Volume 10 Issue: May 2014 ei er
Inside this issue
Gauteng Regional Exhibition 2014 AGM Report Summer Workshop Feedback Obituaries Rose Theme Exhibition Info 2014 Calendar Gauteng Committee
Affiliate South African National Association for the Visual Arts (SANAVA)
Letter from the Editor
he upcoming Regional Exhibition has provoked some thoughts about where we are going in our ceramic world.
We are surrounded by mass production, mass consumption and new technologies, which suggest that we can design and make a pot or a sculpture without ever touching a piece of clay! Will our creative powers be lost before this onslaught of technological achievement? Surely not. Our involvement in and passion for clay leaps out in so many forms each time we present our work on an exhibition. The profound tactile sensation of clay will always reach out to those who are makers and those who are users and admirers. We simply cannot substitute a computer for that special feeling when we start to wedge and conceptualise the finished piece from that damp lump of earth – something so fundamental cannot possibly be replaced with a few taps on a computer keyboard. So, we look forward to seeing the wonderful variety of work which we know will be submitted for this year’s Regional. There will be members entering for the first time and many who are frequent exhibitors, but, for all, it is always a soul searching experience when you have to decide which pieces you will submit. Selections are a feature of most exhibitions and are there to set the standards and help the members to grow. The selectors are not there to criticise, but to evaluate and present the best possible exhibition. This is a combination of your skills and creativity and their experience.
See you there.
Opinions expressed are those of the contributors and do not necessarily represent the opinion of Ceramics SA.
ith all the opportunities on the horizon to exhibit your work this year, there is one subject that seems to strike terror in many, particularly newer, exhibitors. That is the pricing of oneâ€™s work. Where does one begin with this? My suggestion is to spend some time looking at stores and galleries that sell handmade work and accustom yourself with the price range that you feel your work is in line with. Another question that is worth asking is what you would pay for the work. An idea might be to ask a few friends or fellow ceramists their opinion on the prices you have in mind.
. . . most important is to make the work
One thing that plays a major role in pricing is self-worth, often resulting in undervaluing what you are making. I am not saying this applies to you, but be aware of it. An exercise worth carrying out is to work out exactly what it costs you to make the item. List EVERYTHING. Including clay, glaze, colours, and anything else you may use as well as the firing costs and also your time to arrive at a cost price and then add the profit you want to make on to this. This is really an interesting exercise to carry out and could be quite an eye opener! When you are pricing your work and you are new to it, it is easier to put prices up when you start selling than it is to drop prices when work does not sell. Also, bear in mind that when you give work to a gallery or exhibition there is a percentage that the gallery/exhibition takes, varying between 25 and 50%. So the amount you will be paid on sale of the work is the retail price less the percentage taken by the galley or exhibition. Be sure to ascertain that this amount covers what you want for the work. There is much to consider on the subject of pricing and there really is no one correct answer or formula. For me it is important that you be comfortable with the price you are asking, and even more important is to make the work so that you can get to the pricing exercise!
INTRODU C IN G . . .
RONNI E W ATT
onnie Watt is a member of Ceramics SA, but you will not see his work on any of our exhibitions.
