always been a maker. From a child making mud cakes decorated with petals, I have evolved into a potter who primarily loves making tableware. I love to make pottery for people to use; to enjoy, to hold, to enhance the presentation of food, particularly shared food. I love making bowls that feel good to hold, the glaze surface to feel smooth, rims to feel good to drink from and handles to be comfortable.

Jude Maisch  (4)

Jude Maisch  (2)

After 6 years as a High School teacher, in the 1980’s I balanced parenthood with ceramic studies at TAFE, then the University’s School of Art, where I gained a Diploma of Art, Craft and Design. At the same time I joined the Tasmanian Potter’s Society, with frequent workshops under visiting tutors being the source of much inspiration and knowledge. The late Matthias Ostermann, a Canadian visiting workshop teacher, brought to life for me the joys of earthenware as a decorative surface. In maiolica (colour decoration on a white glaze over terracotta) I found a medium compatible with my old kiln and my love of pattern and colour.

Jude Maisch  (1)

I am a founding partner of Off Centre, a cooperative in Salamanca Arts Centre. At first my main range was my maiolica decorated terracotta which I called “Terra Fiesta”. In this the “terra” is the clay, the “fiesta” the decorative glazed surface. This is a range of work I will keep returning to when colour and brushwork beckon.

In my “Blue and White” work, the thrown or slabbed surface is a canvas on which I apply the decoration –like a patch-worker sewing a quilt. This history of blue and white china is extensive, and I have always loved Ming vases, Delft, and my Grandmother’s willow plates. My creations combine these influences, with a modern and abstract twist.

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Other work includes my “Indigo Mountain” series: terracotta bowls and platters with a layering of blue glazes, based on the Western Tiers around Deloraine where I grew up. I also work from time to time with Southern Ice porcelain – water etching with shellac over thrown forms, and drawing onto bisque with oxide pencil before firing.

I have a range of tiny “Endangered Species” pinched forms, many being raku fired with textured and iridescent panels and facets. Others are porcelain, pure and translucent or finely drawn on with oxide pencil. In making them I feel like the creator of an exotic rainforest plant or a delicate shell.

Jude Maisch  (6)

Since 2007 I have also been working with felt, primarily making scarves and hangings from dyed merino wool. In this, as well as in my pottery, pattern is the focus.

I teach pottery classes at my home studio in Lindisfarne as well as through Adult Education.

I can be contacted through Off Centre, Salamanca Arts Centre, Hobart (Phone 62248075) or through my website.

Kim Foale

Kim Foale fell in love with clay in the late eighties but life, in the form of a handsome young fisherman and subsequent children intervened and Kim spent the next twenty years raising her family and building a home from recycled materials, returning to study Ceramics at Hobart Tafe in 2006.

An excerpt from her blog frogpondsrock states:

Once I had decided to get really serious about clay, I knew deep in my heart that I was a thrower, in fact I knew that I had been born to throw. In my first year of study, I spent hours and hours on the wheel and with each pot that I cut in half and threw into my recycle bucket, my conviction dimmed.

It took me three years of serious effort on the wheel to finally realise that I don’t actually like throwing all that much. I don’t like the time it takes to get set up, I don’t like sitting still and I really don’t like coming back to the work and turning  yesterdays pots.

Kim Foale Dragon Eggs in Oxidation
image by robin Roberts

Kim works from her home studio, slip casting and hand building. After spending three enjoyable years as a production potter as part of the Off Centre Collective in the Salamanca Arts Centre, decided that production potting was not the direction for her either.

Plasticationimage by the artist

Kim is active on Social Media and was one of the vanguard of Australian personal bloggers, starting her blog Frog Ponds Rock in 2007. Through the blog, facebook and twitter, Kim has continued to have a global conversation about environmental issues focusing mainly on plastic pollution and endangered seabirds, with a slight divergence into feminism and current affairs. With the success of the “Ten Women on Twitter Bowls” where Foale asked high profile women on twitter, including Catherine Deveny, Stella Young, Jane Caro and Dr Jennifer Wilson, to provide a tweet that expressed how former Prime Minister Julia Gillard’s misogyny speech made them feel. Foale has gone on to further explore the themes of racism, misogyny and powerlessness.

hearts

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tampons

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detail of blood on our hands

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Kim Foale Ashes and Despair

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seabirds by kim foaleimages supplied by the artist

Kim Foale is the current President of the Tasmanian Ceramics Association and is passionate about Ceramics and community engagement via making.

Kim is also President of Cerameco inc. and is responsible for distracting her committee, organising the 2018 Australian Ceramics Triennale, which will be held in Hobart.

Email: kimfoale@bigpond.com
Facebook : Kim Foale Ceramics
Twitter: @frogpondsrock
Blog: Frogpondsrock
Instagram: Kim Foale Ceramics

John Watson

John completed a Diploma of Art (Ceramics) in 2001-2002 at the Canberra School of Art, where he developed a lasting pleasure in working with clay. He lives on the foothills of Mt Wellington, working part-time as a technical assistant to the ceramics programs of TAFE and Adult Education and selling his own work as a member of the Offcentre cooperative located in the Salamanca Centre for the Arts

Much of his work reflects a fascination with ancient architectural forms and the history of human interaction with the natural environment.

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 Another favourite subject is fish…varying from realistic to fanciful forms

four fish

His figurative pieces show a definite preference for the whimsical and allegorical, as in this piece entitled “The representative from the Volyen Empire brings bad news”

 The Representative

 

John can be contacted by phone (03) 6224 5809 or email (john@dmink.net).

Email:john@dmink.net

Lisa Britzman

Lisa Britzman Ceramics_5007ALisa comes to Tasmania from Seattle, Washington, USA. Her love affair with clay began in 1978 when master potter in residence, Dean Schwarz taught her in high school. She followed Dean to Luther College and South Bear Design School where she studied full time to learn the Bauhaus tradition of pottery. The mentor for this school was Master Potter Marguerite Wildenhain, who was one of the first ceramicists at the Bauhaus in Germany.

At age 19 Lisa worked as a production potter in Minneapolis for a year. She became mesmerized with the process of RAKU after a few workshops with Paul Soldner, known as the father of Raku in America.

Lisa obtained degrees in Art, and Geology/Environmental science and 20 years later a degree in Interior architecture.  Lisa’s love of the natural world found her immersed in environmental work for 30 years, while pottery became the escape from the real world. She has exhibited in galleries in Iowa, Minnesota, Colorado, Seattle, Mooloolaba and various exhibitions on the Sunshine Coast, Qld.

Lisa Britzman Ceramics_dragonfly bowl 5011

Lisa spent ten years living in Queensland, where she worked as an award winning interior designer specializing in sustainable design and as a guest lecturer in sustainable interiors at QUT and for the Green Building Council of Australia.

Lisa and her partner have now permanently moved to the Huon Valley where they run a small farm business “Campo de Flori”.

Lisa Britzman Ceramics_5037

Besides being a studio ceramic artist, Lisa tends the fields of saffron, lavender and olives. Her love of the natural world in her daily life at the farm is captured in her current works of art, which include her amazement with all the little birds that come to play in the wetlands, fields and 40 acres of bush that surround them in the Huon Valley.

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Lisa is currently exploring several different clay bodies and glazing techniques, while she builds her new Raku kiln. Raku Pieces to be coming soon. To keep up with what’s next you can follow Lisa’s work at:

www.campodeflori.com.au                                          www.facebook.com/Campodeflori

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