the sherwood neighbourhood centre introduces: western...
TRANSCRIPT
The Sherwood Neighbourhood Centre Introduces:
Western Suburbs Clayworkers Newsletter March 2016
A word from our presidentHi all,Here we are in autumn! Hopefully the cooler weather means more of you will be back in the studio.
The studio extensionAt our March meeting we had a presentation from the Director of the SNC, Karen, on the update to the studio. The plan is to move the kilns and wheel-room to an extension of the existing studio.
The major concern was moving the kilns into our working space because, as we know, the two don't work well together. We hope to present our thoughts to the relevant authorities before any work commences. The start of September is the set date so we may be out of the studio for a period of time.
Member ProfilesFor 2016 it has been suggested that we bring back the Member Profile for the newsletter. I have bravely/foolishly put up my hand for this issue just to get things going.
Our 2016 Exhibition - TransformationsNow that we have a name for our exhibition it is time to get working on your best pieces. Don't forget to get your entry ready for the wall-hanging competition.
In the StudioMould makingOn Wednesday 16 March Julie Stuart will be presenting a workshop/demonstration on mould making. Attendees are encouraged to bring along any questions you may have regarding mould making, plaster problems etc.
I encourage all members, especially new members to get behind these in-house workshops. There is always something to learn, especially from someone as experienced as Julie. Even if you are not mould making now who knows what the future may bring.
Following the last meeting it was decided there will be a token $10 for members to attend these workshops. And you must be a member to be involved.
Stoneware firingWe have a date now for a stoneware firing before the Pop-Up-Shop in May - 13 April. Your work will need to be a suitable stoneware clay and have a suitable glaze with 5mm minimum clearance to allow the glaze to run. If you are not sure check with someone experienced - firing masters etc.
RakuWith the cooler weather in a month or so we may be able to have a Raku event - get your pots ready.
See you in the studio soon
David
contactsPresident David Bartholomew Secretary Rachael Torepe
Western Suburbs Clayworkers 38 Thallon Street Sherwood 4075 Newsletter Angie Archibald [email protected]
Newsletter Production [email protected] Email [email protected]
Go to: wsclayworkers.org.au
Send us photos of your work to upload to our web page for our members to seeAlso find popular recipes by request
Find these and more on the web page now!
The 2016 web page update
Cla
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Wednesday at 10am; Tuesday at 10am by arrangement
Wall Hanging Challenge for 2016Our 2016 exhibition at Mt Coot-tha will feature this challenge.
What's ahead for 2016?Any ideas for workshops, gallery trips etc for 2016? Ocarina workshop, Raku.
Stoneware 13 April Just in time for the BVAC Pop-Up-Shop
Foundry visitYes, it is getting closer?
WantedDon’t forget to re-cycle your clay!!!
potterysuppliesonline.com.au
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Anthony's Show and Tell - Ocarinas
Ocarinas are becoming very popular - this is our second examples and Shorncliffe Potters are now having a workshop as well
Member ProfileDavid BartholomewWhen did you become involved in ceramics?At Adult Education evening classes at the Clontarf Beach Primary School in 1971 with Chloe Gould (from memory). We only did handbuilding with BRT and reduction firing. Wood-fired Raku in the rain was a highlight!
Pottery GroupsI was one of the founding members (and now life member) of the Redcliffe Pottery Group (originally the Peninsula Potters) and have been a member of Western Suburbs for 8 years. In December 2015 I was honoured with life membership of WSC!
ExperienceApart from the early Adult Education classes, I haven't done not a lot of other classes other than the occasional hand building workshop in the early years at the Peninsula Potters and various people have tried to instruct with wheel work - thanks Beth (many years ago). More recently Anthony helped me to throw larger bowls.
Where do you workMost of my work is produced in my home "studio". I have the wheel and a bench down one side of the garage and I'm gradually taking over with shelves and the kiln around the other 2 sides!
My workspace for wheelwork. The clay I used here is a mix of White Earthenware, Terracotta and a little Red Raku for body!
