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The
Canberra Potter
The newsletter of Canberra Potters’ Society Inc.
October 2014
Canberra region potters
2013
The work of Canberra region potters, their projects and
explorations in clay is reflected upon this month in two major
exhibitions, interviews, reviews, profiles, new ideas and works.
Members’ Exhibition
More than 110 enthusiastic people enjoyed the opening of the
2014 Canberra Potters’ Society Members’ Exhibition at Watson
Arts Centre on Thursday 25 September 2014.
The show comprises 90 diverse exhibits by 47 potters and
ceramic artists – six of whom are tertiary students. All work was
excellent quality, with a broad range of techniques such as highfired porcelain, wood-fired pieces, raku, soda glazes, and
earthenware. Exhibitors demonstrated their skills with wheel
throwing and hand building in a diverse range of clay bodies.
Judging with an expert eye was Ruthanne Tudball, an
internationally celebrated ceramicist and author from England.
Tudball described how she appraised all of the exhibition works
from different angles, studied their technical qualities, reflected on
their presence and relationship to their title. Prize winners were:
 Anne Langridge, Marbled Spiral Garden Vessel ‒ Doug
Alexander Award
 Liz Crowe, Black Bean Pod - Forest Litter ‒ Jane Crick
Memorial Award for Hand building
 Yukie Wathelet, Cosmos ‒ Craft Act Award
 Jo Victoria, Falling ‒ ACTEWAGL Tertiary Student Award
 Esmee Smith, Ruby Lustre Blossom Jar ‒ Cesco Award
 Robyn Campbell, Whispers II ‒ Clayworks
 Velda Hunter, Bowl ‒ Walker Ceramics Award For Wheel
throwing
 Maryke Henderson, Forest ‒ The Australian Ceramics
Association Merit Award
 David Leake, Untitled Bowl ‒ The Australian Ceramics
Association Tertiary Student Merit Award
 Christina Baratinskas‒Goodman, Butterfly wishes ‒ The
Australian Ceramics Association Merit Award
Of course, the Keane Ceramics People's Choice Award will be
determined after the exhibition closes.
Michael Keighery, renowned Australian mixed-media ceramics
and performance artist, opened the exhibition. In his address,
Keighery commended Canberra Potters’ Society and Watson Arts
Centre, urging those present to honour and preserve this
community asset. In turn, Ruthanne praised the uniqueness of
the facility, and the opportunities that the Potters Society offered
from classes to residencies and member events.
Velda Hunter
Jo Victoria, Falling - ACTEWAGL Tertiary Student Award
Region potters’ profiles
The CPS has nurtured and contributed to a legacy of
a strong ceramic community in Canberra region. See:
Ian Jones
Interview from Old Saint Luke’s Gallery + Studio, p 4
Awaken
11 September – 25 October 2014
Craft ACT, Canberra
Bev Hogg, Sarit Cohen, Linda Davey, Kaye
Pemberton, Avi Amesbury, Margaret Brown
and Cathy Franzi in showcase. See review, p 5
Michael Keighery Workshop
Garry Palecek
18–19 October
Explore creative work processes, Presentation+Master Class, p 6
See Potters Place Profile of this established potter
discussing inspiration for form and function, p 6
www.canberrapotters.com.au
The
Canberra Potter
WORKSHOP MANAGERS
Available Mondays,
Wednesdays and Thursdays
9:30am–12:30pm
At other times please leave a
message on the answering
machine.
Members are reminded that
the Workshop Managers are
not obliged to attend members
if they ‘drop-in’ outside of
these hours.
MAIN WORKSHOP
DROP-IN SESSIONS
Thursdays (term time)
9:30–12:30pm
Sundays 1–4pm
(except Christmas/New Year
period as notified in the
newsletter)
Please refer to the Workshop
Handbook for full details of
drop-in times & exceptions
Cost: $5 per 3-hour session
MEMBERS’ WORKSHOP
Members may use this
workshop during class,
administration and drop-in
times.
For unlimited access you must
be a CPS member for six
months before you can apply
for a workshop key. Contact
the Workshop Managers for
details.
Cost: $5 per 3-hour session
Use of all workshop facilities is
subject to successful
completion of a workshop
orientation session or
refresher.