Instead you will read his words as he comments and reflects on the ceramics of South Africa, past and present on his website Art at Work Today (www.artatworktoday.com) and in the National Ceramics magazine and other publications. Ronnie writes that he purchased his first pieces in 1983 at an exhibition at the Beuster-Skolimowski Gallery in Pretoria – a Tim Morris bowl, two bowls by Bruce Walford and a bowl by Ian Glenny - and that got him hooked. Over the years he acquired a large number of works, especially of his all-time favourites, Esias Bosch and Ian Glenny. He also has a passion for the hand built pieces of the women potters of Rorke’s Drift. “There are many contemporary potters/ceramists whose work I admire and amongst them I must single out Christo Giles and Anton Bosch – they have such intense passion for what they do”, he says. Collecting is not about laying your hands on as many pots as possible ... it is about understanding what constitutes a “good” pot, what it represents in its own and in universal values, and how it addresses functions and spaces. Ronnie began his website project in 2010 to feature essays and photo galleries about South African pottery/ceramics. He avoids writing biographies and “pot-chat” and tries to present insight into contemporary debate about the Craft/art, its ethics and aesthetics. He believes that it is imperative that much more must be documented about our past and present artists – not only about their works but about their creative thoughts and processes. In May 2014 he will be one of three international press representatives at the Taiwan Ceramics Bienale, where he will deliver a paper on the Post-colonial status of Rorke’s Drift pottery. If you follow Ronnie on Facebook you will also know that he has a great interest in and love for Skye Terriers, which have won him many championship medals.
Gauteng Regional Exhibition Venue : MuseumAfrica, Bree Street, Newtown, Johannesburg
CSA Gauteng members are invited to submit 3 pieces, of which 1 may be a set.
Submission of work : Saturday 31 May between 09:00 and 13:00
Selections : Sunday 1 June â€“
participants will be informed between 1400 and 16:30 Selector feedback : On request for unsuccessful entries
Opening : Sunday 8 June @ 11:00 Exhibition closes : Sunday 22 June
Collection of unsold work : Sunday 22 June between 13:00 and 17:00 or Monday 23 June between 10:00 and 14:00
Looking forward to seeing the usual high standard of work that CSA exhibitions are known for. Please contact Colleen or John if you have any questions. Colleen â€“ 073 481 0889 John 083 407 5968
Gauteng – AGM Chair report 22 February 2014 Gauteng Committee: A decision was taken at the AGM in Feb 2013 to combine the Gauteng North South Committees. We decided that although we would ‘lose’ a voting seat on the National Council, it make sense from a logistical viewpoint and causes less conflict. We have separate working committees depending on where the event is taking place. Our core committee is; Colleen Lehmkuhl, John Shirley, Rose Hobson, Melanie Robinson, Claudia Posterameczak, Jerice Doeg, Marentia Jordaan, Darian Harrison and Dineke den Bakker. We asked for volunteers for a co-opt list and were overwhelmed at the response. Membership Statistics: 2012 – Total 179. 2013 – Total 222 (includes country members now incorporated into regions) AGM and Karen Sinovich workshop - Feb Starting in Feb, we kicked off with a fabulous workshop given by Karen Sinovich. We had almost 60 attendees and highly recommend Karen for a professional, inspiring and fun filled workshop.. Clay Festival – March Held again at Berario, we invited very few out of town presenters in order to keep costs down. Lisa Firer, Charmaine Haines and Madoda Fani were our only non Gauteng presenters. We introduced a new workshop ‘Ceramics in Action’ which proved to be very popular. 6 ceramists worked in a separate studio and visitors bought a weekend pass to pop in anytime and discuss progress of the participating ceramists work. Donated pieces ensured the raffle was popular and we raised R 28 K from the weekend. Regional exhibition – April Held again at MuseumAfrica in the same space. Decided to allow only 3 pieces per member to ensure a better display. Invited guests Karen Sinovich, W Cape, and Andrew Walford, KZN. Selectors were Ingrid Stevens, Kay Potts and
“I would like to congratulate Colleen Lehmkuhl, Gauteng Chairperson of Ceramics SA, on her interesting and stimulating, visual overview of the year passed and the future aspirations and events planned for a busy and exciting 2014” Thanks to Hazel Sherman for this acknowledgement
