New Zealand PotterVol 24/2 SPRING 1982

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New Zealand PotterVol 24/2 SPRING 1982

Cover: pots by Chester Nealie photographed by Steve Rumsey Page

Fired with woodChester NealiePaul FisherMark Lorimer on Bizen 12Ian Smail 16Nelson fastfire wood kiln 18Clay supplies 20Cone comparison 2012 Potters, 20 years 21John Madden 22John and Anne Crawford 24John Sweden 26Cottage industry 28Experience with a 68 cu ft fibre kiln 29Winecraft Gallery 31Exhibitions 32

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New Zealand Potter is a non—profit making magazine published twice annually. Circulation is 6,500.The annual subscription is $NZé.00, for Australia $A8.00, Canada and the United States $US9.50,Britain £4.00, Other $U5950, postage included.New subscriptions should include name and address of subscriber and the issues required. Receipts willnot be sent unless asked for. A renewal form is included in the second issue each year. This should beused without delay. It is the only indication that the magazine is still required.

Advertising ratesFull page 180 mm wide X 250 mm high $380Half page 180 mm X 122 mm high $230Quarter page 88 mm wide X 122 mm high $140One-eighth page 88 mm wide X 58 mm high $85Offset printing. Unless finished art work ready for camera is supplied by advertiser, the cost of prepar-ing such copy will be added to the above rates.

Editor: Margaret HarrisAsst. editor: Audrey BrodieLayout: Nigel HarrisAuckland correspondent: Howard Williams,Christchurch correspondent: David Brokenshire.Editorial/subscription/advertising: PO. Box 12-162 Wellington North, New ZealandPrinted by Deslandes Ltd, Petone

Steve Rumsey made severaljourneys to Chester Nealie’sworkshop at South KaiparaHeads to record his making andfiring methods. The photo-graphs show the whole processfrom making, stacking, firingwith helper Peter, to the fam-ily, Hilary, Greg, Megan, andBryn surveying the most recentkiln load.

Wood fired pots fromNZ Craftworks TeHoro, photographedby Richard Hendry.Above left: MarkTugendhaft, rightGlen Beattie, left

centre; john Ander—son, below left:Andrew van der Put—ten, right: Paul Tobin.

New Zealand Potter . ., 9

Paul FisherPaul Fisher lives with his family at Orari between Tiuiaru and Ashburton on the flat Canterbury plains. He was introduced to potterythrough WEA classes in Christchurch, Rita Ernsten and Michael Trumic being later teachers. Potting soon became a compelling passionwhich led him to workshops in Iapan. He makes no apology for closely following the Iapanese aesthetic in New Zealand. Paul has hadseveral one man exhibitions and is represented in galleries in New Zealand, Iapan and Britain.

In 1976 I travelled to Japan and this tripwas to be a turning point in my atti—tude and approach to making pots.With the help of the Hamada family Iwas able to secure a place working atDaisei Gama in Mashiko. This kiln hasbeen established 120 years and is pro—ducing traditional Mashiko tablewarefor everyday use. It has the distinctionof having hired Shoji Hamada as apotter approximately 60 years agowhen he first arrived in Mashiko.

The drop into Mashiko from mysuburban environment in Christ—church was an amazing experience. Itsa small village of 20,000 people, spreadout on undulating country where 300kilns operate. The main street has 60%pottery shops and on the surroundinghills its easy to spot the kilns firing bythe belching black smoke rising in thesky. At Daisei Gama I was able to makemy own pots as well as traditional wareand the demands of repetition throw-ing and mass production was a lesson Icould never have learnt at home. Thekiln at Daisei was a giant with sevenchambers 30’ across and 5’ x 6’ high. Itwas bisqued and fired every month bysix craftsmen and four kiln workers

During my stay I also had the freerun of the I—Iamada compound. I wasfortunate to be able to watch the mastermaking and decorating and to see hiskiln in full flight. All this inspired meto carry on the tradition of highlyglazed Mashiko ware and build myown wood tunnel kiln on a smallerscale.

On my return home we settled inOrari, an area with an abundance ofexcellent plastic stoneware clay andcheap firewood. I am using clay dugfrom a pit 15 km away at Kakahu,which is mixed 8—1 with silica sandavailable from the same pit. This mix isblunged for 30 minutes, boiled for twohours to remove water from the slipthen stored ready for use. The clay isvery high in alumina and has the samechemical analysis as that used duringthe Sung dynasty and at Shigaraki,Japan.

My kiln is a three chamber climbingkiln. It’s constructed of approximately4,000 unifrax fire bricks mortared to—gether with our local Kakahu clay top—ped with an insulating layer of dirt,straw and clay mix. All chambers arebuilt directly on the ground, the floorcovered with 3—4 inches of Kakahu clay

then a layer of silica sand. It takesabout 24 hours to fire all three cham-bers to cone 11. Its extremely economi-cal, using 11/2 cords of pine, which isabout the same as my Brickell dutchoven design, a much smaller kiln I usefor salting.

I still have a lot of traditionalMashiko in my veins and am workingwith slip glazes, ash, tenmoku andceladons. I make domestic ware andindividual pieces.

I strongly believe a workshopenvironment is essential for learningthe realities of making pots fora living,as opposed to a school system wherestudents are not usually aware of thecommitments to the craft, both finan-cially and personally. I have anotherpotter working with me at present andhope to expand my workshop to incor—porate another three or four workingpotters. I see my workshop becoming atransit place, offering kiln facilities,clay workshop space, prior to potterssetting up their own individual work—shops.

Paul FisherOrari, State Highway 1

South Canterbury

Pots made in 1976 on return from lapan, glazed with clear limestone

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New Zealand Potter

Mark Lorimer on BizenAfter spending two and a halfyears livingin Bizen —Mark working in a pottery andMaureen studying cotton weaving, indigodyeing and in particular ikat weavingtechniques—the Lorimers have beenworking at Driving Creek Potteries whereMark was making domestic ware NewZealand style. They are now establishingtheir own pottery nearby in Coromandelbased on a Bizen type tunnel kiln to pro—duce the type of work studied in Japan.

The predominant type of pottery foundin Japan 800 years ago was an unglazedfunctional stoneware produced insimple tunnel kilns of up to 10 metresin length into the sides of mountains.To avoid cracking of the body, (a 60 to70% silica content was common), longfirings were necessary and the result-ing fired effects from the buildup ofash ranged from spectacular reds,browns and blacks through to cloudygreys and blues and greens, quite fre-quently the full range appearing on thesame pot.

Bizen, on the southern seaboard, theInland Sea of central Honshu, is the lastarea producing this style of pottery inany quantity. In the other areas—Shigaraki, Tamba, Tokoname, lga,Echizen, Suzu and Okinawa—thepotters have mostly switched to glazedware with only the odd individualpotter continuing along the traditionalline.

Prior to the 16th Century, Bizen pro—duced mainly storage jars of all sizessome standing over a metre tall, burialurns, mortars and sake bottles. Thepotters, because of the tumultuouspolitical circumstances throughoutJapan, were forced to align themselvesfor protection and survival with thevery strong temples in the area and therange of ware produced was directlydependent on that which the roughunplastic mountain clays would allow.Coiling and then finishing on akickwheel seems to have been the pro-duction technique employed, withhigh losses of up to 50% during firing.

During the 16th century politicalstability came to Japan and Bizen pot—ters moved down into the valleyswhere clay was found in abundancetwo metres under the ground. This claywas fine and very plastic and allowed amuch wider range of ware to be pro-duced. At the same time the Tea Cere-mony was developing and the rusticnature of Bizen pottery fell into favourwith the tea masters. The range of pot—tery extended from purely functionaldomestic ware into Tea Ceremonyutensils—tea bowls, vases, waterjars,tea caddies—and ' large sculpturalpieces for the temples.

Kilns changed in size also, and dur—ing this time there were three largekilns in operation employing thepopulation of Bizen. These kilns were50 metres in length, 6 metres in widthand 3 metres high and were still of thestraight through, tunnel-type holdingup to 30,000 pots. The firings took twomonths and were followed by a coolingperiod of one month. The fired surfaceeffects on the ware were very import-ant and through the use of saggars,shelves, wrapping of the pots in ricestraw and simply stacking them one ontop of the other subtle flashing andcolourings resulted. Many of the potsfrom this period survive today and arehighly prized collectors items.

More recently (about 150 years ago)the Nobarigama (multichamberedclimbing kiln) came into use and it hasnow taken over as the most popularkiln built. Today Bizen workshops arepredominantly small family affairsemploying from one to six workers andsome using both kinds of kiln. Thedays of large cooperative operationsare long gone.

The ware produced is‘ wide-rangingwith an emphasis on Tea Ceremonyutensils, vases, jars, bowls, platters,sake bottles and beakers and ever in—creasing numbers of pieces regarded as”works of art”.

Old BizenJar 1.25 metreshigh.17th century

12

Clay is dug from under thericefields, is processed in a somewhatlabour intensive manner, then storedto dry for two years when it is handcrushed and the sandy clay separatedfrom the pure, hard clay. The pure clayis slaked down and then dried out tothrowing consistency in terra cottadishes. This clay has a natural grogcontent and is then blended with thesecondary clay which has had the sandwashed out of it and been dried in asimilar manner. The mixed clay is thenstored (for ten years in some cases), toincrease plasticity before being used.The blending of clays is generally donewith the help of a pugmill but there arestill workshops which have their ap—prentices foot—wedge the clay. Thepreparation of clay is most importantas it is the quality of the clay, the sizeand quantity of the grog which adds toor detracts from the liveliness of thepot. With normal glazed ware the claybody is often completely concealed,but with flashings and ash-glazed ef—fects on the Bizen pots the body shows

' through, the grog often rupturing thesurface.

