"I have found that whenever I have ‘cleared the deck’ so to speak. Ideas come tumbling in!! "
Judith lives and works in Melbourne, having moved there from South Australia in 1989 with her partner and young family. Judith has established herself as a Ceramist specialising in raku firing processes with some pieces being represented in public and private collections. Her raku fired vessels have been exhibited in solo, group and award exhibitions in galleries around Australia including, Galerie Hors Saison in Melbourne, the 'Victorian Connection' at Ceramic Art Gallery in Sydney and the Artworks Gallery in Queensland.
Q: What do you make?
My work is all vessel based and I have for some time been captivated by Raku firing processes. I generate my forms from mostly wheel thrown elements which are cut and/or distorted then reassembled into new shapes which still remember something of their origins on the wheel in the form of throwing ridges. Recently I have been playing with textured slabs which I stretch on the work bench, impress and stretch again… These thin textured pieces I drape over and inlay into the surface of the constructed forms and allow the Raku process to create strong contrasts.
Q: What are your influences?
I revisited raku processes by dabbling with a wood fired raku kiln at the Eltham Living and Learning Centre in 1991. then a few years later I attended a Jeff Mincham workshop in 1994 and became completely hooked…Since then I have allowed myself to be absorbed into the making of vessels which are best finished with Raku firing to boldly reveal the forms, surfaces and edges in ways only possible with the dynamic treatment of fire flame and smoke.
I have always been fascinated by assembled work and found Joe Szira’s demonstrations at a VCG ceramics festival at Frankston 1998 inspiring.
The installation works of Andrew Goldsworthy touched a chord in me especially the ‘Holes’. These pared down, fundamental works seemed to speak of inner spaces and voids…mysterious containment… I connected with these ideas as I explored silky dark openings in vessels some almost closed others open to reveal surprising interiors… I connect with the formal aspects of spaces, insides outsides edges and surfaces in his work
Q: What is your working environment like?
I work in a converted garage ( 5m x 4m ) at the end of my yard. It is a tin shed with a roll up door, lined and insulated. I am fortunate that I have a rear access point to the shed from a back road for the easy delivery of materials. I have a 9cu ft fibre lined top loading kiln in which I bisque my work and raku fire large pieces one or two at a time. I have a converted rubbish bin kiln for smaller raku pieces and for workshops.
Q: Which part of the making process do you enjoy most?
All parts of the making are exciting to me, I work in a cycle, starting with wheel throwing a number of simple forms, cutting and assembling , the making of many textured and distorted slabs, then applying slips and firing, this may take 7 - 10 days and often longer. The assembling of new forms from the slightly stiffened clay is perhaps the most engaging as the new forms begin to emerge and I am working the slightly stiffened clay directly. I really love the spring and slight resistance to the touch of the clay in that condition…In parallel to these complex assembled forms I make altered cone vessels which are banded and raku fired.
Q: What has been the most difficult thing you have encountered in your work?
Because I produce quite large assembled pieces these are very challenging to fire and expose to the extremes of temperature necessary to produce the characteristic effects of the Raku firing processes… there is always a chance that, at the very end, a crack may appear destroying the work and sending me back to the beginning.. I do have failures especially with the most demanding of shapes but on the whole the successes outweigh the failures … I think troubleshooting is a perennial task for all ceramists whatever their chosen methods…
Q: Can you survive on your craft, or do you rely on other income?
At this stage, making the type of work I do, I could not afford to make and sell work to support myself… I simply cannot produce enough and/or charge enough… I supplement my income by conducting Raku firing workshops, privately and through Northcote Pottery. I also have a very supportive partner who is the primary provider for our family.
Wilde Crackle Vessel
Q: Is there a particular book that has significant to your work?
I am an avid reader of ceramics books and magazines. All approaches interest me and I often find myself reading the stories of artistic journeys by artists working in other media…..I am also captivated by biographies and autobiographies of artists and others.. I am often inspired in unexpected ways by life stories…challenges, triumphs and failures….
Q: Have there been major turning points in your career as an artist?
My early involvement in the arts was in teacher training with my special areas of interest being painting, drawing and jewellery making. I had enjoyed working with clay from time to time but it just didn’t click that I might direct all my energies into clay until about 14 years ago when I relocated to Melbourne with my partner and young family. Just prior to our move my father died suddenly. After a working life as a professional musician he became a keen recreational potter and had thoroughly enjoyed his retirement by ‘immersing’ himself in the world of ceramics. I had introduced him to pottery one Easter, several years before, by borrowing a wheel from school for the weekend… He barely looked up for days. He had a natural affinity with the clay and was making quite serviceable cups and bowls after only a few weeks. I helped him set up his home studio where for many years he supplied us all with home wares. After he died the family agreed that I should take the ceramics equipment in case I wanted to use it or sell it. It all sat for some long time in my carport.
