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Clayworks will not take any commissions from sale of work that eventuates from this site.



Julie Pennington.

An interest in printing on clay has been the focus of my work for some time.  My desire to use more colour and depth in my surface treatments has lead me to focus on the technique of Monoprinting.  For this I use a plaster slab or mould, building up layers with coloured slips and underglazes.  I use Southern Ice Porcelain Slip which gives me a fine smooth surface for polishing the exterior of my work, and a beautiful white interior when a clear glaze is applied.

 


 

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Gary Turner

Gary Turner studied art at Caulfield Institute. He won the prestigious Walkley Award for art design and has had his work exhibited at the National Gallery of Victoria. He also art directed many award winning pieces.

He is now retired and lives in McCrae.

His ceramic body sculptures have won numerous awards on the Peninsula including Art Red Hill (Best Sculpture), the Derinya Art & Craft Show (Best Sculpture), and the Frankston Art Award among others.

 

These pieces were made from Clayworks Paper Clay and Clayworks underglaze colours


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His work is exhibited at The Studio @ Flinders and Whitehill Gallery.

More of his work can be viewed at www.gturnerbodysculptures.com

 

John Ferguson

I work with SWE for it’s wide firing range and versatility in both throwing and slab construction. Initially, I used SWE for its whiteness, creating a “ghostly luminosity” in my saggar fired work. It also makes a reliable and well fitting terra sigillata slip and has a fine grain, which I find ideal for textural surface decoration.

Balance.45x23x8cm

Artist: John Ferguson.

Title: Balance

Size: 45 x 23 x 8 cm

Year:

Clay: SWE

Photographer: Grant Hancock



 

Cryptic._27x27x10cm

Artist: John Ferguson.

Title: Cryptic

Size: 27 x 27 x 10 cm

Year: 

Clay: SWE

Photographer: Grant Hancock



 

The_Dancers.31x14x6cm

Artist: John Ferguson.

Title: The Dancers

Size: 31 x 14 x 6cm

Year: 

Clay: SWE

Photographer: Grant Hancock

 

Owen Rye

Flashing colors are typical of woodfiring, usually where a reduced atmosphere has been use in the higher temperature ranges, followed by an oxidised cooling.  The flashing colors are very dependent on the nature of the clays used, and generally low iron clay bodies fluxed by felspars produce an orange coloured flash.  

I have for many years been working at improving color response in woodfiring, both in glazes and on the clay itself.  Rather than dull browns and tans I want reds, pinks, oranges and apricot colors.  Experimenting for many years with clay body composition led to RSF, a woodfire/salt body sold commercially in Australia by Clayworks.  RSF is one of the few specially formulated commercially available woodfire clay bodies in the world (the others being in Japan, e.g. Shigaraki clay).  It has proved over the years to be very durable in the most testing woodfire conditions such as anagama firing, and even refiring multiple times, a practice that destroys most stoneware bodies.  It has been successfully fired up to Cone 12-13 in the anagama but is best around Cone 10 for color development.  Under the right firing conditions, RSF could produce strong pink/apricot/orange colours underneath wads, or where the clay was sheltered from direct flame.  

owen_ryeRecently, because one of the materials in RSF became unavailable, the opportunity arose to experiment with further improvements in RSF.  The new composition allows an even richer flashing quality.

In common with the earlier version of RSF, the new clay is also suitable for saltglazing.  It has good throwing characteristics and is especially suitable for large pots, which I make by the coil and throw method.  It is also used as a handbuilding body especially for large-scale work.  I use it sometimes as paperclay, mixing shredded newspaper and some paper pulp into the commercial body in a clay mixer.  This does not alter its firing characteristics in any way but allows making difficult shapes, and larger forms are much lighter than when made from the standard RSF.  

Along with clay body experiments I have for many years investigated details of the firing process, and it is clear to me that the best clays in the world will not respond with good color if fired inappropriately.  An oxidising fire, for example, produces no flashing (except an occasional slight coloration where works are touching during firing).  My early experiments showed that RSF develops color when oxidation and reduction are alternated during firing, as can happen quite naturally during woodfiring if stoking is delayed until only brightly glowing ember is left. This helps temperature rise.  

Better results later came from consistently reducing up to (and maintaining) top temperature, followed by reduction during cooling down to around 1100 Centigrade (1832 Fahrenheit).  This procedure gives orange/apricot flashing colours.  The strongest colors have developed since I started introducing water into the kiln during firing and cooling.  Water in the kiln during cooling seems to give the strongest colors, which move towards pinks and reds.  There is no final word on these experiments, which continue with each firing.  And just in case anyone thinks that color development is only possible in long duration firings, I have seen strong flashing on RSF fired over six hours in a fast-fire kiln, followed by appropriate cooling techniques.   

Owen Rye's web site

 

Juliet Widdows

I love using MFQ clay, as it has real "tooth", strength and flexibility. Whether I'm making a large platter, domestic ware, or eggshell fine pieces, I know the clay will handle it all! I use it because it vitrifies at a lower temperature, is white and strong, and I'm able to play with colour inglazes carve it, etch it, twist it and generally let my imagination run wild!

 

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