East and West

"Everything in Jingdezhen is filthy except the people. How they achieve this is a miracle beyond me After a day on the factory earth floors the men and women emerge spotless, the women's high heels as clean as the day they came from the shop. I wander Jingdezhen in a cloud of white porcelain when it is dry ,or covered in mud when it rains- the proverbial dirty old man."
Journal of Australian Ceramics 48#2, pp11

This evocative quote is from Australian artist/cartoonist Roger Law who has been working with artisans in the Chinese city of Jingdezhen to make these amazing huge, carved celadon pots. Roger was one of the keynote speakers at the Australian Ceramics Triennale and his account of his journey from maker of satirical masks for "Spitting Image" in the 1980's to wandering around Jingdezhen in a cloud of porcelain dust was very funny.

Roger pointed out that as an artist it is very rare to be able to work with skilled artisans due to the expense but in China it is still possible. The results of such collaborations can be amazing. The emphasis these collaborations place on the handmade within a factory type setting is very valuable in this world of de-personalized objects. The fact is that all of our ceramics are still pretty much handmade, artisans working in factories in China make many of the ceramics we buy from chain-stores.
I must admit that the opportunity to decorate huge pots such as these would be one I'd relish but it is only possible because those workers expect so much less than their Western counterparts. Where does the boundary between collaboration, creativity and exploitation lie? Is it better to give lower paid workers employment than not to go over there at all?

At the Triennale

The dynamic West Australian artist Fleur Schell was at the Triennale spreading the word about SODA, the privately run clay working center with residency that she and her partner founded on the shore of the Indian Ocean in Fremantle, Western Australia. The SODA Residency includes a self contained unit, access to workshops and galleries in the SODA precinct and exposure to the lively and talented Western Australian artistic community. You can find out more on Fleur's website
Fleur Schell has been a prolific artist since graduating from Curtin University in Western Australia with a Degree in Visual Art. Her oeuvre encompasses a series of sculptural work inspired by her daughter Heidi, functional ware, and doorbells and sound objects. She says....
"Using porcelain I love to make sentimental objects that are rich in detail, playful and familiar.

The common thread throughout my work is a connection to my own personal history. Having grown up with my mother who is a piano teacher, our home was filled with wonderful music. In 1997, with a fascination of musical instruments of all kinds I felt compelled to make a series of sound instruments. Using combinations of porcelain, metal, wood and found components these instruments explored the possibilities of sound through ceramic media in a way that encourages audience interaction on an audio, tactile and visual level. The principal aim was to create cast ceramic forms that were capable of generating sound, and which, through their aesthetic and textural quality, invited an intimate tactile response. "

Takeshi Yasuda's throwing demonstration drew audiences (and panel members) from all over the conference.

I was interested to note that the theme that emerged from this conference was the ethics of making within the globalized economy. With so many Australian potters visiting Jingdezhen we are faced with an ethical dilemma about using the skills and resources of other, cheaper countries to fulfill our creative vision. This issue emerged in several of the panel discussions and was addressed by many of the keynote speakers.

Janet de Boos, Bruce Mc Whinney, Virginia Scotchie, Shannon Garson, Elaine O Henry, Kim Dickey and Marek Cecula on the education panel chaired by Owen Rye. (photos coutesy of Renee Ferguson)
This is me trying to look intellectual on a panel about education! I was a bit intimidated by the heavy hitters sitting on either side of me but the panel was interesting and the panel members are innovative and exciting in thier approach to contemporary education.




Alan Peascod, drawings and bottle at the National Art School Gallery

The intellectual presentations at the Triennale were thought-provoking and (sometimes!) fascinating but one of the really valuable things we get from conferences is the opportunity to hear artists speaking honestly and directly from the heart about what they do and why. Geoff Crispin's talk about the hidden supporters of both his career and ceramics generally was one such talk.

The art world involves a lot of front and often our eyes are directed only to the successes, the prizes and the resolved final works. To see the process that a mature artist has undertaken emotionally ,physically and creatively is invaluable. While it is essential for us as artists to have the public persona when engaging with the world of commerce it is really important, especially to emerging artists to see a rounded picture of a creative life.

The tender and beautiful drawing on the interior of Merran Esson's piece.
And the last word....

must go to Takeshi who talked about the power of language and made the point that by using the language of the visual arts ceramicists are doing themselves a disservice. Takeshi posited that we need a new language to express the peculiar mix of the tactile, psycological, political and visual that ceramics encompasses he said "When you think about design you have to forget about old languages....We have to develop our OWN language"

The next Australian Ceramics Triennale will be held in Adelaide in three years time.

Australian Ceramics Triennale- coming up...

I'm firing madly getting ready to take some work down to the Australian Ceramics Triennle.

I'm on a panel about education. This sounds very dry but it will be a cracker - I think it should be called "Revolting Education- the Changing Face of Ceramic Learning in the 21st Century" It will be a panel discussion with plenty of input from the revolting artists who are watching. Throw us questions (not rotten fruit and vegetables) on mentorships, how they can work with contemporary artists. The internet, does it have a role in education(!?) Is formal learning of ceramics dead? ......And other contentious issues.

