Exhibition details

A display of over 150 British blue and white underglaze decorated plates and platters dating from the late 18th century to the 1920s. The exhibition is arranged into five themes:

Exotic places (which includes Hobart Town); Antiquity and other tales; images of China; images of Britain; Plants and animals

A small exhibition of twenty three teapots by studio potters drawn from the TMAG collection. The teapots date from the 1970s to 2000s and are a microcosm of the diversity of ceramics practice over that time. The collection includes the earthiest wood fired teapots through to the finest porcelain, and all stations between.

John Bartram (1954 – 1996)

Les Blakebrough (b. 1930)

Hermie Cornelisse (b. 1959)

Stephen Cox (n.d.)

Zsolt Faludi (b. 1953)

Andrew Halford (b. 1953)

Gwyn Hanssen Pigott (1935 – 2013)

Phillip McConnell (b. 1947)

Jeff Mincham (b. 1950)

Chris Myers (b. England 1945)

Tony Nankervis (b. 1944)

Dawn Oakford (b. 1958)

Jenny Orchard (b. 1951)

Ben Richardson (b. 1951)

Peter Rushforth (1920 – 2015)

Shiga Shigeo (1928 – 2011)

Vipoo Srivilasa (b. 1969)

Barbara Swarbrick (b. 1945)

Roger Webb (b. 1946)

Kevin White (b. 1954)

Image: Shiga Shigeo (1928 – 2011), Teapot, 1970s, glazed stoneware and cane

19.2 x 17.5 x 13.2 cm

Presented in memory of Anthony Howard by Eve and Ruth Howard, 2015

P2015.20

A small display of Australian studio ceramics focusing on platters and vessels. The exhibition includes works from the 1940s through to the 1990s.

Les Blakebrough (b. 1930)

Patrick Collins (b. 1942)

Robin Cox (b. 1935)

Greg Daly (b. 1954)

Pippin Drysdale (b. 1943)

Ivan Englund (1915 – 2007)

Victor Greenaway (b. 1947)

Milton Moon (b. 1926)

Harold Hughan (1893 – 1987)

Tim Jacobs (b. 1950)

Lorraine Lee (b. 1951)

Carl McConnell (1926 – 2003)

Cynthia Mitchell (b. 1930)

Alan Peascod (1943 – 2007)

Shiga Shigeo (1928 – 2011)

Derek Smith (b. 1931)

Penny Smith (b. 1947)

Hiroe Swen (b. 1934)

Image: Patrick Collins (b. 1942)  Stage II, 1994, glazed earthenware, 60.8 x 60 x 7.5 cm

Purchased: Easterbrook Bequest Fund, 1995. P1995.13

Germination – the process of growth and development – describes both the transitional nature of working as an emerging artist, and the metamorphosis of seeds and pollen which has long fascinated me. Growing up I felt torn between pursuit of a career in the arts or biology; as an artist my practice now bridges these two passions. These pieces are studies in form exploring the visual tropes of seeds, pollen and spores as biomorphic objects, and are hand built in porcelain paper clay. They were recently completed whilst working as Artist in Residence at Don College (Devonport) through Arts Tasmania ‘Education Residency Program’, and I am delighted to present them for the 2019 Australian Ceramics Triannale through the support of the Salamanca Arts Centre.

This exhibition can be found in the Lightbox, in the window between the main entrance doorways at the Salamanca Arts Centre.

Image: Funicles by Samantha Dennis. Image courtesy of artist.

www.samanthadennis.com.au

Presented in partnership with the Salamanca Arts Centre.

Four Ceramicists working collectively from the Tasmanian Ceramics Association Studio in Glenorchy, representing inter-generational perspectives in the contemporary art craft culture of Tasmania.

Artists: Margot Butler, Alice Hutchison, Anthea Rogerson, Lisa Wise.

Opening event: Thursday 11 April, 6pm.  All welcome.

Artwork: Lisa Wise

Artist and curator Kirsha Kaechele has designed a collection of ceramic tableware for Eat the Problem, a surrealist exploration of invasive species in food and art, culminating in a book and a performative exhibition at Mona.
Kaechele has worked with ceramicists Nanna Bayer and Zsolt Faludi, as well as 3D modellers to translate her forms into clay and colour.
Artists: Kirsha Kaechele, Elena Stokaner, Amelia Barlow, Tora Lopez.

Ceramic works inspired by Mt Field National Park

Image: Cathy Franzi, Tasmanian Waratah, 2019. Porcelain, sgraffito, 36.7h x 21.2 w x 19.1d cm.

