A R Hale
Title: Shelf life
Dimensions: 28cm H, 40cm W, 25cm D
Medium: S/W Pinch pots and ceramic paintings ( cone 6)
Snippets from the studio, clay paintings using coloured slips on paper thin slabs with 3 of the 365 pinch pots I made this past year. Capturing a moment, leaving a mark.
Title: “The thinks you can think, X 3”
Dimensions: 30cm L x 40cm W x 1cm D (wall piece-pinned)
This piece is an abstract visualisation of my day to day thoughts/worries as a father of triplets.
It is my intention to also recapture the naivety, innocence and honesty of child-like drawing in clay.
Dimensions: height: 27cm, width: 28cm, depth: 4cm
Medium: ceramic: BRT, slips, engobes, oxides and underglaze.
‘Cottontails’ is one of a series of fifteen life sized ceramic pairs of women’s panties or underpants. These underpants are modelled on the original underpants that have been worn by the women who donated them to my #anundieaday project. Each day I would make one of the pairs of underpants that was donated to my project. I collected over sixty pairs of underpants. I have made twenty two pairs of ceramic underpants. Each pair of panties/underpants represents the life lived by the woman who wore the underpants. These lives may have been mundane,complicated or sad but each life is full and unique, the panties/underpants narrate the story of each woman, and each pair of ceramic underpants is unique.
The #anundieaday project is part of my Masters in Fine Arts research at the National Art School in Darlinghurst Sydney.
Title: Winter Spial
Dimensions: 55 x 55 x 20
Medium: ceramic: High fired ceramics
These spiral sculptures are a direct response to the ceramic process of “making” and embrace the unpredictable nature of the medium. Their ascetics are derived from the centrifugal force of the wheel and the pyroplastic response to clay and glaze in intense heat.
The concept for my work is underpinned by the caprice of a ceramic form being likened to a living, breathing entity, which is ultimately evidenced by their skeletal remnants.
Title: Three legged vessel
Dimensions: H-150, W-190, D-175
Medium: Red stoneware, mid fired with slips and glaze.
Title: vessel in lustre
Dimensions: 54cms high x 12cm
a slab built piece in white paper clay.
this piece was created by my joy of the birth of my great-grandson.
lustre and gold.
Title: Seams of Uncertainty
Dimensions: 21cmH x 18cmW x 16cmD
Medium: Coloured Porcelain
Nerikomi strata vessels – patterns are always uncertain and the loss rate in the making process is even more uncertain
Title: summer Rain
Medium: wood fired stoneware
Fired in the anagram firebox -80hr firing.
Title: Galilee Depression
Dimensions: 38 cms ht.
Medium: Manganese saturated stoneware with porcelain slip and clear glaze
As a Queenslander I find myself at odds with
our current leaders and decision makers
regarding coal mining in our State. At a time
of rampant climate change, to advocate for
the commencement of the biggest open cut
mine in the world, is completely irresponsible
and foolish in the least. It leaves me deeply
saddened. This piece is my response.
Title: Moon Dance
Dimensions: H 18cm x W 18cm x D 18 cm
Medium: Porcelaneous stoneware
This work is inspired by the full moon over the parklands near where I live, which is always a cause for celebration.
Title: Cubist Coconut
Dimensions: 28cm x 22cm x 22 cm
Medium: Soda Glazed Stoneware
This work represents the fusion of western and eastern influences. Made and fired in Ubud Bali from both Indonesian and Australian materials it reflects western abstraction, Japanese simplicity and natural qualities while drawing its shape from the ubiquitous tropical coconut. The fusion also extends to architectural hard edge and organic surface and form creating a balanced harmony out of opposing and contrasting elements.
Title: Broad-leaf Drumsticks
Dimensions: 27.4h x 19.5w x 18.7d cm
Dimensions: 45cm H x 42 cm W
Medium: woodfired ceramics
jar anagama fired from south coat NSW.
Dimensions: 30cm Wide 27cm Tall 17cm Deep
Medium: Porcelain, unglazed
David Helmers assembles skeletal pods of porcelain. His ethereal work speaks both of fragility and strength in union. A mastery of material allows him creative freedom, showing awareness of restrictions and to revel in possibilities. In making, intuition and improvisation dictates being present and in viewing his work, David wishes to set conceptual language aside and sit with his work. He believes in subordinating the need to intellectualise, in favour of the emotional wellbeing of the viewer, foregrounding being present and empowering the ability to face any upheavals that occur.
Medium: Keanes Raku T
This work was Naked Raku fired.
