This is a summary page of all our members that wish to share their works. Click on members with underlined names to go to their personal info page. Click on images to see the full image.
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“Sandra Black is well-known as a ceramic artist who has been influential over many years for her imaginative work in porcelain and bone china, and especially her innovative techniques in piercing clay.
Sandra Black has now been working for around 44 years, with at least 32 solo exhibitions in Australia, New Zealand and USA and she has participated in over 250 invitation exhibitions in many countries. She has taught consistently in a range of places and contexts, has won awards such as the Fletcher Challenge Award in New Zealand had her work published in numerous prestigious international journals and books. Her work is held in many public and private collections throughout Australia and overseas. She is held in very high regard by her peers and the museum profession and has been generous in sharing her ideas.”
Dr Grace Cochrane, Independent curator and writer, Former senior curator, Powerhouse Museum, Sydney
Felicity is an emerging ceramic artist working out of her home studio in Fremantle.
With a background in landscape design and inspired by contemporary and minimalist forms, Felicity uses monochromatic colour pallets and carefully carved detail to create modern yet simplistic ceramic work.
Felicity prefers to work with porcelain to create fine slip cast ceramics produced through casting moulds of wheel thrown shapes. Her recent triptych work ‘Diaphanous’ featuring hand drawn abstract line-work decals on porcelain, received a highly commended award at the Ceramic Arts Association of Western Australia Selective Exhibition 2019.
Felicity is a member of the South of the River Potters club, active member of the Fremantle Arts Centre and current committee member of CAAWA.
Building on the paper clay techniques developed by the late Mike Kusnik, Graham has developed radically new techniques which he shared through 340 demonstrations, workshops, master classes and talks. He also co-led the first paper clay symposia / conferences in Hungary, Norway, and the US. Drawn within, and attempting to illuminate, the rhizomorphic artist networks surrounding him, Graham has participated in 160 exhibitions across seventeen countries. This includes international paper clay surveys in Scotland, Hungary and US; national ceramic surveys; Sculpture by the Sea (x3); and six Biennale. He connected the 2017 Venice Biennale audience to WA by dismantling a half tonne sculpture and giving away thousands of handmade porcelain paper clay flutes, each bearing the unique web address of other WA artists. His work and techniques feature in many textbooks and journals, and public collections in WA, Lithuania, Hungary, USA, Turkey and India have acquired his work. Graham has written many technical journal articles and posted hundreds of webpages of free paper clay information and educational videos at www.grahamhay.com.au. He is one of six artists within the Robertson Park Artists Studio in Northbridge, a creative and welcoming community of a hundred students.
I began pottery working as assistant to a friend at her small pottery in a village near Bath, UK, before going to University. I have had no formal training, but owe a great deal to senior members of the Perth Potters' Club (now Perth Studio Potters), which I joined in 1964, and to the books and equipment at the club. Over the years Perth has been visited by large numbers of distinguished potters, beginning with the legendary Michael Cardew, and we have learnt from all of them.
I started making earthenware fired in the club's electric kiln, and moved on to a small stoneware kiln of my own when high temperature kilns became available. Then in 1973, when natural gas had arrived in Perth, I built a small kiln in my back garden. I have since built a larger one, and in 2004 yet another in the country, for wood firing, and finally salt.
Luda is a ceramic artist of Ukrainian descent, who originally ran a pottery business in Walpole, on the south coast of Western Australia. Her great grandfather was a village potter in North Eastern Ukraine. After her pottery years producing over 10,000 pieces of kitchenware, she taught Pottery for SubiacoTafe at Perth Modern School for 11 years, after which she took on more creative aspects of working with clay; she used her pottery wheel skills in making human forms, and combines colour and texture to transform clay into sculptural pieces.
Her exploration of the fineness of porcelain clay in Orchidacea, her Ukrainian decorative designs in Pysanka and her own personal journey in her Bloodlands exhibitions, have given her focus. She has won several art awards, was shortlisted for the Black Swan Art Award for Heritage in 2012 and has work in collections at Melville City council, Gosnells, Victoria Park, Wanneroo and private collections.
Her latest body of work is called Women on a wire and was shown in Perth at the Gallows Gallery in Mosman Park in January 2018. It had a second showing at Petrichor Gallery in Walpole on the south coast of Western Australia. She currently works from her Studio in Victoria Park but often retreats to her property in Walpole for inspiration and solitude.
My commitment to interesting form enhanced with crystalline glazes. The anticipation of kiln reveal is always exciting.
Beverley is a Perth based ceramic sculptural artist and her journey with clay began with pottery classes at Beaumaris Art Group in Melbourne. After working on the wheel for two years she started to hand build her work and loved the freedom of working in this way.
For several years she taught the children’s class at Perth Studio Potters Inc in Cottesloe, the classes were based on teaching them to be creative with clay.
Beverley’s range of work includes figurines, statues, plaques, temples and vessels. She is currently working on a series which have an ocean and environmental theme.
Annemieke studied and worked in science while taking evening classes in art. About ten years of sculpture with Cor Dam in Delft, the Netherlands, various painting classes since her move to Australia in 1999, and more recently various pottery and ceramic classes.
For her functional ware she develops glazes that remain vibrant after the high firing temperature. Her aim is to create a surface where the layered glazes interact with the carved surface and start to resemble an abstract painting. Using a palette that is inspired by the amazing coast and outback Australian landscape.
With her sculptural works she aims to understand the tension between the orderly and the regular on one hand, and the chaotic and the extreme on the other. She seeks to create something meaningful by combining both.
My introduction to pottery was late in life. I thoroughly enjoy throwing on the wheel however after an inspiring workshop with raku artist Britta Stolle-Jacob I learned to appreciate the unlimited potential of hand building and became captivated by raku firing, a significant turning point for me.
I have since developed a strong passion for the raw and rustic nature of ALTERNATIVE firings. I am induced by fine powerful simplicity of form being the ultimate canvas to showcase the dramatic permeations derived by alternative firings. I love the close interaction with nature and the elements; the fact the artist has so much physical input and influence throughout most of the process.I like that there are no set rules as such, with plenty of scope for experimentation and room to put your own stamp on varying outcomes. With alternative firing, you quickly learn you are not in control, but part of the process.Learning not to be too precious about your pieces allows you the freedom to experiment, learn and grow.
I am a ceramic artist based in coastal Perth, Western Australia. Originally I trained as a teacher and did further study in behavioural science. After a lifelong interest in clay I established my studio in 2015.
I work with paperclay which allows me to build complex and delicate forms. My current artwork aims to explore the ongoing synergy between the environment and inner self and the impact of life’s disturbances on our personal identity. Inspired by coastal and oceanic forms, my sculptures are built by layering individual pieces of clay over a central core to symbolize our constructs. I later add other materials to represent the unavoidable discord that exists in our lives.
I am interested in the dialogue between the maker and the viewer - what is made and what is perceived. My knitted teapots are dipped in porcelain slip and when fired the wool burns away yet leaves the impression of the original material. Knitting should be soft and malleable but my teapots are hard and rigid.
My connection with the wool has grown since my introduction to spinning in recent years and now is an integral part of my creative output.