Throwing is generally done on elec—tric wheels which allow for high pro—ductivity as well as large pots—jars areup to 20 kg, thrown in one piece.

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New Zealand Potter

Kilns and FiringAs already mentioned, the kilns are

of two types—multichambered andstraight-through tunnel jobs.

These kilns are brick constructedand vary greatly in size; our workshopkiln had an internal width of2.8 metresand an overall length of ten metres.They are a reduction kiln but quiteoften one chamber is reserved foroxidised effects. The reduction isenhanced by scattering charcoalamongst the pots; the places where thecharcoal burns out against the bodyresults in flashes of red, black, smokeygreys and in special circumstancesblues.

Kilns are usually four chamberedand require eight to ten days to fire,with first firings often extending to 14days. The ports for the insertion of thecharcoal are located along the sides ofeach chamber and stacking is or-ganised to allow a clean passage be—tween the shelves, and across the kiln.The chambers themselves have nobagwalls but are stacked to guide theflame evenly to all corners—sufficientheight from the floor to the first shelfbeing important to avoid temperatureimbalance.

Today silicon carbide shelves havereplaced the heavy thick fireclayshelves of the past with many potsstacked one on top of the other orleaning against another.

The wood used is Japanese Pinefrom the surrounding mountains cut tolength, split and then banded withwire hoop for ease of handling. Onebundle contains approximately sixpieces of wood and measures 60 cm inlength and 25 cm in diameter. Onethousand of these bundles are neededfor a firing and an additional 200 finersplit bundles for the side stoking.

Firing commences with a slowwarming and drying fire for two daysthrough a 23 x 23 cm firemouth in thebottom of the door. A temporary”firebox” is built out from this mouthto keep the flame back off the pots, theends of the burning wood being keptup by a metal bar across the ”firebox”entrance.

The tempo of the firing increasesuntil the pots on the first bung arevisible when the main stoking porthigher up the door is cracked open andcarefully fed, starting with only threepieces of wood. The kiln is at a verydelicate transition state prior to redheat and a sudden blast of cool air orflame is enough to cause cracking ofthe pots. The top firemouth now takesover although the lower one is stillstoked and used as a source of primaryair controlling the height of the embersinside the chamber. The amount ofwood stoked increases until up to 40

13

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pieces are being thrown in at one timegiving heavy reduction and pushingthe heat to the back of the chamber andinto the second one.

Side—stoking on the first chamberbegins when the pots behind the ports(halfway down the chamber), areshowing reflective qualities on theirsurfaces, and continues until thematuring temperatures are reached. Inthe workshop where I worked, nopyrometer or test rings were used, theonly indicators of maturity being therunniness and reflective qualities ofthe molten ash and the colour of thechamber inside. Temperatures areusually around 1130-1150 but the

chamber colour is much brighter thanexpected at these temperatures by NewZealand standards, because of the longfiring.

Once the pots are fully baked the 15 x15 cm charcoal ports are opened andthe extremely hot tiring job of balanc—ing charcoal on flat long handledshovels and sprinkling it correctlyamong the pots begins. This took us anhour to complete on the large firstchamber with a person on either sideof the kiln shovelling. Once finished,all ports are sealed and the side stokingon the second chamber begins. Thischamber required five to seven hoursto fire and charcoal, the large oxidising

New Zealand Potter

third chamber nine hours and thesmall final chamber one and a halfhours.

These firings require a team of stok-ers; we had four, each working a sixhour shift, although from the time thefirst chamber begins to approachmaturity to the end of the firing allhands are needed to maintain the paceand the straight—through non—stopshift would sometimes extend to 55hours. Following the firing, seven dayswere needed for the kiln to cool suffi—ciently to unstack.

Mountain Tunnel Kilns(Anagama)

This kiln is of the same type used inthe early days of Bizen and was intro-duced to Japan by Korean potters.Generally they are 10-12 metres inlength at the firebox end, 1-1.5 metresin width and height, tapering off to—wards the flue end. They are built onan incline of 15°—30° and are fired foroxidation and neutral fire effects. Firedfor 8-10 days, they are side stoked oncethe front bung has reached tempera—ture, (eg 7 hours might be required onthe first port compared with only halfan hour on the last).

The fired effects are usually lighter incolour than those from the”Noborigama”. Greens, yellows andbrowns from ash deposition arecharacteristic with rich red fire lines onthe pots which have been wrapped inrice straw and fired in saggars.

Although many kilns are now madeof brick, the old construction methodsof clay just moulded around a bambooframe are still popular; many pottersbelieve the fired effects from the claykilns are superior—the highly reflec-tive nature of the glazed brick surfacebeing undesirable.

These kilns last for many years. Theone I helped rebuild had been firedregularly for eighteen years beforesome areas of the crown began to col—lapse.

The construction clays were heavilygrogged mountain clays the same asthose used by the early potters for theirpots and kilns. A blanket of roughrice-straw matting was spread over thebamboo frame and the clay mixed to asuitable consistency to avoid it slip-ping straight off, was plastered inlayers up to a total thickness of20 cm allover. As it dried the kiln was beatenperiodically with wooden paddles tocompress and strengthen it, helping tominimise cracking later on. The fram-ing was then pulled out although somepotters prefer to burn it out in thedrying fire.

Because anagamas are generallyused for oxidation/neutral fire effectscharcoal is not used, although blushes

of grey/blue (characteristic charcoaleffects) often result where the sidestoking wood has burnt out against thesides of pots. Stacking is thereforemuch freer than that of charcoal fednoborigama with many saggars andpots stacked one on top of the other to aheight 20 cm from the roof, care onceagain being taken to allow plenty ofspace for the flame passage along thefloor.

These old construction and firingtechniques used in Bizen appear tocontrast sharply with mainstreamJapanese life which on the surface isdominated by high technology. How-ever on scratching beneath the surface

14

one runs into deeply—rooted traditionand these values are really the basis ofthe highly ordered Japanese society.The Japanese appreciation of beautywhich is summed up in the words“wabi, sabi, shibui,” (and have noexact English translation), refer to theroughness richness and depth of thenatural world. It is this appreciationthat makes Bizen pottery special to thepopulation as a whole, has fostered afeeling of exclusiveness around it, andcreated the high prices the ware alwaysfetches in the shops.

Mark LorimerOxford Terrace

Coromandel

Above: pus/ling coals onto lower front pots of the first chamberof a noborigama. Bclozv: Trails ofbnrnt rice straw (almost puresilica) hanging from the pots. Right: Jar by Mark Lorinzcr madewhile working in lapan.

New Zealand Potter 16

Salt glazed bowl and teapot shown at Auckland Studio Potters Exhibition.

Ian SmailOver a ten year span lan Smail has beenaccumulating firing experience with anumber of kilns, some more successfulthan others. For lengthy periods, WarrenTippett and latterly Nicholas Statlierhave shared the workshop.

I learnt potting from Ann Ambler in1972—73 and built myself a salt kiln anda small single chamber oil fired glostkiln. From there I went on to a largerdouble chamber oil kiln, which wasnever any good, then five years agowith Warren Tippett, built the presentthree chambered wood kiln, fired withthe then popular Brickell Dutch oventype firebox. The kiln was designed forglost in the first two chambers and forsalt glazing in the last Chamber. It was atemperamental beast, taking up to 24hours to fire, highly sensitive tostacking, and to the weather. I firedthis kiln until the middle of this year,when some major alterations were cal—led for.

I’ve now removed the front chamberand built a Bourry box type firebox onthe front of the second chamber, so Ihave a kiln of two chambers, the sec—ond for salting, with a total capacity ofapproximately 100 cu. ft. The firebox isan adaptation of the Finch design.Thiskiln fires both chambers to top temper-ature (1300OC) in approximately 18hours~the first chamber in 15 hours,

the second in three—and is very mucheasier than the Dutch oven on theoriginal kiln (hail to their passing!)The Bourry box needs stoking only at20 to 30 minute intervals and beingentirely enclosed is so much nicer to benear.

In the front chamber I use simplefeldspathic glazes (Shino typenepheline syenite or soda feldspar)rock glazes, and matt high magnesiaglazes, also a lower firing iron glaze forthose cold spots. Yes, we get those too!In addition I use a number of clay slipsmainly based on ball clay and a localclay of high alumina content. In the saltchamber I use all the above and hopefor lots of luck. The pots in the secondchamber are usually fired raw with slipglazes inside, applied at the leatherhard stage.

The pots are stacked on 22 x 14shelves in the front chamber (fourstacks about five ft high), and on 18 x 18shelves (all silicon carbide shelves wellcoated with alumina china clay wash),in the second chamber. The pots in thefirst chamber are set straight on theshelves, some of the bowls set one in—side the other with sea shells filledwith clay or aluminaichina mix in be-tween. I do this even with the glazedbowls because it leaves a lovely scar. Ioften drop straw around both theglazed and slipped pots, but don’t try

photo: Howard Williams

soaking the straw in salt—that canmean disaster. People read of pottersin Japan soaking their straw in salt forextra effect. In my experience, andothers too, the salt affects most NewZealand clay bodies in a most undesir—able manner eating well into the potsduring firing.

In the salt chamber the pots are onshells filled with alumina/china claymix or on a flint grog from Northland.The bowls are often placed one insidethe other with a small pot, teapot orjug, inside the top one.