Some of my latest work on my little kiln that resides in the opposite corner of the garage
All members are invited to exhibit at Western Suburbs Clayworkers 2016 Transformations exhibition
• The exhibition will once again be held in the Richard Randall Gallery at Mt Coot-tha Botanic Gardens.
• Exhibition Dates: July 1 Bump in July 2 9am – 5pm (morning tea opening 10.30am) July3 9am – 4pm (demount between 4 and 5pm)
• Help will possibly be needed to pick up and return plinths.
• Celebrated potter Dianne Peach, a stalwart of Brisbane’s ceramic arts scene will open the show.
• Costs: To cover costs we need approximately 46 entries.
• Don’t forget our Wall Piece Challenge – you need to consider how it can be hung using the gallery hanging system.
• Cost per entry $10 (Last year, because it was our 10th birthday we gave members free entry but this is not sustainable and we must cover our costs). Maximum of 5 entries per member.
• Sets cause some issues especially when smallish components are involved. Generally price as a set at a discount price. For example – the set is of 5 pieces. Individual prices @ $25 per item for four small items and one larger item at $35 = $135. Price if sold as a set = $120. This is essentially 10% off to buy the whole lot. One sale versus finding five people that like the components to buy one each. You will need to have replacement parts to fill the gaps if people only want one component. Special consideration for jewellery.
• Commission @ 20% of sale price. This is fundraising for the group.
• Plinth hire. Plinths are being sourced from Ceramic Arts Queensland. If you are able to supply your own plinths (WHITE) please let Judy Hamilton know in advance. We don’t want to fetch and carry more plinths than we have to. Not sure of the cost involved here yet.
• Pricing your work: You did a great job last year. You need to recoup your entry fees and commission charges so this needs to be factored into your price per piece. It’s good to not sell any piece for less than all your entry fees. Consider materials costs, firing costs and the cost of your time as well. Don’t undervalue yourself.
• This is a group exhibition and after last year’s effort, we have a reputation to uphold.
• You all make interesting stuff so show it with pride.
• Those who make jewellery, a stand on one plinth would constitute one entry. Jewellery can be taken as it is sold. You need to work out how you display it. There are professional jewellery stands available but a simple wooden box, with hooks screwed into it is effective. I have supplied a picture of a simple bowl stand as well.
• Simple plate or bowl stand – space the pins further apart for displaying bowls
• Entry forms will be available soon. To be returned by May 31.
• Entry forms are like a wish list. These are the things I hope to show therefore I will enter them. You can enter what is only an idea at the moment. If it works – OK. If it doesn’t then replace it with something else. I will be asking for a final list one week before the exhibition.
• You may change an entry but there will be no refunds of entry fees.
What’s On in & Around Brissy:FireWorks Gallery52a Doggett Street, Newstead 4006. (07) 3216-1250. [email protected] www.fireworksgallery.com.au Tues-Fri 10.00 to 6.00, Sat 10.00 to 4.00. Feb 27 to March 24 Miles Allen and Conway Ginger.
Griffith University Art Gallery (GUAG)Queensland College of Art, Griffith University, 226 Grey Street, South Bank 4101. (07) 3735-3140. [email protected] www.griffith.edu.au/art-gallery Free entry. Tues-Sat 11.00 to 4.00. To March 22 Brutal Truths – Vernon Ah Kee, Gordon Bennett, Destiny Deacon and Virginia Fraser.
Jan Murphy Gallery486 Brunswick Street, Fortitude Valley 4006. (07) 3254-1855. [email protected] www.janmurphygallery.com.au Director: Jan Murphy. Tues-Sat 10.00 to 5.00 or by appt. To March 19 A sensual instinct by Danie Mellor. March 22 to April 16 Kirra Jamison.
Mitchell Fine Art86 Arthur Street, Fortitude Valley 4006. (07) 3254-2297. [email protected] www.mitchellfineartgallery.com Mon-Fri 10.00 to 5.30, Sat 10.00 to 5.00. March 2 to April 2 Beautiful Beasts by Geoff Todd.
