our craftmakers . ceramics
Gillian Dodds . pottery
I trained at a part time course run at East Sydney Technical College and have worked for many years making stoneware pottery and murals.
I have also undertaken training in oil and acrylic painting, which has influenced my ceramic decorating techniques.
My pottery is truly Australian in theme, with earthy colours, incorporating bush scenes, native animal and flower motifs. I fire in a 35 cubic foot kiln, heated by natural gas. My clay base is from Pugoon, Mudgee, New South Wales. My work has been in the NSW Craft Council Travelling Exhibition. I have also exhibited in the Potters Society gallery, the Craft Fair, and at exhibitions in Melbourne, Canberra and Fremantle.
Heidi Francis . potter
I use an electric kiln for my work and porcelain clay for my domestic work which is fired to 1280 centigrade. My terracotta one-off pieces are fired to 1100.
The warmth of earthenware colours has always appealed to me. Each pot is burnished and then sealed with a colloidal slip called 'terra sigillata' which I make from the same clay, before applying the airbrushed decoration.
My decorations vary with each pot. I love bright colours and geometric and abstract designs. Negative spaces are extremely important and the fine black lines bring harmony and balance to the whole concept. This conceptual development of my work is from primitive to abstract. Primitive because of the glossy slipcoating over the earthenware (terra sigillata) and abstract because of the geometric decorations which depend upon logic and calculation.
Susanne Fraser . ceramic artist
I use gas, electric and a wood fired kilns to fire my unique equine earthenware, stoneware or porcelain ceramic forms.
My work is influenced by the colours and patterns of Asian art and culture and all things equestrian.
Decorative elements form a symbolic vocabulary where combinations of colour, textures and glazes develop further levels of meaning.
Application of slips from locally found clay, oxides and firing temperatures develop many layers of meaning creating unique and expressive surfaces. I continue to explore in clay, the place of the horse in human relationships.
Sara Hong . ceramic artist
I was born in Singapore and am now based in Sydney. I received my Masters in Ceramics (Fine Arts) as a Japan government scholar from Tokyo University of the Arts.
My works explore esoteric realms seen in the mind's eye which are found through meditations, chants and various other spiritual practices.
Pat Haywood . ceramics
I work mainly in stoneware, fired in both reduction and oxidation to 1300° celsius. I enjoy incorporating non-ceramic materials with my one-off pieces.
Most of my work is inspired by historical pieces from many cultures: Islamic, African, Papua New Guinea and Chinese.
I am a contributor at the Australian Craft Show and the North Shore Craft Group.
Liz Hardy . potter
I have been making pots for 39 years. All my work is produced on a potter's wheel. It is the process of throwing and turning vessels that I enjoy.
My focus at present is on polished porcelain bowls, some transluscent. Quiet forms with understated decoration.
The response I like my work to provoke is the desire to pick up and hold. It is then that the play of light through the finely turned clay can be observed. The translucency creates the fragile eggshell quality.
Pauline Ryan . ceramics
I have been working with clay for over 30 years, producing many forms of ceramic pieces. I also teach children and adults in my studio at Castle Hill.
My work is mainly thrown, altered and Raku or Wood Fired. In the Raku process I glaze then gas fire the work to approximately 950 degree centigrade in about 1.5 hours. I then remove each piece with a pair of tongs, whilst red hot, and place them in a tin of combustible materials (newspaper or sawdust) to smoke the pieces and give the glaze that special ‘Raku’ effect.
The Wood Fired pieces are fired for approximately 20 hours. This requires constantly stoking the kiln with wood to reach approximately 1280 degrees centigrade. This gives the pieces that distinctive blush of flame and ash.
I trained at Hornsby TAFE in the 1980’s, gaining my Certificate in Studio Ceramics and Clay and Glaze Technology. Soon after, I joined the Sydney Ceramic Study Group where I have been the Librarian since 2005.
Krysia St Clair . ceramics
My designs are one of a kind; classic shaped vases, bowls, plump quails and zany tea vessels. My pieces are simple in line and form.
Yet by experimenting with glaze and oxides, I have been able to achieve a kaleidoscope of colour.
My pieces are fired in either a large pit with sawdust and timber for five hours, or in Raku where they may be reglazed and refired anywhere up to 19 times in temperatures varying from 1000° to 1100° in 20 minutes, resulting in an orange peel effect, a moon crater finish or a lustre surface.
Presently I am working with porcelain and copper slip and a lithium based glaze (90% of lithium).
Greg Sugden . pottery
I work with my wife, Merrie Hamilton, from our studio in a small rural village near Canberra.
Together, we make several ranges of ceramic jewellery - some elegant and made precious by firing gold, copper and platinum onto their surface and some more playfully casual. Our larger pieces can be wall plaques, platters, pots or sculpture. Neither Merrie nor I use a potters wheel. Our favourite way of working is with inlaid coloured clays. This seldom-used method results in a raw clay surface and an earthy palette. With it, we aim to give our exhibition work an 'Australianness', influenced by our environment and the painter, Margaret Preston. We also enjoy celebrating the everyday, the small event.
Although self taught in this medium, both of us have worked on the Boards of Arts Organisations in Canberra, taught in TAFE's and given numerous workshops on our approach to pottery.