Title: Front Paddock
Dimensions: 15x15x15cm each box
Medium: BRT clay, slip from found clay, porcelain inlay
Title: Wabi Sabi Memories
Dimensions: 40cm by 15cm high by 10cm wide
Medium: Stoneware, print, laser decal
This work explores the intersection between a hand thrown, stoneware reduced, wabi sabi style Japanese influenced vase form and a series of sketches of memories of Sydney’s iconic National Art School, mixed in with childhood memories, fired onto the ceramic vases using laser decals and then refired with china paints. I seek to combine the East and the West, the contemporary with the ancient, the high-fire with the low-fire, the subdued with the colourful.
Dimensions: 23 x 24 x 22cm
Medium: Lumina porcelain with merino wool interior
Making pottery helps me to access my quiet space within. Having escaped from the intensity and competitiveness of the corporate world, I sink into a quiet, blue-sky dreaminess as I conjure a vessel out of white and blue clay coils. The contrast and tension between the hard translucency of porcelain, and the soft, safety of felted merino wool takes me back to my childhood, and draws me into a state of calm introspection.
Title: Evening Light
Dimensions: 22cm High x 20cm Diameter
Medium: Thrown bowl with silver/bismuth/cobalt lustre glaze
Title: Geomorphic Dream
Dimensions: 295 mm Diam X 300mm h
Medium: earthenware, terra sigillata, volcanic rock and steel post
This is from a series of volcanic forms that I made while on residency in flagstaff Arizona, I was interested in the power that is embedded in the earth over which we have no control.
Thrown earthenware form with volcanic rock.
Dimensions: 60cm x 55cm
Medium: Naked Raku Clay
Thoughts on migration:
“going from one place to another….the other….from familiar…acceptance….rejection…political pawn/porn… degradation…voyage… danger… life journey… BUT Hey, have fun…folded paper (clay) boats…games…paperclay slip…each boat individually made not from a mould…then Naked Raku firing…unpredictable…the unknown…get on board!”
Title: Gestural Composition
Dimensions: H 660cm, W 330cm, D 230cm
Medium: Raku fired clay
The figural vessel form is defined and disrupted by line and the mark making of the Raku technique.
The piece and incorporated black form (which is not to be seen as a pedestal), is a conversation between related forms. The forms together echo a choreography of movement.
Title: A Mother’s Blood (for M)
Medium: Red stoneware, mid fired with slips and glaze.
Title: raku vessel
Dimensions: 25 x 25 cms
Medium: raku ceramics
A raku vessel, contrasting colour with earthy tones of terrasigillata.
Dimensions: 1.8 h x 2 , 1.6 plus 300 x 400 metal base
Medium: metal pole & base, stoneware clay, dry glazes
inspired by my heritage Yael means to ascend.
individual pieces. thrown then altered, carved, fired and then threaded onto metal pole.
Title: Fragment of a Wild Coast 3
Dimensions: 23cmW x 19cmD x 16cmH
Medium: High-fired white earthenware with porcelain slips, stains, glaze
Fragment of a Wild Coast 3 is part of an ongoing series of clay sculptures which reflect my memories and emotions which remain with me long after exhilarating connections with wild places.
Medium: Porcelain, gold, sand etched, raised enamel.
In this fast paced world in which we live, our environment is not always considered. “Harmony’s” narrative explores the way in which nature and the environment co-exist. My work can be interpreted as iconic as I work at a higher level of skill using symbolism from my own area, the Glasshouse Mountains in Qld
Title: Grasses. End of Cycle
Dimensions: 39 h x 20 w x 30 d cm.
Medium: Ceramic. 1300c
Dimensions: 20cm by 15cm
This ceramic sculpture explores the idea of fate and the life journey we take. Are we in charge of our destiny? I use multiple glazes and refire my work numerous times to get the surface effects.
Title: A couple
Dimensions: 8.5 x 8.5 cm diameter, 30 – 33 cm height
Medium: Stoneware, glaze, and Kintsugi powder
The pair of vessels are extension of my practice of ‘Scar’ series. Directly stemming from my Japanese heritage and familiarity with the mending and restoring technique known as Kintsugi, my current work explores the altering and reforming of fine porcelain forms through the cutting and rejoining of sections.
I make a symmetrical shape on the wheel, and then alter the form by cutting and re-joining the parts. When putting the parts together with liquid clay, excess clay pushes out of the joint and makes a line like a human scar. I am drawn to the idea of an organic detail juxtaposed with the consistent lines of the wheeled form. It is like finding imperfection in our everyday.
Title: Tiger’s Lament
Dimensions: 15 cm H x 18 cm W x 5 cm D
Slab formed porcelain. Impressed and incised Oxides and stains. Fired to cone 10 in Oxidation.
The canopy is dying here on my hill, the understorey is as well. Ravens watch me planting flowering shrubs, laughing at me as they bicker over the scattered bones of roadkill. In the shadows, a ghost dog keens, and the wind carries away the tiger’s lament.
