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01may10:00 am4:30 pmDerwent StageContemporary Meets HistoryCastray Esplanade, Hobart
Schedule
- Day 1
- 05/01/2019
10.00 am Welcome to country10.00 am - 10.30 amWelcome to Country - Janice Ross, Sinsa Mansell w/pakana kanaplila Opening: TACTT Team, Lord Mayor Anna Reynolds, MC (Master of Conversation Connection & Collaboration) Robyn Phelan
10.30 am Keynote session10.30 am - 12pmRebecca Coates - Opening Keynote Address: Digging For Clay PANEL: Where the Bloody Hell Are We? Fly Now : Grow Future - Carbon offsetting w/ Sculptural seed bombs
1.00pm Early afternoon session1.00pm - 2.30pmDavid Ray in conversation with Kevin Murray Prue Venables in conversation with Lisa Cahill - Australian Design Centre National Living Treasure
3.00 pm Second afternoon session3.00 pm - 4.30 pmYi-Hui Wang - Let's Tea Party: Identity and Aesthetics PANEL: Decolonising Clay - Heidi McKenzie (M), Neville Assad-Salha, Arun Sharma
Details
Panel Abstract - Decolonising Clay Let's Tea Party: Identity and Aesthetics
Time
(Wednesday) 10:00 am - 4:30 pm
Location
Princes Wharf One
Castray Esplanade, Hobart
Speakers for this event
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Arun Sharma
Arun Sharma
Arun Sharma was born and raised in New York State. He holds a MA Ceramics from University of Wales Institute, UK (2011), a MFA from the University of Washington, USA (2009), and a BFA from Alfred University, USA (2001). Arun has lived and worked as an artist in the USA, Canada, Japan, Australia and the UK where he was awarded a US-UK Fulbright grant to research the Fragmented Figure at the National Center for Ceramic Studies at the University of Wales Institute in Cardiff. Arun has received numerous grants, awards and residencies nationally and internationally and has been invited to lecture and teach at universities in the UK, USA and Australia. Arun Sharma now lives in Sydney and continues to exhibit his artwork nationally and internationally. Most recently he was selected in the Gyeonggi International Ceramic Biennale 2019 Korea. Arun Sharma’s autobiographical artwork revolves mainly around the figure. He examines birth and death and their relationship in the overall schema of human life. He is also interested in the relationship clay has to the human body, both physically and metaphorically. Using emotively beautiful work he elevates the viewer’s senses by drawing them into a world beyond the familiar, all the while presenting identifiable themes. click here to go to Arun’s website Portrait: Barbara Katzin
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David Ray
David Ray
David's ceramics have built a reputation for being wild and flamboyant Baroque creations. Conceptually, the creations explore function and dysfunction within our consumeristic society. The handmade is an idealistic idea he holds dear within his making process. Decoration is incorporated within the body of the work; weaving, twisting and turning, with a confounding plethora of images and motifs. He believes life is a juxtaposition between the perception of the beautiful and the ugly, which creates a subjective perception towards making and looking at Art itself. David Ray retired from RMIT University in 1996 with Honours and his work is held in Australian and international collections. He has held numerous Artist in Residence placements and he lists that Liverpool (U.K.) was his most 'mind-bending'. Various publications and articles have been written about his work. He comes up when Googled! Terrible at self-promotion, David prefers making in his studio in the Yarra Valley, Victoria and continuing to exhibit within both realms of the 'Art' and 'Craft' worlds. He is a trained secondary teacher, specialising in trauma informed practice, with 15 years experience in this field. He says "time is precious, but teaching and making both provide a balance within my life". click here to go to David’s website Image: Wild (2017), handbuilt earthenware, decal, enamel gold, 48 x 40 x 36 cm Winner of the 2017 Manningham Victorian Ceramic Art Award Image Credit: Shannon McGrath
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Heidi McKenzie
Heidi McKenzie
Heidi McKenzie is a Toronto-based ceramic artist. She found her true calling at 40 when her parents found an essay she had written when she was nine years old – “What I Want To Be When I Grow Up… A Potter.” She left a 20-year career in arts management and radio to apprentice in her father’s ancestral home at the foothills of the Himalayas with India’s foremost studio potter, Mini Singh (a student of Bernard Leach). Heidi returned to Canada and completed her Diploma at Sheridan College in 2012 and subsequently her MFA at OCADU in 2014. In 2011 Heidi received the Emerging Artist Award at Toronto Artists Project, and in 2012 exhibited at the Toronto International Art Fair. In 2013, Heidi was funded by the Ontario Arts Council to create in Jingdezhen, China and in Bali, Indonesia. In 2014 Heidi completed a residency at Guldagergaard International Centre for Ceramic Research. In 2017 Heidi received OAC funding to work in Sydney Australia, to apprentice with Master Mitsuo Shoji and expand her sculptural vocabulary. Heidi has exhibited nationally and internationally, including biennales and Romania and Hungary, and at NCECA (Milwaukee, Portland). She is recipient of a 2017 Craft Ontario Award and Best in Show Ontario Artists Association Biennial Award. Heidi maintains both sculpture and functional ware studio practices. Her work engages issues of identity and belonging. She is an active arts journalist and ceramic arts reviewer. click here to go to Heidi’s website Portrait: Ali Kazimi
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Kevin Murray
Kevin Murray
