Have you sent us your images yet?
We’re currently updating the membership gallery. If you’re a member please sent your images (up to five images each about 500 kB in size) to firstname.lastname@example.org along with a short bio.
“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
My commitment to interesting form enhanced with crystalline glazes. The anticipation of kiln reveal is always exciting.
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 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.