I have no magic to guarantee successwith the salt kiln. As it is the secondchamber, atmosphere control is dif—ficult and the results are extremelyvariedkfrom brilliant to abysmal. Theamount of salt is usually a four gallonbucketful or maybe two bucketsful!The salt is thrown through any open—ing onto the pots especially the bowls.

The body I’m using at present is“Stichbury Mix” based on Crum pow—der and I-Iuntly fireclay.

My advise to those embarking on awood kiln is:0 get the wood really dry0 Have a mighty big chimney-

remember this does all the work0 learn chainsaw maintenance!

(Further information on the Bourryfirebox in NZ Potter Vol 2302, eds)

Above left:Small bowl saltglazed, largeshino type.Right; saltglazed bowlinterior andexterior.Below right:bowls ashglazed and saltglazed.

New Zealand Potter

Nelson fast fire wood kiln

As part of the New Zealand Society ofPotters clay weekend organised by theNelson Potters Association last Labourweekend it was decided to build a perma-nent kiln at the Nelson Polytechnic; thePolytech to pay for the materials andNelson Potters to design and build the kilnand to have access to it for workshops. Afine co-operative effort produced a reallyfast firing kiln (five hours).

The kiln design chosen was a small25 cu. ft wood fuelled fast firing designby Californian Fred Olsen. It is a singlechambered downdraught kiln withtwo opposing fireboxes under thechamber. To suit materials available tous we made some modifications.Chamber dimensions were altered tofit 12 x 18 shelves and the chamberfloorwas cast on high duty castable sectionsto be standard brick thickness. Theinteréor of the kiln chamber except forthe floor is lined with lowdensity insulating bricks; thefireboxes, flues and lower chimney areof hard firebrick; and the exterior of thekiln and most of the chimney is of redbrick. The exterior steelwork and fire—grates were made at the Polytechnic.Our members completed the construc—tion in half a dozen sessions.

The performance of the fired kilnwas dramatic, stoneware firing com-fortably in five hours, primarily be—cause of the use of insulating bricks.An almost identical kiln constructed inNelson entirely of firebricks takes atleast twice as long to fire. Our kiln useda remarkably small amount of wood fora glost firing. The wood of course mustbe well prepared and dry. The methodof firing is similar to that of most woodkilns except that the front firebox only,is fired until temperature reaches550°C when the second one is lit andthey are stoked alternately.

Bob HeatherbellBrightwater

Nelson

For other views on construction andfiringwood kilns:Fred Olsen ”The Kiln Book” and StudioPotter 4 (2) Douglas Phillips Fast FireWood Kiln, Ceramic Review No. 63. (Thisappears to be a dandy little kiln ofapprox.18 cu ft based on a Fred Olsen design),

Next issue more on wood kilns andfiring:Bruce and Estelle Martin’s anagama typekiln, Brian Gartside’s low cost kiln using abarrow load of bricks, Paul Lorimer from[apan

New Zealand Potter 19

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Woodfired domestic ware, left: Ian Firth from NZ Craftworksi right Mary Rochin,American potter, squat teapot with cup, celadon glaze interior only, shown at anexhibition in Craftsmen’s gallery, Omaha, USA.

New Zealand Potter

Clay clay and more clayWinstones Ltd have now taken over twoNelson companies, making them by farthe biggest clay manufacturers for craftpotters in the country. At Winstones’ in-vitation we made a visit to the Nelsonfactory where we were shown the mixingand blending procedure —from 15 types ofclay collected from as far afield as Col—lingwood to Otago, up to six types of clayin any one bodysand heard whatadditional products and services might bedeveloped in the future. In June this yearWinstones acquired the plant and assets ofPotters Clay Ltd and have amalgamatedthe equipment with previously acquiredIan McPherson’s Clay Ltd on the PottersClay Parkers Road site. We were agree—ably impressed by the entire operation—the combined output will be much greaterthan before and will provide a very muchbetter service to potters. We obtainedmost satisfactory replies to our list ofcomplaints, queries and suggestions.

Project Manager for Winstones ClayDivison is John Carlson singularly suited

to the task of developing the businesssince he is a geologist whose M.Sc. thesiswas on clay mineralogy, and who is him—self a hobby potter. He therefore has along association with clay, has a ’feel’ forit and is aware ofwhat potters expect ofitby range and diversity. He personallythrows and fires his own tests.

John Carlson reassures potters thatthere will be no immediate changes. Allthe traditionalsix McPherson’s mixes willbe offered, even ”Slab Clay” which is stillmixed by hand in the original manner.The full ”Potters Clay” range is alsoavailable. Efforts will be made to improveon these clays to attempt to provide whatpotters want. Most important of all willbe improved quality control.

”Winstones involvement will bringa new dimension to the quality controlof raw materials and product testing.Our policy is:—

(i) All clay winning to be supervisedby a geologist.

20

(ii) Clay stockpiles to be prepared upto two years ahead of utilisation.Stockpiles to be tested for particlesize and test firing, to confirmconsistency.

(iii) Clay to be made in distinctbatches and all bags numbered.

(iv) Each batch will be test fired priorto release for sale.

(v) Test firing in reduction only forstoneware.Specification minimum water ab-sorptions adhered to.

v(vi

Clay not suitable for potters (from ourworks) will be clearly labelled with itsintended use, i.e. for specified lowfiring purposes, modelling etc.”

John Carlson

John Carlson will contribute an articleabout clay mineralogy for potters in nextissue.

Well known to ageneration of New Zealand potters as a reliable source ofstudio pottersclay, [an McPherson has made a substantial contribution to New Zealand potting. Hiscontinued association with Winstones clay works in Parkers Roadfollows the traditionhe set when helped by Mirek Sinisek and Roy Cowan he developed a series of clay bodiesto suit studio potters when there was no other source ofprepared clay in New Zealand.

ConecomparisonSteve Rumsey

Potters often have a problem compar-ing one make of cone with those ofanother.

Each manufacturer publishes a scaleof "temperature equivalents” for hiscones, but this does not agree with thetemperature scale of another man—ufacturer, when the same amount of“heat/work” is done!

For example, if we place the follow—ing three cones in a kiln together andheat them up, they will all go downtogether:

Orton Cone 6Old Harrison H5Seger Cone 4aIn spite of this fact, each manufac—

turer gives a different ”temperatureequivalent” for his cone:

Orton 6 = 1222°COld Harrison H5 = 1180°CSeger 4a = 1195°CReading across the table below, you

can compare the relative squattingpoints in practice for three makes ofcone, at a temperature rise 0f150°C/Hr(new Harrison/Bell cones appear to besimilar to Orton):

Com: COMPARISON TABLE

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6

New Zealand Potter

12 Potters, 20 yearsIn 1962 in the embryo years of public

interest in hand—produced pottery inNew Zealand a group of twelve veryamateur Auckland potters decidedthey needed somewhere to sell theirpots, and outlets were few. So why notstart a shop of their own? One wasfound in Mt Albert, painted and fittedwith shelving for a total cost of £6 amember, and at a rent of £2 a week.The group opened their shop, called"12 potters” and establishedthe first potters co—operative, run andstocked by the potters themselves. Theoriginal members were: Olive Jones,Mavis Robinson, Paula King, BettyRapson, Jean Weir, Betty Colson, NanTroup, Lil Walcott, Joey Marshall,Margaret Milne, Tony Valintine, JimPalmer. _

Eight were exhibiting members ofthe first formed New Zealand Societyof Potters 1963, and most had gainedtheir interest and experience fromweekend schools and evening classes,which were held in several secondaryschools. All but one of the originalgroup fired in electric kilns and weremore or less restricted to a range ofearthenware, oxidised stoneware, andsome necklaces and pendants.

Three premises later, the group nowincludes a number of full—time pottersand twenty five people share the co—operative selling facility at UplandRoad Shopping Centre, Remuera. Awide range of potting styles is evidentin the work displayed—stonewareand porcelain, domestic andfantastic—a reflection of the maturityand skill and development of criticaltaste that marks the present day NewZealand potting scene.

Four of the originals are still with thegroup and the present membershipranges from the well known and estab-lished to the relative newcomer. Al—together more‘than 50 potters havebenefitted from the group’s activityover the last 20 years. Present 25 mem—bers are: Catherine Anselmi, ElizabethBeechey, Roger Brittain, GillCarruthers, Julia Colman, Ruth Court,Lex Dawson, Maurice Dawson, MoyraElliott, Garry Elliott, MargaretGrayson, Olive Jones, Pauline Jones,Alan Kestle, Paul King, Alison Laird,Beverley Luxton, Margaret Milne, JohnParker, Cecilia Parkinson, Dave Par-ton, Cliff Smith, Ditty Staple, TonyValintine, Diana Wyler.

l2 Potters Shop in Remuera gives asophisticated image carried through to theblackiwhite wrapping paper. Right: someof the members taking a lunch break at ashared workshop.

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New Zealand Potter

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John arid Anhirawfodir[ohn and Anne Crawford are well estab—lished in comparative isolation from manyofthe Sontlz Island’s potters at Hector, 20miles north of Westport in Westland.

We chose to establish our pottery inWestland because there was a goodsupply of raw materials, but above allbecause it is remote. This was import—ant in our case as we'd both previouslybeen part of a big workshop. The re—moteness would make us look in to ourown resources and create something ofour own.

My interest in potting was sparkedby Yvonne Rust at Greymouth HighSchool. Yvonne arranged for me to takeup an apprenticeship at Waimea CraftPottery in Nelson where I spent fiveyears doing everything from claymaking to packing finished pots. HereI found a friendly supportive atmos—phere, everyone worked togethermaking pots to a high degree ofcraftsmanship and good old fashionedpride. Anne worked alongside me atWaimea. After five years Jack Lairdcould see we were ready for our ownstudio and was helpful in our move toestablish ourselves at Hector in 1974.

