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Find them with the relevant Speaker's Bio under the Program tab.


Below is a selection of demonstrators. 



Phil Hart

I have been to the odd conference and seen a few demo’s. Its enlightening to see makers doing their thing but for me, what these events sometimes lack is a sense of theatre and a perception of risk, after all pottery is a risky business. 

What I would like to do for my demonstration at the ‘Subversive clay’ Australian Ceramics Triennale would be something that would fit in with the idea of the conference and showcase my skills and challenge me as a maker.  I intend to construct an ephemeral work using wheel throwing as a basis to employ graffiti –esque, stencil art techniques using different coloured clays (dark, buff, white) The final product being a floor-piece rendered image of a selected giant of the ceramics ouvre.

Featured work: Conversation in Clay


Gerry Wedd

Gerry Wedd

The real value of these events is being able to observe idiosyncratic approaches to making. With this in mind I will be hand building and decorating objects of a figurative (and perhaps functional) nature using under glaze and slips. 


 I may even subvert them!


Featured Artwork: In the Woods (Detail) 


 Graham Hay


Often interpreted as being marine inspired, he describes his work as “a futile attempt to illustrate a dynamic sociological perspective of the Arts and Crafts”.  Much of his inspiration comes from a childhood spent herding animals, working as a professional political lobbyist, observing closely unique Western Australian native plants, and maintaining a 10,000 artist and craftspeople database for two decades.  




Prue Venables

A search for simplicity and quietness, an essential stillness, motivates my work. The making of functional pots, the exploration of objects to be held and used, alongside a search for new and innovative forms, provides a lifetime of challenge and excitement. I enjoy the contradictory nature of these pieces - where the sprung tension of the throwing remains clear, but the origins of forms are uncertain. I have a particular interest in the making of functional objects. The work contains references to 18th and 19th century English industrial pottery as well as to more contemporary and familiar metal and plastic vessels. 



Mark Heidenreich


Mark will demonstrate his remarkable skill and technique and provide a glimpse into the world he inhabits. ‘‘Terra Villa Pottery ‘ is situated in the heart of Adelaide and is a magical discovery. It is the result of a life committed to acquiring knowledge and understanding in order to make beautiful pots, finely crafted and well designed. Many of them made for outdoor, impressive in their scale and beautiful in their form suggesting a careful and very personal understanding of the rich history of form that exists in the clay tradition.

Featured Artwork: Heidenreich in his studio


Jackson Li (China)

For me, working with clay is something like my mother cooking in the kitchen, she has spent her life time repeating the same tasks, shopping and preparing, using different produce and spices from the local market and putting them together in her own special way. Just like myself working with clay materials, oxides and glazes. She has passed on her knowledge and love, so that we can enjoy the best meals!


Andrew Bryant

Andrew will demonstrate various influences and techniques that have informed his work.  Large platters and spirals deconstructed and re-joined, terracotta coil pots, unglazed textured surface baring marks and irregularities.



I tend to work intuitively allowing the clay to determine the forms as I coil rather than start with a pre-determined concept.  I like to challenge my skill in building forms that push my clay to new possibilities sometimes the coils of clay feel thread like and akin to knitting… variable tensions either tight or loose… I like the clay as a tactile and responsive material… it has therapeutic qualities for me. I have always collected objects, now I make my own.

Featured Artwork:  Half a Whole


Klaus Gutowski


Klaus will demonstrate the construction of large, hand-built vessel forms made from altered slabs. The slabs are assembled in an unusual puzzle-like method, giving the pieces an organic feel. The forms will be highly decorated with impressed patterns achieved by the use of handmade ceramic stamps and sprigging.

Featured Artwork:


Johanna DeMaine


In order to realize my art form I have come to terms with hybrid or cross disciplinary practices using quasi industrial processes that are still within the economic reach of ceramists. I have married modern technologies with an ancient craft by incorporating the use of the computer, vinyl cutter and sandblaster to facilitate an experimental approach to my work through layering. As well as this I have added over glaze as just another layer in the ceramic continuum.

Featured Artwork:  Forbidden Fruit


Laura McKibbon (Canada)

Throughout the day, Laura will demonstrate a variety of image transfer methods, from simple techniques like hand drawn transfers and monoprints, to more complex photopolymer texture plates. The majority of the day will look at various silkscreen methods including screen exposure and how to easily set this up an exposure unit in your own studio. She will demonstrate direct printing (with slips and underglazes), tissue transfer prints and basic acrylic decal printing.  A detailed timetable will be made available at the conference.