Dr Kevin Murray is an independent writer and curator, Adjunct Professor at RMIT University and Research Fellow at the University of Melbourne. Major current roles are managing editor for Garland Magazine and the Online Encyclopedia of Crafts in the Asia Pacific Region. In 2000-2007 he was Director of Craft Victoria where he developed the Scarf Festival and the South Project, a four-year program of exchange involving Melbourne, Wellington, Santiago and Johannesburg. He has curated many exhibitions, including 'Signs of Change: Jewellery Designed for a Better World'; 'The World of Small Things'; 'Symmetry: Crafts Meet Kindred Trades and Professions'; 'Water Medicine: Precious Works for an Arid Continent'; 'Guild Unlimited: Ten Jewellers Make Insignia for Potential Guilds'; 'Seven Sisters: Fibre Works from the West'; 'Common Goods: Cultures Meet through Craft' for the 2006 Commonwealth Games and Joyaviva: Live Jewellery Across the Pacific that toured Latin America. His books include Judgement of Paris: Recent French Thought in an Australian Context (Allen & Unwin, 1991), Craft Unbound: Make the Common Precious (Thames & Hudson, 2005) and with Damian Skinner, Place and Adornment: A History of Contemporary Jewellery in Australia and New Zealand (Bateman, 2014). He is currently a Senionr Vice-President of the World Craft Council Asia Pacific Region, coordinator of Southern Perspectives and Sangam: A Platform for Craft-Design Parnerships. He teaches at RMIT University, the University of Melbourne, Swinburne University and University of New South Wales. click here to go to Kevin’s website
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Lisa Cahill
Lisa Cahill
Lisa Cahill has held several senior roles in government and the design sector. Prior to joining the Design Centre as Associate Director in 2015, she was the CEO of the Australian Design Alliance. Her various government roles include ministerial adviser, SBS, the Australia Council for the Arts and the City of Sydney. She was also research manager for the International Federation of Arts Councils and Culture Agencies. Working variously as a curator, writer and creative producer in the visual and performing arts, Lisa co-curated the Australian exhibition for the Triennale of Craft in Kanazawa, Japan in 2013 and New Weave: Contemporary Approaches to the Traditions of Weaving for Object (now Australian Design Centre) in 2014. Lisa completed a Bachelor of Communications in Professional Writing at the University of Canberra and a Masters of Arts Administration from the University of New South Wales. Currently Lisa is co-chair of the Australian Craft and Design Centre Network and is a member of the Interim Council of the Sydney Culture Network. click here to go to the Australian Design Centre website
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Neville Assad-Salha
Neville Assad-Salha
Neville Assad-Salha studied at the South Australian School of Art from 1973 to 1976. He has been a practising ceramist/ potter for over 40 years. He has held many solo exhibitions and group shows. Neville taught ceramics at many universities in Melbourne and Adelaide. He is a former professor at the University of Beirut. He has attended many international symposiums. Neville lives between South Australia and Lebanon.
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Prue Venables
Prue Venables
Numerous national and international exhibitions, awards and publications celebrate the fine porcelain work of Prue Venables. Included in many public and private collections worldwide, her pots explore complex and unusual approaches to working with porcelain, challenge the significance of daily objects and highlight the richness that they bring to our lives. 'A search for simplicity and quietness, an essential stillness, motivates my work. The making of functional pots, the exploration of objects to be held and used, alongside a search for new and innovative forms, provides a lifetime of challenge and excitement. A beautiful cup seems simple and yet is capable of gently holding and reflecting so much ceremony and personal connection. The kitchen is full of such objects, quietly sitting, watching, waiting. The made object stands innocently – as if oblivious to the complexities of its history, of making and firing processes. The translucency of porcelain, the light dancing on the sprung tension of a rim, the softly melting body inviting touch, even the frustration of failure – all this and more continues to invite me.' Dancing together: The magic of the dance. As if stepping out to music, there is a playful and connected interaction that is growing here. The timing is perfect as the meeting of minds and emotions intersect. The learning is exciting on every level. click here to go to Prue’s website Image credits: portrait Christopher Sanders / objects Terence Bogue
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Rebecca Coates
Rebecca Coates
Rebecca Coates is the director of Shepparton Art Museum. Located in regional Victoria, SAM is recognised for its significant collection of Australian ceramics, notable historic works, and a growing collection of outstanding contemporary Australian art by Indigenous and non-Indigenous artists. Rebecca is an established curator, writer and lecturer, with over 25 years professional art museum and gallery experience in both Australia and overseas. She has a PhD in Art History and was previously a Lecturer at the University of Melbourne in Art History and Art Curatorship, where she is an Honorary Fellow. She speaks and writes regularly on contemporary art and theory, curatorial practice, and art in the public realm, and sits on a number of advisory boards. click here to go to the Shepparton Art Meseum website Image: Dr Rebecca Coates in front of Angelina Gorge’s painting in SAM collection
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Robyn Phelan
Robyn Phelan