At first we put emphasis on makingthings that were ”different" from thosemade at Waimea, but it soon becameobvious that being different did notnecessarily mean an improvement inquality. We evaluated the pots and theaspects we liked about them were em—phasised. Decorative brushwork hadbeen applied to most items relevant ornot, (at the time I thought it was). A gut

5:-

feeling for our materials was still notevident in our wo'rk.

Slowly our environment began toinfluence us. A series of landscape de—corations were started in 1979 whenfriends moved to Sydney. In the clearsky each morning we could see a tinysilver fleck leaving behind a vapourtrail—the Wellington Sydney flight.The arrow and the jet trail became asymbol of our friend’s departure andprovided us with a decorative theme,depicted as an arrow above the out—lines of our mountain and sea land—scape. This would require carefulhandling and new forms would have tobe designed to take such decoration.Yet still this bold landscape decorationlooked ”applied”—an integratedwholeness had not been achievedsatisfactorily.

I selected portions of the landscapeand drew them, cutting detail to aminimum, and a new concept of seeingthings began to emerge. I found it agood exercise to cut the drawing upwith scissors and reassemble thepieces to give a fractured look, but stillretain the same feeling of power andabruptness our landscape gives. Theimage was no longer a landscape, butbasic lines easily incorporated as de-sign concepts to fit a form. The potswere now designed as a whole and notwith decoration ”added". Some potsdid not need decoration at all whileothers required it to point up their bestfeatures. Combinations of techniqueswere developed for some of the newpots. Some needed to be coiled, somewith coil and slab areas, others paperresist decoration.

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On If estCoastAs we progress through each stage of

making, but especially after glaze fir—ing we try to evaluate what we aredoing and why, and then ask ourselvesif this was the type of pot we set out tomake.

The longer I pot the more aware I amthat there are no set rules or criteria forjudging pots. There is only you andhonest committment to the materialswith which you work.

Our aim is to try to create pots thathave a sense of wholeness about themand reflect a sense of caring craftsman—ship. We look upon our work as part ofus and not simply as a job. We both doseven days a week although our hoursare not over long—9 to 5 pm on aver—age.

Recently we opened our own galleryin Westport, twenty miles fromHector. We leased a shop in a goodposition with a large window and re-latively good lighting. The interior hadto be completely refitted. In tune withour bush surroundings we painted theceiling olive green, lined the wall withrough sawn rimu from the local millerected in herring bone pattern. Whitedisplay cubes and a group of threeshelving units made for walls. Offwhite fitted carpet brings out thehoney colour of the unoiled rimu. Thishas provided the first opportunity todisplay our work to best advantage andwe have been pleased with the re-sponse from Visitors and the localcommunity. We have displayed otherlocal crafts in our large front windowand hope other craftspeople will takeadvantage of it.

Glazes are conventional stoneware withhigh felspar content. Th egreynohite bodymakes nSe of local china clay with a hightalc content from Westport. For domesticware the body is rakn Ilfrom Nelson. Thelargest of the above pots is 26 cm high.Below left and right: Pots inspired by theenvironment shown at CSA GalleryChristchurch. Blue/green glaze,

Later work shown at Alicat Gallery, Auckland in a recent exhibitionfrom Westland potters. All decorated pottery above has strong blneorange or brown brushwork on a grey/white clay body.

New Zealand Potter

Feeling Freejohn Sweden has lived and worked atCentrepoint Community, AlbanyAuckland since its formation five yearsago. Here he explains his pottingphilosophy, which cannot be divorcedfrom his total outlook on living. He can—tributes to our technical information fromhis experience in firing with a large lpgfibre kiln and some glaze recipes andglazing methods.Pottery for me is guts and clay. I wantmy pots to be touched as well as lookedat. Perhaps the people who buy mypots will find something within themthat goes beyond ownership, fashionor intellect. It can happen. A pot can befunctional and it can also provide adoorway into the unconscious whereall creativity has its roots.

Pots are capable of conveying in—credible intrinsic energy. Its allthere—the stress and movement ofmaking and firing. When I look at a potI can tell a lot about the potter. To memany of the pots made today are intel-lectual head trips. They seem fragile,untouchable, behind-glass expres-sions that attract the eye but make noappeal to the heart. They are clever, butcold.

My personal way of seeing pottery,creativity and the world, has changed.I’m discovering that there isn’t anyright way; there’s just whatever pro-cess I happen to be involved in at thetime. I’m not against tradition, I ad—mire greatly the Eastern craftsmen fortheir total dedication and mastery. Buttradition can become a god. Thetechnique and achievement can bemore important than the maker. I haveno wish to do it that way.

I taught myself to pot at Timatanga,another community, where I used adiesel kiln and a wood kiln. After try-ing many occupations, including pre—cision engineering, advertising andlandscape contracting, pottery seemedto offer what I needed physically andemotionally. There were up to eight ofus at times, at various stages in de—veloping our potting skills. Each per-son’s energy was valuable and al—though our methods of sorting out ourinterpersonal difficulties were not verydeveloped, it was an important timefor me.

From Timatanga my partner and Imoved to Bethell’s Beach, a windy spoton Auckland’s west coast. A largediesel kiln was available, but I usedmainly a wood kiln for our bread andbutter production. It was here I workedwith Warren Tippett and although Iwas probably not a good ”apprentice”,I learnt a great deal from Warren. We

John Sweden

then moved to Centrepoint to establisha completely new pottery.

After eight years of potting, I guessthe way I now make, see and feel isintimately connected with how I lookon myself as a person. I do not nowhide from my own feelings. I havemade some pretty depressed pots,thrown some pretty angry bowls andhave often hidden my insecurity be-hind knowledge—possessiveness,jealousy and secrecy. Now that I havechanged the way I perceive people,pots and the rest of the world, my lifehas become a lot simpler and muchmore fun. I have the use of the entirecommunity with its facilities andequipment, but I own nothing. That initself is a tremendous relief.

I like working here. Our pottery is abeautiful building where I'm free toexplore absolutely anything. There areno limitations except those I impose onmyself. I still make the usual bread andbutter work, but more and more I canleave that and try something new.

Our clay bodyWe have an excellent stoneware

body with high green strength giving awarm toast colour at C10 reduction.The high Bentonite content of thefireclay results in slightly more thanaverage shrinkage, but this is out-weighed by the mixer-to—wheel con-venience and excellent plasticity of thefreshly made body.Kopuku fireclay+— 36%Crum clay — 36%

26

Albany

NZ Ball clay— 18%NZ feldspar— 10%

+ We went directly to the Kopuku coalmine and arranged, after testing, tohave 60 tonnes of fireclay refined andbagged for us by Mintech Ltd.

Glazes

Every time I visited the AucklandMuseum, I was magnetically drawn tothe superb blue and white pottery fromJapan and the East. I realised it wouldbe futile to try to duplicate their pro—cess, but I did want a glaze that wouldapproach its richness, simplicity andpurity.

Our stoneware is based on a numberof iron-rich clays, and the glaze neededto interact with this body, withoutlosing depth and whiteness. Over theyears, two basic recipes have evolved.

A Chinese white glazestoneware C9-II reduction

Stetley potash feldspar—36NZ china clay (ultrafine)— 27Calcite- 6Dolomite— 12Silica— 19I love the softness of this glaze. It has

a tactile, smooth, easy-to—clean surfacethat is superb for brushwork over andunder. It comes to life when appliedthickly over stoneware bodies, but alsoworks well over white slip if you wishto eliminate iron speckles. If under—staining, the stain used needsadequate flux to avoid occasionalcrawling away from the decoration. Iuse this glaze and the one below with acobalt-based slip for brushwork andwax resist. It is stable and suitable forin—glaze colours.

B Opaque white glazeC10—12 stoneware reduction

Stetley potash feldspar—4ONZ china clay (ultrafine) — 20Calcite— 14Silica— 18This is an excellent glaze for decora—

tion in the high temperature range. It isstable, likes being medium to thick onour body, and needs medium to heavyreduction for best appearance andfinish.

The following two glazes are alsofavourites and offer an entire world forexploration. When used sensitivelythey give a crisp brilliance and flawlesssurface.

I

New Zealand Potter

C stoneware/porcelainglaze C9-12 reduction

Stetley potash feldspar —26NZ china clay (ultrafine)—13Woollastonite —27NZ ball clay — 6Talc — 3Silica —26Equally suitable for stoneware and

porcelain this is one of the few glazeslhave found that will not craze on Pod—more’s porcelain at higher tempera—tures when applied from thin tomedium. It is excellent for over andunder brushwork in blue or iron slip.When applied thickly to an iron-richbody it forms a soft, deep pale-greenceladon. Over porcelain carving, andover graffito through pale slip onto adarker body, it is ideal.

A startlingly beautiful combinationmay be obtained when used withwax-resist and the followingJapanese—style overglaze.

D Khaki C 9—12 reduction

English Cornwall stone —60.00NZ ball clay —16.00Woollastonite — 7.00Talc — 6.00Silica —11.00Titanium —0.4ORed iron oxide —7.00

note: the imported so called BlueCornwall stone has quite a highmoisture content so I usually add 20%to the batch weight.

To work well this glaze requiresthickness, and will range from deepolive—green to brown, red-brown and

27

grey black. It can be a flawless, stableglaze that comes to life over glaze C.

All of the above glazes may bedipped, poured, brushed and sprayed.