Wendy Goldblatt. Ingrid did the opening address and wrote the article for NCQ. In 2012, CSA earned R27K in net income and in 2013, R20K. Sales were similar each year at R42K. We sold 30% of the work on show – 43 pieces out of 141. Winter workshop - July 4 simultaneous workshops run twice in 1 day resulted in a highly successful Winter workshop. Workshops by Madoda Fani – carving techniques. Julia Kunstler - Decorating Techniques. Jerice Doeg – Surface treatment with shellac & slips. Drury Brandt - Slab techniques. 28 delighted participants, soup & rolls included. We did not make much money after expenses – R1 470 but saw it as a member’s event rather than a fund raiser. Potters Market – August The first Potter’s Market held at the Association of Arts in Pretoria was organised by Jerice Doeg & Karen v d Riet and proved to be extremely successful. 32 members participated and feedback has been positive with requests for twice annual
and a market in Joburg. The Ass did not charge or take commission and the venue is ideal so we will continue next year. Advertising budget will be increased and the raffle once again proved popular and ensured the event made some profit – R 1 567. Ombre – October A new collaboration between Plascon and CSA has resulted in a themed, self selection exhibition that will be held at the Plascon flagship store in Fourways design centre. The exhibition ran for almost a month and work was sold off the exhibition. It was felt that the ceramics were not all displayed in the best manner and as we were not in control of the display, this was not to member’s benefit. Logistics were problematic, plinths had to be painted away from the venue, there was no storage for extra work or plinths etc and we made very little profit. Plascon are keen to repeat the exhibition annually and I am sure some members would be interested in participating. However, CSA cannot get involved again. It has therefore been decided that Plascon invite members of their choosing (perhaps all), and they run, mount the exhibition, arrange publicity, opening and manning. Newsletter Gauteng has an online Newsletter issued 4 times a year. Thanks to Claire for producing a professional and very readable newsletter. CSA Web John Shirley continues to update the CSA Web and maintain member profiles and update the calendar on a monthly basis. There are very few new member profiles being added so we have decided not to charge to encourage other regions to please submit profiles. Please talk to any committee member if you are unsure of what to do to get your profile on the web, it’s very easy and a tool you should be taking advantage of – it’s free! Facebook & Blog. The CSA official facebook is run by myself and John. Financial Matters Andrew McAlpine continues to support the Gauteng region and we are extremely grateful for his contribution. Financial reports are available for any interested members.
Secretarial Support Cynthia McAlpine has once again proven to be the backbone of the Association and contributes enormously to the professional running of CSA. It has been an extremely busy year and Cynthia has been invaluable in ensuring the success of the Gauteng Region exhibitions, workshops, market and Clay Festival. Approval for Clay Festival from JOC (Johannesburg Organising Committee) is quite an ordeal and this is one event in particular that cannot be performed without Cynthia’s involvement. I would like to Thank Cynthia personally for the help she has given me over the past year, I have relied on her advice and guidance. 2014 We have a very busy year ahead. Please refer to the many emails being sent out as well as the Calendar entries in the Newsletter and NCQ. We also have the calendar on the CSA website – www.ceramicssa.org At only R300 for 2 workshops, including a light lunch, this is what you get for being a member of CSA! Raku Workshop – 17th May Evette Kruger’s studio. Using electric kilns and glazes Evette has perfected, members may bring 4 pieces. Evette will also do beer firing. Check Newsletter for details. Regional Exhibition in June at Museum Africa. Selection exhibition and entry on a Regional is a pre-requisite for entering the National. This year we thank and welcome G&W as our official sponsor. The exhibition will be known as the G&W Gauteng Regional Ceramic exhibition. As usual this is a selected exhibition. Fellows do not go through the selection process and are not eligible for prizes. Opening planned for Sunday 8th June at 11am Antoinette Badenhorst workshop – Saturday 12th July, all day. At Pottery Studio in Bryanston. Antoinette is a SA porcelain ceramist living in the US and she will be sharing her working techniques with CSA members. Antoinette won the New Signature award in 1990 at an APSA exhibition and wants to share everything she has learned. She gives numerous workshops around the US and Canada and has introduced an online course too. Anyone looking for inspiration and wanting to gain confidence using porcelain or any