Museum of BrisbaneLevel 3, Brisbane City Hall (Adelaide and Ann streets) King George Square, Brisbane 4000. (07) 3339-0800. [email protected] museumofbrisbane.com.au Free entry. Daily 10.00 to 5.00. To May 22 Kenji Uranishi: Momentary.
Queensland Art Gallery (QAG) | Gallery of Modern Art (GOMA)Stanley Place, Cultural Precinct, South Bank Brisbane 4101. (07) 3840-7303. Fax 3844-8865. www.qagoma.qld.gov.au Free entry, unless otherwise stated. Daily 10.00 to 5.00. QAGOMA: To April 10 The 8th Asia Pacific Triennial of Contemporary Art. Also, APT8 Kids, and APT8 Cinema. QAG: To July 3 Journeys North. Read more… Ongoing Everywhen, Everywhere.
QUT Art Museum2 George Street, QUT Gardens Point Campus (next to the City Botanic Gardens), Brisbane 4000. (07) 3138-5370. [email protected] www.artmuseum.qut.edu.au Free entry. Tues-Fri 10.00 to 5.00, Sat-Sun 12.00 to 4.00. Visit website for programs and events. March 5 to May 1 Painter in Paradise: William Dobell in New Guinea explores the artist’s engagement with the landscapes and people he encountered on his journeys around New Guinea from 1949-1950. Conceived as part of Charles Robb’s ongoing self-portraiture project, ‘Catacoustics III’ documents the sculptural correspondences and slippages that occur in the studio as a by-product of the making process.
Redland Art GalleryCapalabaCapalaba Place, Noeleen Street, Capalaba 4157. (07) 3829-8899. [email protected] artgallery.redland.qld.gov.au Free admission. Mon-Wed, Fri 8.30 to 5.00, Thurs 8.30 to 7.30, Sat 9.00 to 4.00. March 8 to May 7 Self-Space Universe: Hadieh Afshani.
Redland Art GalleryClevelandCnr Middle and Bloomfield streets, Cleveland 4163. (07) 3829-8899. [email protected] artgallery.redland.qld.gov.au Free admission. Mon-Fri 9.00 to 4.00, Sun 9.00 to 2.00. March 6 to April 17 Tattersall’s Club Landscape Art Prize, and Unregulated Spaces: Dennis McCart.
Gold Coast City GalleryThe Arts Centre Gold Coast, 135 Bundall Road, Surfers Paradise 4217. (07) 5588-4000. [email protected] www.theartscentregc.com.au/gallery Mon-Fri 10.00 to 5.00, Sat-Sun and public hols 11.00 to 5.00. To March 16 Made in QLD: Ode to the souvenir. To March 20 Indo Pop: Indonesian Art from APT7. Also, The Last Fleet by Gayle Reichelt.
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Lorraine Pilgrim GalleryStudio 87, 87 Ridgeway Avenue, Southport 4215. (07) 5532-7170, 0418-767-495. [email protected] www.lorrainepilgrim.com Mon-Fri 10.00 to 5.00, weekends by appt. To March 31 Projected Interiors solo exhibition by Kathy Mackey – artist and 2015 Smithsonian Fellow.
Toowoomba Regional Art Gallery531 Ruthven Street, Toowoomba 4350. (07) 4688-6652. Fax 4688-6895. [email protected] www.tr.qld.gov.au/trag Free admission. Tues-Sat 10.00 to 4.00, Sun 1.00 to 4.00, closed Mondays and public hols. To April 3 My Country, I Still Call Australia Home: Contemporary Art from Black Queensland. A touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art.
Caloundra Regional Gallery22 Omrah Avenue, Caloundra 4551. (07) 5420-8299. Fax 5420-8292. [email protected] www.gallery.sunshinecoast.qld.gov.au Free entry. Wed-Sun 10.00 to 4.00. March 2 to April 10 Outskirts – Diane Hunter Robertson, Margaret Ellen Turner and Robyn Shaw.
