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Ceramics: Accredited Professional Members' portfolios

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...

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...

Linda Davy

I am drawn to the intricacies of the outdoors, to the beauty of line, shadow, tone, structure, texture and tactility of the natural environment. The many different materials available for use in the exploration of these concepts and the combination of mediums to convey an event or 'texture' is an important part of my practice. The process of creatio...

Cathy Franzi

Cathy Franzi's ceramic practice explores Australian flora and the realm of ceramic decoration. She draws on the rich history of early explorers and natural historians through to this century, as we face the complexity of issues surrounding threats to species due to environmental degradation. She has developed a linocut style of carving the clay surface. T...

Bev Hogg

Over the past twenty years Bev Hogg's 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 intricate relationships and interconnection between people, animals and their environment - whether natural or built. Operatin...

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 ...

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...

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...

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...

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...