Newsletter of Canberra Potters’ Society Inc
October
2014
Workshop News
Recently, to our dismay, we’ve had a programming failure
during one of our kiln firings. Thankfully this is very rare. To
give you some perspective we operate between six and nine
kilns, completing around five firings a week or over 200 firings a
year. Kiln failures occur every so often for a multitude of
reasons—many beyond our control. However, this one seems
to be human error.
Chris Harford, Manager
Richard and the workshop staff have actioned a number of responses that will improve
our operating procedures and reduce the likelihood of repeat. Of course, we offer a
heartfelt apology to all those members whose work was affected and I assure you we
are doing everything we can to improve our level of workshop service.
New courses:
 Photographing your work with Kelly Austin
19 October 10am–1pm
Details in the term flyer. Cost $105
Cheers, Chris
Board Members
Brad Thomas, Chair
bradthomas74@gmail.com
0433010415
Roger Ellyard, Treasurer
vanell@grapevine.com.au
(02) 6247 9131
Cynthia Anderson
Robyn Booth
Greg Daly
Andrea Ho
Catherine Reid
Stefanie Pidcock
Jessica Coates
Director
President
Richard Thomas
Maryke Henderson
marykehenderson@bigpond.com
(02) 6258 0987
Managers
Chris Harford, Workshop
Sara Hogwood, Program
Fran Romano, Education Program
Regular Teachers
Chris Harford, Alex de Vos, Garry Palecek,
Cathy Franzi, Maryke Henderson,
Jackie Lallemand, Verney Burness,
Rick Beviss, Velda Hunter
Volunteer Coordinators
Rick Beviss, Members' Event Co-ordinator
Suzanne Fox, Librarian
Fran Romano, Workshops
Kathryn Wells, Newsletter Editor
General Staff
Bhavana Moylan (Office Assistant)
Rick Beviss, Paul Dumetz (Kiln Loaders)
Paul Dumetz (Workshop Assistant)
Alex de Vos, Sarah Guiver (cleaners)
Contact details
FIRING
(10% discount for members)
$5.85/kg (bisque & glaze)
$4.00/kg (bisque or glaze
Items decorated transfers:
$6.95/kg (bisque & glaze)
$5.10/kg (bisque only)
KILN HIRE
Electric: $10–$30 depending
on kiln hired plus electricity
Gas: $5–$15 depending on
kiln hired plus gas used
Raku: $5 plus gas use
To hire a kiln you must have a
CPS kiln licence or pay for
loading.
Workshop (02) 6241 7800
Office (02) 6241 1670
(after hours) (02) 6241 7732
(after hours) 0414 526168
Enrolments: classes@canberrapotters.com.au
Director: director@canberrapotters.com.au
General enquiries: admin@canberrapotters.com.au
Workshop Manager: technical@canberrapotters.com.au
Education Program: education@canberrapotters.com.au
Library: library@canberrapotters.com.au
Workplace Health & Safety: safetyissues@canberrapotters.com.au
Watson Arts Centre: wcac@canberrapotters.com.au
Editor: editor@canberrapotters.com.au
Canberra Potters’ Society Inc
The Canberra Potter Newsletter is published
Watson Arts Centre
monthly February- December.
Aspinall St, Watson ACT
Please let us know of any exhibitions, or give us a
report on a workshop. Please email copy and jpg
PO Box 7021,
images to the editor with ‘newsletter’ in the subject.
Watson ACT 2602
Next Newsletter Deadline
ABN 65 491 135 689
26 October 2014
www.canberrapotters.com.au
2
The
Canberra Potter
Newsletter of Canberra Potters’ Society Inc
October
2014
From the President
I would like to congratulate the members who so deservedly won awards in the
2014 Members’ Exhibition. What a wonderful opening! I have had very positive
feedback on what a great show it is. Thank you to all who contributed, especially
to Sara who did an outstanding job in the set up with help from Jackie Lallamand.
Open Day, Sunday 12 October
If you haven’t signed up as a demonstrator or soup service helper but would like
to be involved then we’re sure to be able to find some use for you! Register as a
helper by emailing admin@canberrapotters.com.au or phone 6241 1670
Maryke looking through her Forest
Memories, Tamworth Regional Gallery.
Call out for bowls, demonstrators, soup and raku firing helpers
Demonstrating wheel throwing and hand building: We are looking for members to demonstrate throwing and hand
building techniques, and/or assist visitors who want to have a go themselves. Contact Maryke on 6258 0987
Soup bowls: We need a good supply of soup bowls. All soup bowls sell for $15. After sales commission, the balance is
paid to the bowl makers. Label your bowls with your name using a removable sticky label. Please deliver soup bowls
to foyer kitchen: Thursday 9 and Saturday 11 October 10am-4pm and on Sunday 12 October from 9 am.
