A driving getaway to unwind …. lower Blue Mountains

As an artist & gallery operator, it’s rare to have a weekend off. So for our 10th wedding anniversary, I decided a driving holiday was a good way to celebrate. I read an magazine article where the writer travels the Old Bells Line of Road in the Hawkesbury region. I didn’t know this part of the lower blue mountains existed let alone it’s gems. While she provided lots of historical spots to visit, my husband and I were more keen on architecture, breweries and gardens. We did a blend of hers and our own driving trip, and with travel less than 3hrs from Canberra to Windsor, we found it a breeze.

Once you get off the highway to head to Windsor, the changes in scenery and housing becomes more relaxing as we pass by small to large properties from pastel coloured weatherboard to sweeping driveways with wraparound verandas and cast iron lacework. Windsor has Australia’s oldest pub, the Macquarie Arms Hotel, and my other half was keen to sit and have a drink. We felt we were in an episode of the ABC’s TV show Jack Irishas two old timers enthusiastically regaled their tales to all in listening distance!

From here we found The Doctors house, retaining its pretty colonial Terrace architecture style from 1819. A short walk along the river has a paddle steamer on show at the Bridge & retracing your steps back towards Deerubbin Park makes this all very slow paced but for good reasons.

We head to our B&B The Willows in Kurrajong via Richmond where an avenue of plane trees provide a grand entrance to this quaint town. More on this later. We head to the hills winding in & out up the valley & once we leave the main road, discover properties tucked away in the bushes far from city life. Purple wisteria falls from an original shed as we drive down the cream gravel to our B&B. It’s everything I imagined. Wide open veranda, sweeping lawns, a few lambs & quiet apart from a song or two from local birdlife. Janet greets us like we’ve known each other for years, she shows our private entrance to the house, two rooms & discreetly leaves before you’ve put down your bags. We melt into the cushioned chairs on the verandah & don’t move till we head out for dinner. We begin to unwind.

We book into Lochiel House, as recommended by the article and one of three places that host Bruce recommends in the local vicinity. We are greeted with an enthusiastic waitress Lucy who makes our night. She’s chatty and knows when to give us our space. We eat three courses – all of which we enjoy – as everything is sourced locally and made fresh. My dessert is the best pistachio and lemon cake ever! A new menu is due to come out mid October … we are tempted to go back.

After a sleep in on Sunday, we head off to The Blue Mountains botanical gardens at Mt Tomah. We fail to find the Bells Point lookout as written in the article along with a few other sights…we begin to wonder if they exist.

Luckily, we spy the Hillbilly Cider brewery sign and a sharp right (traffic on the long weekend a bit crazy) means a little gravel screeching in Bilpin. As Adam is driving, I get to taste the vintage cider and instantly sigh. It’s like champagne but much softer. Me being Miss Practical thinks we will only buy two bottles. Adam says why buy two when you can buy a box! Which we do but on our return home as we don’t want to jiggle the cider on our road trip.

Off to the gardens and the car park is nearly full. It’s the long weekend and we luck in with a spot. Coats, scarves and brolly are needed as it’s unpredictable in this cooler part of the lower mountains. Upon entering and heading to the lookout we suddenly realise this is a huge garden … at least two hours of meandering it’s many paths, different variety of gardens and endless insta moments at every turn. The gardens are simply stunning and we’ve hit the right time to see spring flowers in bloom. Give it a few weeks and we think it would be just as spectacular as so many buds were yet to bloom.

We are now starving. I had spied a cafe earlier & it turns out to be a very popular place that’s been hammered by its weekend visitors. We are told it’s a long wait for food but happy with our cider/ beer to keep us company. It’s worth the wait & we enjoy Kingfish & Sirloin on the deck covered in Cherry Blossoms. Time to hit the road, collect our cider, purchase dinner from the local deli who’s owner is chatty & friendly & head back to our retreat. We settle in for an afternoon of reading watching the sunset and a roaring fireplace as the temps drop quickly. Sleep comes easily.

