Feature Article - Surf to Snow

		Sara Hogwood & Jane Crick

from Iss 43#2

Surf to Snow is the public outcome of a two-part project designed to strengthen a regional network of ceramic artists through a survey of their information-support needs and an associated touring exhibition of selected works. The project was made possible by funding granted to Canberra Potters’ Society from the Regional Arts Fund, a Commonwealth Government initiative delivered in partnership with the ACT Government through artsACT.

Emilka Radlinska, Velocity Series, 2004

For the exhibition, artists were selected to represent four regions and selection was made by the four organisations representing these regions: the Spiral Gallery Co-operative (Bega), Canberra Potters’ Society (Canberra), the Raglan Gallery and Cultural Centre (Cooma) and Goulburn Regional Art Gallery (Goulburn).
Before the selection process could get underway, the selection criteria needed to be determined. No easy task when each region had different issues to address: Canberra is rich in ceramic artists of all levels of expertise, Bega has fewer but many are high profile, and Cooma has fewer still and Goulburn covers a huge area!Through discussion, the criteria were narrowed down. The representatives first of all ruled themselves out (three are potters). Nationally recognised artists were also ruled out and it was felt that artists who made, or were trying to make, a substantial part of their income from their art should be considered. Also eligible for selection would be artists who could be said to be ‘emerging’ in that, even if they were not necessarily new practitioners, they were not yet nationally recognised. Borne in mind too was the fact that selected artists may be well known in their own area but new to audiences in the other three regions. The benefit to the artists themselves was also considered. Apart from the exposure of their work to a wider audience, the artists should expect to benefit from seeing their work displayed in different settings by different curators.

So much for the artists - what about the works themselves? The quality, appeal and suitability for touring and the varied nature of the exhibiting spaces and target audiences all had to be taken into account. Wherever possible, the work should be new or, at least, made within the previous twelve to eighteen months. And so, with all these points in mind, shortlists were prepared and artists approached. The response was overwhelmingly enthusiastic; the result an exhibition of vibrant diversity.

At the Canberra opening at Watson Arts Centre in May 2004, the kick-off point for the tour, Lyn Allan, Acting Director of artsACT, spoke of the importance of the Regional Arts Fund in providing opportunities not just for regional artists but for regional audiences as well. With the exhibition touring to four galleries of differing sizes and accoutrements, there are curatorial challenges to be faced that will see the exhibition displayed through new eyes in each venue. In her review of the Canberra exhibition for the Canberra Times, Kerry-Anne Cousins wrote that ‘...it is a spurious exercise to pursue regional similarities or differences’. How true. It is impossible to look at the individual exhibits that make up this strong and diverse exhibition and determine their originating region. This must be seen as a reflection of the strength of Australian ceramics today.

Drawing on the environment for inspiration, Oscar Blyth’s Scar Trees use locally-dug materials to achieve cracked and weathered textural finishes. Lake George is the influence Sally Howes draws on for her platters, while Kay Jensen hopes that her pit-fired pots will evoke the emotions one might feel when looking closely at Nature. Animals feature quite strongly. Dogs have always been a part of Jackie Lallemand’s life, whether real or ceramic. Lauraine Parker adds monkeys, oxen and horses. Trojan horses from Heidi Kunz complete the menagerie, leaving Helen Mantzouridis to look to the human form for inspiration. Jan Green exhibits platters with canvas-like textures stencilled with images from her own photography while Margaret Brown exhibits porcelain bowls whose coloured lines attempt to catch movement that is forever changing. Kaye Pemberton’s teapots and cups reflect her interest in the ceremonies that we all observe in our daily lives. Emilka Radlinska’s delicate slipcast Velocity Series celebrates the experience of technological flight.

From Canberra, Surf to Snow moved on to the Spiral Gallery Co-operative in Bega. It then moves in August to the Raglan Gallery and Cultural Centre in Cooma, before ending its tour at the Crookwell and District Art Gallery in September. Surf to Snow would not have been possible without enthusiastic input and professional expertise of the four regional representatives: Poppy Benton (Bega), Jane Crick (Canberra), Petra Murphy (Cooma) and Jennifer Lamb (Goulburn).

Jackie Lallemand, Dog Series, 2004

Margaret Brown, Teapot, 2004

Exhibiting artists;

Bega
Margaret Brown, Kay Jensen, Lauraine Parker

Canberra
Jackie Lallemand, Kaye Pemberton, Emilka Radlinska

Cooma,
Oscar Blyth, Heidi Kunz

Goulburn
Jan Green Sally Howes Helen Mantzouridi

Kay Jensen, 2004 Vessel, smoke fired, 2004

References
Kerry-Anne Cousins, Canberra Times Arts Review, 28 May 2004
The survey part of this project will be asking ceramic artists about their need for, knowledge of and access to funding and other information sources to support and promote their practice. Any ceramic artist living within any of the four regions who would be happy to participate in this gathering of information by completing a short survey form is welcome to contact the project’s facilitator, Sara Hogwood, by email towcac@canberrapotters.com.au or by phone on (02) 6241 1670.