I’m fussy about my wax for wax re—sist. I prefer paraffin wax diluted withkerosene until the cooled wax loses itshard, brittle surface and becomesslightly soft and tacky. I have tried anumber of brushes but none havewithstood the rigours of hot wax aswell as a 1/2 inch black bristled house—hold paintbrush. I apply the wax quitehot from an old electric fiypan with aSillinanite shelf lid—the lid avoids as—phixiation from kerosene fumes. Don’tleave the brush in hot wax betweenuse!

Cottage industryThe way we work together in the pot-tery, as in the other community indus-tries, is based on the way we live.People are more important than any—thing we do, so there is strong em—phasis on communication and sharingour feelings with one another. Thissort of honesty in the pottery as any-where else, is difficult at times as forexample when negative feelings arise.I certainly find that I can’t makebeautiful pots when resentful or hos-tile. The big change in my pottingtherefore has been making the trans-ition from working and living in al-most total inward and outward isola-tion to being with people who are atonce individuals, potters, workmatesand members of my large extendedfamily, (150 adults, teenagers, childrenand babies at the moment).

We work closely together, sharingthe housekeeping tasks, but each fol-lowing his own path and timetable.Our kilns are not yet used to fullcapacity so there is always a firing slotavailable. Clay mixes which vary a lit-tle from potter to potter are the respon—sibility of the individual. Usually webuy our raw materials in bulk—up to50 tonnes. Sales are wholesale to shopsfrom Northland to Rotorua; we werenot granted permission from our localcouncil to retail so there are no kiln-side sales as such apart from a few”seconds”. All property is held incommon. Earnings are paid into theTrust. There are no wages. I get $1 aweek pocket money which is morethan Ineed. I find it a great relief not tobe involved in property, mortgages,food etc. There is so much more energyavailable for living creatively.

Silk-stencilled garment by Sue Holmes—dress designer

At present there are four potters.This changes from time to time assomeone leaves or wants to join us.About twelve people have been as-sociated with our pottery. There are nosecrets. If someone discovers some-thing new it is shared with those whowant to use it, so change can happenquickly. At times there is a sort ofcreative chaos, but one which is full oflearning opportunities.

Communities have acquired theunfortunate image of dope—smoking,laid-back hippies who never do anyreal work. Centrepoint people aremostly high—energy self—motivated in—dividuals who enjoy talking aboutideas, but who also get on with it anddo it. The financial backing is providedby the Trust’s collective assets, savingsand earnings has meant we have beenable to build the sort of building wewant without having to scrounge and

scrimp as many communities do. Ourpottery for instance is exceedingly wellequipped.

Most of our many visitors do notwish to live this closely together andwith the sort of commitment we havehere, however they can take away withthem those aspects that are useful tothem at the time and apply them intheir own lives.

Next to the pottery we are currentlybuilding a second large craft buildingto house most of our other crafts andindustries: silk-screen printed fabrics,dress design, silk scarves and sarongs,puzzles, wooden toys, fashion acces—sories, weight-lifting equipment, car—pentry and metalwork. The horticul-tural business includes a big tree nur-sery. As well there is the counsellingand therapy side of the community; animportant activity offering weekendand week—long workshops.

New Zealand Potter

Pottery : Approximately 2300 sq ft withadjacent wood and material storage:climbing kiln shed.

Equipment: Electric wheels, slabroller, extruder, pug mill and rib—bon blender. Spray booth.

Kilns: 68 cu ft LPG Top-hat fibre kiln. 4burners to 1320°C in about 14 hours.Fired about twice weekly. 1800 litreLPG tank supply.

300 cu ft 3—charnber wood firedclimbing kiln. Dutch oven firedwith pine slabs to 1320°C.

5 cu ft 3-phase computer-controlledelectric kiln.

Clays: Kopuku fireclay-blend stone—ware.Terracotta. Imported and home—made porcelain.

Pots: Domestic stoneware andporcelain. Handbuilt porcelain,sculptural stoneware. Press-moulded flatware. Murals.

Glazes: Oriental—type recipes. Oxida—tion and reduction. Crystallineglazes. Barium glazes.

Techniques: Sgraffito, wax resist,brush-work, carving, inlay, sliptrailing, glaze on glaze decoration.On—glaze lustres and fuming.

Centrepoint Community is lialf anhour’s drive from Auckland city over theharbour bridge and half a kilometre fromAlbany towns/zip at tlze end ofMills Laneoff Otelza Valley Road. Saturday after—noon is open time for friends and visitors.Weekday visitors welcome by arrange—ment. Box 35 Albany, phone 4159468.

Some experiences with a 68 cu it top hat LPG fibre kilnThe kiln was made for us by an Auck-land manufacturer about four yearsago. We have had between 75 and 100firings to 1300°C. reduction. Themanufacturer based our design on theAustralian CSlRO top hat kiln featuredsome years ago in ’Pottery inAustralia’.

That was a 37 cu ft kiln, arrived atafter much research and testing withthe aim of producing an energy—efficient kiln capable of being fired sixto seven times a week on about 18 to 28litres of LPG per firing to 1300°C. Ouraverage has been about one or twofirings a week, but they have been,until recently, anything but energy-efficient. Doubling the kiln size andincreasing the BTU’s of the burnersdoes not preclude that it will be effi-cient. Sure it fires. But at a price.

Over the years, our firings have av-eraged 18 hours, the longest being 26hours. Soak times to even the wideVariance in top and base temperatureshave averaged about 6 to 8 hours. OurLPG consumption per firing has been

about 10 to 12% of an 1800 litre tank.Expensive! Pot losses due to bloating,blistering, oxidisation etc were con-siderable, due to the high base temp—erature (cone 12 plus).

I realise that we had a number ofother choices, such as using lower-temperature glazes higher up in thestack, but that seemed like a cop—out.

Here is a synthesis of our experi—ences with our kiln, and the modifica-tions carried out in the past 6 months.My special thanks to Max Murray of theCaulfield Institute of Technology inAustralia for his generous help withour kiln problems, and to Chris Cockellfor being available at all hours on thephone.

Burners4 X naturally-inspirating, 3” diameterburners, firing horizontally in the baseof the kiln, parallel with each of thefour sides. Individually adjustable,with elbow entry and flame retentionnozzles. This configuration results in aspiral gas movement within the kiln.

John SwedenTwo smaller 2” diameter burners werelater added about half—way up on op-posite sides in an attempt to overcomethe 2—cone temperature differencebetween the base and top. These re—sulted in excessive reduction, chokedthe gas flow and created uneven pres—sure in the kiln. They were removedafter several firings.

Unless you use Rolls Royce—typeburners with highly polished andexactly machined mixing chambersand no bends, naturally—inspiratingburners will always have an inherentfairly low efficiency. They require alarge amount of primary air plussecondary air to achieve complete fuelcombustion. Sometimes these burnersare run with the primary air wide openthroughout the firing, except whenextra-heavy reduction is needed.

Jet SizesWe gradually drilled out the existingjet on one burner a few thousandths ofan inch at a time, until the flame lost its

New Zealand Potter

body, that is; the blue core of theoxidising part of the flame became softand gradually disappeared (even withthe primary air wide open) the overallflame became floppy, yellow and slow.We then brazed up the jet hole, anddrilled it several sizes below the lastdiameter. This is easy if you have ac-cess to a gas welder, otherwise sparejets will suffice.

Inlet FluesOur original burners were actually set2” into the square secondary air inletflues, with result that their flame—retention nozzles were quietly roastedduring many firings. The square flueswere a stupid mistake aerodynami-cally. That is why square aeroplanesare no longer Viable. The two resultingparallel streams of air and gas werealmost impossible to mix efficiently,and caused swathes of highly varyingatmosphere with attendant oxidising,blistering and bloating.

The burners have since been movedout of the flues, with a 1” gap betweenthe burner tip and the flue entry. Four31/2” diameter round, tapering entryflues were made from 1540°C. castablematerial, resulting in greatly improvedmixing and flame efficiency. Too muchgap between the tip and flue willsometimes result in very sensitivedamper control, which is a pain. Oursecondary air gap remains constantthroughout the firing. All excess-airflow adjustments are made with thedamper, which is the most importantcontrol system in a naturally—inspirating kiln.

Chimney FlueThis was one of our main trouble-spots. An 11’4” solid refractory bricktunnel connected the exit flue to theexternal chimney. The unproductiveheating of its large thermal massprobably consumed enough energy fora complete biscuit firing, while con-tributing nothing in terms of efficiencyin a glaze firing. In a flue of this lengththe back pressure or resistance to drawwill be considerable, needing extrachimney height to counteract it.

The modified flue is 12” long and islined with 3/4” 1250°C fibre up to thedamper in the chimney base. Thiscreates a sort of secondary firebox withlow thermal mass to create a fast ”hotspot” to assist draft.

ChimneyAgain, another lesson in thermal mass.The original chimney was about 21’high and was made from 10" diamterstainless steel. It had insufficientthermal mass, which is essentail to es-tablish draft and to continue that draftafter the firing is complete. The kiln

used to take 2 days to cool: now we canunload the following day, which isnice.

Also in cool weather the top of thestainless chimney would cool the ris-ing flue gas, which would then act as aplug to further retard the draft. Thepresent chimney is about 8’ high, by108 sq in., and is made from densefirebrick, venting into a separateexhaust hood. It has since been low-ered to 6’ high and still works well.

