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SIXTY: The Journal of Australian Ceramics 60th Anniversary

01 June - 21 July 2024

Twenty-two acclaimed ceramic artists from across Australia are showcased in this major ADC On Tour exhibition SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 opening at Design Tasmania on 1 June.

The exhibition is presented by Australian Design Centre in partnership with The Australian Ceramics Association (TACA) to acknowledge this significant anniversary for the ceramics community in Australia.

For sixty continuous years a print publication, The Journal of Australian Ceramics (The JAC) has documented ceramics in Australia, in 176 issues and close to 20,000 pages.

The JAC has united the thousands of artists in this community, as well as their generosity in passing on skills and knowledge to fellow artists and for the next generation of makers. It is because of the many that have been involved over the years that The JAC has been such a success.

The ceramic artists selected for this exhibition represent their contemporary peers and those who came before them throughout the history of Australian ceramics. All have a strong and enduring connection to The JAC.

The exhibiting artists are: Glenn Barkley | Kirsten Coelho | Greg Daly | Pippin Drysdale | Dan Elborne |Penny Evans | Honor Freeman | Susan Frost |Shannon Garson | Patsy Hely | Alison Milyika Carroll |Jeffery Mincham | Damon Moon | David Ray | Ben Richardson | Tania Rollond | Owen Rye | Jane Sawyer | Yul Scarf | Vipoo Srivilasa | Kenji Uranishi | Gerry Wedd

This celebratory exhibition is guest curated by Anna Grigson and ADC’s Lisa Cahill with design by Studio Garbett.

The burgeoning interest in ceramic art is recognition of the accomplishments of Australia’s ceramic artists and potters and The JAC and its contributors have played a key role in this revival,’ said Lisa Cahill, ADC CEO and Artist Director.

SIXTY will be at Design Tasmania 1 June - 21 July 2024.

Glen Barkley

Glenn Barkley (NSW) is an artist, writer, curator and gardener. His work draws upon the history of ceramics, popular song, the garden and conversations about art and the internet.

"I came to ceramics late in my career and after over twenty years of curating. I always had an interest in pottery as a curator, a collector and due to the influence of my mother-in-law, Lyn Havilah, who was a production potter. She always had TACA journals laying around that I used to read. I’m going to make a plinth of these journals as they are kind of the bedrock of mine, and many others practice, and keeps you propped up and supported to a certain extent".

Glenn Barkley @glennbarkley

Glenn Barkley, thatisnocountry4oldmen (sailing2byzantium), detail, 2022. Photo: Greg Piper

Alison Milyika Carroll, Kungkarangkalpa: Seven Sisters, 2022. Photo: Ernabella Arts

Alison Milyika Carroll

Alison Milyika Carroll (SA) is a senior Pitjantjatjara Yankunytjatjara woman, an accomplished artist and significant cultural leader, who has had a career in the arts spanning more than four decades. Alison’s artistic practice has been based at Ernabella Arts in the remote Aboriginal community of Ernabella on the Aṉangu Pitjantjatjara Yankunytjatjara Lands in South Australia.

"In Ernabella, this is where it started for us, milpatjunanyi, then wool, spinning and weaving, and we slowly started doing new things like batik and then paintings. Once, I went with three other artists to the Jam Factory in Adelaide and we learnt to paint on ceramic plates. We liked telling our stories in the clay so we kept learning. We went to learn more ceramics in Darwin at the university and started to say ‘we should make our own studio in Ernabella so all the artists can learn’. Now the next generations are learning and making beautiful things. I am happy to be in this exhibition, to show you what I am making now. In Ernabella, we were the first to start doing ceramics, and we are still doing it."

Alison Milyika Carroll @ernabella_arts_pukatjapottery

Kirsten Coelho

Kirsten Coelho (SA) works in porcelain creating functional forms and vessels of other-worldly perfection that fuse the formal with the abstract.

"My ceramics practice focuses on the exploration and reinterpretation of utilitarian ceramics, glass and metal wares. Many pieces are made in white porcelain, some with an added iron rim - suggesting an everyday metal object whilst being made in a material like porcelain that has such a rich history of desire and commodity. This can create juxtaposition between the precious and the commonplace."

Kirsten Coelho @kirsten_coelho_

Image: Kirsten Coelho, Fall, 2022. Photo: Grant Hancock.

Greg Daly, Line of Sight series (Round Vase), 2021. Photo: John Daly

Greg Daly

Greg Daly (NSW) has been a member of the International Academy of Ceramics (Geneva) since 1986. He is represented in over 90 national and international art galleries and museums around the world.

"I have always drawn inspiration from my surroundings. The surrounding land, sky, light, I see from my studio have been distilled into this work, from the grasses at the doorstep to the far hills seen across paddocks full of eucalypts, and beyond, upwards into the atmospheric realm."

