Willoughby Bequest Commission

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Back in 2019, just before the fire destroyed my life. I was commissioned by the PowerHouse Museum in Sydney to create new ceramic work for their collection.

A patron named Mr Willoughby, left his estate to the PowerHouse Museum with instructions that It be used to commission new ceramic and glass works of art for their collection. I was lucky enough to be one of the 6 artists selected to make those works.

I received the commission just before the fire. so I rang the Museum and a offered to return the commission, as I knew that it would take my a long time to re-build my workshop and life, before I could even consider making special new work.

I was a mess after the trauma of fighting the fire, loosing the battle, and running for my life, with my hair on fire, to climb into my kiln and hide in there while the inferno passed over me. That kiln saved my life, but left me shattered. I had no time to de-breif, I started the clean-up operation straight away the next day, and it has never stopped to this day. We are still finishing off the new buildings to make them long term sustainable.

I suffered a lot of Post Traumatic Shock (PTSD) that lasted 4 years, until I could get the correct psychiatric help – EMDR – trauma therapy. I decided to make some new pieces for the Museum collection, that responded to my situation, some 3 years late!

This is downloaded from my artists statement on the Museum’s web site;

Full Artist Statement ‘Self Portrait’ by Steve Harrison

‘I’ve finally completed the commission for the Powerhouse Collection. I was chosen as 1 of the 6 artists to make new work for the collection, as part of the ‘Willoughby Commission’, way back in 2019, just a few weeks before my workshop and studio were destroyed in the 2019 catastrophic bush fires. It has taken me over 3 years to get back on my feet with a functioning creative workspace. I have spent the last 12 months since then assembling this new work. My original thought was to make beautiful porcelain bowls that encapsulated my love of a quiet, gentle and sustainable approach to life and making. But all that was dashed in the fires, when all my lifetime collection of ceramic materials, kilns and buildings were destroyed in just one day. I stayed to defend and save my house but suffered considerable trauma in the process. I have created this new work for the collection to reflect the chaos and destruction that I endured. I decided to work with the many hundreds of shattered pieces of broken pottery that littered the site after the fire. A few pieces were broken but had the potential to be repaired using the ancient Japanese technique of kintsugi – gold repair. These few small bowls, although damaged, had the potential to be recovered with patient attention to detail. Kintsugi expresses a desire to ‘honour’ a damaged, but still lovely object by giving it time to be rebuilt, and eventually to possibly become even more beautiful than before, because of the time and effort spent on it. I spent some months, part-time, cleaning, repairing and re-constructing missing parts of these bowls to make them ‘complete’ again. They are whole again, although different from before. Damaged and altered, changed from what they were, but in some ways ‘enhanced’ and given a lot of love and care, they are somehow more beautiful, but in a completely different way. They became symbols of my journey to recovery. This work of slow repair and enhancement gave me to idea to create new pieces that didn’t previously exist but created from the mixed shards sieved from the ashes of the ruins. Completely new work, but made from a composite of all my old work. It’s been a very slow and tedious job of work, assembling a thousand small, burnt, broken and shattered shards all back together in a new combination to make ‘compendium’ pieces of my life’s work. Each shard needs to be held in place until the glue sets, so only a few shards can be added each day. I’m calling them ‘abstracts’, not because they have any relationship to modern painting, but because an ‘abstract’ is the first part of an academic thesis, which summarises the contents of the entire paper. In this case, these newly constructed vessels comprise many small shards of my work made at different times over my career, mostly sifted from the ashes of the old pottery after the fire, but also containing a few new post fire pieces as well. In this sense they are a summary of my life’s work, presented in a new form. An auto biography, or a ‘self-portrait’ in ceramics perhaps? They contain a small part of every phase of my career from my earliest days here, through to the present. Just as I have rebuilt my shattered and damaged self through a lot of trauma therapy since the fire, I am mostly better, but still carry a bit of lingering damage with me. I’m repaired and reconstructed, but different.