Robyn Phelan is currently undertaking a Master by Research at RMIT where she teachers professional practice and ceramics in the School of Fine Art. She works sculpturally, using clay and believes that ceramics objects are keepers of memories and experiences. Reference to art history and a sense of place informs her work. Clay is a material that has immense agency and is intrinsic to universal human experience. Robyn’s work utilises these conceptual and material connections to ask, what and who are we are? Her Masters research is questioning our relationship and role to making contemporary artwork about the Australian landscape. Robyn has a diverse range of professional and visual arts experience. She has worked at major Melbourne institutions such as the National Gallery of Victoria and Museums Australia and was an active committee member at West Space ARI. She has worked as curator, program manager and project coordinator at Craft Victoria at both Gertrude Street, Fitzroy and Flinders Lane, Melbourne. She is an avid observer, writer and supporter of contemporary ceramic practice who writes in each issue for the Journal of Australian Ceramics, maintains a blog on ceramic exhibitions, http://lookingwithsofteyes.blogspot.com and is a founding member of Bluestone Collection. Robyn's most recent study has been a degree in Ceramics at RMIT where she now teachers in Ceramics and Professional Practice. click here to go to Robyn’s website
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Sinsa Mansell
Sinsa Mansell
A passionate and proud Tasmanian Aboriginal woman from the Northern region of Tasmania, Sinsa Mansell is a performer and choreographer as well as Co-Founder, Program Producer and Project Officer with the successful pakana kanaplila- a Traditional/Contemporary Tasmanian Aboriginal dance troupe. Dancing statewide, nationally and internationally for well over a decade, Sinsa has been working to reclaim cultural dance within the island State of Tasmania for the past 15 years. Through educational dance workshops, pakana kanaplila aims to create a safe and inviting space to broaden the awareness of the rich cultural heritage and the living ancient traditional practices through song and dance; keeping to traditional Tasmanian Aboriginal culture. Sinsa facilitates open opportunities for the broader community to engage with local First Nations peoples through educational dance workshops, ceremonial performance at a wide range of events, including fun and interactive workshops in schools. She is passionate about creating a greater awareness of Tasmania’s ancient traditions.
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Yi-hui Wang
Yi-hui Wang
Yi-hui Wang is a ceramic artist and researcher. Born in 1977 in Taiwan, she is currently Assistant Professor in the Department of Cultural Vocation Development, National Taipei University of Technology, Taiwan and a member of the International Academy of Ceramics (IAC). She received her BFA, along with a teaching qualification from the National Taiwan University of Arts (NTUA), in 2000, an MFA from Taipei National University of the Arts（TNUA） in 2003, and her PhD from Sydney College of the Arts (SCA) in 2009. Yi-hui has exhibited nationally and internationally in numerous major museums and galleries in Taiwan, China, Korea, Japan, Sweden, Spain and Australia. In her work, the abstracted forms refer to the human organism and to bodily experience, and question contemporary issues of sexuality, desire and identity.
01may1:00 pm4:30 pmDemonstration AreaCastray Esplanade, Hobart
Details
A host of demonstrators will be working in this space every afternoon, bringing a range of methods and approaches, materials and techniques and giving us the opportunity to see some truly
Details
A host of demonstrators will be working in this space every afternoon, bringing a range of methods and approaches, materials and techniques and giving us the opportunity to see some truly great makers on the tools.
1.00pm – 4.30pm
Elisa Helland-Hansen
Anne Mette Hjortshoj
David Ray
Somchai Charoen
Hayley Panangka Coulthard and Judith Pungkarta Inkamala
Neville Assad-Salha
Anna-Marie Wallace / Made OF Australia
Catherine White
Time
(Wednesday) 1:00 pm - 4:30 pm
Location
Princes Wharf One
Castray Esplanade, Hobart
Speakers for this event
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Anna-Marie Wallace
Anna-Marie Wallace
Anna-Marie Wallace is a British born, Australian artist of Italian & Scottish heritage. She is an Industrial Designer turned Ceramicist, who began her short but avid foray into the world of clay in 2012 with Made OF Australia, a saggar firing business whose art, jewellery, & tableware are coveted by retailers, galleries, stylists, photographers, high end restaurants, & renowned chefs globally. She introduced Liquid Quartz to the ceramic arts market in 2015, after years of research & development into finding a solution to the age old issue of food safety & unglazed surfaces. She openly discusses & shares the technology used to make her pieces food safe, with the hope of allowing others to expand their alternative firing ceramic practices too. She is an outspoken advocate for the death of “starving artist” syndrome, & runs workshops, mentorship programmes, & internships to teach others how to market & sell their art, as well as run a sustainable, & profitable, arts based practice. She works solely with Australian clays, native flora, & waste from Indigenous fauna (Pandanus, Macadamia, Bunya, Magpie Goose feathers, Crocodile eggshell, Koala scat, Dugong seagrass, & calcified seaweeds & corals to name a few), foraged in her local area or sent in by friends from The Northern Territory to Tasmania. The unpredictable & unrepeatable finish of each piece tells a unique story of origins & process. Her creations pay homage to all that was destroyed to create them; they are pieces OF Australia, each as individual as you are. click here to go to Anna Marie’s website Image: Minimalist Plate (28cm); Australian Porcelain Saggar Fired with Pandanus, Macadamia, Dugong Seagrass, & Crocodile Eggshell (Range produced 2016-2018) Tiger Myrtle hand carved spoon also by the artist. Image Credit: Michelle Eabry