Noosa Regional GalleryLevel 1, 9 Pelican Street (PO Box 141), Riverside, Tewantin 4565. (07) 5329-6145. [email protected] www.noosaregionalgallery.com Director: Nina Shadforth. Wed-Sun 10.00 to 4.00. March 10 to May 1 Noosa Festival of Surfing Jubilee: 25 Years of Pure Stoke. Surfing is synonymous with Noosa and in 2016, the Noosa Festival of Surfing celebrates its 25th Jubilee year! Co-curated with the Noosa Regional Gallery, the exhibition celebrates local achievements and highlights the history of this ever-popular world renowned surfing event.
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Call for EntriesThe Australian National Brooch Show 2016(03) 9428-0568, 0407-059-194. [email protected] Call for 2D & 3D small wearable artworks. Open to established and emerging contemporary artists across Australia. Entries close Fri May 13. Visit website for entry form.
Art in Ruins – A Seminar in Lazio, Italy for Artists and WritersPO Box 321, Port Fairy VIC 3284. (03) 5568-2423. [email protected] June to July 2016
– Wishart Gallery’s new Centre for the Arts programme is running a seminar ‘Ekphrasis and Inscription’ in Lazio, Italy. Application is by portfolio, CV, or letter with a brief outline of a project, and a statement of why you think this seminar might benefit you.
William Fletcher Residency in RomeVisual Arts Travelling Fellowship for Emerging Artists – Residency April to June 2017.
Applications close Fri June 3.
AwardsArt Town 2016Live art event, exhibition & awards, with a first prize of $5,000! Applications are now open. Entries close Mon March 14. $8,000 worth of prizes up for grabs! If you are a sculptor, painter, sketcher, collagist, photographer – any kind of visual artist at all – we want you to get involved with the biggest open-air art studio in the world, over two amazing live art-making weekends. Register your interest here and we’ll be in touch http://www.arttown.com.au/get-involved/artist-expression-of-interest-2016
Brisbane Art Prize 2016Entries open $10,000 acquisitive prize.
International, open category.
Exhibition at Graydon Gallery Sept 5 to 11.
Deakin University Contemporary Small Sculpture Prize 2016(03) 9244-5344. [email protected] Call for entries for sculptures in any medium, under 70cm in any dimension. Entries close Fri April 15. Register your interest via email or phone.
The Gallery at Bayside Arts & Cultural Centre – Access Gallery(03) 9592-0291. [email protected] Are you looking for places to exhibit in 2017? The Gallery @ BACC is currently inviting artists, curators or art groups to apply for an exhibition in our Access Gallery.
No project is too ambitious and all media from sculpture and painting to sound and installation art will be considered. Exhibition guidelines and application forms are available on our website.
2016 Indigenous Ceramic Art Award(03) 5832-9861. [email protected] The 2016 ICAA $20,000 acquisitive prize is now open to Indigenous groups and individual artists to propose an exhibition concept to realise at SAM in Aug. Entries close Tues March 15. Visit website for details.
The Nillumbik Prize 2016(03) 9439-7712. [email protected] Entries close Thurs March 17. Exhibition June 2 to July 28. Visit website for details and entry form.
Rockdale Outdoor Gallery Art Prize (ROGAP 2016) – Sculptures by the BayApplications now open to local, national and international artists to exhibit temporary public sculptures on the shores of Cook Park, Kyeemagh from April 10 to 24. Entry is free. Entries close Fri March 18. Contact: Caroline Cortes at [email protected] or visit website for entry form and details.
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Sawmillers Sculpture ExhibitionElsa Atkin (02) 9955-5540. $20,000 prize non-acquisitive. Submissions for medium-sized exterior sculptures and installations. Entries close Mon May 30. Exhibition Sept. Visit website for details.
SCOPE Galleries Art Award 2016Call for entries. Art Concerning Environment. Accepting all media except screen-based projection. $5,000 non-acquisitive prize. Entries close Mon April 11. Visit website for details and entry form.
Stanthorpe Art Festival [email protected] Call for Entries Entries close Mon March 21. Visit website for details and entry form, or contact Dee Booth 0438-260-843.
Sunshine Coast Art Prize [email protected] Call for entries, $25,000 cash prize. Entries close Fri April 15. Visit website for details and to apply.