Photograph by  Andrew Sikorski-Art Atelier.

Glazing always presents a challenge for me whether I am choosing it for functional ware or making choices for my signature pieces. My wheel thrown tall forms are mostly made from wild-clay dug from the surrounds of my studio at Deep Bay, in the Huon Valley, Tasmania. I have approached these elongated forms as a painter would a blank canvas.  My layered glazing creates imaginative vistas.  My palette seeks to replicate the colours of the local landscape and capture the magic of the extraordinary sunsets. I hope that you will enjoy the connection I have with my enchanted place in this different space.

This exhibition can be found at Artefacts, within the Salamanca Arts Centre building.

An exhibition by two partners from Off Centre collective, Jude Maisch and Kim Foale.

Both artists have focussed on decorative surfaces, but their techniques and in particular the meaning behind their work is the point of difference.

While endangered species and coral bleaching are highlighted in Maisch’s pinched porcelain vessels, Foale’s slipcast vessels reference our public and private identities and queries what happens if those public masks are removed.

This exhibition can be found at Off Centre, within the Salamanca Arts Centre building.

Image: artwork by Kim Foale

Showcasing Handmark’s stable of Tasmanian ceramic artists Jane Bamford, Nanna Bayer, Sally Curry, Zsolt Fauldi, Dawn Oakford, Penny Smith, Sallee Warner, Mairi Ward and Ella Noonan, along with international guest artists Kadri Parnamets and Ingrid Allik.

Opening event: Tuesday April 30 at 6pm, by Grace Cochrane. All welcome.

An exhibition showcasing the potential and validity of clay as a contemporary installation medium. The second iteration of an exhibition staged in Tasmania in 2013, the original premise, which challenged the artists to resolve the mode of presentation beyond the use of a plinth, is strengthened through complete removal of the work from a traditional gallery space. The title refers to the word ‘enucleation’, used primarily in the field of medicine, meaning to remove without detriment.

Artists: Penny Byrne, Samantha Dennis, Pie Bolton, Ebony Russell, Fiona Fell and Arun Sharma.

Opening event: Tuesday April 30, 4.30pm.  All welcome.

Curated by Serena Rosevear

Artwork: Pellucidar, 2018 by PieBolton, ceramic, glaze, lustre, acrylic mirror, led. 4mx1mx3m.

Continuing a dynamic tradition since 1972 the Tasmanian Potters Society, now the Tasmanian Ceramics Association (TCA), has mounted vibrant successful annual exhibitions of ceramic art, without fail, every year for 46 years.

The highlight of the year for the TCA is the annual members’ exhibition where an outstanding display of Tasmanian clay innovation, resourcefulness and creativity is brought together in one place to delight the viewer and inspire creativity within the arts community. It aims to raise the profile of clay as a means of creative expression. It encourages, supports, grows membership and fosters participation by members to exhibit commendable examples of their work.

The exhibition theme, ‘Diversity’, will demonstrate the many diverse imaginative and creative uses of clay.

Opening event with guest speaker and presentation of awards Sunday 28 April 2.00pm.

Artwork by Heather Creet.

The Guildhall collection was donated to TMAG by the City of London in 1938. It contains archaeological material excavated from the centre London – for colonial Australians the heart of empire and the embodiment of ‘home’. This collection raises problematic issues around nation, histories, identity, place, space & displacement.

BACKGROUND

The Guildhall collection was donated to the Tasmanian Museum and Art Gallery in 1939, at the request of the then Governor of Tasmania, Sir Ernest Clarke (1864-1951). In the previous year the Guildhall Museum of the City of London – now the Museum of London – had donated a collection of objects to the City of Sydney to mark that city’s 150^thanniversary. Similar collections had been donated to St John’s (New Brunswick, Canada), Otago (New Zealand), and three other Australian cities, Adelaide, Melbourne and Perth. Sir Ernest Clarke’s letter to the Guildhall is quoted in the Mercury of 12 January 1939;

“… such gifts are of great historical and educational interest and are especially valuable to a community so far away as our isolated State. If the Corporation of the City of London could further add to their patriotic actions by sending a similar gift to the Tasmanian Museum at Hobart, the Government and the royal Society of Tasmania would be most grateful. Such a gift would cement the ties of Empire between widely separated units of the British people, for the Tasmanians are a loyal and devoted people, almost exclusively of pure British race, and they already have a deep and reverential regard for your great city”

The newspaper further reports that the objects were all excavated in the famous ‘square mile’ of central London and spanned a period of ‘some 1,500 years’. The objects in the collection are emblems of a displaced history felt by many Australians in the 19^th and early-to-mid 20^th centuries. Still loyal subjects of the Empire, they felt that the greater part of their history belonged to another place, a place that by 1938 many of them had never seen. This collection, so closely associated with that distant ‘home’ was an opportunity to have material evidence in the form of relics of the history of British Tasmanians stretching beyond the brief 135 years of local history, dating from the invasion of Tasmania in 1803.