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Anne Mette Hjortshøj
Anne Mette Hjortshøj
Anne Mette Hjortshøj graduated from the ceramic department at The Royal Danish Academy on Bornholm in 2000. To improve her skills and gain further experience, she spent eighteen months working in Wales with the potter Phil Rogers and in the USA, Australia and Korea. Since then she has exhibited and worked internationally but spends most of her time making work to fire in her two chamber wood kiln on the Danish island of Bornholm. click here to go to Anne Mette’s website
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Catherine White
Catherine White
Catherine White works in the rolling hills of Virginia one hour from Washington, DC. Weaving together throwing and handbuilding techniques, objects are made with markings and irregularities that intentionally reveal the touch of the hand. She collects and poetically uses diverse raw materials in her anagama and gas-fired kilns. Clay work is intertwined with extensive drawing, painting and collaging. White has an MFA in ceramics, studied painting in Aix-en-Provence, France and taught ceramics for many years at the Corcoran College of Art + Design in Washington, DC. She has made pottery for over thirty-five years for Omen-Azen, a Japanese restaurant in New York City; had commissions for state gifts from the Obamas; and has been in over 100 exhibitions. She has written for The Studio Potter and The Log Book examining failure, drawing, materials and choice. click here to go to Catherine’s website click here to go to Catherine’s instagram
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David Ray
David Ray
David's ceramics have built a reputation for being wild and flamboyant Baroque creations. Conceptually, the creations explore function and dysfunction within our consumeristic society. The handmade is an idealistic idea he holds dear within his making process. Decoration is incorporated within the body of the work; weaving, twisting and turning, with a confounding plethora of images and motifs. He believes life is a juxtaposition between the perception of the beautiful and the ugly, which creates a subjective perception towards making and looking at Art itself. David Ray retired from RMIT University in 1996 with Honours and his work is held in Australian and international collections. He has held numerous Artist in Residence placements and he lists that Liverpool (U.K.) was his most 'mind-bending'. Various publications and articles have been written about his work. He comes up when Googled! Terrible at self-promotion, David prefers making in his studio in the Yarra Valley, Victoria and continuing to exhibit within both realms of the 'Art' and 'Craft' worlds. He is a trained secondary teacher, specialising in trauma informed practice, with 15 years experience in this field. He says "time is precious, but teaching and making both provide a balance within my life". click here to go to David’s website Image: Wild (2017), handbuilt earthenware, decal, enamel gold, 48 x 40 x 36 cm Winner of the 2017 Manningham Victorian Ceramic Art Award Image Credit: Shannon McGrath
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Elisa Helland-Hansen
Elisa Helland-Hansen
Elisa Helland-Hansen is a Norwegian studio potter based in Rosendal by the Hardangerfjord in western Norway. She was trained at the Bergen National College for Arts and Design in the 1970s, and has worked as a full-time potter making utilitarian work since then. She was head of the department and a professor at HDK - University of Gothenburg, in Sweden for five years, has traveled extensively, and exhibits nationally and internationally. click here to go to Elisa’s website Image: Porcelain cups (2016), reduction fired to cone 10, 10 cm H x 10.5 cm W Portrait: courtesy of the artist
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Hayley Panangka Coulthard
Hayley Panangka Coulthard
Hayley Panangka Coulthard was born in Hermannsburg, daughter of fellow Hermannsburg Potter Anita Ratara. Joining the Hermannsburg Potters in 2009, Coulthard has established herself as a prominent member of the group, developing her raw natural talent under the mentorship of Senior Potters Judith Inkamala and Rahel Ungwanaka. Her work is known for its incorporation of ceramic relief methods, which plays on the Hermannsburg Potters' multidimensional style. Like her mother Anita, Hayley chooses to depict her traditional Country, Palm Valley, in her work, and the associated Willy Wagtail Dreaming. As an emerging artist of the Hermannsburg Potters, Hayley Coulthard is known for producing work of both a high technical standard and of artistic merit. Having participated in numerous group exhibitions in Australia, she was invited to exhibit in the 2010 collaborative exhibition Meou Art: Exhibition of Australian Indigenous Art in Shanghai, China. This significant international exhibition showcased the work of artists from the Northern Territory's Hermannsburg Potters, Warlukurlangu Artists and Buku-Larrnggay Mulka Arts Centre. Hayley Coulthard is also renowned for her delightful AFL footy pots, her work St Kilda versus Collingwood being acquired by the Art Gallery of South Australia in 2011. She has since gone on to be a part of the significant 2016 National Gallery of Victoria exhibition, Our Land is Alive - Hermannsburg Potters for Kids, where twenty AFL-themed pots were commissioned to tell the story of the game's history, particularly as it has unfolded in the footy fanatic community of Hermannsburg. Hayley served on the Desart Incorporated Board from 2010 to 2012 and is currently a director on the Hermannsburg Potters Board and Desart Board.