A quiet morning to rest & later lunch in the town of Richmond. It’s a public holiday so not much is open but Adam spies a record shop and off he disappears into the network of little rooms themed for its style – rock, metal, country. Several bought records later, we then find some takeaway food and sit in the local park overlooking the cricket ground. Families, couples, friends enjoying the extra day off and the brief summer warmth of what’s to come. We check out some of the older buildings that have been faithfully restored. The School of Arts is my fave….well I do run a gallery!

We wake to another warm Spring day and bid farewell to our lovely hosts. Off to Oberon for our last activity before heading home to Canberra. I read about Mayfield Garden in another magazine and knew instantly we had to visit. Again, another cool climate location where the weather can change so this time it was sunscreen, hats and water. A quick bite to eat in the cafe and then off to explore the largest privately owned garden in the Southern Hemisphere. Grand. Is all we can say. Everything from the obelik to the grotto means a serious love of European gardens to turn a bare dirt landscape into a lush, blooming oasis for all to enjoy. We plan to come back late Spring as so much had yet to bloom.

Time to head home & reminisce our four day getaway. It’s amazing how an extra two days can give you that chance to fully unwind. So, if you can, stretch your next weekend for that perfect getaway.

Opening night of Protean a huge success!

Anne with (left to right) Megan, Lynda, Lisa, Fiona and Lena on opening night at Protean
Anne with (left to right) Megan, Lynda, Lisa, Fiona and Lena on opening night at Protean

Well it’s now been nine days later after opening night on Friday 3 July 2015 and I’m still on a high as our group exhibition Protean by 19 members from Claybodies Ceramics Group has been a huge success.

So many wonderful people braved 5 degrees and Canberra’s coldest night to date to support our opening. We were all in a state of shock as you could barely move.

Opening night before the masses descended...
Opening night before the masses descended…

But, the excitement and buzzing in the room was fantastic and everyone later said it felt like good vibes and happy people! We think more than 200 visitors attended and stayed till closing.

Niki and I talking about my new works. Note: she is wearing one of my graduating pendants she purchased. Aw, shucks!
Niki and I talking about my new works. Note: she is wearing one of my graduating pendants she purchased. Aw, shucks!

Sales kept our artists busy and catalogues flew out the door. Well at $8 for a beautifully designed book, we are not surprised!

Our group worked really hard to bring this exhibition to fruition as early as August last year. Meetings were held monthly and hotted up from February this year as it became apparent we had a lot of work to coordinate and delegate. Works were discussed with our Curator, Mark Van Veen, former CMAG curator and he provide guidance on selecting 1-3 works each and teaching us the essence of contemplating fewer objects rather than en mass. He also helped with sizing of plinths as we had to make our own plinths. This is rare as most galleries supply them but Nishi Gallery don’t have storage room.

So, my husband Adam spent many weekends and week nights custom making 17 plinths. Our garage became a mountain of boxes until a group of women descended with paint rollers in hand! It was such a great day as rollers went swishing and the boxes started to resemble art gallery plinths.

Adam in his garage with a few plinths...
Adam in his garage with a few plinths…

We also engaged a photographer, artist statement workshop and designer to pull together a stunning catalogue to showcase our works. All of this was purely funded by the artists. No financial assistance was received by local or state government. You wouldn’t want to know how much it cost…but we all truly believe in our practice and that ceramics is a truly wonderful art form that deserves prominence.

So, what work do I have this time? I’ve created a new body of work based on the domestic sparrow. Here is my artist statement in the catalogue:

Dull and brown, flittering in shadows, domestic
Poor little sparrow you are invisible
But I can change that
Porcelain and light, patterns piercing you
Delicate, white and now seen

A few photos from the exhibition which runs till 19 July 2015. Get in quick as works are selling fast! Also check out The Canberra Times and Sydney Morning Herald for a wonderful arts review by Kerry Anne Cousins.

Selfie of Domestic Sparrow series on catalogue and in-situ
Selfie of Domestic Sparrow series on catalogue and in-situ

image
Fran, Anne and Linda in the local Canberra Weekly

My next exhibition…save the date!

