Thursday, January 13, 2011


This is one of my 'after Irma' plates on show - 'Still life with Pomegranates'. I am sitting at the museum, reading about the life of Irma Stern and feeling an extraordinary sense of 'still life' in this haven away from the chaos of crazy Cape Town... There are many visitors coming constantly to see the show which is most encouraging, interesting and inspiring chatting to them.
'The artist creates in order to become free of himself, only to find himself again in the end' - Irma Stern, Umgababa 3rd September 1922

Wednesday, January 12, 2011


There is a great selection of our exhibition online at the Design Indaba Magazine which by the way is a great site for all sorts of exciting and contemporary designs

Poem: "Beannacht"

Tuesday, January 11, 2011


So I have been sitting the past week manning my and Hennie's show at The Irma Stern Museum and discovered that this is a perfect opportunity for meditation practice...
It goes like this:
I purchase some flowers from a store, and then I walk into the wonderful garden at the museum and pick a few small stems. I fill a watering can with fresh water.
I look at the wall of flower vases and carefully scan it looking for wilted or dying flowers.
I gently remove these and then empty the stale water into a bowl.
And then...and this is where the focus begins in earnest ...I carefully remove one vase at a time and fill it with water and replace it on the wall. The little pouch at the back is tiny and if one pours too fast it overflows. So this activity requires concentration and care.
I then sort out my flowers and cut and clip them to fit the vases. This feels like a zen activity, akin to the mindfulness applied in the tea ceremony or other meditation practices. Very present, being here now...

Thursday, January 6, 2011


For those of us who have been involved in the ceramic discourse for decades, the passing of Paul Soldner marks in a way, the end of an era. I, like many others, were tremendously inspired by the wild American West Coast ceramists of the 1960's. Paul Soldner , Peter Voulkos and Hal Riegger were some of the greats of that time. And then the image of Paul Soldner continued for many decades to dominate the advertisements of his Soldner kilns in the American magazine Ceramics Monthly and other publications. Those early days were times when many of us felt we could change the world through the philosophy and making of ceramics. A wonderfully positive and exciting period, accompanied by the hippy and flower child era which heralded a new age of peace and love and organic food and so we have the organics now hijacked by the corporates and the world acclaims Facebook's founder Mark Zuckermann...certainly a different zeitgeist. I think that for those who have been around for quite a while, we have been fortunate to have come through that age of wonder and earthiness which laid a foundation for a grounded and meaningful world view. The following excerpt is taken from Paul Soldner's blog

Paul Soldner, artist and innovator in the field of ceramic art, passed away at the age of 89, at his winter home in Claremont, California, on January 3rd, 2011. His life was one of vision, inspiration and teaching. As a professor at Scripps College and Claremont Graduate University, and through workshops he conducted around the world, he influenced generations of ceramic art students who found in Soldner an artist who was both internationally acclaimed and personally accessible, a teacher who taught not by rule, but by example. There are those artists who are born into a solid, well-ordered artistic tradition, and create entirely within it. Others deny tradition and work as idiosyncratically as they please. A few, the giants, go on to dominate the tradition they helped bring into being. Paul Soldner was one of these. Accepted as a major force in the evolution of contemporary ceramic art, Soldner’s career was punctuated by important innovations since the mid 1950s. He is best known as the father of “American Raku” and for his innovation of “low-temperature salt fuming.” It was Soldner’s openness to the creative accident that led him to the “discovery” of American Raku. “He was invited to demonstrate at a crafts fair in 1960. Using Bernard Leach’s A Potter’s Book, as a guide for traditional Raku, a Japanese technique developed in the 16th century, he set up a simple kiln and improvised a few lead-based glazes. The initial results were disappointing but his fascination with Raku persisted, and Soldner continued to experiment [originating post-fire smoking artwork, now known as American Raku]. He gradually discovered he was more interested in Raku as an aesthetic than as a tradition. This attitude resulted in a much more playful approach to form, scale, function, and material.” (Garth Clark) As Paul often said, “In the spirit of Raku, there is the necessity to embrace the element of surprise. There can be no fear of losing what was once planned and there must be an urge to grow along with the discovery of the unknown. Make no demands, expect nothing, follow no absolute plan, be secure in change, learn to accept another solution and, finally, prefer to gamble on your own intuition.” Born in Summerfield, Illinois on April 24, 1921, Soldner hadn’t planned to be an artist: he started out as a pre-med student, then enlisted into the Army Medical Corps as a conscientious objector, serving with Patton’s 3rd Army at the Battle of the Bulge. His unit was one of the first to encounter concentration camp survivors fleeing the infamous Mauthausen Concentration Camp in Austria as the camp was liberated. Confronting the horror of the Holocaust face-to-face eventually ignited in Soldner a passion to create beauty through art. He started with an interest in photography, but at the age of 33, Soldner decided to become a potter. He headed for the Los Angeles County Art Institute, and became Peter Voulkos’s first student, earning an MFA in 1956. At Otis, Soldner explored creating monumental “floor pots,” or sculptures, which stood up to eight feet in height, often with expressionistically painted areas on the forms. It was also at Otis that he designed and ultimately began the manufacture of the Soldner potters wheels and clay mixers that became Soldner Pottery Equipment Inc. In 1957, Soldner began teaching at Scripps College and the Claremont Graduate University, in addition to curating the now famous Scripps Ceramic Annual exhibition for 37 years. Throughout his career, Soldner’s artwork often mirrored contemporary issues and ideas expressed by using culturally familiar shapes impressed on three-dimensional sculptures or on two-dimensional wallpieces. Soldner’s artwork has been collected by major museums worldwide and exhibited in the United States, Europe, Canada, Latvia, Japan, Taiwan, Korea, and Australia. In 1957, Soldner and his wife, Ginny, began building their home and studio by hand in Aspen, Colorado. The principle that architecture should improve with age directed his designs. To that end, he used rocks and wood native to the area. The Soldner compound was one of the first in the area to acknowledge environmental concerns by using the sun’s energy with solar power for heating. In the 1960s, while living in Aspen, he co-founded Anderson Ranch Arts Center in Snowmass Village, Colorado. Paul had a passion for life and enjoyed the pleasures of living, including making his own wine and jewelry, growing bonsai, and designing hot tubs for himself and friends. He wrote numerous articles and two books, Nothing to Hide, and Kilns and Their Construction. Soldner has been the subject of three documentary films and is listed in Marquis Who’s Who in America, American Art, and the World. Paul Soldner leaves behind his daughter Stephanie Soldner Sullivan, his son-in-law Garrett Sullivan, grandchildren Colin and Madelyn Sullivan; and his sister Louise Farling.