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Ceramics: Accredited Professional Members' portfolios

Portrait
Margaret Brown

Porcelain is Margaret Brown's preferred medium; she is drawn to it for its pureness and translucency, with her creations possessing strong connections to early domestic forms. Brown adds colour to the porcelain prior to throwing each piece, which adds to the essence of movement in each individual design. Colour is diffused externally and internally wit...

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Sarit Cohen

I draw inspiration from the domestic utensils, and constant theme of domestic objects within the everyday environment. Reflecting beautifully on the sense of history and domestic, gathering instrument kitchen utensils and looking at early 20th century design objects. The body of work demonstrates the ability to filter and synthesis a complex variety of...

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Linda Davy

Through the desperate and harsh soundscape surrounding me, a bird song penetrates through, making my heart sing with the memories of a childhood holiday, a trip to the river or a walk in the forest. Making art keeps me sane in the spaces that live, where it is an innate responsibility to nurture and keep whole, the home that I have created. The intersecti...

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Cathy Franzi

I investigate ways in which representations of Australian flora on ceramic vessels can communicate ideas about the current environment. My initial training was in science, informing the botanical approach I take to my subject. However it is the love of being in nature that gives me a passion for making - to find ways to express the character of each uniqu...

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Bev Hogg

Over the past thirty years my figurative sculptures have developed as a social commentary bringing together cultural, political and environmental issues that we face today on a local and global level. They examine the complex relationships between people, animals and their environment particularly on the blurred boundaries of cohabitation between the bush...

Ian Jones

Since I started working with clay, I have been interested in the qualities that can be achieved by the reaction between clay and the wood-fire process. This fascination began when I came across images of medieval Japanese pots from kiln-sites such as Shigaraki and Bizen, and although still heavily inspired by those works, it has developed into a general ...

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Anita McIntyre

The Australian landscape in a number of manifestations - the local Brindabella Ranges, the Central Desert and the Kimberley's - has informed my practice for some thirty years. It constitutes the continuing narrative of journey, place and time that is the essence of my art. Although specific place(s) may be alluded to, my Australian landscape is a generali...

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Gail Nichols

Gail Nichols makes generously rounded, eccentric vessels, thrown and manipulated, with lush dimpled surfaces, inviting tactile as well as visual responses. The vessels' surfaces have evolved through years of technical research with soda glazing, along with the development of materials and processes, and investigation of glaze microstructure. The research...

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Kaye Pemberton

I take pleasure in the way handmade pots bring different histories to domestic use. This narrative may include the training and heritage of the potter who made the piece, where the piece was purchased, whether it was a gifted or inherited piece, and possibly its forgotten or lost history. I am drawn to moments when people share conversation and compan...

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Catherine Reid

I am interested in themes of nature, of journey and passage of the life of the spirit. I explore these themes in large installations. Technically, I work predominately with smoke firing and black firing techniques and more recently with unglazed porcelain. I am particularly interested in the grouping and repetition of multiple forms and patterning and som...