Hello everyone, it’s been a while since I’ve blogged. I’ve been busy since Boxing Day making new work for an up and coming exhibition. So, please save the date and if you would like an invite please send me an email request. Thanks, Anne

Save the date
Save the date

My first group exhibition: 10 February – 3 March 2014

Hello everyone,

Please find attached an invitation to visit my first group exhibition since graduating from the Australian National University School of Art Ceramics Workshop. The exhibition, ceraMIX  features 12  ceramicists (local and international) who form part of a collective called Claybodies.

Opening night is Friday 14 February at 6pm and you can also visit between 10 February – 3 March 2014 to check out our works. All details on invite: Invite ceraMIX by Claybodies

If you can’t make the night we are also hosting an Afternoon tea all day! on Sunday 23 February.

Afternoon tea_ceraMIX_FORM_flyer_final

Cheers, Anne

 

A firing disaster, a few tears and lessons learned

Well, reality has certainly bitten this little petal.  After an agonizing time carefully loading my eight tiles into the bisque kiln on Saturday I finally opened the door on Monday morning to uncover a firing disaster.  I knew one of the tiles had broken, as Christina checked late Sunday night, so I braced myself as to which one I had lost.  It wasn’t until when removing the tiles one by one I realized something had gone terribly wrong.  Tile after tile – major cracks – and when I got to the shelf that’s when I didn’t know whether to laugh or cry.  The kiln shelf had split fair into two pieces.  Out of the eight tiles I made, only two survived and one partially – as Adam kindly pointed out “it was only a 75% failure rate”.  I laid them all out on the bench, photographed them and headed straight back to my room.  I felt so deflated and could have kicked myself – where did I do wrong?

I had read up on the Internet – reliable ceramic sites to work out how to bisque large tiles.  I found some great sites/detailed information but they all related to small bathroom tiles and nothing my size or depth.  I chatted to another artist in residence who was confident I could lay the tiles on top of each other.  I had plans to lay one on each shelf – but we didn’t have enough shelves for that option. So, I had the yellow clay tiles on 2 separate shelves and the white clay tiles stacked carefully on each other.

I didn’t know one kiln shelf had a hairline fracture and the weight of the tiles combined with the fracture may have been the cause for the break.  Our Technician Rachel hadn’t seen anything like it before and was surprised at the outcome.  We talked about what the cause was but couldn’t give a definitive answer.  She suggested next time I stack them side by side with bricks – like toast in one of those old-fashioned toast stands.

Silver-PLATED-TOAST-RACK-6-slice
Silver-PLATED-TOAST-RACK-6-slice

Someone else suggested clay coils around each of the tiles to slow down the heat so it’s not fast on the outside and a shock to the center.  So lots of ideas and if any ceramicist out there can give me tips I’d so much welcome them as I’m keen to continue making these tiles when I come home.

The good news is someone upstairs must have been looking after me as the two tiles, which survived, were in fact the most important – the main feature tiles for the old/serene body of work.  At least I can work with something and the other good news, which Adam also pointed out “you’ll save on shipping costs now!” He of course totally understood, felt bad about my firing and let me have a good sob over Skype.

So, today I woke up with a massive hangover after drinking a tad too much – probably because I knew I needed to commiserate, held my last dinner duty with the gorgeous Evelyn from Estonia, given a presentation to Project Network 2013 members on tips to improve grant applications and only had one more kiln firing to go.  Anyway,  onwards and upwards and I have to say one of the girls here made me realize  you have to embrace ceramics with all its uncontrollable elements and be prepared for breakages, kiln and/or glaze disasters.  Only the day before, another artist accidentally knocked over one of Claire’s exhibition pieces. He was mortified and she was calm as she quickly threw the piece in the bin.  She made the whole incident painless and is truly a model of graciousness and practicality.

Anyway, I spent today glazing my two tiles and I’m happy with the results.  The work, along with the pendants will be ready to put in the kiln on Wednesday and should be out some time Friday.

Post note: the works came out today….and sadly, another firing disaster.  It just seems I been given the ultimate test ‘to harden up princess’ as Adam says. Well, I opened the door to see one big gooey hard mess in front of me.