DamperThis used to be in the flue tunnel im-mediately after the exit flue, and hasnow been moved into the vertical baseof the present chminey. This equalisesthe internal pressure of the kiln up tothe damper and avoids ”robbing” thechimney’s pull via every chink andcrack in the old flue tunnel and dampersystem. It also avoids the constantcooling effect this has on the flue.

We have also eliminated the bleed-brick in the chimney base. It was toocoarse and allowed cool air into thechimney, cutting down its efficiency.For the first few hours of a firing weinsert a 2" burner into the chimneybase to pre—heat it and give a gooddraw.

AtmosphereWe now always use a digital oxygenprobe to adjust the atmosphere, as wellas visual checks. The sensing tip of theprobe is highly sensitive to variationsin atmosphere and almost instantlyshows the result of gas, air or damperadjustments. It enables us to accuratelyhold the kiln at neutral, or peak effi-ciency, until we are ready to beginreduction, in which case we can setexactly the type of reduction required.The probe also makes it possible toadjust each burner for optimum com-bustion, and to sample the alreadymixed gas in the exit flue. One word ofwarning: the probe, at the height ofthefiring, is hot enough to melt the lowtemperature back—up fibre used inmany kilns, should it contact it whilebeing withdrawn. The resulting glazeeasily corrodes through the expensiveplatinum wire outside the probesheath. Always line the sampling holewith ceramic tubing. .-

At the Caulfield Institute of Tech-nology is is mandatory for students touse this type of probe to obtain accu-rate and repeatable results and to savefuel.

Gas Consumption andfiring timeAt present we use about 6% of an 1800litre tank~roughly half of ourprevious consumption. Firings aver—

30

age 14 hours, with very satisfactoryresults, although there are still someminor problems to iron out.

ConclusionAfter all this the one remaining majorproblem is the 11/2 to 2 cone tempera—ture difference between top and base;the base invariably being over-fired ifthe top is to be satisfactory. Over manyfirings, we have tried many pos-sibilities including a variety of soak—cycles, gas pressures and 45° rampsplaced near each burner. At the time ofwriting, we are rebuilding the kiln-base so that the burners fireupwards—two burners on oppositesides. This may eliminate the intenselyhot horizontal fire—box effect whichdrops the base cones 2—3 hours aheadof the top cones just beginning tomove.

Looking back over the experiencewith this kiln, it appears that I’velearned quite a lot, although some-times I’m not quite sure what. Onething is slowly sinking in: when some—one says they know what they’re talk-ing about, orthat their way is the rightway, they are talking from their ex—perience. Your experience with yourkiln may be quite different.

It takes time to get to know a kiln.Trust your own intuition, which maytell you something that is quite differ—ent from what the experts say. Try notto make too many changes at onceduring a firing, and give the kiln achance to catch up after each set ofchanges; maybe 10—15 minutes.

PostscriptAs a consequence of burner modifica-tions, that is with two sets of burnerson opposite sides now firing upwards,we obtained some exciting results asfollows.Firing time: O°—1300°C over nine anda half hours. I would have given a onehour soak, but the gas ran out.Temperature Distribution: A hottertop, the difference between the top andbottom cones was about 15 minutes.The sides without burners were cooleras expected, and the very base of thestack was underfired which wouldhave been corrected by extra soak time.Overall the results were pleasing withonly occasional flame flashing on a fewpots near the vertical flame columns.Gas consumption: Approxiamtely 5%of the 1800 litre tank.

This first trial glaze firing was a joyto manage. Temperature rise was ef—fortless, as the smoothly rising kiln logdemonstrates. I like the fact that we cannow have a choice of length and time offiring.

New Zealand Potter

Winecraft GalleryAt Winecraft, Marewa Village, Napier,a visitor can select quality pottery in aconvivial atmosphere. Ten years agoJoyce and Ian Vigor-Brown combinedtheir interests of wine and pottery toestablish Winecraft where the policy atfirst was to specialise in local workfrom Hawkes Bay. Latterly they havewidened their horizons by invitingpotters from elsewhere for an annualexhibition, and this year they took abig step forward by mounting a majorexhibition from 11 Auckland pottersshowing some of the best work overthe entire range of our potting styles.Represented were: Len Castle, PeterStichbury, Margaret Milne, Lex Daw—son, Dianne White, Rosemarie Brit—tain, Roger Brittain, Chester Nealie,Ted Dutch, John Parker and RickRudd.

Winecraft Gallery has now solerights to sell the work of EdgarMansfield, internationally recognisedsculptor from Hawkes Bay.

An article on your craft gallery/shopwill be considered ifyou supply first classphotographs of your best work and someinformation on your gallery’s particularcharacter.

Rosemarie Brittain, birds celadonRoger Brittain, turquoise overand lustresterra cotta coloured body

Len Castle, bowl, glazed inside

Lex Dawson, wood fired pot Iohn Parker, bronze lustres

New Zealand Potter 32

THE NEW ZEALAND ACADEMY OF FINE ARTS

Wellington, Winter 1982

Peter MastersFlora Christeller

i . d'ih W 'Debbie Pointon Amsm’ Dow ]u 1 late

Chris Goslin

Right: some oflean Hastedt’s work shownat the Academy which won for her theBank of New Zealand Award. Off white

porcelain, the taller is 190 mm.Photograph: Richard Silcoek

New Zealand Potter 33

Fletcher BrownbuiltPottery Award 1982Chester Nealie’s wood fired jar of clas-sical form, won this year’s premier$3,000 award. Judge Gwyn Pigot fromAustralia speaking about her choiceremarked ”there were many beautifulpots, but this one I couldn’t stay awayfrom. It has a life to it that is veryattractive”.

Ninety—nine pots were selected from300 entries from home and abroad.Merit winners were Cecelia Parkinson,Auckland, high fired saggar porcelainbowl, Richard Parker, Kaeo, jar, NickStather, Auckland ”Entrance way”,Patricia Shia Crabb, USA, "pictographcylinder”, Richard Batterham, Eng—land, covered jar, stoneware, with ashand iron glazes, Ray Rogers, Auck—land, pit fired 2 floor pot, Rick Rudd,Whangaparoa, raku 474, StephenBenwell, Australia, stoneware, hand-built with underglaze painting, NeilTetkowski USA, ”natural variation”.

Chester Nealie

Cecelia Parkinson Rick Rudd

Stephen Benwell Riehard Parker Patricia Shin Crabli

New Zealand Potter

Apprenticeship in Craftedited by Gerry WilliamsThis handbook is valuable reading toboth students and professionals. Basedon papers presented to the first confer-ence on apprenticeship by experiencedcraftspeople, it offers personal experi-ence from those who have been ap-prenticed and those who have offeredapprenticeships. Focussing on fourstages of apprenticeship, finding,keeping, nurturing and releasing, allareas to be clarified when embarkingon this special relationship are iden—tified.$US9.95 to Daniel Clark Books, Box 65Goffstown, New Hampshire 03045,USA

About ApprenticeshipsApprenticeship provides an opportunity forthe young craftsperson to come in contact witha working master who has already come togrips with aesthetic issues, and can share someof his experience wit/1 the apprentice In thebest relationships both master and apprenticecan grow and change. The apprenticeship,furthermore must deal with the psychologicalrelations between master and apprentice. In asuccessful apprenticeship both master and ap—prentice need a mature sense of what they aredoing and why they are doing it and in the lastanalysis they both must have openess, andacceptance, a high level of tolerance, a strongciviliti , and a deep sense ofawareness ofthem—selves and other people.

Warren Mackenzie, potter, Minnesota

Apprenticeship seekers should perceive your—selves as worthy human beings in search of

growth and deserving a fair chance to find it.This is your time for learning, to absorb andcarry away the positive influences you ur—gently need. The things you care about must beclearly identified and applied as guides, as youlook at possible apprentice positions Fewpeople have a chance to correct an unwisechoice by selecting a better choice lateron. Partof the apprenticeship concept necessarily in-volves compromise. The trick is to identifyyour priorities well enough that when youassess the compromises in a given instance youcan see your chances of survival clearly thenact accordingly

Try not to be swayed by the reputation oft/1emaster (or lack of it). Judge for yourself bygetting close to the person in his workshop. Ittakes agreat deal oftime to arrive at some pointofbalance between personal andfamily life andstudio demands. Ifeel these matters are rarelyresolved on a permanent basis. My best adviceis to give such matters theirjust considerationand avoid relationships where disharmonyseems likely. Major clues about the mastercomefrom thoughtful contact with the work heor she does. Try to discern and measure thevalues expressed. That spark offeeling whichregisters with you is part of the value structureyou will carry away with you when your timeis done. Impressive equipment andfacilities donothing to make the work there more mean-ingful.

Factual issues to be settled such as workshophours, time with the master, timeforyour ownwork, discussion times, space alloted, use ofequipment, duties (should be spelled outclearly), and moneyswould you trade studiowork for time and space to work on yourownAwould you be paid on a piecework basis(if at all), or would you pay the master.

We (craftsmen) should reflect upon our obli—gation to put vitality back into the structurethat has nurtured us over the years. We owe

34

each new generation of craftsmen our skills,our philosophies, and an exposure to our livesas a whole; iffallible human beings. We cannotafford to halt the needed transfer of knowledgeand feelings by denying contact because ofpride or inconvenience. Ifwe are not willing togive of ourselves, we have no right to criticiseorbe indignant at conditions in the crafts whichwe wish were otherwise.