When leaving your bowls please record your name, the identifier you’ve used and the number of bowls that you’re
supplying on a list that will be in the foyer kitchen. Contact Sara 6241 1670 or email admin@canberrapotters.com.au
Soup: Soups should not contain meat, fish or cream. Do not make more than you can safely store in your refrigerator
before delivering to us. Your soup should be accompanied by a list of ingredients. Please ensure that you label your
container, both lid and base, so that you get the right ones back at the end of the day. Deliver soups to the foyer
kitchen after 9am on the 12 October. Contact Marlene Flanagan at marleneflan@bigpond.com.au or 6249 1493.
Raku firing and the plate making activity: Can any members spare an hour or two? Contact Maryke 0418 606 116.
Volunteers and staffing
As Richard has settled into his role at CPS, it has become obvious to him how much we rely on a small number of
dedicated staff and our group of wonderful volunteers. But what happens when these people are both? He has
witnessed how difficult this conflict of roles can become and most importantly how it affects their ability to function well —
in either role. Over the coming weeks Richard will try and clearly define what and when people are in their specific roles
and publicise this information. I’d like to ask that we are respectful of our staff and volunteers and consider that your
approach is appropriate to the current role they are performing. If you are unsure just ask.
Maryke Henderson
…Members’ Exhibition award winners
Robyn Campbell, Whispers II
Anne Langridge, Marbled Spiral
Garden Vessel
Maryke Henderson, Forest
Velda Hunter, Bowl
www.canberrapotters.com.au
Esmee Smith, Ruby Lustre Blossom
Jar
Liz Crowe, Black Bean Pod - Forest Litter
3
The
Canberra Potter
Newsletter of Canberra Potters’ Society Inc
October
2014
Ian Jones
Old Saint Luke’s Studio Pottery and Gallery, Gundaroo, NSW
By appointment, Open Days 6-7 December 2014
Ian Jones was interviewed by Kathryn Wells
Ian Jones is a wood firing potter of this region who has retained his fascination with function as well as long kiln
anagama firing since the mid-1970s. Jones trained at the Canberra School of Art, where his mother Marjo Jones also
studied ceramics. Then he studied with Doug Alexander at Cuppacumbalong Pottery from 1976-78. Since 1982, he
has lived and worked from the Old Saint Luke’s Studio Pottery and Gallery at Gundaroo, just outside the ACT, with
his wife Moraig McKenna, a fellow ceramicist. In addition to his wheel and other work, Ian experiments with coilbuilding using local clay based on decomposed granite.
What were the main influences in your decision in establishing and staying on
at Old St Luke’s Pottery?
I purchased the two acres of land and the ruin of the old stone church in 1982, with
the specific intent of building a large anagama kiln. I had been searching for an
affordable property in the Canberra district where I could fire a kiln for periods of up
to 6 days, where the smoke would not upset too many people. Gundaroo was the
ideal solution, a great community close to Canberra, and a beautiful and historic
location for a house and gallery. I guess one of the reasons you stay somewhere is
due to inertia. As I have become established in the district, it is easier to sell work
here than it would be in a new location. The thought of moving all the stuff in my
studio is scary, and I have a real sense of connectedness with this place.
2 cup teapot, unglazed stoneware, 2007, image by Stuart Hay
Ian Jones at Gundaroo wood fire, 2005,
image by Ian Hodgson
What does making pottery in the same region for 40 years say
about a dialogue between object and maker?
Since 1975, I have been interested in what Japanese potters call
‘shizen-yu’, the natural ash glaze effects in the wood kiln. Wood
firing has so many variables: the clay, the kiln, the setting of the
pots, the stokers, the weather, and the wood. It is impossible to
control them all. This forces the wood firer to step back from
control and let the dialogue with the kiln become a factor in the
making process, a randomness that turns the firing into a dance
with the kiln. When I first started, I was selling in a particular
market, and only a small proportion of the pots were designed to
best receive the heavy ash deposits and natural glazing from the
anagama kiln. Now I am able to make work that can better
respond to the qualities achievable in this style of kiln.
You have written* that the most beautiful pottery ever made is
both functional and also the product of repetition. How does this
affect the form of your production of tableware?