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Judith Pungkarta Inkamala
Judith Pungkarta Inkamala
Judith is a founding member of Hermannsburg Potters. Judith's work has been exhibited widely throughout Australia over the past 30 years and she has travelled extensively, both nationally and internationally over this time to represent the Hermannsburg Potters. Her pots reflect a predisposition for balanced, symmetrical objects and reveal an accomplished hand in the craftsmanship. Inkamala takes inspiration from her Western Aranda country and transforms these visions into wonderfully crafted terracotta pots and occasionally paintngs on canvas. Her pots are beautfully crafted and show a great attention to detail. Her paintings seem to invite her pots into the landscape - as skillfully painted as the pot is constructed. Judith Inkamala has had a long-standing association with creative work and as a child was known to spend time at the Albert Namatjira household as she was great friends with his grand-daughter Gloria. As a child, Judith recalls watching the famous Albert Namatjira and his kinsmen painting in the camp near the Mission, going to the painters' camp after school and watching the men paint. Her historical works on the Hermannsburg Mission and, as well as her works on the Namatjira story, are of particular interest to collectors both in Australia and internationally. In 2010 Judith accompanied Rahel Ungwanaka to China to showcase their pottery to ceramic artists for the collaborative exhibition Meou Art: Exhibition of Australian Indigenous Art in Shanghai, China.
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Neville Assad-Salha
Neville Assad-Salha
Neville Assad-Salha studied at the South Australian School of Art from 1973 to 1976. He has been a practising ceramist/ potter for over 40 years. He has held many solo exhibitions and group shows. Neville taught ceramics at many universities in Melbourne and Adelaide. He is a former professor at the University of Beirut. He has attended many international symposiums. Neville lives between South Australia and Lebanon.
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Somchai Saroen
Somchai Saroen
Somchai Charoen is a Thai born ceramic artist based in Sydney who has exhibited both nationally and internationally. Trained in industrial ceramics design, he was a former lecturer at Silpakorn University, Thailand. Since migrating to Australia in 2002, he has worked commercially as a mould and model maker as well as established his ceramic home ware label Eat Clay. Somchai is a co-founder of Belmore ITCH, a creative for non-ceramic artists to experiment, explore and interpret the medium. Over twenty year experience in making plaster moulds for ceramics. Somchai like to challenge his skill by making mould that will explore the idea and possibilities of what mould making technique can be. For example created the plaster moulds that can be easily be used to create a number of different mould or can connected in different ways by having part that can be construction or flexible arrangement. Somchai will showcase his latest new mould making and slip casting technique by created plaster moulds that able to dip into the slip to create the forms instead of pouring slip into the plaster moulds.
01may1:00 pm4:30 pmkunanyi StageContemporary Meets HistoryCastray Esplanade, Hobart
Schedule
- Day 1
- 05/01/2019
1.00 pm Early Afternoon Session1.00 pm - 2.30 pmAndrea Vinkovic - Changing Spaces: Large scale ceramic sculpture, inspired by the infinitely small Grace Nickel - Fabric-formed Model making Trudy Golley - Embracing Risk: Bi-directional Fabrication for Ceramic Artists
3.00 pm Second Afternoon Session3.00 pm - 4.30 pmPeter Hughes - Early Tasmanian Studio Potter, Violet Mace (1883-1968) Kirsty Volz - Women and work in the interwar period: Nell McCredie’s studio 1932-1944 Kevin Murray - Know your monster: The 21st century Dragon Greg Daly - Lustre: In time, Which Place!
Details
Abstracts: Kirsty Volz: Nell McCredie’s Pottery Studios: Creating space for women to work and socialise in the interwar years. Greg Daly: Lustre: In Time, and Place!