Title: From the deep
Dimensions: 20 x 16 x 20
Medium: Multifired slip cast mid fire, mutliple glazes
I love to investigate the relationship between elements of error, chance, anthropomorphism and humour. Traditionally, errors are discarded or covered up but I like to challenge this aesthetic by highlighting and exaggerating errors, especially through humour. Mould making is central to my ceramic practice. I enjoy the technical challenge of casting objects or textures not usually associated with ceramics, such as paper and cardboard. This process has the ability to transform the object’s original purpose. I like to then arrange the forms to form a narrative that I don’t expect or plan.
Title: vase form
Dimensions: 32w x 34h
Medium: woodfired stoneware
Title: Zoophyte II
Dimensions: 315mm x 240mm x 270mm
Medium: Ceramic, wax, epoxy
Zoophyta, a series of vase sculptures, engage with the idea about making both nature and functional vases strange so that they can be freshly perceived. Zoophytes, an 18th c term, was used to describe plant/animals whose hybridity meant they alluded easy classification.
Aesthetically, the visual inspirations for the work are natural forms including coral and sea creatures. My work does not set out to represent particular organic forms but seeks to capitalize on the strange, complex, richly-patterned and brightly-coloured beauty of the natural world.
Title: Storm Jar
Medium: Wood fired hybrid clay.
Dimensions: H26cm W20cm D6cm
This porcelain slab formed vase celebrates traditional oriental forms, combining them with contemporary man made materials and locally found native flora. The repetitive pattern of the soft textured manufactured material provides a backdrop for the natural Banksia and Grevillea foliage which are all impressed into the clay surface to provide the surface decoration.
I am inspired by my surroundings and hope by
using natural foliage in the work it gives a sense of place in a built-up world.
Title: NIGHTSHADE series
Dimensions: 30cmh – 21cmw
Medium: Lumina Porcelain / Scarva Clay
inspired by the natural landscape, and particularly the extraordinary and ever-changing world of the wetlands. Im constantly creating, experimenting and pushing boundries.
“Nightshade” is telling a story of images of the night wetlands.
organic in shape
quite in nature
Title: Time and Tide
Dimensions: Approx 180 cm w x 240 cm h x 100 cm d
Medium: Sea worn brick sourced from a sheltered harbour and an exposed coastline
Time and tide are the forces inflicted on these brick forms as they transition from architectural bricks back to the landscape from which they were once formed. Those on the left were ground flat by the lapping waves of a sheltered harbour. Those on the right were shaped by tumbling waves from The Cook Straight. Triangular chips fall to floor. Change is constant, however slow.
Title: Buckets and Boundaries
Medium: Stoneware Clay
This work continues my exploration of influences from my rural childhood in the Upper Murray,. Inspired by old water tanks and buckets, often with rusted metal and distorted shapes, and lying discarded in a farm gully or machinery yard, these are a reminder of the impermanence of material. This is a mnemonic device suggesting weathering and corrosion. Clay can mimic a metal surface, poetically exploring textures and the marks of time.
Mieke van Sambeeck
Title: Sprit within.
Dimensions: W 20cm H 10cm
Medium: White stoneware, feather Raku, no reduction.
Title: Ulysses’ Journey
Dimensions: 15.5 cm D x 11.5 cm H
Medium: translucent porcelain, metallic salts and decals
Title: flower brick
Dimensions: L: 370mm x 240mm x 14mm
Porcelain, Celadon glaze, wood fired salt.
Title: “Boro/monstera deliciosa” design – Platter
Dimensions: Width 32 cms. x 8 cms. high
My inspiration for the “Boro” design originated centuries ago in Northern Japan, where jackets were patched up with different textiles and are now very collectable. Having taught and worked with clay for over 30 years, I have always been drawn to textured surfaces.
Title: Brain Jar
Dimensions: 40 cm high
Dimensions: 32cm x 22cm x 22cm
Pattie’s ceramic works push the boundaries of the ceramics medium as she explores the challenges that she sees we are facing in everyday society. With over 20 years of experience in seeking social policy reform in Australia, Pattie explores fragility in our communities from different perspectives. This complex organic egg like structure references how our communities are organised and our links with earlier generations and our environment. Pattie looks beyond the structural form itself and invites the viewer to do the same – to look inside, through and toward the reflections created by the ‘mans’ architecture.
Pattie is a 2017GCVA graduate from the Victorian College of the Arts. Pattie is currently undertaking a Diploma in Ceramics at Federation University.
Title: Sirens From The Pelagic Zone
Dimensions: 18cm x 18cm x 18cm
Medium: Wood-fired ceramic, 80 hours fire duration
Sirens from the Pelagic Zone rise with the Morning Star to spook long-line poachers.