If] were pressed to say who might well beginwithout an apprenticeship, I sould say selfstarters Motivation, enthusiasm and couragecombined with a reasonable measure ofpracti—cal knowhow are good starting tools. As withany approach to craft there will be an inevita-ble price to pay. Ifthe apprentice pays with hisown timefor the gains ofthatparticular kind ofexperience, the self—starter pays in equallyspecific ways. Constructive failure is a term Iwould apply to much ofmy own early learning.In fact I can hardly confine the notion to earlyexperiences, since to this day .I occasionallybang my head against my inadequacies. Iseemdestined to try many new tasks or designproblems the wrong way. Then, finally seeingthe way not to do it, Ifind useful solutions.Time may be lost but never wasted in such amanner. You must keep on trying until the fearoffailure is forgotten. Now I try anything untilconsider temporary frustration a small price topay for the sense of elation I receive fromtackling the problems directly. I know I won’tlet myself fail for too long. [suppose there isanother form of apprenticeshipsa selfapprenticeship~that can last a lifetime.

john Click, potter, Michigan

New Zealand potters’ experience withapprentices/zips has been variable and weunderstand there are none at present. Perhapssome bureaucratic problems could be avoidedby the formulation of a more suitable learnerscontract. eds

The New Potter’sCompanionby Tony BirksFor beginning potters this expandedversion of the 1974 edition provideslucid instructions for forming and de-corating techniques. Apart fromthrowing domestic ware, the chapterson moulded pottery, slip casting,pinching and slabs provide alternativeapproaches for those who do not wishto use the wheel. This book would be auseful text in club libraries. M M H

Australian PottersConference 15-21 May 1983The Potters Guild of South Australia isorganising the Third AustralianNational Potters Conference. The cent—ral venue is the University of Adelaidewhere there will be the usual lecturesand demonstrations and exhibitions.So why not plan an Australian holidaynext year in Adelaide, close to famouswineries and galleries and visit resi—dent potters in their workshops. In—formation to PO Box 234 Stephney 5069South Australia.

Residential summerworkshops 1982Taupo Tauhara Centre, 7 day work—shop, wide ranging making and firingmethods. Tutors Brian Gartside,Madeleine Findlay. Write to Brian atKerns Road, Pukekohe RD2 for pam-phlet.Manawatu Mirek Smisek runs coursesthroughout the year. Write Box 6 TeHoro.Nelson Royce McGlashen, Cob Cot—tage Pottery 126 Ellis St Brightwater.Jan 24—29 and Feb 21—26. Inquiries SAEto above address.Southland Borland Lodge, LakeMonowai. Jan 15—23. Inquiries AudreySimmons Heddon Bush 1RD Winton

Back IssuesVol 21/1 Reduction in electric kilnsVol 22/1 All about rakuVol 22/2 Make your own fibre kilnVol 23/2 Bourry fire boxVol 24/1 Production raku kiln

Workshop opportunityexperienced potterA trained craftsperson is invitedto share workshop facilities atWaimea Pottery. Opportunity tosell through our showroom andestablished outlet. Further de—tails on application to Jack andPaul Laird, Richmond, PO Box3065, Nelson.

Survey of Craftspeople

The Crafts Council of New Zealandand the Vocational Training Councilare collaborating on a postal survey ofcraftspeople and semi-crafts—people (defined as someone who earns$2,000 or more a year from sales.) Thesurvey is to establish the size of thecraft movement in New Zealand so astrong case can be put up for trainingand support of various kinds. If you fitinto this category and have not re—ceived a questionnaire, (informationkept confidential), write to Crafts Sur—vey P.O. Box 11-3611 Wellington.

New Zealand Potter

Wellington Potters 1982At Antipodes Gallery this year ChesterNealie selected for Wellington Potters,157 exhibits making an exhibition ofvaried and highly developed work.Displayed to best advantage byPauline and Bill Stephen it was a pot-tery show of National standing.

Of the more recent members GloriaYoung’s teapots (5) and casserole stoodout in their simple integrity andglowing warmth. The stonewareforms, rounded but crisp, were com-plemented by a vital glaze with rich redbreaking through green. Curly,strappy handles on the casserole androsebud knobs on the teapots gaveadded individual expression. WendyMasters’ porcelain boxes and platesbeautifully crafted, using the mochatechnique, new on our scene made anexcellent contrast in surface decorationto Patti Mead’s brilliant plates andboxes of extravagantly rich lustres overblack. Jean Hastedt presented someelegantly tall porcelain boxes: out—standing was her tall teapot with silverbanded handle. White glazed withpalest copper mauve and green blushat the base, it was an exquisite piece.

Murray Clayton’s collection of sixshino bowls, nine stacking bowls,with strong glazed rim and interior,and two rectilinear slab pots with wellplaced glaze encrustation, made animpressive showing. Warmth and skillwere reflected in the burnt orange skinshino glazed ware of Mary LawreySmith. Notable among other domesticpieces were Jenny Shearer’s porcelainteapot and six cups where therounded, dimpled forms were moregently expressive than her more hardedged porcelain forms. DavidShearer’s moulded lasagne dish withflourishing slip trailed design in Ten-moku was a most palatable dish.

Of Anneke Borren’s low fired ston—ware, expertly made and decisively de-corated over opaque glaze in theEuropean style, the candleholder in—vited a celebration. A multipiece im-peccably matching tea set and traydemonstrated this potter’s competencein her chosen style. It is to be hopedthat Anneke Borren’s skill andoriginality are not locked to thisforever. Debbie Pointon’s highly indi-vidual collection of fumed porcelainwas the usual high standard we havecome to expect from this ceramic artist.Salt glaze found a pleasing expressionin Flora Christeller’s stoneware bowl,lidded jar and tall pot.

One of the features of this exhibitionWere the successful innovative featuresshowing pleasing expression on manyof the pots—Maureen Hunter’s metal—

lic banded sheen on her semi glazedraku jar—Ann Powell’s ribbon pots.

Highly competent domestic warewas presented by Jackie Levy, JuliePalmer and Beryl Buchanan. Unre—lieved correctness, a considerableachievement in itself, made one longhowever, for a relaxed twizzle, humpor bump and for a lively shiny glaze toadd the essential Vitality.

Sixteen very fine pots from selector/guest potter Chester Nealie were allwood fired to 1280 °C in an Anagama

Maureen HunterWendy Masters

Gloria YoungMurray Clayton

35

type tunnel kiln. The pots, varyingfrom large jars to bottles to small vaseswere warmly textured, characteristic ofthe traditionalJapanese firing method.On “Manuka” so named after thebushed landscape at Kaipara Heads,the passage of the flame was firmlypatterned on the pot. Of classical form,rugged and highly sensitive at thesame time this for me is the ultimate inpots. I bought it.

Margaret Harris

New Zealand Potter

Sculpture in clay”Transformations” a survey of JamesGreig’s pots at the Wellington City ArtGallery explored a personalphilosophy transformed into pots, andforms transformed over ten years de-velopment since 1970. Each pot on itsown, showed strong handling ofshape, in particular the recent largeslab pots with their contrast of sharpangular and curving facets. The exhib-ition sequence began with a seed potfrom 1970, the shape suggesting thebeginning of a rhythmic unfoldinginto space. From that embryo the potspresented facets of the way naturalforms unfold, contract and expand,thrust outward, turn inward, engagingexternal space and enclosing internalspace. James Greig is attracted by thepower that forms gain through thespatial connections between interse-cting planes, solid and void mass andspace.

Though the forms are sculpturalstatements, there remains strong refer-ences to traditional pottery forms andclay and glazes. In the emblem seriesfor example, the swell and thrust of theneck, belly, mouth and base of thearchtypal pot, are reduced to motifs.The exhibition provided a fittingsummary of James Greig’s concerns

James Greigprior to his taking up of a Japan Found-ation Fellowship.Seddon Bennington, Gallery Director,

36

The colour of thesebig sculpturesneeds to be de—scribed to ap—preciate their im-pact. The red/brown oxide overwarm sandstoneyellow gave theimpression of re—flecting sunshine.

photographs:Jenny Hames

10 Canterbury Pottersat the Suter Art Gallery, NelsonThe overall impression was of disap-pointment that some of the mostprominent Canterbury potters work-ing in domestic stoneware did not re-present a balanced collection of workworthy of a major exhibition. The ex-ception in this category was LawrenceEwing. His jars and bottles to perfectlyscaled sizes, their waxy glaze gleam-ing, oiled rope handles beautifullymade, produced the kind of domesticpottery rightly exhibition pieces.

Aina Apse showed a group of bowlsand spindly bottles with heavily grog-ged clay body crisply turned or facet-ted, forming a display of dignifiedauthority. Metallic looking sculpturalpieces with reference to containerspresented by Gita Berzins were a wel—come alternative approach. By com—plete contrast was a collection of finetranslucent porcelain pieces by DavidBrokenshire. Handbuilt and flowerlikethe interest was in the shaping andcolouring of the inside. Further formsand, treatments from David Broken—shire’s sensitive handling of hismaterial would have added to hisexhibit.

The initiative of galley director_Austin Davies in securing an exhibi—

tion by ten leading potters could havebeen expected to bring refreshing in-fluences to bear on Nelson potterywhose critics complain of a ”same-ness” in forms and glazes. It was dis-appointing that some of the con-tributors to this exhibition seemed tobe suffering from an attack of Cantab-rian deja vu and were unable to meetthe challenge. Perhaps next yearAustin Davies will look toWellington—or elsewhere, for somerefreshing breezes of originality.