Time
(Wednesday) 1:00 pm - 4:30 pm
Location
Princes Wharf One
Castray Esplanade, Hobart
Speakers for this event
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Andrea Vinkovic
Andrea Vinkovic
Andrea Vinkovic is a ceramic artist inspired by fragility, organic beauty and delicate balance of natural environment, and intrigued by parallels with cultural environment. Her work is inspired by microscopic images of pollens, planktons, molecules and natural structures. Vinkovic completed an Advanced Diploma of Art and Design in ceramics at Central Institute of Technology in 2002. She was ceramic technician and casual lecturer at Central Institute of Technology for over 5 years, and ceramic lecturer at Midland campus of Polytechnic West for two years. She has exhibited her work in Perth and across Australia since 2001, including participation in invitational exhibition and workshops in Gangjin, S. Korea, national ceramic conferences in Bendigo, Brisbane & Sydney, UWA and Sculpture by the Sea Cottesloe and Bondi. Her ceramic work ranges from very delicate and intimate works, to large outdoor sculptures. click here to go to Andrea’s website
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Grace Nickel
Grace Nickel
Grace Nickel is a ceramic artist living in Winnipeg, Canada, who creates large-scale installations. In recent years she has been collaborating with experts in various faculties at the University of Manitoba where she teaches full-time. For instance, she worked in residence at the Centre for Architectural Structures and Technology where she learned to apply its ground-breaking architectural research in fabric-formed mould-making to her own sculptural forms. This resulted in the installation Arbor Vitae, which was exhibited throughout Canada and in the NCECA Annual Exhibition 2017 in Portland, Oregon. Other highlights of her career include winning awards in the Mino International Ceramics Competition in Japan and the Taiwan Golden Ceramics Awards. Grace has attended numerous residency programs including Medalta in Medicine Hat, Canada, the Pottery Workshop in Jingdezhen, China, and she worked at Curtin University of Technology in Perth, Australia, as an invited Adjunct Research Fellow. Grace Nickel’s work is broadly collected, with the largest representation in the collection of the Art Gallery of Nova Scotia in Halifax, where she completed her graduate studies at NSCAD University. She is currently creating a new body of work for an upcoming solo exhibition at the Art Gallery of Burlington in Ontario. In the new work, themes of loss and regeneration are being explored by using a combination of analogue and digital technologies, including hand-building, casting, and 3D printing. Grace Nickel is a member of the Royal Canadian Academy of Arts. click here to go to Grace’s website
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Greg Daly
Greg Daly
A maker for 50 years. Member if the International Ceramic Academy since1986 100 solo exhibitions. Over 250 group exhibitions throughout Australia & 23 countries. Represented in over 80 National & International Art Galleries & Museums including National Gallery of Australia, all State collections, Victoria & Albert Museum (London). He has received 37 National & International awards. Author of Glazes & Glazing Techniques, Lustre and Developing Glazes. @gregdalyceramics click here to go to Greg’s website Portrait: John Daly
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Kevin Murray
Kevin Murray
Dr Kevin Murray is an independent writer and curator, Adjunct Professor at RMIT University and Research Fellow at the University of Melbourne. Major current roles are managing editor for Garland Magazine and the Online Encyclopedia of Crafts in the Asia Pacific Region. In 2000-2007 he was Director of Craft Victoria where he developed the Scarf Festival and the South Project, a four-year program of exchange involving Melbourne, Wellington, Santiago and Johannesburg. He has curated many exhibitions, including 'Signs of Change: Jewellery Designed for a Better World'; 'The World of Small Things'; 'Symmetry: Crafts Meet Kindred Trades and Professions'; 'Water Medicine: Precious Works for an Arid Continent'; 'Guild Unlimited: Ten Jewellers Make Insignia for Potential Guilds'; 'Seven Sisters: Fibre Works from the West'; 'Common Goods: Cultures Meet through Craft' for the 2006 Commonwealth Games and Joyaviva: Live Jewellery Across the Pacific that toured Latin America. His books include Judgement of Paris: Recent French Thought in an Australian Context (Allen & Unwin, 1991), Craft Unbound: Make the Common Precious (Thames & Hudson, 2005) and with Damian Skinner, Place and Adornment: A History of Contemporary Jewellery in Australia and New Zealand (Bateman, 2014). He is currently a Senionr Vice-President of the World Craft Council Asia Pacific Region, coordinator of Southern Perspectives and Sangam: A Platform for Craft-Design Parnerships. He teaches at RMIT University, the University of Melbourne, Swinburne University and University of New South Wales. click here to go to Kevin’s website
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Kirsty Volz
Kirsty Volz
Kirsty Volz trained in both architecture and interior design. Kirsty is the director of the design practice Toussaint and Volz. She is also a PhD candidate within the Architecture Theory Criticism History (ATCH) group at the University of Queensland. Her thesis discusses the built works of Queensland’s early women architects, focusing on the work of interwar architect and ceramist, Nell McCredie. Kirsty’s research on interior design and decoration has been published in the IDEA Journal, TEXT Journal, Lilith: a feminist history, and the International Journal of Interior Architecture and Spatial Design. Portrait: Renee Brazel
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Peter Hughes
Peter Hughes
Peter Hughes was appointed as the first full-time curator of decorative arts at the Tasmanian Museum and Art Gallery in 1999. He graduated with a Master’s Degree (Research) in Art Theory from the Australian National University in 1995 with a thesis exploring the links between the English nineteenth century art critic, John Ruskin’s writing about architecture, ornament and design and ecological theory. Ornamentation remains one of Peter’s research interests along with Tasmanian colonial decorative arts, Australian decorative arts and identity, design and ecological theory, and contemporary ‘thing’ theory. Peter’s current projects include a history of Tasmanian colonial-period furniture 1804 – 1860 to be published as a book by the museum, the life and work of the Tasmanian mid-20th century potter, Violet Mace and proposed new exhibitions for the TMAG art and design galleries. Peter has curated numerous exhibitions at TMAG, including the 2012 Redevelopment Art and Design exhibitions in the Hunter Galleries and Our Changing Land; Making Tasmania in the Bond Store One Gallery. In 2015 he curated Things I Once Knew: the Art of Patrick Hall, the artist’s first retrospective and, most recently, Prospero’s Library as part of the Tempest exhibition in 2016. click here to go to the Tasmanian Museum and Art Gallery website