Featured Artwork: City Platter


Sandy Lockwood

The fluid material qualities of clay are essential to my work. I work with a language of rich raw textures, rhythms and tactile sensation. An essential foundation to this is wood firing and salt glazing. I work at the edge of my medium in search of that elusive nuance or essence that hovers provocatively at the edge of my consciousness.

Featured Artwork: Pourer, Bowls and Stand


Merrilyn Stock

As a twenty first century ceramic artist I am continually reflecting and using the wealth of ceramic history to create my own ceramic language. Once you stop looking you often find what you are looking for. When I started potting I was an unconscious potter striving to be conscious once conscious I now strive to be unconscious.


Stephen Bowers

After more than 30 years of working collaboratively with Mark Heidenreich I still enjoy the prospects of working on one of his pieces.  In this demonstration I will be adding some simple, more or less spontaneous, slip painted decoration which will then be carved through to reveal the underlying body colour on the pot.  This technique is good for 'once-fired' pieces such as Mark makes and the pot will be fired later in his large gas kiln at his Terra villa Pottery in Compton Street.

Featured Artwork: Willow Staffy Dogs (2010)


David Ray

My forms are inspired by 18 Century European Factory Ware, I recreate the fragile and baroque nature of that period.


I predominately use porcelain which is temperamental during the making process. I will be passing on my 20 years of hand building techniques. Creating dynamic forms which are gestural and defy gravity.  I will be demonstrating, hand building with Porcelain. Also how to: - add and support feet for large pots- adding types of handles- create a sense of the fragile- Make that lid fit- Order and structure design into clay -make and apply simple sprig moulds.


I will discuss what makes a good form and how to avoid cracking, slumping when making and firing.

Featured Artwork:  Triumph


David Pedler

I graduated from Underdale College in 1987 and have been making a living from ceramics for the past twenty five years.

I became interested in mould making as a means of achieving the precision of form that I liked, and this has  led to a focus on slip casting, jiggering and ram pressing.


I decorate with slips and clear glaze, or use coloured glazes.


Being able to make reasonable volumes of tableware has also allowed me to supply local restaurants.


As well as my ceramics studio in Moonta, Meg Caslake and I run a hot glass studio in Uraidla in the Adelaide Hills.


Since 2011 I have been ceramics Program Manager at the Jam Factory.


Helen Fuller

I am currently a tenant in the JamFactory (Adelaide) Ceramics studio 2011-2012. I have been a practicing visual artist exhibiting since 1979 after I emerged from South Australian School of Art (Adelaide) as a painter. I have pursued an erratic career free falling across art disciplines from painting/photography/installation/assemblage etc.  Exhausted in 2009/10, I joined a suburban pottery class and was instructed to make pinch pots and rolled my first coils of clay which is now the basis of my current studio practice.   I see my wonky forms as 3D blank surfaces on which I chose to paint with underglaze, oxides and porcelain slip.  I am more concerned at challenging the clay to build with and to creatively explore new forms than to be bound up with technical perfection… I am enjoying the process rather than having considered outcome of product… I am on my own journey at this point and I am keen to learn more about the clay as I proceed… as John Cage said “Out of the work comes the work".

Featured Artwork: Pots


Bronwyn Kemp

Pots and stuff, art, “Dylan Thomas was a Buddhist”, my new tag.


I’m completely addicted to watching Pina Bausch videos on Youtube thanks to Wim

Growing potatoes, keeping them in the dark, wrapping things in clay, setting fire to stuff, burning things including the toast.


Sometimes they are about the same ideas or processes or materials or spaces or drawings, and other times ,more to do with play or grandiose ideas that engage the political and philosophical brain

Moving through time and space.







Ceramics is an art form that has become an integral part of Ernabella Arts activities. Whilst only a relatively recent activity (4-5 years), the 2005 conversion of the old screen printing studio has meant that Ceramics has evolved quickly from sporadic workshops, painting pots that others have made to the formation of a complete studio of making, decorating and firing all undertaken by local people.

It is hoped that in the not too distant future the Ceramics unit will be economically, socially and culturally sustainable with local people controlling all areas of production and eventually management, thus making it an enterprise that is so much more than artwork.