Margaret HarrisLeft: Lawrence EwingAbove Gita Berzins. Below: Aina Apse

New Zealand Potter

Book ReviewNative clays and glazes for NorthAmerican pottersRalph Mason, Timber Press, Oregon,$US]7.95At first glance this looks like a typicalAmerican approach. (This does notabate as one advances through drillingpatterns, nail maps, flow sheets,metallurgical balances, beneficiation,mining clays, taming clays, drillingtricks and many others.) More like auseful start for someone entering theraw materials side of large a ceramicplant. It almost appears that the “colo-nial” drive, after having divested itselfof the straight jacket of English tradi—tion, has run out, so that we get a BoyScout approach, overlaid with ex—travagant use of energy. The trailerload of equipment needed to go pros—pecting requires that the sample beloaded in the car to give it tractionenough to pull the trailer.

While there is some useful inform-ation on how to spot possible sourcesof clay, I feel that these are unlikely toapply to much of New Zealand. Most ofthe North American scene is low rain—fall country where clays are not appa—rent as such.

A brief mention is made of theHamada approach to clay, that iscoming to terms with the clay natureleft locally, but is quickly left, for theAmerican preoccupation with white—ware, and the use of oxides as pure aspossible. It comes out in several in-stances, not least in the chapter on

”The perils of prospecting” where onpolitely approaching a land owner,only the dog barks, beat a hasty retreat,for “its better to forgo an iron—free clayin favour of a lead—free body”. But thisapproach makes for vitality and makesfor easy reading.

The whole book is also about rawmaterials, and the average potter maywonder what its all for. Great pains areexpended to test clays with numerouscharts and graphs for selection andblending, but there are no criteria toaim for. It may be taken for grantedthat one is expected to know one’sneeds, but examples would be useful.How to combine the various and vari—able factors, such as plasticitiy or thelack of it, refractory or otherwise, drystrength, ability to stand working andmany others are hardly mentioned. Awhole chapter that is devoted to themaking of cones from clay to be tested,and comparing the falling point withstandard cones (PCE or PyrometircCone Equivalent) is interesting, butreally for the enthusiastic born tester. Iadmit that the usual potter is ratherrough and ready with a test bar andperhaps a small thrown piece firedunder his usual conditions. It usuallyworks.

The selection of natural glazematerials follows much the same pat—tern. While it recognises that somepotters have an overiding and compel—ling interest in using only materialfound in the field, it suggests howeverthat it is rarely economic. No wonder if

37

one has to carry out even a fraction ofthe testing recommended. This sectionassumes a fair knowledge of glazetheory, and there is an asumption thata "slick” glaze will be the end product.The common New Zealand practice ofgrinding up almost anything to seewhat happens, with its attendant ex-citement, is entirely lacking. Haema—tite seems to be the only permissableuse of iron, though rutile and ilmeniteare mendtioned in the tables.

Beneficiation is a term constantlyused, and contrary to what one mightexpect it is not adding material to be—nefit a glaze, but a mining term foreliminating unwanted fractions, par-ticulary iron. Magnetic separation isused frequently, often laboriously byhand. Beneficiation is more akin toselection and washing gemstonematerial.

While I cannot entirely subscribe tothe dictum of some New Zealand pot—ters that a glaze should be ”body claywith a handful of ashes thrown in”,this approach has its appeal ofsimplicity and directness, that isentirely lacking in this book. Forexample, a table or no less than 18operations is needed for some be-neficiations, the number being furtherqualified by a schematic diagram cal—led a metallurgical balance. For the un—sophisticated, “A metallurgical bal—ance is most helpful in spottingbottlenecks on your flowsheet!”

Jack Luckens

”Potters whether experimental or traditional, are subjected to certain internal questions that go beyond the questions oftraining or education. Questions thatgo something like this: Who am I? I think we should all be able to answer ”meticulous

u uorfree , precise and cool” or “messy but warm.” Then next, but in no order ofpriority, what are you trying to say or dowith yourpottery? Is it something aboutform, or tactile quality, something political or social? Then what knowledge andskills will you have to have in order to serve this demand? This will be all the scientific/technical bits about clays andmaterials and processes thatgo to actually getting something made. Then these three questions will be wrapped around onemore (or vice versa)~money! How are you going to live while you are working out these problems? In which order youtake these will be of vital Significance to your work because, for example, if you chose to answer the last one first—“l amgoing to live by my pots”~when thefinding out of who you are, and whatyou are trying to say and moreover the methodsyou use will be altered by that decision. Because what you make will have to be bought by people day in month out.Whether a potter went to an art college and got a diploma or learnedfrom a repetition mug maker, thesefour questions willstill have to be answered.”

Mick CassonCeramics Monthly Feb 1982

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feature in March ’82 , J“ , - ' .photos show,Right — BronwynneCornish “Goddess”.Below — Wood fired, saltglazed planters from ' 'Glen Beattie.More recent featureshave included: Potteryfrom Nelson, Peter andJulie Gibbs, RoyceMcGIashen, ChristineBell—Pearson, fromAuckland, Doris Dutch,Wendy Ronald.

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Wnone Potters Clays.We still blend the finest 20 years on.

We’ve always used the finest raw materials we can find. And to guard against anynatural variations in the clays, we test fire every batch before release. So we’re confidentof the quality of our cla bodies.

In our Auckland laboratory we are continually researching new clay bodies andways of improving existing ones, in response to potters’ requirements.

McPhersons Traditional RangeX-STONEWARE XXX-STONEWARE N0. 18-

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A near white/greyfiring clay bodysuitable for usewhere the presenceof iron in the body

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plasticity 80d would have an for large sculptural absorption 3% at attractive darkworking strength, adverse effect on and slab work. cone 8) Especially mottled red at 1200but is less plastic the glaze. A coarse clay With suited to electric degrees C.than G32. a rough texture kiln firing in

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RECOMMENDEDFIRING(To approximately3% waterabsorption usingORTON Cones)reducing Cone 9 Gone 9 Gone 9 Gone 10 Cone 7oxidising Cone 10 Cone 10 Cone 10 Gone 11 Cone 8 Gone 01

Potters Clay range also now manufactured by Winstone (Wgtn)GB: An easy to throw mottled buff/grey firing stoneware

RMK2 A very fine plastic light grey firing stoneware

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DistributionClay stocks currently available from most potterysupply outlets and most Winstone Branches.

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McGregors expertise is at your service should yourequire a kiln of special size or specification. Parts Forall McGregor Kilns are readily available.”

l’lionc write or visit our Stoddard Road Showroom(open Saturday mornings). Literature, prices andquotations available.

MANUFACTURERS OF: Replacement elements for alltypes of Pottery Kilns, using Kanthal Al wire.SUPPLIERS OF: Kiln shelves, Silicon Carbide andSillimanite castellated props. Shimaden Controllers andKiln Programmers.W. D. MeGregor Limited, 118 Stoddard Road,Mt. Roskill, Auckland, 4. Phone: 669-619Telex N221796 WDMG

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Working methods, Techniques, Glazes,Firing, New Books, Exhibitions — plusillustrations of many, many pots.

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TALISMAN will teach you0 clean it0 underglaze it0 overglaze it0

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Agents for: Books Rexmark KilnsCobcraft N.Z. Sh/mpo Agents Buyers and Retailers ofPotc/ays TalismanPotters Clay distinctive pottery If you want to

Phone 802 Springcreek I ‘WRITE FOR FREE PRICE LIST MAIL ORDER After hours 154 PictonHours 8.00-4.30 Closed Sunday

mould itcast it

KAOWOOL CERAMIC FIBRE o reconstitute it

BuildYour Own 3. TALISMAN have all the facilities

CERAMIC FIBRE KILN ‘HblSM‘Husing materials from the extensive range of KAOWOOL products;Needled blanket—normal and high duty 0 LT. Baits o Bulktibre o Kaowool cement

POTTERS SUPPLIESWORKSHOP

Wet telt o_ Paper 0 Rope o Mastic o Mesh enclosed blanket 0 Fall backed blanket

REHABILITATE YOUR OLD KILN

CERAMIC STUDIOS171 Archers Road, Takapuna 480-735

so that it is more efficient than new with

9 Markam Place, Takapuna 444-8158

‘ TRITON KAOCLAD . ; '

P.O. Box 36-074 Northcote

CERAMIC FIBRE FURNACE VENEER'Simple Installation . .. ‘Sove on Fuel . ..

Triton kaaclad tiles are simply "buttered" with TWO" kOOClOd files are ”‘9 "105' thermalKaaclad cement and stuck onto the inside efficient permanent WOY '0 “”9 VOW kiln.brickwork of your kiln. Your kiln will perform better than new, heat loss'Better Results . .. is reduced and heat up times are cut. The ,

By using kaoclad tiles you eliminate hot and Lesult I: ’28: mil :fins7m~pI‘°£ col? be reducedcold spots in your kiln and have a more even y Up 0 a w 9 er ”mg y 0' or 905'temperature throughout.

Tiles are available in I200°C, I400°C and I600°C r'alings. Standard sizes are 300mm x 300mm in a variety of thicknesses.

Kamo Green Refractories Ltd.Manulacturers and Suppliers of Monolithic and Insulating Refractory Products and A P GREEN RefractoriesSALES: Private Bag, New Lynn, Auckland, New Zealand. Telephone 876099 Telex 'Ceramco' NZ 2772 Marktar 'Kamogreen'. FACTORY: PO. Box 4008 Kama, Whangarei. Telephone 50870.Agents for TRITON KAOWOOL Ceramic Fibre

AGENT: Harrison Mayer, Harrison Belt, Byron Moulds, Arnel Moulds, Shirnpo Equipment, Cobcraft Kilns, \Mnstone Clays, Westwood Clays,Hanoria Lustres, Liquid Golds, Cerama Pens, Wrico Pens, Pollyanna China Paints.