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a potters’ party June 28 – July 1, 2017 Ceramics Conference Cooroy, Sunshine Coast, Queensland

www.smokeonthewater2017.com.au ccfeinc@gmail.com

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CONTENTS

Editors Neil Mansfield Bernadette Mansfield

6 Des Panneaux Muraux

Business Manager Josh Mansfield

Claude Champy

Administration Assistants Charlie Mansfield Max Mansfield

14 An Architecture of Dreams

(FOUR VISUAL OBJECTS OF JUN KANEKO) John Hughes 23 Letter to Nina Hole Craig Hartenberger and Renata Cassiano

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35 Escarpment 2013: Essence

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Simon Reece 37 Rain Shadows: Responses Carolyn Leach-Paholski 42 Rain Shadow Jane Sawyer 44 Stare Twice, Smile Once Ryan Hancock 46 Alchemy of Time and Materials Hannah Bradbury

Creative Director Melissa Kallas Published quarterly by Mansfield Ceramics Pty. Ltd 269 Darlinghurst Road, Darlinghurst Sydney NSW 2010 Australia PO Box 995 Potts Point NSW 1335 Phone +61 2 9332 4379 Design by Cirasa Design hello@cirasadesign.com.au Morning View Press 100 Woodburn Road Gulgong NSW 2852 Australia

Editorial content is welcome. Guidelines for submitting articles and photographs is available at www.yarrobil.com Submit articles or correspondence online or email the editor at editor@yarrobil.com

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66 Sokyo Gallery

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Administration Manager Siobhan Mansfield

www.facebook.com/yarrobil

48 Snippets in clay; moments

from the first six months Henrietta Farrelly-Barnett 53 Organising an International Ceramics Festival: Notes from the Underbelly Bernadette Mansfield 58 Art and Nothing But Neil Mansfield 62 Twelve Rules of Curating Anthony Merino

Administration and Production Assistant Nicola Coady

Yoshika Yajima 68 Eternal Spring - Nanning in depth Barbara Nanning 76 Ceramic Perspectives Maarten Renes and Fiona Fell 84 Clay and Art Garth Clarke and Mark Del Vecchio 104 Slippin' Away, What Can I Say? Peter Lange

YARROBIL MAGAZINE Mansfield Ceramics | Issue 5, 2016

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Cover image: Vase cratère by Claude Champy ISSN 2204-9223

EDITORIAL

BM: We were running late.

NM: You’d have thought we would be able to hail a cab outside the House of Gaudi.

BM: Still, there was no need to snap at the poor driver.

NM: It was so difficult to get him to understand that we needed to get to the Hospital at Sant Pau, double quick.

BM: He only wanted to know if one of us was sick, or we were on the site-seeing trail.

NM: It didn't help that the pertinent pages in our phrase book were stuck together by sangria.

BM: I don't believe 'ceramics exhibition' is pertinent in the Catalonian phrase book.

NM: Well, we certainly needed to wring out those pages by the time we got there – or sip on a glass of cava in the gardens. The wait for the bar to open seemed interminable.

BM: The view of the Sagrada Familia through the towers kept us buoyed and transfixed 'til things started happening.

NM: As well discovering the spot where Picasso first saw the cadaver of female patient that, years later, would become his masterpiece Tete d'une femme mort.

BM: It felt as if all 360 delegates from the IAC Congress had elected to descend on Sant Pau on that beautiful, balmy evening in Barcelona.

NM: Well, I guess they felt it important to be there for the induction of the new members of the academy.

BM: And to see the Australian, New Zealand, Israeli and Slovenian exhibition.

NM: Held in the Trauma wing.

The queues were a mile-long to get inside.

BM: Incredible. Glad we went back a few days later to have a better look.

It was nigh-on impossible at the opening.

NM: And to scour those buildings.

BM: Such magnificence.

NM: I couldn't get over how colossal it is … a maze of buildings and connecting tunnels.

BM: The city within a city.

NM: Then later, the Hospital de la Santa Creu I Sant Pau – designed by the architect Domenech I Montaner.

BM: A nice serendipity that the site emphasised the use of ceramics throughout. The day we went back and walked through was quite magical.

There was a tangible presence remaining of its busy days as a hospital.

NM: It still is a busy place - restored to its former glory and has a world heritage listing, visitors (by the thousands) will be able to appreciate this art nouveau site.