A comment on illegal fishing in the Coral Sea.
Title: Ancient landscape
Dimensions: 310mm high x 330 wide
Medium: ceramic, slips and engobes
Title: Anthony Martin Fernando
Dimensions: 70 x 30 x 30 cm
Medium: Stoneware paper clay, Under glazes and oxides.
In 2007 I created a painting of Anthony Martin Fernando (1864-1949), the first Australian aboriginal activist, after hearing about him on an
ABC ‘Awaye’ programme and was deeply moved and motivated by this inspirational man, his history, struggle and determination. In 1928, demonstrating outside London’s Australia House, he utilised the powerful imagery of toy skeletons hanging from his overcoat with an attached placard proclaiming that ‘This is all Australia has left of my people’.
The painting is Australian heritage listed and housed at the National
Museum of Australia in Canberra. Combining painting and ceramics
(2d with the 3d) has enabled me to express form, function, aesthetics
and narrative. The concepts of my current body of work stem from the
painting of Anthony Martin Fernando, Australian aboriginal activism, racism and equality. The work explores the Australian invasion /
colonisation, indigenous culture and man’s inhumanity to man.
Ri Van Veen
Title: Growth and Decay
Medium: Raku Clay, glaze and firing
Title: Pork bun
Dimensions: w25 x d25 x h40 (cm)
Medium: E/W clay and underglazes
One of a series taking a whimsical look at what we eat!
Title: Bali Rice Fields
Dimensions: H 28cm W 14cm
Medium: Bali Stoneware Clay anagama woodfired
Title: Unearthed Series
Dimensions: 17 x 23 x 8cm
Medium: Soneware clay and stones, woodfired & saltglazed
Title: Tableaux 4
Medium: Porcelain and mix found objects (aluminium & prespex)
I consciously arranging them so that they form pairs or small groups with an aura that deeply moves the viewer. It is almost impossible to stop looking and one looks and looks again sensing the calm and the aesthetic of these porcelain pieces.
I use porcelain to express greater lightness and openness in my vessels. Discovering the smooth surface becomes a sensual experience. Stillness,
Title: Contained Impressions
Dimensions: 54cm Ht X and 20cm wide 39cm Ht X 29cm wth
Medium: Mid fired clay and dry glaze
Title: x marks the spot- seeking treasure
Dimensions: 25cm x 25cm x 8cm
Medium: commercial clay, porc. slip, feldspathic glazes
Childhood daydreams of pirates, treasure maps and tropical isles have evolved into searching for treasure in my woodkiln.
Title: Lined blend
Dimensions: H 20cm W 60cm D 45cm
Medium: Porcelain, wheel thrown
Title: born in a firebox
Dimensions: 37H X 19W X 9D
Medium: stoneware ceramic
This piece was formed of clay from Shigaraki then fired up close to the fire for 3 days in my small anagama. Ironically, the image that comes to mind is not so much fire but rain on a landscape. The other side of the piece is another story…
I appreciate the cool and/or pale colours that come from the fire and balance the palette.
Title: Ginko Leaf bowl
Dimensions: 39cm x 21cm
This bowl is a combination of hand building, carving, impressing, underglaze painting and wash back techniques. It was inspired by the natural colours of the Ginko leaf as it dies (dark green to light green to yellow to red, before it finally turns brown). The bowl is electric fired to 1240 degrees and made from a finely gritted, buff coloured midfire clay
Dimensions: 360mm X 310mm
Medium: Amuksa porcelain
Title: Habitual greed
Dimensions: 10 x 6 x 8 inch
Medium: Cermaic Earthenware; electric fired, glaze, epoxy resin and thread.
I find resolution in exploring art as a vehicle for questioning the unsettling nature of humanity. My body of work investigates the notions of self and representation, who are we as individuals? How are we as a collective group of people? My work is intended to engage the viewers to use their own perceptions and imagination, to construct some form of conceptual or suggestive meaning. I am interested in the interplay of exchanging ideas, which draws attention or consideration outside the aesthetics of the object. Collectively my works are motivated by the aptitude to facilitate change; change in perceptions, change in attitudes and change in behavior, on an individual basis and as a collective
Title: Ritual vessel
Dimensions: 69 x 32 x 24cm
Medium: grogged stoneware, various glazes.
Title: REVERSE EVOLUTION/PRINCESS
Dimensions: 10/10/10 cm
Medium: diturvit – clay (technical porcelain), wood kiln fired, 1280 C, polycarbonate box, metal
REVERSE EVOLUTION – PRINCESS – out of 12 items of my last installation.
I will overcome certain deeper life doctrine with using a lot of embryos images in their a rather short evolving process which I closed inside 12 transparent boxes. They’re living inside only, forever.