other clay, will get a lot out of this workshop. It’s a demonstrating workshop. Antoinette will also be holding an exhibition at The Pottery Studio, opening on Friday 11th July. Potters Market on 4th October at Ass of Arts in Pretoria. Hopefully we have better weather this time but the format will be pretty much the same. Please spread the word, we have a limited budget for advertising and marketing and if you all tell your friends and family, the attendance will grow every year. For info, the catering concerns have been addressed and we have been assured that it will be greatly improved this year. At the same time a themed ceramic exhibition ‘Delegoa exhibition’ will be held at the Ass of Arts, closing on the day of the Market. Opening will be on Friday 19th September. October – Gauteng exhibition at the Clay Museum, Cape Town. Theme to tie in with Rose growers association. Items must be for sale. Cube as well as glass cabinets. Collaboration with an outreach program in the Cape. Items sent and returned at artists own expense. Need to know who may be interested........ National exhibition – Sunday November 16th opening. Work will be selected at regional centres in October. 2 Regional selectors and 1 travelling selector from Cape. Work needs to be in CT by end of October. Details to be announced. Anglo Oriental Heritage & contemporary exhibition. Rust-en-Vrede, Durbanville 11 Nov – 11 Dec CSA/Iziko Collaborative exhibition. From African Earth. A Heritage & contemporary exhibition of smoke fired pots – Cape Town Castle. 13 Nov – 31 Jan 2015. Magdalene Odundo workshop Saturday Dec 6th. Venue to be announced. 2014 Committee. Welcome 3 New members Nici Brockwell , Minette Zaaiman and Gill Clarke. Booked venue for 2016 National exhibition – UJ Gallery 2015 Clay Festival – Berario Recreation Centre Colleen Lehmkuhl 22 Feb 2014 Gauteng Region Chair
at the 2014 AGM of Ceramics SA.
efore I share my impressions of Christina’s workshop, I would like to congratulate Colleen Lehmkuhl, Gauteng Chairperson of Ceramics SA, on her interesting and stimulating, visual overview of the year passed and the future aspirations and events planned for a busy and exciting 2014. This could not have been achieved without the assistance and support of her hardworking committee. Well done to all of you.
Thank you so much, Christina, for coming up from Cape Town, to give us such an informative and exciting experience of your ceramic journey. As Christina generously shared her method of working in great detail, in the recent National Ceramics Magazine (number107/ Autumn 2014), I prefer to give my impression of Christina as a maker; and, perhaps, why she has been so successful. 1. She describes herself a ceramist, scientist, artist and designer.
2. Since early childhood, she has expressed herself geometrically. She found repeating patterns intriguing. The grid she works with is called “Penrose’s Aperiodic Tiling” (http://en.wikipedia. org/wiki/Penrose_tiling) which opens up all sorts of possibilities for her on both a concrete and metaphysical level. She works intuitively; and straight lines, circles and rhythms emerge spontaneously and freely, as a result of the constraints within the grid. (summarised from her article and website http://www.christinabryer.com)
The work resonates with the maker!
3. Her work process is meticulously planned and everything she needs for the day, is prepared and available. However, although she may have an idea in her head, the creative side is unplanned. The possibilities are endless and each piece is unique. 4. She frees up an entire day to work uninterruptedly. She can complete the making of a plate in that time….. but she has many years of experimentation and observation behind her. 5. She makes test tiles which give her accurate colour readings; and experiments with different ceramic materials. These results are carefully observed, and if there is a surprising result, she explores it further, to see if it can be used in a new and different way. The only way this can emerge, is by physically doing the work, and not trying to think it through in her head.
