Vol 32, No 21993, Luisa Picazo, Empacage, terracotta, h. 128cm

Vol 33 No 1, 1994, Stephen Benwell, Colour study for tile panel, h 50cm

Vol 35, No 4 1996, Bev Hogg Fountain, h.1metre

In the ‘90s ceramics in Australia was starting to be accepted as art in its own right, no longer the poor cousin to painting and sculpture. A transition was taking place from ‘potter’ to ‘ceramic artist’. Potters and artists began to talk about their work through artists’ statements, rather than referring only to technical information such as type of clay, firing, and decoration. Educational institutions oriented their programs to place a strong emphasis on the conceptual, sometimes at the expense of technical skills. This was to attract criticism with concerns being voiced about fine arts students showing ‘little or no understanding of the vessel as a vehicle for expression’ and with ‘neither the desire nor the time to learn to throw on the wheel.’

With a recession looming, the iron grip of economic rationalism was felt in tightened budgets and the introduction (some would say imposition) of ‘Competency Based Training’. Chris Sanders (PIA Vol.37/3), teaching at RMIT in 1998, saw a positive side in that ‘staff have developed a much more focused system of undergraduate training.’. Certain ceramics departments were merged into sculpture or general visual arts courses, resulting in a drift of students to other media, a reduction in skills-based courses and teaching hours for non-permanent staff. Some ceramics departments responded by developing connections with industry.TAFE ceramics courses loosened up, making individual subject units available to those not wishing to undertake an entire course. Ceramics courses included units on Professional Practice.

Throughout the ‘90s work being made showed a greater sophistication in form and concept. An example is Pippin Drysdale. Compare the busy joie-de-vivre of her 1991 Carnival fruit series (PIA Cover Vol.31/2) with the sleek elegance of her Pinnacles Series in 1995 ( PIA Vol. 34/4). Even the work of those newly emerged from colleges and universities exuded confidence and style. These qualities are evident in the huge and daring vases produced by Claire Graham (PIA Vol. 32/3) and the ‘over the top’ mixed media sculptures of Miltiades Kyriakides (PIA Vol. 32/2)

Vol 35 No 3, Kevin White, Porcelain, Photo: Terence Bogue

Australian artists were on a roll. Figurative ceramics were powering on with works by Sandra Taylor, Fiona Fell, Bev Hogg (Cover Vol.35/4), Krysten Taylor (Cover Vol.31/3) Jaishree Srinvasan, Alan Peascod, Jenny Orchard (Cover Vol.37/3) and Sue Jorgensen. Colour was a strong focus for the work of Paula Frost (Cover Vol.34/2), Lyubov Seidl, Narelle Derwent, Stephen Bower (Cover Vol 33/1), Greg Daly and Jill Chapman (Cover Vol.36/3). New coloured stains enabled artists such as Barbara Swarbrick (PIA Vol. 34/3) and Kevin Boyd to work with bright colours at stoneware temperatures. Some other new things we got to play with were paperclay, paper kilns, vermiculite, developments in midfire clay and glazes, soda firing, and sandblasting.

The nineties saw an increasing fascination with porcelain. Its luscious surface radiated light, glazed or unglazed and inspired many artists to a language of restraint and lyrical simplicity. Prue Venables won the Fletcher Challenge in 1995 with porcelain pieces that possessed a quiet economy of line that emphasised the beauty of the material. Ivan Gluch carved thrown bowls into areas of light and soft shadow. It shone through Kevin White’s brushwork (Cover Vol.35/3) and the awe-inspiring filigree work of Sandra Black.

Vol 38, No 3, 1999, Christopher Sanders, lidded jars, Porcelaineous Stoneware, Photo: Terence Bogue

Vol 36, No 3, Jill Chapman, Bowls,
Photo: Ian Hobbs

‘Les Blakebrough developed Southern Ice’, a body with the transparency and whiteness that had previously been available only with imported bodies and used it to make bowls as light as clouds. Other artists entranced by porcelain include Patsy Hely, Janet de Boos, Kirsty Coelho, Robyn Seal, Phil Elston, Neville French... and of course, Gwyn Hanssen Pigott.

In the ‘90s we celebrated ourselves and our work at Ceramics Conferences in Brisbane, Canberra and Perth, and had fun at Fire-up Gulgong and Claysculpt Gulgong.

We also mourned the passing of notable figures in the ceramics world, with profound gratitude for their contribution: Ivan McMeekin OAM, a pioneer in Australian stoneware and research into Australian materials (Vol. 32/3); Ian McKay best known for his fine work with Sturt Pottery (Vol 29/3); Dame Lucie Rie, British potter, an immense influence on English studio pottery (Vol. 34/2); Joan Campbell MBE, foundation member of the Crafts Council of Australia and impassioned community artist (Vol. 36/2).

It was a decade for change, reevaluation and reflection....Damn! I’ve gone off-line. Bloody computers.

I’ll send this later -
Regards, Karen.