Open Studio, if you are in the neighbourhood drop by, the 15th and 16th of August

A national event, Australian Ceramics Association’s, Opens Studios, to be held on the 15th & 16th of August 2015 , 10 am to 4pm, ceramic studios and artists open their working spaces to the public, see listings of studios,


“This August hundreds of potters and ceramic artists around the country will open their studios to the public for the third annual Australian Ceramics Open Studios. The event is hosted by The Australian Ceramics Association and shines a spotlight on the diverse practice of Australian artists working today in clay.

According to Shannon Garson, President of The Australian Ceramics Association, the event is an inspiring opportunity for members of the community to step inside the creative spaces of contemporary potters and ceramicists who continue to develop their unique voice within this ancient practice.

‘We have a strong ceramics community in Australia and presently we’re enjoying the growing appetite the community has for unique handmade objects. There has been a shift in thinking where people want to know how ceramic objects are made and who makes them.’
‘It’s an exciting time for clay workers to have such receptive audiences and the open studios event is a chance for the community to get to know their local potters and for potters to share their rich knowledge and skills,’ Shannon said.”

My studio will be open, Wharf Street, Marrickville, NSW, where I will display a range of work.


BeLonging Exhibition, ANU School of Art Foyer Gallery










I was selected as part of the Australian Ceramic Association’s group exhibition ‘BeLonging: Embodied Commentaries Inspired by Place’, held during the Australian Ceramics Triennale, 2015, ‘Stepping Up’. The works were all under 15 cm in size and exhibited at the ANU School of Art Foyer Gallery, ACT, for the duration of the Triennale. My work, ‘Marrickville, father and child’ (in the image foreground), “refers to my personal sense of belonging. Living in suburban multi cultural Marrickville, Sydney, with a new baby. Walking the local streets I have become familiar with the suburbs layering of cultures and histories. Documenting the front gardens, and its slowly disappearing lemon and orange trees, figurines, urns and architectural fetaures. My work loosely references the English Staffordshire ceramic tradition, celebrating the suburban and the domestic.” 

















Works from the exhibition, and works in progress in my studio for the Marrickville series.


and More artists studios, Artisans in the Gardens 2014

The lovely ceramics of Katherine Mahoney and her group of functional porcelain and stoneware ceramic ware, ‘Flora Impressions’ created in her studio at home, at the bottom of the garden. Bowls, platters and vases are thrown and then impressed using materials gathered directly from the Botanical gardens, and glazes created to reflect the palette of a watercolourist. The ceramics are “inspired by the beautiful native seedpods and leaves that are bountiful in Australia”.


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Harriet Schwarzrock’s studio where she created work for Artisans in the Gardens using tinted blown glass and stainless steel. The sculptural glass blown forms, vases and tumblers, “speak of organic growth and transpiration cycles”, predominantly organically inspired “I am often drawn to the delicious form of the spiral”, “and seek to express a rhythm and cadence between individual, yet sympathetic forms”.



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Bev Hogg’s studio a converted garage, overlooking her front and back garden, created a collaborative work with Marianne Courtney, ‘Groundwork 1’. Using assembled cut and stacked eucalyptus sticks, taking essential elements of garden or bush land “and translating them into a semi-ritualistic meditative work that speaks of growth, wholeness, and also vulnerability.” The outdoor sculpture will weather over time reflecting the “natural cycles of birth, ageing, change and decay”.

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Marguerite Derricourt’s studio where she created  ‘Travelling Light 11’ using moulded Japanese papers. These sculptural wall pieces of moths, in particular the migratory patterns of Bogong moths, are made from moulded Japanese papers and laser cut powder-coated steel. The works speak of the moth’s nocturnal habits and self-destructive behaviour, a poetic and symbolic universal theme within

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Jan Howlin’s studio where she has created the work ‘Family Tree’ using ceramic, glazes and underglaze. “As a maker of sculptural works, I try to create forms that embody meaning; objects that suggest ideas”, “I am drawn to universal issues such as human relationships, foibles and experiences along with sustainability, the natural environment and the contemporary world”.