6. Because of all the background work and exploration, she has done, she is able to reduce the process considerably, and uses only what is necessary. Clutter and mess don’t seem to be part of what she does. 7. If something is not working the way she hoped it would, she will find a solution through experimentation, determination and perseverance. She works within her own limits, size wise; the limits of the porcelain, and the size of her kiln. 8. She is deeply spiritual….saying the word “Infinity” touches her heart and brings tears to her eyes. 9. She is committed and dedicated to her work. The workshop was amazing and besides learning new techniques and understanding the fascinating process of how she makes her plates, I came away with much more. The work resonates with the maker! It was great spending time with you Christina. Thanks, again.
Summer work the form of a horse’s backside . Same procedure was followed for the back and neck. The head was sculpted separately and attached later, so was the tail. There it was, Minette’s stylized horse! She mentioned how much she loved horses and also told us about this autistic boy and the great understanding between him and his horse, indeed they are special creatures!
SCULPTURE WORKSHOP BY MINETTE ZAAIMAN Minette welcomed us and started to show us immediately how to make a round form of leather-hard clay. She had filled a nylon stocking with a substance called “vermiculite” of which one can form any shape one likes. She decided to make a round one, draped her slap over it and unceremoniously dropped both items on the floor and “voilà” there was a round form!
Everyone, with great enthusiastic energy, started to make their own creation by using Minette’s method. We saw a chicken, an aloe, a modern form and of course horses. Minette was helping us all, showing how things were done and of-course with a big smile on her face. Thank you Minette for giving us an inside to your way of sculpting, the teaching was enjoyed by all.
Back on the table she removed the filled stocking and sculpted a tortoise with the ease as only a very experienced artist can do. She also showed us a mask ,which had been created earlier on by using the same method. Then, Minette started the preparations for the creation of a horse-sculpture. First of all she taped two wine bottles together and wrapped them in news paper, at the same time making a paper base. She then placed a bat, with a roughly shaped slap of leather-hard clay on the banding wheel, the bottles were placed on top of that and the clay wrapped around them, forming the body of the horse. The base was cut off neatly, scored and attached to the upper form, dipping her fingers in vinegar all the time. By now the bottles could be removed and the finishing of the inside, starting by rolling a coil, shaped at an angle, (tip from a German lady) in order to fit neatly into the seam. Minetter made a cut at one end, roughening the edges using a little comb, vinegar to glue, creating
Marentia Jordaan Surface Treatments My name is Caitlin Harper and I have only just discovered the joys of pottery so this workshop was both informative and so enjoyable for me. My first workshop was with Marentia Jordaan where we learnt ways to use lino cuts, stamps, lace and other found objects to enhance our work. Marentia first spoke to us about her process when choosing images to use in her lino cuts
shop feedback and how she does not merely copy them but is inspired by them and makes them her own. I was so impressed with the detail she managed to capture and I can’t wait to try make some myself. We then went on to using lace to imprint the back of our bowls. Marentia showed us how important it is to have continuity in our pieces and how this can be achieved by imprinting the same lace on the inside of our work. We then experimented with stamps, found object and Marentia’s lino cuts to create a story within our piece. What really stood out for me was the way Marentia looks at the world and how she sees potential in every small detail. She sees objects not only for what they are but how she can use them to make impressions in her work, for example a small screw became a stamp that added much needed finishing to my bowl. I learnt from Marentia that I don’t need a finished plan in my head for the piece that I am working on, that I can let the inspiration come to me as I work and let the piece guide me. Being a goldsmith by trade I found this process difficult at first as I have to have everything planned out when making jewellery, but in the end I found it quite exciting and fun.
hardware store). Mix thoroughly for at least 10 minutes, so that there are no lumps. Your ink should be runny.
I really enjoyed this workshop and will definitely use the techniques that I learnt in my future pieces. Thank you to all those that make the day possible.
You also need gum arabic solution, which you buy from newspaper printers. It is less expensive, buying from printers than art suppliers. Turps for cleaning up afterwards.