Swell Sculpture FestivalCall for submissions for Queensland’s premier outdoor sculpture exhibition. Entries close Mon March 7. Exhibition Sept 9 to 18 along Currumbin Beach, QLD. Visit website for details.
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Some suggestions for the studio extension
The major problem is housing the kilns considering the fumes and heat generated. Should they be in the same space but shielded eg. block wall or in a separate space?
Another consideration is the placement of the water/troughs in relation to the silt trap in the yard behind.
Kenji Uranishi ‘Momentary’ ExhibitionEvent: 19/02/2016 - 22/05/2016
Sublime ceramicsI visited a new exhibition at Museum of Brisbane which has just opened to the public. It is in the last exhibition hall, the Clem Jones Gallery on the third floor of Brisbane City Hall. This exhibition is free to all and is on until 22 May 2016.
The artist is Kenji Uranishi who was born in Japan but who has made Brisbane his home. He is exhibiting his ceramic works under the title “Momentary.”
He says of his work, “I wasn't aiming for a prescribed outcome that singled perfection but rather let the process unfold in the hope I could leave some space for interpretation for the viewer to bring themselves into the moment."
He takes into consideration the environment and how in essence everything is changing. Time changes our perspective on people, places and memories. He is trying to capture living in the memory of a moment.
There is a small video where the artist talks about his work and how he has been inspired to create the rather delicate, uniform and light filled ceramics which took him 7 months to create.
On Sunday 28 February 2016 he gave a talk on how he went about creating these wonderful pieces.
There is a humility and a sensitivity in this artist that draws me to his work and I am eager to hear him say more about the methods he used to create his works, hand building and slip casting. The light in the gallery changes to reflect the changing perspectives on his ceramics as it would in the course of day. He takes into account the process by which he creates these works, which he says he thoroughly enjoys, but at some point he has to relinquish the control
he has over the process, when he places his work in a kiln. The outcome is new and exciting. He relates it to the feeling of meeting a child for the first time, having a new relationship.
If you could hold onto a moment in time what would it look like ?
Meet the artist on :
16 April 2016 2pm-3pm Tour in Japanese
17 April 2016 1pm-5 pm Ceramic Masterclass
22 May 2016 11am-12noon
All the events are free except the Masterclass. For more information and to make a bookings visit the website.
Kenji Uranishi at work (Photograph courtesy of Museum of Brisbane webpage)
Glenn BarkleyBy Kon Gouriotis | March 1, 2016Back in 2014 when Glenn Barkley announced his well-managed departure as Curator at the Museum of Contemporary Art: Australia (MCA), it came as a disappointing surprise to many, as he was the artist’s much-loved champion in that institution. It now seems a long time ago, as he prepares for his first major group exhibition, this time as an artist, and for the 2016 Adelaide Biennale of Australian Art. His motivating passion effortlessly flows between visual arts, horticulture and literary histories. Topped with Barkley’s independent curatorial role and his growing passion to work in ceramics, it is a propitious time to chat with him and enjoy some surprising discoveries.
Let’s go to Adelaide first.
In our mind?
Yes! In our minds we shall visualise. Lisa Slade is curating you with other Australian artists in the 2016 Adelaide Biennale of Australian Art: Magic Object, involving all the visual art forms. You’re driving a resurgence in Australian ceramics with other ceramicists. What does it mean to you to be curated for the first time outside the form of ceramics?
Firstly, I can’t believe I’m in the show. And the second part of that is I can’t believe I’m in a show with Gareth Sansom, who I think is one of the greatest artists Australia has ever produced. I think Lisa Slade has taken a risk with me, because I am, as she describes me, an “insider-outsider”, which is how I feel. Up until five years ago ceramics would rarely have been seen in a contemporary art context. It so happens that there’s a group of people in this exhibition who are working in ceramics. There’s myself, Juz Kitson, Ramesh Mario Nithiyendran, Pepai Carroll and Bluey Roberts.
Is it a moment for ceramics?