Image: Maker unknown (United Kingdom). Apothecary jar, Late 18^th century, glazed earthenware

Presented by the Guildhall Museum

P1939.60

This design exhibition has a strong focus on ceramics, exploring changing expressions of Australian identity through studio crafts and design in the twentieth and early twenty first centuries. It encompasses the arts and crafts movement, the Modernism, mid-century Australiana, the studio crafts movement, postmodernism through to the early 21^stcentury.

In the early 20th century Australian designers expressed national and local identity through motifs and patterns based on native plants and, to a lesser extent, animals. This subject matter was well suited to the then internationally prevalent Arts and Crafts and Art Nouveau styles. However, after the First World War, Australian designers sought expressions of identity and uniqueness more in tune with the aesthetic influences of the Modernist style with its origins in Europe. Locally, this was complicated by a rejection of European, particularly British, traditions and a desire to find expressions and symbols specific to this country. While plants and animals continued to be important sources for design and symbolism, designers followed European artists in drawing inspiration from what was then regarded as “primitive” art by turning to Australian Aboriginal art and design. In so doing, they carelessly appropriated sacred motifs and patterns for commercial and domestic purposes. Locally, Violet Mace, influenced by the writings of Margaret Preston, was one of the earliest potters to use Australian Aboriginal motifs in her work. In the following decades, mid-century designers also freely represented Australian Aboriginal men, women and children. Though often depicted as heroic, they were also safely locked away in either the past or the distant desert. Many of the potteries producing these wares were owned by and/or employed recent migrants, who had brought with them advanced technical skills and sophisticated design aesthetics gained in European art school training. Taking as a point of departure the international Anglo-oriental movement, which favoured elemental processes, truth to materials and abstraction, some Australian potters sought non-representational modes of expression to explore identity and landscape. Local minerals were used to make clays and glazes, literally incorporating the land into the work. More broadly, vessel and sculptural forms were used to express visual and spiritual aspects of the land. In the late 1970s and the 1980s, with the advent of post-modernism, designers rejected authenticity. Pop culture and historical styles were appropriated and eclectically blended, often with an ironic humour. Design engaged with political and social issues, critiquing Australian settler culture and the colonial cringe amongst other things. The tail end of this period also saw a resurgence of Australian Indigenous art. In Tasmania, Indigenous designers and craftspeople used the traditions of their people to reconnect with both their history and their land, revealing a degree of intimate knowledge far deeper than suggested by the few charismatic species that had been favoured in European Australian design.

Image: Lauren Black (b. 1971, artist); Les Blakebrough (b. 1929, maker); Southern Ice Porcelain Pty Ltd (retailer)

Display plate: Nothofagus gunnii – Deciduous beech, 2004. Glazed porcelain with printed transfer enamels and gold lustre.

30 x 29.3 x 2.6 cm

P2017.19.4

From out of the fiery furnace came the work of Tasmanian industrial and studio potters. In this exhibition, colonial era artisan potters are represented by makers such as Worby, Sherwin, Port Arthur, Goulburn, Yeates, Huon, Campbell Bros and McHugh. The 1920s-60s studio potters will be represented by Maude Poynter, Violet Mace and Mylie Peppin. This exhibition is a must for all who pursue creativity through clay.

Admission: Adults $10, concession $8.

Hero[ine] image: Maude Poynter (1869-1945, active in Tasmania 1917-1945), Peacock plate, Bothwell, 1922, private collection.

Take a stroll along Hunter St to view four isolated pockets of light, colour and sculptural form amidst this historic streetscape – three within the windows of what is now the University of Tasmania School of Creative Arts and Media (viewable 24hrs) and one in the Jam Packed Cafe entry walkway to the Henry Jones Art Hotel atrium (viewable during business hours).

Artists: Alice Couttoupes, Pattie Beerens, Philippa Taylor and Nanna Bayer.