Function is important to me, for function is the raison d’etre for
ceramics, the storage preservation and presentation of food, the
relationship between the host and guest. The potter can be an
intermediary at those incredible human moments of life, the sharing of
food and companionship around a table, and the presence of the
personality of the potter in the object is an addition to this event.
Whilst function lies at the heart of the art of pottery it does not
necessarily create beauty. I see that the ‘art’ of pottery is largely about
Ware board with works by Ian Jones from Gundaroo firing,
form. Repetition is important in the process of making objects that talk
2014, image by Ian Hodgson
to me at a level that deals with what I see as this ‘art’ of pottery.
I always start a making cycle by sitting down and making coffee mugs. This is one of the hardest forms to imbue with
this ‘thingness’ that I am searching for – due to the limited range within which a mug exists. A handle, a container,
something that you can put to your mouth – you don’t have much to work with to make it have meaning.
How do you relate your repetition of production and function with art?
For me what defines this ‘artness’ in the ceramic object is most easily recognized as the thing that gives one object in a
ware-board full of pots a quality that makes it sing whereas another, almost identical, is dead. For me, the ‘art’ of pottery lies
in the exploration of this difference, and is most readily perceived when contrasting repeated forms.
*Ian Jones, The point of interest: function and the art of pottery, Journal of Australian Ceramics, April 2008
www.canberrapotters.com.au
4
The
Canberra Potter
Newsletter of Canberra Potters’ Society Inc
October
2014
Awaken
Ceramic artists: Bev Hogg, Sarit Cohen, Linda Davey, Margaret Brown, Kaye Pemberton, Avi Amesbury
and Cathy Franzi in the Crucible Showcase
Exhibtion: Craft ACT, 11 September – 25 October 2014
The strength of ceramic arts in the Canberra region is represented this month with
about one third of the Craft ACT Accredited Professional Members on show being
ceramicists. The exhibition reflects on the diverse skills and range of techniques
mastered by the professional members. Awaken refers to emerging from the dark
night to the sounds in a dawn sky. An artist’s vision of seeing anew is drawn upon
to show what is happening in their lives, their world, their environment and creative
spirits. The ceramic works are playful, thoughtful, provocative and humorous.
Bev Hogg offers a vision of ‘a choir of warding magpies [who] gather together to
herald the new day’. The iconic sound of warbling magpies is awash to anyone
awake or walking in the bush of the Canberra region. Her work captures this
instance of the shifting sound of dawn carrying across the bush and gardens. Each
of Hogg’s magpies is strikes a pose and offer different notes to create a chorus
effect. The subtle juxtaposition of poses reflects her skills and ceramic craft,
‘awakening us to another opportunity with fresh possibilities, not only on a physical
level but on a deeper level’.* The creative spirit reflects on magpies and the joyful
play offers a deeper meditation on the world we inhabit in a local and global sense.
Linda Davy, Night Parrot- the paradoxical revival of an extinct species
Ceramic, raku fired, courtesy of Craft ACT
Bev Hogg, Dawn warble, Clay, engobes
and glaze, courtesy of Craft ACT
Linda Davey interprets Awaken as a clarion call for
awareness about loss of diversity, habitat and
endangered bird species. Davy’s concerns about
environmental culture, societal and personal connections
with the environment are reflected in her approach to her
art practice. Her focus on the form of birds is ‘because
they are a clear indicator of the health of our natural
environment. Survival for so many birds is tenuous in a
modern world…’* Her exploration of form is resonant,
suggesting an intimacy with extinction. It is, at once both
startling as we stare into wild eyes, and also profound as
we absorb the beauty of what we are losing. The raku
firing suggests a new mediation on timeliness.
In contrast, Margaret Brown’s ‘porcelain bowl shares the fun which new spring growth brings. Families are ready to
play in the park again. Patterns are marked in the long growth, made from small creatures making their way home
amongst the plants. Growing and weaving together, uncontrolled plants paint the park green’.*
Kaye Pemberton’s work is honed both from her practice of tide lining’
and her clay practice. Working with clay is as part of her ‘as gathering bits
of flotsam and jetsam along the way’.* The transparency of the porcelain
awakes us to the possibilities of new forms from old as well as past
presence of lives and moments that awaken memories and yearning.
The delicacy of porcelain is used by Sarit Cohen to reflect a spirit of
lightness in her vessels. Highly constructed ‘handles’ and subverted
spouts reinforce a spiral rhythm in her forms, emerging and re-emerging.