BM: The prediction is there will be 500 visitors daily to the ceramics exhibition during its month-long run.

NM: The Israeli artists were particularly strong, with many pieces referencing the use of military force and weaponry to define and puncture boundaries of space.

BM: Juxtaposed nicely with the Slovenians whose work appeared to attest to a type of paranoia of space, alluding to the complex history of the Balkan states.

NM: Nice work by the Australian Ambassador to give a speech at the opening – worked well with the response from Maarten Renes on behalf of himself and Fiona Fell who put the show together.

BM: It was a long and heady week keeping up with translations and the cava sangria in the midst of global opinions.

NM: As always, the problems are easy to site – it's finding the solutions that are key.

BM: It felt that the doors of the ceramic world had been flung open.

NM: I think that's exactly what IAC is doing – and it's never easy.

BM: Never will be. Organising what is effectively the United Nations of the ceramics world is fraught with difficulties.

Standing inside the work of Cildo Meireles titled Entrevendo (1979/1994) at MACBA, Barcelona

NM: IAC and the city of Barcelona have to be thanked.

BM: What a back-drop to it all Barca was.

NM: It certainly made a whole immersive experience to the Congress’ theme of architecture and art in public spaces.

BM: I can’t recall a walk we took where we weren’t reminded of how respectful Barcelona is of its history and its art.

NM: Ah, sitting drinking sangria under shade form the hot afternoon sun, opposite Antoni Gaudi's masterpieces.

BM: Maybe too many sangrias?

NM: It was an immersive Catalonian experience.

BM: Well, next stop for IAC in 2018 is Taiwan, with either Lapland or Slovenia making a bid for 2020.

NM: This bodes well. Best leave it to Freddie and Montserrat to sum up IAC 2016.

BM: Por ti sere gaviota de tu bella mar?

NM: Where’s that phrase book?

BM: Sangria?

NM: It won't be the same.

BM: Salud anyway.

YARROBIL MAGAZINE Mansfield Ceramics | Issue 5, 2016

CLAUDE CHAMPY

Des Panneaux Muraux Pourquoi et comment des panneaux muraux ont pris place dans mon travail !

,,

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A

dolescent, j’avais décidé d’être artiste-peintre mais j’ai découvert sur mon chemin les potiers et la poterie … passionnément ! Pendant 25 ans, j’ai laissé de côté mes envies de peinture sans aucun regret même si mes grands plats émaillés devenaient de plus en plus ambitieux picturalement.

Travaillant très souvent mes vases en double parois pour retrouver une liberté d’intervention sur la paroi externe (déchirures, entailles, trous …), il m’est apparu que la présence du vide entre les parois m’ouvrait la voie des muraux qui soit autre chose que du carrelage. Ce vide entre la paroi et le mur me reliait à la poterie qui est avant tout du vide avec de la terre autour ; Des peintres ont commencé à resurgir enfouis au fond de ma mémoire … Kline, Fontana, Pollock, des calligraphes japonais, Soulages, merci bien sûr à P. Voulkos qui m’ont aidé dans mon approche picturale.

Maintenant au boulot : devant les morceaux de panneaux biscuités où tant de choses sont déjà inscrites la tension monte. Les grandes bassines d’émaux à portée de louches, casseroles de toutes tailles, je pose ma cigarette et en avant.

La rapidité et la spontanéité étant la règle dans les superpositions d’émaux.

Très peu de repentirs sont possibles.

C’est excitant, épuisant ; il faut mettre tout les doutes de côté pendant quelques minutes. L’émail vole avant d’atterrir sur les parois (ou à côté) peu importe, l’émail ne coûte pas cher.

Ces moments n’appartiennent qu’à moi. Il y en a partout. Je balaierai demain lorsque cela sera sec ; Que du bonheur ! Souvent c’est transcendant.

Je reprends ma cigarette et regarde ce qui s’est réellement passé. Il n’y a plus qu’à enfourner et espérer que le feu ne viendra pas trop perturber la lecture de l’ensemble des morceaux.

Les choses ne sont pas difficiles à faire, ce qui est difficile c’est de se mettre en état de les faire - BRANCUSI

YARROBIL MAGAZINE Mansfield Ceramics | Issue 5, 2016

CLAUDE CHAMPY

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7 Falaise triptyque 65 x 103 x 35 cm glazed stoneware

YARROBIL MAGAZINE Mansfield Ceramics | Issue 5, 2016