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Further artists studio visits for Artisans in the Gardens

A few more images of exhibiting artists studios for Artisans in the Gardens 2014.

Peter Anderson’s hand built stoneware ceramic, ‘Ruins and Relics’, “draw upon the power and complexity of all manifestations of landscape from scars of heavy industry and urban decay to notions of wilderness”

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Giselle Courtney’s studio where she creates her jewellery using flame worked borosilicate glass lustre, stainless steel and sterling silver. Her jewellery is inspired by the Botanical Gardens, the garden’s flora, and the surrounding harbour foreshore.





























Linda Davy’s studio, creating hand built ceramic sculptures with raku and stoneware firings. The works exhibited for Artisans in the Gardens, ‘Empty Pockets’ explores concerns about the environment, both societal and personal connections, focusing on rare and endangered birds as well as imaginary birds based on the Australian landscape.










Artist studio visits with Artisans in the Gardens

Along with the Artisan in the Garden committee we have made several visits to artists studios that are exhibiting in this years Artisans in the Gardens at the Botanical gardens, Sydney, from 1th – 19th of October 2014. I have been posting these studios daily on our Facebook and Instagram pages. Here is a snap shot of some of the great spaces and work.























Denise McDonald works in stoneware and cool ice porcelain, and creates her own glaze producing a range of functional tableware ceramics, ‘The Flannel Flower Range”. The bowls, jugs and vases are soft-slab and wheel formed featuring a vintage flannel flower design. The design is taken directly from her immediate environment in her home and studio, a source of inspiration and part of her family for three generations. “the range speaks of our relationship to our native flora and our use of decorative motifs of great longevity”.


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Dimity Kidston creates tapestry using wool, cotton and linen. The shapes and textures of the seeds, pods and flowers of the Botanical Gardens inspire a series of woven tapestries, printed aluminium and ceramic plates.

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Geoff Harvey is both a painter and sculptor, creating ‘The Garden Dogs’ series using laser cut steel and found objects which frolic in the garden. His extensive studio has built up a collection of  found materials that is a source of inspiration for many of his works.


My ceramics in the exhibition, ‘The Course of Objects’ at the Manly Art Gallery


At the Manly Art Gallery & Museum, West Esplanade Reserve, Manly, 2 May – 8 June 2014

The Course of Objects: the fine lines of inquiry’ is an exhibition without a specific theme, Rather, the intention is to provide a way to map, gather, assemble and reflect on current ceramic practices. It is intended too, to take the pulse on what is being made now, and to ask about current ideas or issues of influence. Importantly, its intention is to try to unravel the triggers that inspire practice, and lead to focused and rigorous lines of inquiry”


My quote, “My fine line of inquiry is the interplay and tension between the gestural mark and the hand built three-dimensional form, a conversation between paint and clay.”

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Several views of my six ceramic vessels


The opening night


Artist talk on 4th April, Toni Warburton talking about her work, “Shells stained black by mangrove mud, white light grey day bay waters. Graphite gleams on paper, mists, clouds, pond rain, sombre moods, quietude. Old gardens, arbours, safe harbours appear in silver gelatin prints. Round walls hold borrowed views. White lines of molten feldspar track through iron grey surfaces. Dragged and dug from drawing, walking, seeing and talking.”


Kylie Rose McClean talking about her work, “I’m on a journey connecting my past and current experiences with my ideas and dreams. In these works Japanese quilt block patterns formed the basis for paper-resist designs using slips, with the addition of tissue transfers, iron pigment was and sprayed dry glaze. I see these forms anew on each viewing they draw me in; they make me feel calm and embraced”


Sarah Ormonde, “Finding a true and sensitive understanding of materials is central to my practice, so that my form and surface can deliberately express an idea. The landscape in which I live is an ever present and pervasive aspect of my work, and as such informs all my inquiry.”