As a recreational pursuit I began attending a ceramics cooperative at the Eltham living and Learning Centre and slipped easily into a life of clay…I have not looked back and will continue with ceramics until my joints give in…
When I reach for glaze ingredients, the buckets and containers still bear his labels and notes, I like these reminders of him and his quiet presence in my studio.
I may return to painting at some stage, I continue to draw and keep detailed and rambling journals of ideas.
Q: What have you learned as a businessperson over the years?
The most important lesson I have learned is that in the current arts world you must work and work to find your own voice, avoid all fashions they are passed the day you notice them …. I also studiously avoid the trends and fashions which arise within the ceramics world, these too are a distraction. I work hard to be my own critic and look at what I am doing regularly with a dispassionate eye, asking myself if the pieces I am making really are satisfying my particular ‘quest’….
I chuck stuff out, keeping that ‘almost right’ piece only for a while then unceremoniously putting a hammer through it. I feel an enormous liberation and clearing of the mind when I do this. I have found that whenever I have ‘cleared the deck’ so to speak. Ideas come tumbling in!!
I keep at it, persistence is very important.
Not selling your work does not necessarily mean it is no good, perhaps it is just in the wrong place…..or maybe the ideas are not well enough explored or refined…I work on… Patience is a virtue I have little of, but I am working on it…
Shallow Vessel, glaze pool
Q: Do you see any business challenges specific to potters/ceramics artists?
The whole business aspect of marketing and promoting art is a challenge to makers. I think, too often, we fail in our business practice. I choose to place some of my work in retail craft/art outlets and am happy to pay a commission to the director so that they can work for me to promote my work and make sales on my behalf. For the most part I do not want to spend much of my time in direct selling, it is not my strength. Some contact with the public is very valuable however, in the form of studio visits and events such as the Pottery Expo where people can see something of what goes into the work. I enjoy speaking with studio visitors, explaining and demonstrating some of my processes. By doing this I feel that I am doing my bit to educate the general public about the value of ceramics . Even if sales in the retail outlets are slow my work will sit in attractive display surroundings for some time.
I think pricing is a constant problem with ceramists ( and possibly all arts practitioners…?) It is a great challenge to educate the public about the value of the work we do. Under pricing and overpricing are perennial problems … getting it right is difficult, Working to identify your target market is a good idea, I consider what people are likely to do with my work and then try and put it where they will find it. Since all of my current work falls into the category of ‘feature ceramics’ or ‘ceramic art’ rather than functional ceramics I try and choose outlets which attract the sort of people who may be in the market for such items…
I am currently working through the Code of Practice guidelines for artists which I have accessed through NAVA web-site to further clarify my thinking and practice relating to the business side of my art.
Q: How has the Internet affected your business?
I have been contacted form around the world, by artists and others showing interest in my work and processes, (no direct sales have resulted from these contacts but I still think exposure is important) I am pleased that my images can sit in the ‘ether’ and quietly promote themselves and me…Having email contact with people in this day and age is absolutely vital. The few images I have on the VCG web-site has created distant contacts. I am pleased to visit other ceramists working in Raku techniques. Some of these people have been published in books but many haven’t. The possibility of viewing recent trends on the web is just great!!
I am currently working towards setting up my own web-site
Q: Where do you sell/exhibit your work?
Several retail outlets,
• Crowded House Designs, Glenferrie Rd Malvern, Victoria
• Skepsi On Swanston, Swanston St Carlton, Victoria
• Wiregrass Gallery, Main Rd Eltham, Victoria
• Gallerie Hors-Saison Kew , Victoria (exhibitions)
• Artworks Gallery Southport Queensland
Q: What would you like to be doing in 10 years time?
I would be happy to be continuing on my path of discovery in clay, of new forms and the processes which enhance them, I hope that in 10 years I will be able to look back and see a steady progression through my ideas and still have the momentum and interest to look forward and continue the quest for a personal expression….
Grooved Lip Vessels (detail)
Judith Roberts
17 Lavender Park Rd.
Eltham
VIC 3095
Tel/Fax: (03) 9439 3152
juditharoberts@optusnet.com.au
see more of Judith work at VCG directory click here
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