A Photo Lithographic Transfer onto Clay
A non-porous surface, which is shiny like a piece of glass, perspex or glazed tile to work on; a rubber brayer (lino roller); 2 sponges; paper towel; a spoon for burnishing;
as presented by John Shirley To transfer a black and white image to clay, you will need: A couple of soft leather-hard tiles; Make your own ink as follows: Make up new ink every time, as left-over ink can not be wetted again, once dry. Even if sealed, ink will form a crust on top. Measure accurately, John’s suggests that one use teaspoons. Two (2) parts manganese dioxide (MnO2) and three (3) parts raw linseed oil (the kind you buy from the
2 containers of water, one big, one small. Add a splash of gum arabic to the water in the larger of the two containers. The images you want to use, should be black and white, not from an inkjet printer, but a xerox copy, or printed on a black laser printer. It should also not be too big. As the made-up ink reacts to the electrostatic charge of the copy, copies should not be older than a month. An image can only be used once, so if you want to repeat the same image, make sure that you have enough copies of it.
Summer workshop feedback cont The best results are with flat surfaces of clay, like tiles (preferably stoneware). You could also use a perfectly cylindrical object. On spherical objects, the paper will crease and the image cannot be transferred properly. The Process 1. Spread some gum arabic, a bit bigger than he size of your image on you glass / perspex/ glazed tile. 2. Place the image, facing up on that gummed surface and cover your image with gum arabic. 3. With some paper towel, remove the gum from the background. 4. Ink your brayer by rolling it in the ink and make sure that its surface is completely covered. 5. Roll the brayer over the image. Roll away from you, that the image does not roll itself onto the roller. 6. Using the water with the splash of gum in it, with a saturated sponge which you squeeze to form a gentle stream of water, wash the excess ink from your image. Just dab the extra water off. 7. Repeat steps 5 and 6 three (3) times. 8. Gently lift the inked image from the glass and put it face down on the clay-body. 9. Wait for all the moisture to evaporate from the back of the image. 10. Burnish the image, with the back of a spoon. 11. You can now have a peek, if the image transferred properly, by lifting just a corner. If not, put the corner back and burnish some more. If you are satisfied with the transfer, you can now remove all of the photocopy. Donâ€™t bisque with any paper still left. by Jolanda Nel
Decorating Techniques with paper, wax and latex resist RHODA HENNING Ria Scheepbouwer During the two hour workshop, Rhodaâ€™s quick and experienced hand demonstrated 15 amazing techniques that beginners or experienced potters can use to create beautiful decorated surfaces on their pieces! We began by watching several demonstrations using cut-out paper patterns (remember those you made at school?) placed as a resist on leather hard clay. With the addition of oxides or underglazes and a tool to scratch a design into the surface we saw just how versatile this technique is. Participants then tried their hand at applying a design with cold wax onto an unfired clay surface, then adding colour, into which detail was scratched, producing a simple but very effective decoration Rhoda then continued to demonstrate further techniques using latex, masking tape and glazes, along with direct and indirect printing onto a clay surface. We then had the opportunity to create an amazing multi coloured Acacia tree using underglazes and hot wax on a bisque surface. Rhoda, an accomplished artist then shared with us techniques and tips on how to prepare and apply underglazes to create beautiful water colour paint effects on ceramics. This rounded off a morning filled with fabulous ideas that inspired us to go home, get out the wax, paper and underglazes and start decorating!
t is with deep sadness that we announce the passing of our dear friend and fellow ceramist, Melanie Robinson.
In addition to Melanie’s many business achievements, she also served on the Ceramics Southern Africa Gauteng committee. Melanie was instrumental in implementing the online Gauteng Newsletter, and added her incredible flair for colour and design to the look & feel of the Newsletter. Another of Melanie’s initiatives was the Ombre exhibition held at Plascon in November 2013. Despite her illness, Melanie exhibited her beautiful porcelain work on the exhibition. Our sincere condolences go to Mel’s husband Simon, her Mom Carol, Dad John, and the rest of her family. A new Award to be presented at the Gauteng Regional exhibition each year has been created in Melanie’s memory. The award will be known as the Melanie Robinson Award, and has been sponsored by Gauteng CSA members and personal friends who were touched by Melanie’s life.