To the left, Neville French. “In my work, glaze and form are used to stimulate the imagination and evoke associations with the natural environment, and as well, to express a deeply internalised and ethereal sense of place”. To the right, sharing the table, Vicki Passlow, “My work is an exploration of the sinuous line. I work in porcelain for its ability to create soft organic shapes and for its colour response.”


Steve Harrison, “I have always had an interest in the natural world, particularly in growing plants, as well as attempting to live a gentle, creative life with a small, light footprint. My research into and use of local materials has been the central mandala in my ceramics. My recent work has involved growing some of my glaze ingredients, which I use in the form of ash glaze.”


To the left, Simone Fraser, “My inquiry involves looking from the macro of the landscape to the minutiae of surface. Exploring creativity in process, I see my work as a series of communications about the senses, texture and beauty.” , and sharing the table to the right, Fiona Fell, “I attempt to dissolve the tough skin of three-dimensoonal work, and blur the hard and fast distinction between artwork and artist, interior and exterior, animate and inanimate, fact and fiction, body as art and corpus of art. It is an investigation of a zone where clay no longer solidifies into common, everyday reality but spins a metaphor for vaster, more fluid fabric of experience.”


Kirsten Coelho, “Utilising domestic forms and social history as a vehicle- I am always attempting to investigate the points of convergence between materiality and abstraction.”


Prue  Venables (sharing at table with Toni Warburton), “My experiments have led to new lines of inquiry in my work – the exploration of new materials, new techniques, and radical adventures into a range of unusual and experimental objects. I continue to extend this practice to incorporate the use of materials other than clay, and making separate components to be joined after firing.”


Left, Dianne Peach and Tania Rolland in the foreground. Right, Kathy Franzi


Left, Robyn Phelan, Right, Fiona Hiscock and Janetta Kerr-Grant


Lynda Draper in the foreground, and Juile Pennington


Left, John Dermer in the foreground, Right, Merran Esson in the foreground.


Vicki Passlow and Neville French in the foreground, and my work behind.




Visiting the studio of the inspiring ceramic artist Ros Auld


Visiting the ceramic studio of Ros Auld was a another source of inspiration on our country sojourn. Ros Auld, is a master ceramicist, one of Australia’s leading contemporary ceramicists and  local to the Orange district. In 2012 Ros Auld had a major exhibition at the Bathurst Regional Gallery, and has also exbited at Narek Galleries, Tanja, Cudgegong Gallery, Gulgong, Orange Regional Gallery, Dubbo Regional Gallery, Janet Clayton Gallery, Sydney, and has worked on collaborations with the painter John Olsen, Tim Winters and Gabriella Hegyes. Her work is a powerful physical sculptural manifestation of the landscape in clay.

Ros Auld specializes in slab-built, or thrown and manipulated, stoneware forms decorated with wood ash glazes and trailed and incised slips, coloured oxides and gold lustre. “Her sculptural and functional work is informed by the dynamic forces, surface textures and subtle colours of the Australian landscape.” (Artsite)

“Landscape is my source – more the accumulation of recollected impressions than particular sites. I love the weathered surfaces, textures and subtle colours of the Australian bush, as well as the patterns of cultivated landscapes….The large vessels are an ongoing series, where functional form, painterly surfaces and sculptural form can come together. Surface texture, informed by geology and botany, play a major role in the work..” (from Roa Auld’s Artist Statement, ‘Ros Auld Ceramics’ catalogue, Bathurst Regional Gallery exhibition, 2012)

“Auld’s vessels are signature in the uniqueness of their form. Each sits on low feet, which slightly elevates the object from the ground….The vessel/object is a visual metaphor, a plastic equivalent of a physicality (and simultaneously imagined) place which holds the terrains, marks and spiritual presence of the land..” (from Peter Haynes, University Art Curator, University of Canberra, catalogue essay, also from the Bathurst Regional Gallery exhibition, 2012)

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At the potters wheel

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The studio entrance, and kiln entrance. A wonderful large sheds, work places  you can only create with more space in the country.


Outdoor sculptures




Some of Ros Auld’s beautiful generous platters in use


Thank you Ros for sharing your inspiring studio and beautiful work!