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Trudy Golley
Trudy Golley
Trudy Golley received her education in ceramics at the Alberta College of Art and the University of Calgary (BFA 1988) in Canada, and the University of Tasmania (MFA 1991) in Hobart. She has been invited to participate in artist residencies, lecture and give workshops in Canada, the USA, Australia, Europe, and China. Inducted into the Royal Canadian Academy of Arts in 2002, she is the recipient of grants from the Canada Council for the Arts, Manitoba Arts Council, and the Alberta Foundation for the Arts. Her work is represented in numerous public and private collections in Canada, China, Denmark, and Australia. Since 2000, Trudy has taught Ceramics in the School of Creative Arts at Red Deer College in Alberta, Canada. Recent works exhibit an interest in transforming found organic or digital forms into elements that become part of larger ceramic compositions that aim to capture, obstruct, transmit and redirect light in order to exploit its many qualities. Reflective surfaces explore ephemeral qualities through the creation of a drawing in light and shadow which extends beyond the confines of the ceramic object. Often, they are juxtaposed with heavy stoneware elements that contrast the delicacy of the cool porcelain and reflected gold or titanium PVD coatings. click here to go to Trudy’s website
01may1:00 pm4:30 pmAsk the DrCastray Esplanade, Hobart
Details
If you come away from a talk with a burning question, sign up at the Ask the Dr tent for a one-on-one session with one of our resident experts (drawn from our
Details
If you come away from a talk with a burning question, sign up at the Ask the Dr tent for a one-on-one session with one of our resident experts (drawn from our list of presenters, panellists and other notable makers). You’ll have 10 uninterrupted minutes to discuss that glaze or kiln or clay body, international residency or conceptual position with regards to function (for example).
1.00pm – 2.30pm
Sergei Isupov
Greg Daly
3.00pm – 4.30pm
Nancy Fuller
Anna-Marie Wallace
Time
(Wednesday) 1:00 pm - 4:30 pm
Location
Princes Wharf One
Castray Esplanade, Hobart
Speakers for this event
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Anna-Marie Wallace
Anna-Marie Wallace
Anna-Marie Wallace is a British born, Australian artist of Italian & Scottish heritage. She is an Industrial Designer turned Ceramicist, who began her short but avid foray into the world of clay in 2012 with Made OF Australia, a saggar firing business whose art, jewellery, & tableware are coveted by retailers, galleries, stylists, photographers, high end restaurants, & renowned chefs globally. She introduced Liquid Quartz to the ceramic arts market in 2015, after years of research & development into finding a solution to the age old issue of food safety & unglazed surfaces. She openly discusses & shares the technology used to make her pieces food safe, with the hope of allowing others to expand their alternative firing ceramic practices too. She is an outspoken advocate for the death of “starving artist” syndrome, & runs workshops, mentorship programmes, & internships to teach others how to market & sell their art, as well as run a sustainable, & profitable, arts based practice. She works solely with Australian clays, native flora, & waste from Indigenous fauna (Pandanus, Macadamia, Bunya, Magpie Goose feathers, Crocodile eggshell, Koala scat, Dugong seagrass, & calcified seaweeds & corals to name a few), foraged in her local area or sent in by friends from The Northern Territory to Tasmania. The unpredictable & unrepeatable finish of each piece tells a unique story of origins & process. Her creations pay homage to all that was destroyed to create them; they are pieces OF Australia, each as individual as you are. click here to go to Anna Marie’s website Image: Minimalist Plate (28cm); Australian Porcelain Saggar Fired with Pandanus, Macadamia, Dugong Seagrass, & Crocodile Eggshell (Range produced 2016-2018) Tiger Myrtle hand carved spoon also by the artist. Image Credit: Michelle Eabry
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Greg Daly
Greg Daly
A maker for 50 years. Member if the International Ceramic Academy since1986 100 solo exhibitions. Over 250 group exhibitions throughout Australia & 23 countries. Represented in over 80 National & International Art Galleries & Museums including National Gallery of Australia, all State collections, Victoria & Albert Museum (London). He has received 37 National & International awards. Author of Glazes & Glazing Techniques, Lustre and Developing Glazes. @gregdalyceramics click here to go to Greg’s website Portrait: John Daly
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Nancy Fuller
Nancy Fuller
Nancy Fuller is Taiwanese by birth but was raised in the North East of Scotland. Having trained as a printmaker, she went on to attain a Masters in the History of Art and Archaeology of Asia in 1999 at the School of Oriental and African Studies in London. A Chinese language scholarship took her back to Taiwan in 2000 to explore her roots and whilst there she found a sense of connection through the ancient ways of pottery. After studying at various studios her discovery of anagama-fired pottery was like the missing jigsaw piece. In addition to language, culture and tradition, it embraced the natural environment, and in essence revealed the Taiwan she was looking for through the medium of wood-firing. Her quest to build her own kiln resulted in her undertaking a year-long training with anagama master Suzuki Shigeji in Shigaraki, Japan, supported by the Great Britain Sasakawa Foundation. During her training she was also a resident artist at the Shigaraki Cultural Ceramic Park and it was there that she met Karatsu master, Nakazato Takashi. Realising his ‘Nanban’ aesthetic might suit the clays available to her in the UK, she studied reduction cooling with him at the Anderson Ranch Arts Center, USA, through support from the Scottish Arts Council. What emerged from this was a firing aesthetic which she feels embodies her own character and background. All her work is fired in an anagama which she designed and built herself on a croft in rural Aberdeenshire.
