All the pots are thrown on the wheel or draped over a plaster mould. They are then slipped in white slip (lower right bottom). Pots are then glaze fired in an electric kiln. For all work a third firing follows, in an electric kiln for on-glaze enamel, and in a gas fired lustre kiln (bottom left) for the reduced lustre work.



Curriculum Vitae


1966-70 Diploma in Art Education, Alexander Mackie Teachers College and National Art School

1976–78 Apprentice potter at Cuppacumbalong Pottery, Tharwa, ACT under Doug Alexander

1979-80 Worked in potteries in France and England as apprentice/trainee

1981-1998 Established pottery at Colo Vale, NSW, making functional earthenware ceramics which was sold in galleries all over Australia

1997. Certificate of Attainment, National Art School. Glaze course on “Reduced Lustre”

1981-98 Part-time TAFE teacher& guest lecturer all over NSW

1998 Appointed Director, Sturt Craft Centre, Mittagong

1998 - 2009 Director of Sturt Craft Centre for eleven years. Instigated Summer & Winter Schools and Artist in Residence Program. Manager of Sturt Gallery and Retail Shop. Significant events initiated during this time were Fifty Years at Sturt Pottery, Exhibition and Forum (2003), Twenty-One Years Sturt School for Wood (2006), and Sturt Woodfire, Conference and Exhibition 2008.

2010 - present Resumed ceramic practice


Clay Clayworks red earthenware clay CTC

Glazes Various fritted transparent glazes all firing to 1100°c.

Kilns 17 cu ft electric kiln, 10 cu ft gas fired brick kiln with side stoking wood for reduced lustre

Pigments Silver nitrate, burnt umber, carbonates and oxides mixed with some commercial stains. Onglaze colours


 1985-88 Christmas Exhibition, Crafts Council Gallery, The Rocks, Sydney

1986 Spring Exhibition, Crafts Council Gallery, The Rocks, Sydney

1986-87 Teapot Show, Old Bakery Gallery, Sydney

1988 Tableware, Potters Gallery, Sydney

1990 Collectibles, Manly Art Gallery, Sydney

1990 Teapot Exhibition, with Sandy Lockwood, Bowral Art Gallery

1991 An Australian Willow Pattern, Jam Factory, Adelaide

1991 Solo Exhibition, Mura Clay Gallery, Newtown, Sydney

1992 Exhibition accompanying Rembrandt to Renoir, NGA and National Gallery of Victoria

1993 Functional Ceramics, Blaxland Gallery, Sydney

1994 Interiors Today, Jakarta, Indonesia

1995 Juggling the Elements, Manly Art Gallery, Manly Sydney

1995 Salt and Tin, Sturt Gallery, Mittagong

1995-96 Clay Offerings, Fusions Art Gallery, Brisbane, Queensland

1996 Colour and Function, Mura Clay Gallery, Sydney

1996 Reduced Lustre, Sturt Gallery, Mittagong

1997 New Work, Reduced Lustre, Flinders Gallery, Townsville, Queensland

1998 Reduced Lustre, Anita Ellis Gallery, Avalon, Sydney

1999 Christmas Show, Robin Gibson Gallery, Sydney

1999 Group Show, Robin Gibson Gallery, with Lex Dickson

1999-2004 Exhibited with Sturt makers, at Sturt Gallery, Mittagong

2002 Sturt comes to Sydney. Ceramics Art and Perception Gallery, Paddington, Sydney

2016 Shapes Plates Containers. Solo Exhibition. Sturt Gallery. Mittagong

2017 Exhibitor. Namwon International Ceramic Art Exhibition. Korea


Merit Award for “Autumn Colours” Reduced Lustre Bowl. Port Hacking Ceramic Prize 2018

PUBLICATIONS(Written and photographed by Megan Patey)

Saltglaze in the Auvergne, Pottery in Australia, August 1986

Earthenware, Pottery in Australia, December 1988

Potters of the Southern Highlands, Pottery in Australia, September 1990

Gillian Broinowski, Pottery in Australia, Vol 30, No 3, 1991

The Passion of Eartheware, Pottery in Australia, Page 50, Vol 35, 1996

Why Choose Maiolica, Pottery in Australiam Page 56, 57; Vol 36, No 4, 1997

The Residency Program at Sturt Craft Centre, Ceramics Art & Perception, 2006

Twenty Days at Sturt – A Photo Essay. Nineteen potters at Fuping, China. Ceramics Technical No 37 2013


I am interested in the expressive character of mark making on ceramics, generated by an intimate knowledge and experience of making and firing. I am not trying to replicate the representational world. I am hoping to release the energy inherent in the processes of making, of applying slips, brushing on pigments, and the final act of applying glazes and firing to produce the quality I am after. It is this energy, which I hope to express in my work, which draws me to working with slips, on-glaze enamels and reduced lustre firing methods. I am also fascinated by historical ceramics, and draw inspiration from the vast world of functional ceramics. The works I make generally are for use, although this is not essential.