My formal art training launched when I gained entry to the secondary school art teacher course at Western Teachers College in 1967. The course included extensive study time at the South Australian School of Art in Stanley Street, Adelaide. Undergraduate studies resulted in a post graduate year, taking my passion for painting and design further under such tutors as Sidney Ball, Geoff Wilson, Tony Bishop, Barry Goddard, Geoffrey Brown and Robin Wallace–Crabb. However spare moments were spent in the ceramics department observing renowned Australian potter Milton Moon coach students. From 1971, I taught in numerous South Australian schools until 1981, after which I commenced a Batchelor of Arts (ceramics) at Bendigo College of Advanced Education. Under tutors Dave Stutchberry, Garry Bisch, Colin Brown, and studio potters Graham ‘Pluto’ Masters (Sweeney Creek Pottery), Neville ‘Fatty’ Wilson (Maldon Pottery), and Lenny Bell (Woodstock Pottery), I graduated in 1985. Whilst there, contact was made with Ian Jones (Laughing Frog Pottery – Gundaroo), an association current today. Local planning laws make it difficult to have a wood fuelled kiln in Bungendore, so work made for wood firing is fired in Ian Jones’ kiln at Old St Luke’s Church pottery, Gundaroo. I work from my studio in the old Fire Shed at Bungendore, and sell from the Frances Clarice Gallery in the same building. I make a range of everyday functional objects reflecting the influence of Korean (Yi Dynasty) and British studio ceramics, especially the Leach tradition. Clay is a wonderful medium for a constructivist and of particular enjoyment is the creation of tea pots and tea bowls. Most of my work is made from white stoneware clay, but a small amount of raku clay is also used. Both are gas fired to 1300c. I use a range of glazes, often as simple as wood ash and various clays or stone dust. This produces viscous, or fluid rolling glazes that emphasise process, structure and texture. Often the pot surfaces have been combed when soft. More recently I have immersed myself in the challenge of copper red glazes, either alone or in conjunction with other glazes. I often incorporate timber into my work, mainly as handles and lids, gathered from local species. They are steam bent or in the case of lids, turned on my lathe or free carved. An adjunct to my functional ware is the making of jewellery using clay, bone, horn, wood and metal. Inspiration for construction and decoration is taken mostly from my natural environment, but also from the linear characteristics of wire fences. Decorative effects are made from brush work, impressed texture, and slip trailing. Work incorporating timber reflects my strong interest in traditional Japanese architecture where symmetry is sometimes contrasted with irregularity.About RickMade with Xara
My formal art training launched when I gained entry to the secondary school art teacher course at Western Teachers College in 1967.
The course included extensive study time at the South Australian School of Art in Stanley Street, Adelaide.
Undergraduate studies resulted in a post graduate year, taking my passion for painting and design further under such tutors as Sidney
Ball, Geoff Wilson, Tony Bishop, Barry Goddard, Geoffrey Brown and Robin Wallace–Crabb. However spare moments were spent in the
ceramics department observing renowned Australian potter Milton Moon coach students.
From 1971, I taught in numerous South Australian schools until 1981, after which I commenced a Batchelor of Arts (ceramics) at Bendigo
College of Advanced Education. Under tutors Dave Stutchberry, Garry Bisch, Colin Brown, and studio potters Graham ‘Pluto’ Masters
(Sweeney Creek Pottery), Neville ‘Fatty’ Wilson (Maldon Pottery), and Lenny Bell (Woodstock Pottery), I graduated in 1985. Whilst there,
contact was made with Ian Jones (Laughing Frog Pottery – Gundaroo), an association current today. Local planning laws make it difficult to have a wood
fuelled kiln in Bungendore, so work made for wood firing is fired in Ian Jones’ kiln at Old St Luke’s Church pottery, Gundaroo.
I work from my studio in the old Fire Shed at Bungendore, and sell from the Frances Clarice Gallery in the same building. I make a range of everyday
functional objects reflecting the influence of Korean (Yi Dynasty) and British studio ceramics, especially the Leach tradition. Clay is a wonderful medium for a
constructivist and of particular enjoyment is the creation of tea pots and tea bowls.
Most of my work is made from white stoneware clay, but a small amount of raku clay is also used. Both are gas fired to 1300c. I use a range of glazes, often as
simple as wood ash and various clays or stone dust. This produces viscous, or fluid rolling glazes that emphasise process, structure and texture. Often the pot
surfaces have been combed when soft. More recently I have immersed myself in the challenge of copper red glazes, either alone or in conjunction with other
glazes. I often incorporate timber into my work, mainly as handles and lids, gathered from local species. They are steam bent or in the case of lids, turned on
my lathe or free carved.
An adjunct to my functional ware is the making of jewellery using clay, bone, horn, wood and metal. Inspiration for construction and decoration is taken mostly
from my natural environment, but also from the linear characteristics of wire fences. Decorative effects are made from brush work, impressed texture, and slip
trailing.
Work incorporating timber reflects my strong interest in traditional Japanese architecture where symmetry is sometimes contrasted with irregularity.
About Rick
Made with Xara