Ceramics is having a moment, that’s undeniable. But the hope is, when that moment finishes, there’ll be a group of people still standing, and then it’ll also make curators look at what else is happening and who is doing and has been doing great things. So I think in this rush, it’s picking up the new and what’s happening now with younger artists. It’s also about looking back to the people who’ve come before, like Lynda Draper, Jenny Orchard, Peter Cooley, Toni Warburton and Kirsten Coelho, to name just a few. I would say, “You know what? There’s a whole body of work being made, and has been made that deserves a place in a contemporary art gallery. It doesn’t need to be ostracised, it needs to be in the gallery where people can see ceramics within the context of contemporary art.”
So contemporary art should be all-encompassing?
I’m not interested in this idea of what’s contemporary, what’s folk, what craft is and what’s outsider. It’s all contemporary art because it’s being made now, as are things that were made in the past, which is why ceramics appeals to me. I think the term contemporary art is very limiting and often determined by who you show with as much as what you make. One can look at a pot that was made 2000 years ago, and that’s a contemporary piece of art because it exists now. It doesn’t exist in a vacuum, it didn’t exist in that moment and then disappear, it’s still here.
How has being a curator at the MCA helped your development as a ceramicist?
I’m not naïve enough to be unaware that my position as a curator has helped my career as a potter. There are a number of things that I think as curator that has served me really well but the major one is the idea of looking. I think if you want to be an artist, you need to look, and look all the time. There may be times in your life when you don’t look, you just make, but you need to have a visual knowledge. Twenty years of curating has probably given me a heightened visual knowledge. But you still have to make the work!
What have you learnt from your self-initiated education in the history of ceramics?
Ceramics is constantly eating into itself. You can burrow down into the history; it’s almost what the language of ceramics is about. Ceramics’ history is always informed by what came before, and one culture looking at another to take elements of what they need, then that being adapted by someone else. The history of Chinese ceramics going to Europe, and then European ceramics going back to China, and then the Japanese aesthetic influencing the English, and that influencing Australia. It all seeps out of ceramics’ histories for one to dig through, like a garbage dump. So if you look at my work there are those references to the history of ceramics within it. So there’s a reference to a particular Korean form called the ‘Moon Pot’. There’s the influence of British slipware. There’s the influence of Chinese and Japanese ceramics. Then there’s the influence from the beginning of European porcelain, like Chelsea.
What are you thinking of presenting to Adelaide?
I’m constructing an installation based on the curatorial interest in Kunstkabinett or Cabinets of Curiosities. I’m interested in Kunstkabinett as well. It’s a museum model of everything rather than strictly geological or botanical or whatever. It’s one of those kooky collections where everything is in there. One famous collection was established by Ole Worm, better known as Olaus Wormius, who lived in the 17th century. I’ve taken his idea and turned it into the ‘Museum of the Worm’. So I’m building a space, which is very loosely based on the Kunstkabinett. Then I also started thinking about the garden and how important worms are to the garden. I try to imagine if worms were to build temples, what would they build, what would a worm temple look like? The other thing I started to think about is that worms are like the self-extruders, in the same way that an artist might be. When you read and you look at history and look at objects, and you go to museums and you look at ceramics, all this passes through you into the work, in the same way as the worm passes molecules and wastes through its body. Weird as it sounds, that’s the same way the ceramicist works, well at least how I work.
So it’ll be a total environment installation?
It’s an enclosed space, where one will step into the gallery’s ground floor area. It’s going to be quite intense. To me, it’ll look like this fecund garden, which has grown up in the middle of the space that just happens to be made out of ceramics. So I’m constructing a table and all parts of the table are made of ceramics. On top of that is a wooden base with more stacked ceramics. So it’s ceramics on ceramics. The walls will be covered in tokens and writings, all made out of ceramics as well. I think it’s quite ambitious. A lot of it is self-referential, coding within pots that relate directly to my life, in particular, my relationship with my wife and her family, and the garden in Berry (NSW). Also, there are all these hidden things in there, some of which people will be able to pick up on,
but others will be somewhat secret and personal to me. I’ve invested a lot of myself into this work. If it doesn’t have that emotional drive, I don’t know why one would bother to make it.
