In 1968 a group of like-minded people began meeting informally in their homes and workshops, and it was this so called ‘potters’ den’ that developed into the Queensland Potters Association, which was incorporated in 1972. Fusions: Australian Network of Clay and Glass Artists, as it’s now called, has steadily evolved into a national affiliation of ceramicists and, more recently, glass artists. As the name infers, the two areas of practice merge well together, with the common basic process of minerals fused by fire.

Over time, and responding to developments in the ceramic arts, the organisation has moved from a volunteer-run centre to one professionally staffed - via an annual funding partnership with Arts Queensland. In order to stay alive to the community it serves, and that broad group’s changing needs, such an organisation needs to periodically reinvent itself. Fusions has regularly done this over the 37 years of its existence. Over the last couple of decades in particular, in a highly competitive environment, this has been key to its survival.

A smart move, in 1982, was the purchase of a permanent home; the old 1891 Primitive Methodist Church on Brunswick Street in Brisbane’s lively Fortitude Valley hub. The Primitive Methodists, who emerged in Britain around 1811, were an offshoot of the Wesleyan Church, inspired by American revivalism and formed by a small group of preachers, including one, William Clowes. As it happens, Clowes was related on his mother’s side, to the famous potter, Josiah Wedgwood. He himself became an expert potter - but, prior to his conversion, was known as a drinker, gambler, dancer and fighter.

By the 1890s, the new church was obviously well established in Brisbane, and a unique tea-set was commissioned in the UK to celebrate the Brunswick Street off-shoot - with the church’s image reproduced on the cups and plates using decals taken from a copper etching. The set is now held in Fusions’ substantial ceramics collection.

After the old church was refurbished in 1983, Fusions began developing an exhibition space, a store selling ceramic objects and, importantly, facilities for residencies - where for many years ceramicists from around Australia and elsewhere have worked together sharing ideas. Originally called the Potter’s Gallery, in 1991, when the organisation brought glass into its formal exhibition and member’s program, the exhibition space changed its name to Fusions Gallery. This resulted in an influx of glass practitioners to the membership, and over the last 14 years, around 40 exhibitions have included glass. However a relatively small percentage of members are currently glass artists, so there’s an opportunity here for development.
It was the embracing of glass together with ceramics, and the associated change of image, that gave the impetus (beginning in 1999-2000), for members and leaders of the association to formally adopt Fusions: Australian Network of Clay and Glass Artists in December 2002.

The property purchase 23 years ago with the financial support of Arts Queensland, was, in retrospect, fortuitous given the increased value of real estate that has occurred around the Valley and Brisbane in the last five years or so. There are only a few visual arts organisations around Australia that can boast owning their own building and reap those benefits. (Adelaide’s longstanding Contemporary Art Centre is one that comes to mind; one that’s also been driven by its constituency and leadership.)

It was this purchase which, in 2001, allowed Fusions to plan and commence the bold site redevelopment that’s happening today. With its new one million dollar exhibition and retail complex - part of a total $10 million development of the property - the centre will boast the only purpose built clay and glass facility in Australia.

The completion of the redevelopment in 2006 will see street front galleries, a retail space, studio residency and administration facilities, an exhibition-market plaza on an upper level, and reassignment of the heritage listed church to accommodate offices, the ceramics collection and library. In short, a high profile state of the art ceramics and glass centre and cultural venue of national significance. Nearby, just down Brunswick St and surrounded by lively bars and cafes, are several other contemporary arts organisations, including the Institute of Modern Art, Artworkers Alliance and Craft Queensland.

Fusions, Initial Design, Cox Rayner Architects

2006 will be a big year. Apart from the redevelopment, looming up for Fusions is Verge: 11th National Ceramics Conference, to be held 10 - 14 July, at Brisbane’s Convention Centre in the South Bank precinct. (Verge in this case meaning to be on the edge, rim, or margin of something big.) In October 2000, Fusions hosted Ceramica 2000: Hot clay, cool glass; sponsored by Brisbane City Council, it was a celebration of the ceramic arts and included a series of exhibitions, forums and demonstrations. Earlier, Fusions had also hosted the 1991 ceramics conference. These experiences have put the organisation in a solid position to host the 2006 national conference.

(Fusions is calling for expressions of interest for papers and demonstrations to be presented at Verge - email: fusions@gil.com.au).

The focus for Verge is ‘sustainability for the individual and the collective’. Discussions over the last few years have cited concerns over dwindling funding and support for diversity within ceramics training, the cost of training a ceramicist, the investment and commitment required to ‘make a living’, and sales and marketing in an e-commerce environment. Key topics at Verge will pick up on these themes including professional development for the ceramics sector, the global marketplace, new technologies, and models of sustainable practice. Sustainability is a catch phase that can cover almost anything from household finances to rainforest management or to how the world should function. Fusions’ Executive Officer, Stephanie Outridge Field’s current favorite definition is: ‘Sustainability is acting, with good grace, like we plan to stay’. Fusions: Australian Network of Clay and Glass Artists is looking at a dynamic future, one that will require rigorous curatorial practice, progressive member’s services and strong leadership.

Ian Were is Senior Editor at the Queensland Art Gallery, Brisbane, and a member of the board of Fusions: Australian Network of Clay and Glass Artists.

Above: Launch dignitaries. Backrow, left to right: Andrew Borger, Urban Properties, Michael Rayner,Cox Rayner; Pam Maegdefrau, Past President; The Hon. Anna Bligh, Minister for theArts & Education; Rob Hinwood, Past Vice President; Ian Were, CurrentVice President.Front Row, left to right: Stephanie Outridge Field - Executive Officer and Past President; Jess Gibson,Past President, Trevor Woods, Founding member; Maggie McNaught, Past President