Rose Theme Exhibition
Bert den Bakker
Clay Museum Cape Town Entries:
There will be no selections. The theme is Roses unrelated work will not be accepted. Examples: Work glazed in the colour rose (pink); sculptural ceramics re the subject rose; work decorated in the theme; vases in which to display roses; Victorian Tea party stuff.
90 cubes of 17 x 17 x 17 cm; 12 cubes of 30 x 30 x 30 cm; 6 cubes of 50 x 50 x 35 cm and the 3 centre display units in the Clay Museum for larger items or tea sets and small installations. Back up pieces must be considered in case of sales.
ENTRIES MUST BE DELIVERED TO THE CLAY MUSEUM, Durbanville Cultural Society, Rust-en-Vrede
Monday 15th September 2014
Ceramics Southern Africa expresses its deepest sympathy on the death of Bert den Bakker, beloved husband of Dineke den Bakker. Bert was a familiar figure at CSA exhibitions and functions, always accompanying Dineke and supportive of her ceramic success and the work she did for the Association. Dineke has been a Fellow for many years and is a former National Chairman. We extend our condolences to her and to their children and grandchildren.
RAKU WITH A TWIST with EVETTE KRUGER Saturday 17 May Evette’s Studio
09:30 to 15:00
ly Ful ked boo
Gauteng diary 2014 Gauteng Regional exhibition,
MuseumAfrica: June Entry forms have been distributed RAKU WORKSHOP Saturday 17 May
Evette’s Studio 9:30 to 15:00
ly Ful ked boo
demonstration workshop The Pottery Studio, Bryanston Sat 12 July - all day
Gauteng members exhibition: October Clay Museum Cape Town
Details to follow
Potters Market • Sat 4 Oct The Association of Arts, Pretoria
Association of Arts, Member exhibition The Pretoria • 19 Sept - 8 Oct Anglo Oriental Heritage & Contemporary Exhibition Rust-en-Vrede, Durbanville. 11 Nov - 11 Dec.
CSA/Iziko collaborative exhibition: From African Earth A Heritage & contemporary exhibition of smoke fired pots - Cape Town Castle. 13 Nov 2014 - 31 Jan 2015.
2014 Corobrik National Ceramics Exhibition 18 Nov - 6 Dec. Opening: Sun 16 Nov 11:00
EXHIBITION AT ASSOCIATION OF ARTS, PRETORIA. Members who would like to take part in this exhibition are invited to send their names to the CSA office before the end of May so that we can assess the number of pieces required. You will then be informed of the number of pieces you may submit. The exhibition dates are September 19 to October 8. There will be no selection process, but the Director of the gallery will have the right to refuse work which he does not consider to be of a suitable standard. As your own selector we ask you to submit your best work. On Saturday, October 4, there will be a Potters market in the grounds around the gallery for all the members. With these two events we hope to show the public the variety and quality of ceramics in Gauteng.
2014 Corobrik National Ceramics Exhibition M agda l e n e O d u ndo
The Great Cellar, Alphen Estate, Constantia
18 Nov to 6 Dec 2014 Opening Sunday 16 November: 11:00 International Award Judge: Magdalene Odundo
Gauteng Region P O Box 2900 North Riding 2162 Gauteng R.S.A. Tel.: (011) 791 5153 • Fax: (011) 791 5076 firstname.lastname@example.org • www.ceramicssa.org
WELCOME to our NEW MEMBERS: Mary Ann Greathead, Vicky Howell, Anne-Marie le Roux (rejoined), Elaine Roos, Geraldine Samodien and Beulah Vermaak (rejoined).