Artwork: Alice Couttoupes.  Image: Aaron Horsley

Project supported by:

This exhibition of ceramic objects is an exploration of form, each piece gently blurs the boundaries between sculptural form and functional object as it presents a sense of curve and balance enclosing space, time, memory and emotion.

My collections of objects are intended to create a space for contemplation and a sense of tranquillity where silence, stillness and restraint abide alongside a notion of simplicity and humility.

Opening event Tuesday April 30, 5.30pm. All welcome.

Photography by Terence Bogue

Title. ‘Collected Silences’.

Approx. dimensions of individual pieces (dimensions variable )

30 x 5 x 5 cm.

Materials. Porcelain, hand built, black fired.

1000’s of years of pottery tradition meets the children of Tasmania. This display features a collection of vessels made by local children with visiting Rajasthani Potters.

Endemic Earth- 23 contemporary ceramicists’ work inspired by Tasmanian botanicals.

Andrew Halford, Cathy Franzi, Chrystie Longworth, Claire Johnson, Gretel Corrie, Hana Vasak (Dasa ceramics), Julie Pennington, Katarina Wells, Kate Wischusen, Keiko Matsui, Kerryn Levy, Luca Lettieri, Luke Ryan, Milly Dent, Penelope Duke, Philippa Taylor, Phoebe Kretschmer, Rose Jensen-Holm, Sarah Rayner, Susan Simonini, Tara Burke, Timna Taylor and  Ulrica Trulsson.

Curated by Amber Creswell Bell and Caroline Davies Choi.

Opening event: Friday May 3, 5.30pm. All welcome.

Artwork: Sarah Rayner, Telopea truncata, Flowerbone series. Photographer Cristie Quail

Interstitial is a group exhibition exploring ceramic objects and space.

Artists:Belinda Winkler, Kirsten Coelho, Patsy Hely and Kelly Austin.

Opening event: Thursday May 2, 5:30pm – 7:30pm, all welcome.

This exhibition brings together a diverse group of contemporary ceramicists of national importance, celebrating the practices of Jenny Orchard, Roger Webb, Patrick Collins and Jeff Mincham. Each artist brings a depth of technique and tradition, which is uniquely applied through a contemporary lens, including sculpture, Edo inspired vessels and painted majolica.

Opening event: Wednesday May 1, 5.oo pm. All welcome.

Image:  Random Nature, 2016 by Jeff Mincham. High walled bowl Mid-fired, multi-glazed ceramic H 28cm

Making : The Quiet Voices. An exhibition of ceramics which champions introverts in a world skewed in favour of the ebullient extrovert. An exploration of different kinds of quietness in clay and distance between artist, media and artwork.

Opening event: Friday May 3, 8pm. All welcome.

Quiet Voices will be opened by Lisa Fletcher – Acting Head of School Humanities, Associate Professor of English UTAS.

Artists: Neville French, Marita Knutsen, Kate Jones, Damon Moon, Tara Shackell, Lesa Farrant, Sony Manning ,Peter Battaglene, Mitsuo Shoji, Scott Van Tuil.

Curator: Andrea Barker

Artwork: Nitre bush by Lesa Farrant

This exhibition will bring together ceramicists & potters from around Tasmania to share the stories inherent in the ceramic sculptures and/or vessels that they make. The narrative of certain works may lie in how the piece has been made and the particular materials used. Other works may hold a different narrative in that they convey a specific story that has captured the imagination of the maker.

Curator: Dawn Oakford

Artists: Bernadine Alting;  Nick Bryce;  Carol Buissink;  Robin-Mary Calvert;  Heather Creet;  Christine Crisp;  Lynn Hasenkam; Eve Howard;  Robert Ikin;  Mark Knight;  Kate Larby;  Mel McCrum;  Dawn Oakford; Julie Perry; Robin Roberts;  Rynne Tanton;  Richard Whitaker & Anna Williams .

Opening event: 6.30pm, Saturday May 4, 2019.

Artwork by Robin Roberts.

Constellations Underground  explores the materials of the body and of the earth by lutruwita/Tasmanian artists Sinsa Mansell, Jay Song, Luke Aleksandrow, Julia Drouhin and Georgie Vozar.

Five artists dig into clay as a material with the potential to speak about place, bodies and movement, and be shaped into performances, installations and sound.

Opening event: 3rd May 6-9pm with a series of performances unfolding over the course of the night. All welcome.

Artwork: HPHP brightened, Jay Song.