 

Glaze-firing-an-expensive-exercise
Glaze-firing-an-expensive-exercise

We had to wait till the kiln cooled down and Rachel helped me pull the shelves out. Two were joined together and when we pulled them all out we assessed the damage – to the shelves and the element.  Whatever work came out went straight to my desk with no interest.  I was worried about the damage.  We got a hammer and chisel and she showed me what I’d have to do to get rid of the glaze.  The glaze is hard as rock and when you break it, its like glass.  So, we worked carefully but struggled to avoid the actual shelf from being ruined.  So, she left me and 2hrs later I tried my best to rescue the shelves. Two of the shelves are not savable and with a damaged wire I’m going to be up for some big $$’s.  My budget for the firings has been totally blown out.  I also lost 1/2 my pendants which had been made as gifts for people here.  So, unfortunately that special project is out the window.  As for my 2 tiles, they somehow managed to be okay.  I did take a photo to put in this posting but it could have helped if I put the memory card in!  Its now too late as I’ve bubble wrapped my works in preparation for leaving. So lesson learned…don’t put a low fire clay in a high fire clay firing.  I didn’t realise I had made this mistake and now I know what happens and trust me I won’t be making this expensive mistake again…

So, this is probably my last posting related to my time here as an artist-in-residence. I’m pleased I took myself out of my comfort zone and explore new clays, glazes and forms.  This is the complete opposite to what I did at University and I’m so glad I didn’t create the same work and play it safe.  I’m looking forward to coming home as I miss Adam, Miami and of course family, friends and work colleagues.  I will also miss my new friends made here at Guldagergaard.  Its been an amazing experience and one I highly recommend any ceramic artist to consider as part of their career…just start saving now and be open to all that ceramics throws at you!

 

Anne-celebrating-at-the-exhibition
Anne-celebrating-at-the-exhibition

My work

Friday 17 February

It’s been 2 weeks now and I feel ready to show the progress of my work.  This project commenced February 2012 in terms of an idea but I had no actual idea as to where it would lead me.

While working on another body of work I uncovered a series of drawings by American architect Marion Mahony Griffin prepared for hers and American architect Walter Burley Griffin winning entry in the Australian Federal Capital Design Competition in 1912.   What occurred to me about one of these renderings was how white the buildings were envisaged in this new city (Canberra) and how the landscape seemed to hover ever so gently in, and around, the delicate lined streets of suburbia. Neither Walter or Marion had been to Australia, “…In 1912, idealized images of the native landscape-known colloquially as the bush-and its requisite eucalyptus and gum trees were gaining iconic status as symbols of national identity…” Debora Wood, Marion Mahony Griffin: Drawing the Form of Nature (Illinois: Mary and Leigh Block Museum of Art Northwestern University Press, 2005), 11.

4185438_0001 copy 2View from the Summit of Mount Ainslie, 1911. Credit: National Archives of Australia

Australia is often associated with sun, white beaches, rain forests and desert.  Canberra is like a garden city – surrounded by bush and our winters are cold, windy and with the occasional snow dumps.  We have soft blue skies and when the light hits the silver birches and gum trees it highlights how serene Canberra is.

Ghost-gum-near-NMA
Ghost-gum-near-NMA

However, as the past three weeks has shown, Canberra and the rest of Australia have been experiencing perhaps one of the worst heat waves in history. Scorching temperatures, sweating firefighters and city/country people bracing themselves day in day out as rising temperatures refuse to budge. But more on that later and back to Marion’s rendering.

I tucked this rendering away for a while as a possible future project.  A few months later I had the opportunity to apply for an artist in residence at Guldagergaard, the drawing re-surfaced and unbeknown to me Marion became my shadow.  She followed me everywhere as I read about her, watched a documentary, visited the National Archives of Australia to view the original works with conservator Ian Batterham, and discuss the finer points of the material, the water colours, and Marion’s relationship with her husband.  I figured there must be some way I can include her in my original proposal – celebrating Canberra’s centenary in 2013 and creating a body of work that places my association with growing up in a city surrounded by bush.

Without going into the finer points of researching and initial testing ideas – this was a 7-10 month process – I’ll try to narrow down elements which are crucial to the final outcome of potential exhibition work.