Gauteng Region Committee Name
Colleen Lehmkuhl Regional Chair/ 011 463 7262 073 481 0889 email@example.com Meeting Notes John Shirley
Vice Chair/ Exhibitions
011 640 4982 083 407 5968 firstname.lastname@example.org
Andrew McAlpine Treasurer
011 791 5153 084 652 9933 email@example.com
011 807 9942 082 574 5800 firstname.lastname@example.org
011 702 4600 083 257 7330 email@example.com
011 706 7289 074 782 2640 gillian@lamariceramics. co.za
Dineke den Bakker Vaal Triangle Liaison
016 932 2173 082 715 1639 dineke.denbakker@lantic. net
Clay Festival/ Exhibitions
083 730 0250 michellejanelegg@gmail. com
Exhibitions/ 012 460 6516 082 683 5680 firstname.lastname@example.org Meeting Notes
012 667 1207 082 463 8653 email@example.com
Clay Festival/ Exhibitions
084 436 4312 rosehobson@ gmail.com
Karen van der Riet General assist/ 012 660 2341 082 655 2121 firstname.lastname@example.org Potters’ Market Minette Zaaiman
DTP: Claire Waters
012 460 5823 073 255 2482
Gauteng Region thanks the sponsors for their generous donations and continued support
EXHIBITION SPONSOR G & W Mineral Resources R20 000
CASH AWARDS Ndbele Mineral & Mining cc Premier Award – R7 500 Ultra-Furn (SA) (Pty.) Ltd. - R3 000 Lionheart Chemical Enterprises Plaster of Paris Award – R2 000 Melanie Robinson Award – R3 000 Van Tuyl Kilns New Signature Award – R1 000
GIFT VOUCHER AWARDS Glazecor cc Award – R4 000 Belmont Ceramics Award – R2 000 Potters Supplies & Mail Order Award – R1 000
LIEBERMANN POTTERY EST. 1952 @ the old gas works 1 Annet Rd, Cottesloe P O Box 674, Auckland Park, JHB, 2006, RSA Tel: 011-482-2215/7 Fax: 011-482-2679 E-mail: email@example.com www.liebermannpottery.com Fascinating array of pottery from around the world. Storage jars, rare porcelain, pit fired pots, giant planters and water pots, traditional figurines. Liebermann Tableware, Bright Planters, wide range of Bonsai pots, mosaic tiles, collectables, clay tools, banding wheels, brushes and lots of bric-a-brac.
Adventures of The Pottery Detective
DVD’s detailing potters at work around the world R100 / DVD
Liebermann Clay Liebermann Clay
Imported Super White Porcelain 17kg Imported Super White Porcelain 17kg Fine terracotta – 25kg Fine Terracota – 25kg Fine 1 ton Fine Terracotta Terracota – 1– ton Purple SandWhite T/pot– Clay Earthenware 20kg – 20 kg
R 300 bag R R120.00 150 R4235.00 R5 000 R R302.50 150
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Thami Mnyele fine art competition and ceramics SA's regional exhibition in 2012. Her first solo exhibition, titled Samsara... the journey of the soul is scheduled for the first quarter of 2013 as part of her M Tech degree in fine art.
cc Manufacturers and suppliers of a
wide variety of stoneware and earthenware clays for throwing, slab building and casting, in buff, terracotta and white.
Contact our switchboard at the above numbers: P O Box 443; CULLINAN; 1000. Telephone 082 808 9166 or 082 885 1103. Facsimile 086 725 1221 or Leon Joubert at 082 440 5051
13:00-15:00 â€“ Commence participating workshop with Karen. Please note the following: It will be necessary to produce current membership cards. Interested non members will be required to take out membership if they wish to attend. In order to make the necessary arrangements and particularly as the workshop is a participating one, it is essential to R.S.V.P. â€“ please telephone Cynthia McAlpine at 011 791 5153 or email: firstname.lastname@example.org by no later than 8 February 2012.