Greg Daly @gregdalyceramics

Pippin Drysdale

An acclaimed international artist and master of Australian craft, Pippin Drysdale's career as a ceramic artist spans more than 45 years. Her passion for the craft merges with a love of the landscape, which has travelled across continents and in most recent years has focused on the vivid desert landscapes of Australia. Her works evoke a timeless and breathtaking sense of space and place within finely crafted porcelain vessels, narrating the mesmerising vastness of colour experienced in the unique Australian landscape.

“Landscape is my passion and ceramics, for me, represents the most honest way of honouring that landscape, utilising materials that are themselves part of the earth” (Drysdale, August 2016).

Pippin Drysdale @drysdalepippin

Pippin Drysdale, Granite Warriors Winborn Rocks Central Desert, 2021. Photo: Robert Frith

Dan Elborne, Conduit sample collection, 2021. Photo: Grace Yu

Dan Elborne

Dan Elborne (VIC) is a visual artist working primarily in clay, which is utilised for long-form installation-based projects and sculptural series.

For SIXTY, Elborne is presenting elements of his Conduit project, which he began developing in early 2020. This work is now established as a long-term commitment to span the remaining years of his life.

Alongside this is a video component, documenting the project-specific labour that both is, and will continue happening in the studio. These physical and digital elements are all in grey-scale, making them non-specific references to the various, uniquely coloured Conduit series releases occurring during the touring cycle of SIXTY and beyond.

Dan Elborne @danelborne

Penny Evans

Penny’s ancestors traditional Gamilaraay (Northern Gomeroi) homelands are to the northwest of Bundjalung country in and around Garah, Mungindi, Boomi and Boggabilla. Penny’s work is an homage to her grandfather, great grandmother and their individual life struggles as Aborigines in a climate of virulent racism in Australia.

"The focus of my art is always identity, country and decolonizing and my practice is a process driven enquiry. My artwork creates a trail over time which mark and illustrate my decolonizing journey back to who we are, back to country, back to country within me. There’s a lineage of ideas, a mapping. My interrogation is through the process of making, so it’s about DNA mixed with ideas gathered from many people and places, from country and kin. The work is never about one thing, always multi-layered. My work is a legacy for my kids and family. There’s a lot of emotion in it too…"

Penny Evans @pennyevansart

Penny Evans, Mangarr-Marsupium, 2021. Photo: Penny Evans

Honor Freeman, Small Acts of Care and Repair, 2021. Photo: Grant Hancock

Honor Freeman

Honor Freeman (SA) is an artist living and working in the Fleurieu Peninsula on Ngarrindjeri land in South Australia, whose practice utilises the mimetic properties of porcelain, crafting objects that belie their materiality and purpose.

Small Acts of Care and Repair continues my exploration into the poetic potential of the simple and ubiquitous bar of soap. A small yet quietly powerful object that has gathered heightened meaning during the last two years.

Honor Freeman @honor.freeman

Susan Frost

Susan Frost (SA) is a full-time ceramic artist working in porcelain on a potter’s wheel. Susan has been working with clay since 2005 starting as a keen amateur then moving on to more formalised training at the Adelaide College of the Arts before entering JamFactory’s Associate Program in 2009.

"Colour is integral to my work. Minimalist forms allow me to explore the interrelationships of mood by placing series of colours closely together. The placement and proportions of the chosen objects enable colours to reflect and bounce off each other encouraging unexpected and exciting interactions to occur."

Susan Frost @susanfrost

Susan Frost, Rise, 2022. Photo: Grant Hancock

Shannon Garson, Beauty and Terror, 2020. Photo: Greg Piper

Shannon Garson

Shannon Garson (QLD) is a ceramic artist, writer and curator with a studio practice spanning 20 years that includes commissions for festivals, exhibitions at public and private galleries, and arts advocacy. Shannon’s practice encompasses both handmade tableware and exhibition work, working with Australian porcelain.

"The terrible bushfires of the last Australian summer brought Australian poet Dorothea Mackellar's description of the landscape into horrifying reality. Dorothea Mackellar's poem My Country has been quoted and loved since it was first published in 1908. Dorothea began writing this poem in 1905 and worked in it when she went to London aged 19. During this time German poet Rainer Maria Rilke published his major book of poems The Book of Hours in which he explores the human search for God. Rilke uses the phrase "beauty and terror" in this book. I don't think Mackellar would have read Rilke's poem but he uses beauty and terror to explore the wonders of being human and the courage to search for meaning in the universe."