I'll also be doing a presentation on using blogging as a powerful tool for creativity and financial independence.

And last but not least I'll be bringing down a selection of work to sell at the Ceramics Direct Market on Sunday. One of my favourite memories of a conference is finding Sandra Black sitting behind a table at the National Conference a few years ago. She only had a small selection of beautiful items and it has been my lasting pleasure to have bought one. I look at this little pot nearly every day.

It makes me think of clouds, the soft/hard, cold/hot push and pull of the clay and lovely Sandra making a few dollars to supplement her trip. I'm so glad she was there and I could buy this lovely pot.


Maybe I'll see you at the Triennale.

Coming up........

I am in a few shows in Sydney opening soon.
"On the Table Too" at Planet Commonwealth is a group show that promises to be full of beautiful, amazing and practical handmade vessels. I love the group shot of ceramics on the invitation. It emphasizes the notion of the lively table, a place for food and ideas. In Italy the majolica ware used for the everyday table is bursting with history, colour and pattern. The food is there as an element, a vehicle for the flow of ideas and discussion around the table. I've often wondered what the trend for pure, white, factory made plates signifies. Is it a kind of control freak thing around food? Putting the food in a frame with nothing to distract the eater, none of the connection to community that a handmade plate brings to the table creates a strange kind of over-emphasis , almost a fetishization of food.

"On the Table Too" can cure this!

Exhibition from wednesday 8th - 22nd July to coincide with the Australian Ceramics Triennale

An exciting showcase of new ceramic tableware from Australian studio ceramists, including

walter aue,r bridget bodenham, kris coad, catherine fogarty, shannon garson
szilvia gyorgy, nicole lister, sandy lockwood, ruth mcmillan, sophie milne
vanessa owens, chris plumridge, simon reece, jane robertson, liz stops
dawn thirlaway, murray topham.

planet commonwealth is located at 114 commonwealth street
surry hills between reservoir and campbell streets

monday - friday 10 - 5.30
saturday 10 - 5
sunday noon - 4
ph 9211 5959

A little bit spice

Jiansheng Li is one of the speakers at the Australian Ceramics Triennale. I have seen Jiangsheng speak a couple of times and he is an inspiring, poetic and powerful speaker. Jiangsheng is the founder of the Sanbao Ceramic Art Institute in Jingdezhen , China.

I have seen quite a few artists speak over the years but Jackson Li was one of the ones that has stayed with me and genuinely influences my day to day work in the studio. I can't quite put my finger on why I loved his talks and demonstrations so much. Was it his story of travelling back from Canada to his hometown in China? The affection and connection Jackson Li feels for "his place"? Was it Jackson Li's preoccupation with finding good food in a small Australian town?
(a preoccupation I share) The first time I spoke to Jackson Li was when the bus carrying us further and further west for the conference stopped at a Macdonald's for lunch.. A large protesting groan went up among the potters but most people stayed at Fast Food Hell and made do. Jackson and I set off towards the town. After walking VERY fast for a couple of kilometres we came to a greasy spoon and before I could warn him Jackson Li ordered a Dim Sim! Delicious if you are eating them straight from the vendors cart in China absolutely horrible deep fried in five day old fat beyond the Black Stump!

Jackson Li gave me one of the nicest compliments on my work I have ever received which also contains some advice I try to follow.
"Shannon your work is just like you very sweet but a little bit spice" A little spice can make all the difference.

Here is an introduction to the Sanbao Ceramic Art Institute.

"Sanbao began as a dream of Jackson Li of Jingdezhen and Wayne Higby of Alfred University, USA back in the mid-1990's. They envisioned an international ceramic art center located in China, that would provide the opportunity to the international arts and crafts community to explore and exchange the culture, arts and crafts of China.

The concept of a first international ceramic art center in China led to the search for a suitable site on the outskirts of Jingdezhen, long the world center of porcelain production and the origin of the best porcelain artifacts in history.

The Sanbao Valley had for countless centuries been the source of China stone for the studios of Jingdezhen and was dotted with numerous old water-powered hammer mills for crushing the stone. A group of farm houses and an adobe building were chosen as the site for the future art center."
From the Sanbao Ceramic Art Institute Website.


Jiangsheng Li (also known as Jackson Li) is also a renowned brush maker and will be doing a brushmaking demonstration at the Triennale. I have one of Jackson's brushes and the quality of the line it produces would make any ceramic decorator swoon. These brushes are just a small sample of the wonderful brushes for sale on the Sanbao Ceramic Art Institute website.




Opening

On Friday the 17th of July there will be a screening of the international award winning film titled 'Potter and Dragon Kiln Village' by Jiansheng Li (Jackson Li)at COFA

(COFA is an easy 5 minute walk from the National Art School)