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14 Patrick Place,
If you would like to buy my work then either contact me directly or better still, contact one of my Galleries who may be able to help you. My Galleries are: Vessel, 87 Victoria St, Wellington Form Gallery, 49 Worcestor Blvd, Christchurch Corbans Estate Art Gallery, Henderson, Waitakere Tamarillo, 326 Lampton Quay, Wellington Smashed Pipi Gallery, Mangawhai, Northland Piece Gallery, 2 Matakana Valley Rd, Matakana, Northland
This bit is mainly for any other wood firers who are either taking part in my next firing or may be passing through Hamilton and want to see if any firings are happening. If that's the case then you are most welcome to get in contact via email with me HERE. Next firing is: 27th June 2010 at the WSP phoenix kiln.
I first became interested in clay as a teenager and when I was 16 took lessons at the Auckland Studio Potters, but it wasn’t until I started studying ceramics at UNITEC in 1994 that I realised it was a lifelong occupation. In 1998 I graduated with a bachelor in 3D design, majoring in ceramics and since then I have been working as a studio potter. I was also the Co-Director of the Auckland Studio Potters from 2000 to 2006 and am now the Manager of the Waikato Society of Potters. I have entered many major ceramic competitions/exhibitions in recent years, including the Portage Ceramic Awards. In 2000/01 I had a solo exhibition at the Lopdell House Gallery, in 2005 I was guest exhibitor at the annual Auckland Studio Potters exhibition, in 2007 I had a solo exhibition at Masterworks Gallery and in 2009 I had a joint exhibition at Form Gallery. Currently, most of my work begins life on the wheel, but that is often just the start of the making process. I often add, subtract and alter the initial round forms, looking for a liveliness and freshness that will remain through the whole making process. I use a wood kiln to fire my work as it provides the richest surfaces that compliment my forms. The physical nature of this firing process and its inherent unpredictability give my work freshness and a decorating touch that speaks about process. Another strand to my working process is a fascination with the technological side of making permanent objects out of clay; this translates into experimentation with materials and firing methods. I construct kilns out of various unlikely materials and in diverse configurations in an effort to explore how contained fire behaves. Teaching has been a mainstay of my working life, providing both a steady income and a rewarding, challenging and inspirational livelihood. I have taught many classes from beginner through to tertiary level, from short workshops to yearlong courses. I like to travel and use the freedom of unplanned excursions as liberating and eye-opening experiences; a way to re-examine ideas and situations that leads to new approaches and influences in my work.
Salt firing and Soda firing. A glazing processes that uses the sodium from both materials as a flux to melt the surface of the clay into a glaze. The main difference between them is one of aesthetics. Salt is the older of the two techniques and tends to produce the fruitier surfaces. Practitioners also choose one over the other because of environmental concerns. Anagama firing An ancient firing process that can be traced back to Japan in the 14th century. Anagama is now both a firing type and kiln design. The kilns used are brick and often built into sloping ground. They are simple and yet precise in their dimensions. The firebox is not separate from the chamber and all the kilns are fired with wood. Another important feature of Anagama is the duration of the firing. Seldom under 60 hours and often up to 10 days long the slow accumulation of wood ash on the work is what eventually melts and forms the glaze.
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