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Sergei Isupov
Sergei Isupov
My work portrays characters placed in situations that are drawn from my imagination but based on my life experiences. My art works capture a composite of fleeting moments, hand gestures, eye movements that follow and reveal the sentiments expressed. These details are all derived from actual observations but are gathered or collected over my lifetime. Through the drawn images and sculpted forms, I capture faces, body types and use symbolic elements to compose, in the same way as you might create a collage. These ideas drift and migrate throughout my work without direct regard to specific individuals, chronology or geography. Universalism is implied and personal interpretation expected. Through my work I get to report about and explore human encounters, comment on the relationships between man and woman, and eventually their sexual union that leads to the final outcome – the passing on of DNA which is the ultimate collection – a combined set of genes and a new life, represented in the child. Everything that surrounds and excites me is automatically processed and transformed into...an artwork. The essence of my work is not in the medium or the creative process, but in the human beings and their incredible diversity. When I think of myself and my works, I’m not sure I create them, perhaps they create me. click here to go to Sergei’s website Image: Reflection 2007 - 14 (2014), porcelain, slip, glaze. 10 x 14 x 5"
01may1:00 pm4:30 pmThinking SpaceCastray Esplanade, Hobart
Details
The Thinking Space is the place to go deep – an opportunity for small group discussions, tutorial style, on matters of material and process – think glaze technology, mind mapping
Details
The Thinking Space is the place to go deep – an opportunity for small group discussions, tutorial style, on matters of material and process – think glaze technology, mind mapping and finding your voice – to name a few. Of an evening this space will be home to the Philosophy Café – an opportunity to really ‘unpack’ some of the big Triennale ideas in an atmosphere of playful rigour, openness and tolerance.
1.00pm – 4.30pm
Curt MacDonald – Glaze Chemistry Workshop
Topics Covered Will Include:
An in-depth look at different glaze materials and what is in them
Time
(Wednesday) 1:00 pm - 4:30 pm
Location
Princes Wharf One
Castray Esplanade, Hobart
Speakers for this event
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Dr Curt McDonald
Dr Curt McDonald
Heat, cold, pressure, time. Time. Soft dust, hard cliff, everywhere. Waiting. A road cut shows you ancient interior, a secret vault, seeing sun for the first time in a hundred million years. Curt McDonald is a ceramic artist based in Perth. His work communicates the beauty and richness of Western Australia's vast landscape and geological legacy through clay, using natural materials found and developed in WA. Curt distils and decants the materials of the bush into the vessel itself at the most fundamental level. Simple, iconic forms reference familiar shapes from our natural environment, invoking subconscious remembrance of place and the comfort it brings. The significant endeavour of locating, refining and transforming these unique natural materials is rewarded by rich, multi-layered colours and textures, which channel the quiet warmth and vibrance of the WA landform. Traditional firing methods - including the ancient magic of the wood kiln - bring out the soul of these endemic materials. This work addresses an inherent contradiction in contemporary ceramic practice. There are few mediums in which the origin of the raw materials is as important to the final appearance of the work as in ceramics. The current yearning to return to the authentic and the bespoke sails hard into the wind of a streamlined global supply chain in which few - if any - of the materials we use come from the places we belong to. Curt's work rediscovers and expresses WA's timeless geological signature, and embodies an authentic reference to place. artwork: Untitled (2017), thrown stoneware, slip and other native materials, 88 x 15 cm, photoghrapher Rob Frith
01may1:00 pm9:00 pmPrinces Wharf One - other spacesCastray Esplanade, Hobart
Details
As you may have heard PW1 is big – really big – with lots of room for us to roam and play. From the courtyard to the ‘backyard’ expect to
Details
As you may have heard PW1 is big – really big – with lots of room for us to roam and play. From the courtyard to the ‘backyard’ expect to find all manner of diversions for hand and mind.
10am – 4.30pm
Fly Now Grow Future – Seed Bombs
Jason Lim – Under the Shadow of the Banyan Tree
Mark Valenzuela, Pablo Capati, Babbu Wenceslao – Tambay
5.00pm – late
Marine Ostinato
MANIFEST + PW1 exhibition openings
Pot Luck Dinner
Time
(Wednesday) 1:00 pm - 9:00 pm
Location
Princes Wharf One
Castray Esplanade, Hobart