 

Surface decorations

Sanam Emami
Sanam Emami

Sanam Emami is a creator of markings through surface decorations; stamping and application of silkscreen transfers on her vases/teapots. I particularly like her markings beneath the transfer and how the two techniques blend seamlessly and provide the viewer with an additional experience to the decorative.

I experimented with a range of objects (old and new) and narrowed it down to a old Canberra tourist spoon, a new vinyl placemat from the National Museum of Australia shop (acknowledging local indigenous people who can trace their occupancy of this space, for many thousands of years), an Australian window shade blind with a simple weave (Marion used ‘window shade holland’ as her surface to create her renderings), and a cake tool (acknowledging my part time retail job to support my practice).

Screen-printing and decals

Closeup-of-my-drawings-for-possible-layout
Closeup-of-my-drawings-for-possible-layout

Marion used a range of techniques in three mediums – textiles, paper and painting.  I did not necessarily want to use the same techniques but acknowledge that any work I created would be made mostly by hand – as she did.  The only processes which required modern equipment was the digital machinery to produce the decals and (I think) the light process to expose images of Marion and the ghost gum tree on to the silk screens.

Ghost-gum-Cerama-White-Royal-Copehagen-porcelain-Yellow-clay-Black-clay
Ghost-gum-Cerama-White-Royal-Copehagen-porcelain-Yellow-clay-Black-clay

How I came to choosing black silhouettes of Marion was based on a little known fact “…at the end of her life, she altered the credit lines on a number of drawings in her possession to read ‘Marion Mahony Griffin, designing architect’…”. In the documentary City of Dreams one of the social historians explains, she also blacked out the credit lines but this was done with sensitivity as her and Walter had an incredible artistic collaboration. I thought this was very telling of that period and how complex her relationship must have been personally and professionally. Hence, my need to tell her story and parallel it with mine.

What I really enjoyed about the preparation for screen-printing was hand drawing each of the images and trying to work out how to create positive/negative areas, which would enhance the portraiture/landscape.  I was fortunate one of the teachers (Denise Ferris) at the Canberra School of Art (my other part-time job) liked the way Marion was captured – in time, the period, her Mary Jane shoes, long dress and reflective stance.  She suggested I look up Kara Walker, an artist who creates cut black paper portraits and adheres them to paper, canvas and walls. Her silhouettes are delightful, thought provoking and some with a modern twist.

Walker_Whitehot @ Hammer Museum
Walker_Whitehot @ Hammer Museum

I had this idea I would have Marion looking forward with her vision of this new city and me reflecting on being the person she envisaged living the life. So, my friend Trish photographed me sitting on a contemporary chair, in a short-medium length dress, high heels and looking very relaxed.  See, Marion was always on my mind and I was constantly wondering what would she think…

Marking Place

Just before I left Australia, I had the chance to attend a talk by Curator Peter Haynes on a group exhibition by three prominent Canberra artists – G.W. Bot, Anita McIntyre, Wendy Teakel.  Marking Place provided me with the confidence I needed to be able to pull my many ideas together and focus on cohesion, subject matter, and simplicity.  In particular, Ceramicist Anita McIntyre’s fish memories (2012) resonated with my goal to keep the form clean and relevant to the subject matter so the decorative narrative could surface.  G.W. Bot’s Paddock, glyphs and moon, 2011 also provide a pivotal turning point in my work last week and as I looked at her ‘limited palette – black, red and ochre‘ I could see another layout crystallizing before me.

As previously mentioned, Australia has been experiencing heat waves and bushfires in and around cities and rural towns.  I looked at my Danish clay – yellow brick and realized how this symbolized the dry heat – haze and smoke the firefighters experience; then my red screen print of me – initially a bold statement about my own independence as a woman – but how this could mean fire. The sky was pitch red I recall driving home in 2003 not knowing it would be a catastrophic event for Canberra; the black is in reference to burnt trees that dot the country at any given time.  I think I now have two possible works – one serene (old) and one in the present day (new).  Thanks Marion.

Detail_can't-reveal-everything
Detail_can’t-reveal-everything

Thanks also must be mentioned to Joanne Searle for our speed dating session on screen-printing in my garage and Sasha Kukoc for her patience in creating the silk screens.

© Anne Masters Ceramics