Kaye Pemberton, Flotsam and Jetsam #2, Porcelain,
image David Paterson, courtesy of Craft ACT
Cathy Franzi’s still life of ceramic vessels with surface
imagery is an exploration of the vast ecosystem of desert
Australia revealing intimate botanical details, evoking a
sense of travelling through and finding place. Her porcelain
vessels are finely formed, light and firm, subtly reflecting
the undulations of the desert sands and termite nests and
suggesting a glimpse of the sacred unseen.
Cathy Franzi, Paruku, 2014. Porcelain, engobe, Red mid-fire, sgraffito.
Photo Andrew Sikorski, Art Atelier, courtesy of Craft ACT
Avi Amesbury, the curator, is represented with a finely
executed piece that suggests strength, hope and
awareness as we awake to a new dawn.
Kathryn Wells
*All quotes from Artist Statements, supplied by Craft ACT
www.canberrapotters.com.au
5
The
Canberra Potter
Newsletter of Canberra Potters’ Society Inc
October
2014
Potters Place Profile – Garry Palecek
A pottery opportunity
My quest for the perfect pot is driven by the interplay between form and
function. In reality this becomes a question of balance between the forces of
‘What-to-make’ and ‘How-to-make’.
For over five thousand years, potters have produced vessels that enclose
space and create ‘form’. The ancient Deity of Egypt, Khnum, was credited
with being ‘the creator of the bodies of human children, which he made at a
potter’s wheel from clay, then placed in their mother’s womb’. Interwoven
with the importance of ‘form’ and forever linked, is the importance of
‘function’. The ancient Chinese sage Lao Tzu said, ‘We shape clay into a pot
but it’s the emptiness inside that holds whatever we want’.
The focus of my current work on form has led me to the desire for more depth
in the surface layer. By utilizing a variety of decorative techniques together, in
relation to the construction stages, an enhanced 3-D effect is achievable and
adds interest. Multiple layers of free-form application, for example: texture,
terra sigillata (a refined clay slip with a sheen), underglaze, sprigging
(moulded shapes), and kiln atmospheres, add to the spontaneous
characteristics inherent in the Raku process, my chosen style of pottery.
Garry Palecek
Potters Place is open Thursdays to Sundays, 10 am – 4 pm, and most public holidays.
Garry Palecek, Reflections, under-glaze feature,
image: Ian Hodgson
Workshop – Michael Keighery, Ideas
Presentation and Master Class
18-19 October 9:30 am to 4 pm
Michael’s mixed media work http://keighery.com
In this two day class Michael will explore and demystify aspects of
his creative work processes. He'll lead participants in a series of
practical exercises to facilitate the generation of ideas and will
discuss and demonstrate creative strategies. Learn how to apply
these strategies in your own studio practice to expand and push
your work into new areas.
Day 1: Introduction; Work processes and idea development
(where do they come from?); Lateral thinking - practical exercises
to develop these abilities to think laterally (outside the box);
Hands-on exercises.
Day 2: Continue exercises...learn how to apply them to work in the
studio; Exploring aspects of Michael's making techniques: slip
casting, generating images, application of images to both raw and
fired surfaces; Demonstration and discussion.
Costs: CPS members & students: $285 Non-members: $310
Fran Romano
Try-it-out ‘Wheel Throwing’
Nine people attended the September session of in ‘Try-It-Out
Wheel Throwing’. All participants were brand new to pottery
making and produced some delightful pieces. The
participants surprised themselves at what they managed to
achieve in the single three-hour session.
Velda Hunter
A
Selection of finished bowls from the ‘Try-it-out’ throwing session
P
P
L
Y
N
O
W
Residencies available
25 sq m studio spaces – gas and electric kilns
Available Sep 2014 – May 2015
www.canberrapotters.com.au
South Hill Yellow House,
Goulburn
shyhairp@gmail.com
www.southhillyellowhouse.com
6
The
Canberra Potter
October
2014
Newsletter of Canberra Potters’ Society Inc
Exhibitions and opportunities
ATMOSPHERE – CERAMICS
GREG DALY
Reflections
26 September – 19 October
Belconnen Arts Centre
TRENNA LANGDON & BEN KENDON
This body of work brings together two ceramic artists as
they explore beauty, function and sculpture.
opening 4pm Saturday 4 October
2 October - 19 October
Strathnairn Homestead Gallery, Stockdill Drive, Holt
27 February – 1 March, 2015
Craft Expo
Entries invited
Pottery Section
Entry forms close 19 December, 2014
Deliver works to showgrounds by 20 February 2015
Entry Forms for Craft Expo at
http://canberrashow.org.au/competitors_craft.html
The theme for the 2015 show is
CPS Volunteers and stewards needed to:




demonstrate hand building or wheel throwing
set up before and after the Show.
help on the stall.
sell their work at the Show.