Exhibition - Magic Object2016 Adelaide Biennial of Australian Art
Courtesy the artist and Utopia Art, Sydney.
Glenn Barkley in his studio at kil.n.it, Glebe, Sydney. Photographer Document Photography
TOOLKIT SERIES 2016 and BOOKING INFORMATIONCAQ workshops are suitable for potters at all levels of expertise, and we encourage questions and information sharing.
FebruaryBill Powell (QLD) presents large scale and production throwing. Bill is a master thrower, with an enormous amount of production throwing experience and is a delight to see in action.Date: Sunday 21st February 2016, 9am – 1pm.Where: BIA, 41 Grafton Street, Windsor.Cost: $30 members*, $55 non-members.
MarchRobyn Gill (QLD) presents coloured clay laminating and neriage technique. Robyn will demonstrate the creation of her colourful multilayered vessels as seen in the 2015 Siliceous Award.Date: Sunday 20th March 2016, 9am – 12pm. (AGM will follow at 1pm.)Where: RQAS, 162 Petrie Terrace, Brisbane.Cost: $30 members*, $55 non-members.
JuneRaku Firing Day – A great social day for firing fun! Join us for our annual Raku firing day at BIA. BYO bisque ware – CAQ will supply glazes and kilns.Date: Sunday 12th June 2016, 9am – 4pm.Where: BIA, 41 Grafton Street, Windsor.Cost: $65 members*, $85 non-members.
AugustTed Secombe (VIC) presents the Annual Ian Currie Memorial Glaze Workshop. Ted is a generous presenter with an extensive knowledge of glaze surfaces. This workshop will feature matt crystalline glazes and glaze application.Date: Saturday 6th August 2016, 9am – 4pm.Where: BIA, 41 Grafton Street, Windsor.Cost: $100 members*, $130 non-members.
OctoberAlexander Esenarro (VIC) presents sculpting the human head. CAQ are excited to host a workshop by this very talented figurative sculptor.Date: Sunday 9th October 2016, 9am – 4pm.Where: RQAS, 162 Petrie Terrace, Brisbane.Cost: $100 members*, $130 non-members.
BookingsEarly booking and payment is essential to secure your place.
• Bookings can be made by emailing your request to: [email protected] or using the Contact Us option on our website.
• Payment should be made no later than 14 days prior to the workshop. Direct Deposit (preferred) to CAQ BSB 034 008 Account# 229630 or cheque posted to CAQ, PO Box 1414, New Farm 4005.
• Membership Application Forms are available through our website www.ceramicartsqld.org.au. and can be completed on-line or printed and posted to Ceramic Arts Qld. (Address above). *2 Members of a Member Group of CAQ can attend CAQ events at full member discount rates.
Enquiries to: [email protected] or Office Manager, Dianne Peach, 0412 192366.
PO Box 1414 New Farm QLD 4005E [email protected] • W ceramicartsqld.org.au
Venue North Lakes Community Centre10 The Corso, North Lakes 4509
Date Saturday 16 & Sunday 17 April 2016
Time 9am to 4pm
Cost 2 Days: $70 (CAMB members) $95 (non members)1 Day: $50 (CAMB members) $60 (non members)CAMB Membership - $20 yearly
Registration by Friday 11 March 2016
Registration form overleaf
Ceramic Arts Moreton Bay Incwww.ceramicartsmoretonbay.org.auinfo@ceramicartsmoretonbay.org.au
Phone Tad 0411 339 061 or Villma 07 3425 3320
Down-2-EarthMoreton Bay’s Premier Ceramic Art Event
Down-2-Earth April 16 & 17 2016April 16 & 17 2016
FEATURING
Shannon Garson, MalenyDecorating porcelain vessels with intricate designs
Claire Locker, Warners Bay NSWDecorating and assembling soft porcelain slabs
Ian Reid, Flaxton Wheel throwing and assembling complex forms
Yvonne Bouwman, BrisbaneHands-on workshops - easy form and textureSee attached for details
Proudly sponsored by