Shannon Garson @shannongarson

Patsy Hely

Patsy Hely (ACT) is an artist who has worked predominately in the ceramic medium. Her work is held in major collections in Australia and internationally. Patsy's practice also encompasses writing and curating, with essays published in national and international publications.

Recently, Patsy has been devising her own notations of bird calls and transcribing them onto vessel-forms and for this exhibition, includes with each work a ceramic fabricated bird whistle in homage to Henry Grace (1885-1966), a well-known bird enthusiast and whistle maker whose idiosyncratic metal bird whistles can be found in the collection of the State Library of NSW.

Patsy Hely @patsyhely

Patsy Hely, Scarlet Robin Whistle (homage to Henry Grace), 2021. Photo: Andrew Sikorski

Jeffery Mincham

Jeffery Mincham AM (SA) is a full-time ceramic artist with over forty years professional practice working from his home studio in the Adelaide Hills. Jeffery has produced an extensive body of work over that period, which has had a resounding influence on contemporary Australian ceramics.

"It has taken me a lifetime to acquire the fluency of my medium and it still challenges me! My intention is to engage an audience and capture their attention long enough to reflect on the landscapes that they feel a special connection too. A subtle mixture of nostalgia and memory, even a longing! I have come to understand that clay and the medium of ceramics can have a quite unique part to play in this aesthetic experience, it is just a matter of staying the course, the more you do the more you understand!"

Jeffery Mincham AM @jefferymincham

Jeffery Mincham, Gales of the Equinox, 2021. Photo: Grant Hancock.

Damon Moon, Mania (Marvin the Martian), 2021. Photo: Leon Schoots

Damon Moon

Damon Moon (VIC) is a second-generation maker and one of Australia’s most respected and prolific commentators on ceramics. His career has spanned working as a curator in contemporary South-East Asian art to doctoral research into the development of mid-twentieth century Australian studio pottery.

"I have, quite literally, spent my entire life looking at, researching, writing about and making ceramics.
My father, Milton Moon, began his professional ceramics career around the time of my birth and as he became well-known the circle of family friends seemed to consist entirely of other artists, craftspeople, gallery professionals, architects, designers, most of them also very highly regarded. When I look back on it, it was an extraordinary upbringing in the arts, but at the time it just seemed normal."

Damon Moon @moon.damon

David Ray

David Ray (VIC) is one of Australia’s leading ceramic artists. His artwork is held in numerous Australian and International collections and career spans over 25 years. He recently won the prestigious ‘2019 Winner of Excellence Award’ at the Victorian Craft Awards, which recognises the highest achievement in creativity, innovation and design across media in Victoria. In 2018 he won the Manningham ‘Victorian Ceramic Award’.

"I am heavily influenced by the shapes and designs of 17-18 Century European factory ceramic, especially Tureens as they can act as centre piece for a table or sideboard. The word having derived from the French word 'Terrine' that was based on the Latin term 'Terra' meaning earth. Traditionally their function is to hold a stew or soup. My Tureen is earth mutated, that is dysfunctional instead it’s the surface decoration that holds a narrative to be decided by you the spectator."

David Ray @davidrayceramics

David Ray, Mutated Tureen, 2021. Photo: Chris Saunders

Ben Richardson, Sheltering, 2022. Photo: Jonathan Wherrett

Ben Richardson

Ben Richardson (TAS) was born in Hobart in 1951 and was awarded a B.Commerce degree in 1972 at the University of Tasmania. From 1978-81 he studied ceramics at the School of Art in Hobart and completed a Master of Art, Design and Environment degree in 2004. He has been designing and making his distinctive works for over twenty years after being introduced to wood firing techniques by renowned potters Les Blakebrough and Gwyn Hanssen-Pigott.

"I come from settler and convict immigrants to Tasmania and live on its south-eastern coastal edge near Hobart. Those settlers came after the first wave of the industrial revolution in Europe and that set the scene for their ceramic making of utilitarian wares and building materials for the colonial settlements. The early use of the wild clays here was framed by these beginnings and it is useful to reflect on the industrial supply system that has grown from that. I now see my material choices as positioned in a dialogue between the industrial and the wild."

Ben Richardson @ridgelinepottery

Tania Rollond

Tania Rollond (NSW) completed a Bachelor of Arts in Design at Curtin University before discovering her passion for working with clay.

"The Journal of Australian Ceramics (or as it was then, Pottery in Australia) changed the path of my life, completely. I first encountered ceramics through a TAFE Saturday class. When I had become completely hooked, I decided to further my studies and my life experience by leaving my home state of WA. I worked my way through the National Education Survey section of maybe a decade of the Pottery in Australia magazines in the State Library, before settling on NSW and the National Art School for my future. I had never been ‘over East’, or to Sydney, but felt this research was sufficient!! It worked out very well."