Steward Forms to be in by end of October.
Space is limited so get your name down asap.
Please call me with any questions.
Judy McDonald 0414 342 916
Bev Hogg
Studio Sale
Sunday 26 October 10–4 pm
8 Brennan St, Hackett
NEW BOOK
Exceptional Australian
ceramics by 56
renowned and early
career artists in
Quiet Conversations,
catalogue, 2014
Skepsi Montsalvat
Order copies through
skepsi@iprimus.com.au
Diary Dates 2014
1st Sunday of each month – Workshop Orientations*
October
12 Oct – Open Day
16–26 Oct Studio to Table, exhibition
Chris Harford and Rick Beviss
18‒19 Oct Michael Keighery workshop*
19 October 10am–1pm – Photographing your work
with Kelly Austin*
Lesa Farrant, Scantlings
11 September ‒ 25 October
Lesa Farrant explores her fascination with detritus in the
natural environment. Using plastic, rubbish and found
objects taken from Port Willunga Beach, Farrant casts
porcelain into moulds made from found objects to create
plant-like forms that represent the unnatural looking natural.
November
30 Oct – 9 Nov Tin Shed Art Group Exhibition
11 Nov 7pm–9pm Altered Forms course with Maryke*
16 Nov – 14 Dec Medieval Cookware course*
December
10–23 Dec Christmas Gift Fair
* Book workshops by phoning (02) 6241 7800
TACA MEMBERS’ EXHIBITION 2015
BELONGING
Call for Proposals
Curator: Madhulika Ghosh
Expression of Interest deadline:
15 December 2014
www.canberrapotters.com.au
7
WATSON
ARTS
CENTRE – Gallery News October 2014
2014 Members’ Exhibition
26 September – 12 October
The Canberra
Potters’ Members’
Exhibition returns
with a show of
ceramics reflecting
wide-ranging
techniques and
forms, ranging from
tableware to
conceptual art.
Christina Baratinskas–
Goodman, Butterfly wishes
David Leake, Untitled Bowl
Yukie Wathelet, Cosmos
Studio to Table
Chris Harford and Rick Beviss
16–26 October
Opening event 6pm Thursday 16 October
Speaker Peter Harrington, owner Sage Restaurant
Chris Harford and Rick Beviss are consummate potters who have focused their efforts over many years on creating
functional wares. In Studio to Table they unite to present table and domestic ware that is aesthetically pleasing,
technically proficient and satisfying to use.
For the majority his thirty-three years as a potter, Chris Harford has made
functional tableware. He explains his attraction;
In part, I’m drawn to this genre because of the technical aspects, which
need to be attained and maintained to produce quality work that will
withstand the rigours of daily use. The magic of working with this
challenging material is something of which I will never tire.
Some of Chris’ tableware in this exhibition has evolved through an ongoing
commission from Michael and Peter Harrington of Sage restaurant. Chris
reflects; ‘I enjoy the collaboration with the chefs to make the design complete
with the food to be served’.
In 2000, Rick Beviss developed
the old Bungendore Fire Station
into a café, gallery and two
studios. He worked there as a
full-time potter until 2010,
making a range of domestic
ware that reflected his intense
interest in Japanese, Chinese
and Korean pottery, and the
Leach—Hamada tradition.
Above: Chris Harford, Balsamic flask, image Chris
Harford
Right: Rick Beviss, platter, image Ian Hodgson
Rick’s early training in painting
and design at the South
Australian School of Art and
Western Teachers College is
evident in his skilled brushwork.
Rick explains his style;
During my latter years in Bungendore,
I developed a keen interest in
majolica using my brushwork skills to
bring work to life.
Sara Hogwood
Opportunities for selling your pottery
We offer members the opportunity to sell their works on a commission basis. Contact admin@canberrapotters.com.au
Potters Place is open Thursdays to Sundays, 10 am – 4 pm, and most public holidays
www.canberrapotters.com.au
8