Tania Rollond @taniarollond

Tania Rollond, Revolution, 2021. Photo: Tania Rollond.

Owen Rye, Jar 3, 2019. Photo: Andrew Northover

Owen Rye

Owen Rye (VIC) is a member of the International Academy of Ceramics and a life member of The Australian Ceramics Association. He is known internationally for being at the forefront of the contemporary woodfiring movement. Through his artwork, his writing and his teaching many ceramic artists have been inspired to follow the woodfirer’s path.

"Grand jars have always existed – in the palace of Versailles, made in Sèvres; or Chinese porcelain in the White House. A grand jar can set the tone of a grand room; or fill and overshadow a small one. In the singular they create a space around them like some kind of force field - enter that and you are in their presence and other surroundings fade away."

Owen Rye @owenryeceramics

Jane Sawyer

Jane Sawyer's (VIC) ceramic practice has taken her to residencies and exhibitions in UK, Denmark and Japan and her work is held in institutional and private collections. Jane has served on the board of Craft Victoria, The World Crafts Council - Australia and is an exhibiting member of the International Academy Ceramics. She is founder of Slow Clay Centre (Melbourne), an independent ceramics education centre.

"My materials of choice are most frequently the humble and often underrated terracotta clay, layered with fluid slip coatings and often but not always finished with a clear glaze. It’s hard to get more simple than these materials! Simplifying my materials has allowed me to focus on the essence of gesture, movement and fluidity but terracotta is also a political choice in an age where some other clays are seen to be superior."

Jane Sawyer @janesawyer1

Jane Sawyer, Collapse, 2021. Photo: Peter Bonifacio

Yul Scarf, SORRY DAY/ SMALL CHANGE, 2022. Photo: Robin Hearfield.

Yul Scarf

Yul Scarf (NSW) is a multi-disciplinary artist motivated by radical political change. For Yul, clay demands a conversation about land, First Nations sovereignty, appropriation and theft. Their commemorative ceramic objects interrogate the colonial structures we inherit and the futures that are possible in the ruins.

SORRY DAY/ SMALL CHANGE, 2022, broken ceramic plate made with functional QR code made from unknown Aboriginal Land found in a bucket on Gadigal Land, mended with staples made from 5 cent coins, supported by convict era bricks made with Dharug Land.

Vipoo Srivilasa

Vipoo Srivilasa (VIC) is a Thai-born artist, curator and arts activist who works predominantly in porcelain but also creates work on paper, mix media sculptures, bronze statues and designs large scale public art.

"For this show, I create a pair of friendly Dvarapala. They do not only ward off evil spirits but also welcome visitors. Instead of holding a club, they offer flowers and leave to visitors. Both of my Davrapala come with their own “vahana “ or animal- vehicle which they travel on and keep their company. Both animals, cat and dog are the most popular pets in the world. They are not only our great companion but also a guard for our house and a therapy to heal our spirit."

Vipoo Srivilasa @vipooart

Vipoo Srivilasa, Dvarapala (Ta-waa- ra-baan) series – Wi-laa and Su-nak, 2019. Photo: Andrew Barcham

Kenji Uranishi, Where the sea meets the sky, 2022. Photo: Courtesy of the Artist

Kenji Uranishi

Kenji Uranishi (QLD) has an interest in the wild and unfamiliar aspects of the Australian environment, and the light and patterns in architecture, nature and everyday life to permeate his artwork.

This work aims to capture and put into form this delicate water dance. Installed in a circular formation representing a period of time, like a ribbon of film cut from a reel, these individual pieces interlock together and capture the slowed-down moment when these waterways swirl together into one.

Kenji Uranishi @kamenendo

Gerry Wedd

Gerry Wedd (SA) is a potter and a surfer. He has been making pots for forty years. His work runs the gamut from functional domestic ware to large installation works and public art.

“My work has tended to reflect on popular culture and has a social commentary aspect incorporating songs, poems and current events through the prism of the history of ceramics. The hope is that information can be embedded in objects (pots) that will be in people’s lives for a long, long time.”

Gerry Wedd @gerrywedd

Gerry Wedd, Welcome Pot, 2015. Photo: Grant Hancock.


SIXTY The Journal of Australian Ceramics 60th Anniversary 1962-2022 is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program. The Visions of Australia regional exhibition touring program supports audience access to Australian arts and cultural material, with a particular focus on tours to regional and remote Australia.

Australian Design Centre is assisted by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. Australian Design Centre is assisted by the New South Wales Government through Create NSW, and the Australian government through the Australia Council, its arts funding and advisory body.

sponsor logos - Australian Design Centre, The Australian Ceramics Association, the Australian Government, the Gordon Darling Foundation, The Journal Australian Ceramics and Studio Garbett