Screenshot

‘Self Portrait 1’ by Steve Harrison

OBJECT NO. 2024/78/1

Harrison has lived and worked in Balmoral Village near Mittagong, in the Southern Highlands, New South Wales, for almost 5 decades, pursuing a simple life of self-sufficiency and commitment to his local community. His interest in single-stone hard paste porcelain led to extensive travels and research of porcelain clays and processes in Japan, China, Korea and Britian, building bonds of fellowship with the international potter community. He has intensely explored the regional geology of Mittagong and Joadja Valley, focussing on sericite, and mica-based stones, to create his own clays, glazes and then bowls and jars fired with locally sourced wood or solar-powered electricity. While the forms of the simple vessels he has made over the years have changed, they have all been testaments to his life-long quest for the essence of porcelain clay and delight in the ‘subdued beauty’ of natural materials. Harrison’s vessels have seen many exhibitions at galleries such as the Kim Bonython, Legge and Watters galleries in Sydney and his works are in major Australian galleries and museums. Harrison has often augmented his works of clay with words crafted to express the relationships between the pieces, his life, the history of ceramic art, the state of the world and its fragile environment. ‘Self Portrait 1’ and ‘Self Portrait 2’ were commissioned just before the most severe bush fires of 2019 destroyed his pottery in December that year. A particularly ferocious fire almost claimed Harrison’s life, as it climbed over a thin skin of a makeshift kiln-like shelter assembled a day earlier, a last minute ‘plan B’. These works are entirely unique in Harrison’s creative output, in their concept, circumstances of production and the large scale of ‘Self Portrait 1’. Assembled from surviving fragments and shards of diverse vessels he made during his life as a potter, in Harrison’s own words, they are an ‘abstract’ or ‘compendium’ of his life’s work: ‘This work was commissioned just a few weeks before my workshop and studio were destroyed in the 2019 catastrophic bush fires. It has taken me over 3 years to get back on my feet with a functioning creative workspace. I have spent the last 12 months assembling this new work. My original thought was to make beautiful porcelain bowls that encapsulated my love of a quiet, gentle, and sustainable approach to life and making. But all that was dashed in the fires, when all my lifetime collection of ceramic materials, kilns and buildings were destroyed in just one day. I stayed to defend and saved my house but suffered considerable trauma in the process. I have created this new work to reflect the chaos and destruction that I endured. I worked with the many hundreds of shattered pieces of broken pottery that littered the site after the fire…to make ‘compendium’ pieces of my life’s work… an auto biography, or a ‘self-portrait’ in ceramics…Just as I have rebuilt my shattered and damaged self through a lot of trauma therapy since the fire, I am mostly better, but still carry a bit of lingering damage with me. I’m repaired and reconstructed, but different.’ [1] Born of a natural disaster that has changed Harrison’s life irrevocably, the three jars and five bowls in the two complementary installations are extraordinary assertions of the truth Harrison saw in Bernard Leach’s belief that pottery and its traditions are a part of our cross-cultural inheritance, an expression of the hidden potential in our clays and rocks, and an essential avenue to a unity of life and beauty. Within this context, ‘Self Portrait 1’ and ‘Self Portrait 2’ offer the story of Steve Harrison’s remarkable life positioned between a self-professed idyl of a ‘modern peasant’ and destruction, between beauty and ugliness; together they stand as a powerful poem written in clay about his, and our, place in the world, and ultimately, his hymn to survival.

[1] Email correspondence with curator, 2023

Eva Czernis-Ryl, Curator, 2024

It’s almost autumn, Time to make cider.

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Todays big job is to harvest all the remaining apples and pears, then juice them all and make a big batch of cider/perry. Then it will be back onto the tomatoes and passata.

There will be sure to be a lot of weeding needed after all this rain clears and the heat returns.

We haven’t been able to make cider for over a decade now, as there was the terrible drought culminating in the 2019 bush fires that took our pottery, yard, gardens, fences and orchard trees. We replanted a new orchard in 2020 and this is the first year that we have had sufficient fruit on the new young trees to be able to make a batch of cider. 

This morning, I managed to get out there into the orchard and strip the trees of all the remaining fruit and get it indoors before the rain started. I used the wheel barrow as my basket on wheels. a good measure of fruit volume. 

We are due for a whole week of rain – if the forecast can be believed. It usually rains less here than is forecast on most occasions, but it will still be a wet week by all accounts.

So today was excellent for inside jobs like washing and juicing apples and fermenting cider. It took us all day to process all the apples and juice them, then get the fermentation started.

We have a really big, heavy duty, industrial grade, juice extractor. The sort of machine that you need if you are going to be juicing apples for 8 hours straight. Before we bought this one many years ago, we burnt out 3 small domestic sized ones. 

While extracting the juice, we filled 30 litres of pulp into buckets for the worm farm and compost. The juice is now in the fermentor. We can leave it for a week at least now while we get on with other jobs around the garden and pottery.

We managed to slip in a small bisque firing in the solar fired electric kiln while we were making cider. That’s one very nice thing about electric kilns, they fire automatically on a pre-programmed schedule. This allows us to get on with other jobs, like making cider, recycling clay slip/slop/slurry, pugging recycled clay, doing a bit of kintsugi? Possibly even start throwing those new ‘test’ clay bodies that I have had ageing since November? 

And of course there is always weeding.

3rd Summer School completed, Feb 2025

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We have just completed the 3rd of our Jan/Feb summer school series. Just 1 to go, starting on Friday.

We have had 3 great classes with a bunch of wonderfully talented and enthusiastic students – as they all-ways are every time. It’s such a privilege to be able to work like this, passing on what we have learnt over our lifetime, to enthusiastic potters, keen to learn the techniques that we have accumulated during our careers, and to sample a bit of what we do here. Between us, Janine, Leonard and I have notched up a total of about 150 years of ceramic practice and experience.

The last of the wild poppies are in their final fling of exuberant and cheerful rich red colour. These ones have come up, self sown, wild, in the cracks in the paving around the pottery.

Even though everything is more of less completed around the pottery, it still takes us a day to set the studio up for a workshop, prep all the clay, clean the batts and pot boards etc, then do some cooking to share for our joint lunches. Afterwards, there is a day to recycle the abandoned pots, crushed and soaked in the left over throwing slip, and wash everything down. The next day, I transferred all the re-cycled clay slip/slop/slurry from the 20 litre buckets into the plaster batts in the clay room to stiffen-up for re-pugging. 

I have 5 big plaster tubs/batts on a shelf in front of the huge north-facing window in the clay room, they get baking hot in the sun and are almost always very dry and receptive to stiffen up our recycled clay slip/slop/slurry. 

However, 30 litres of fairly thin slurry does set them back a bit in the drying stakes.

Today I dug out all the very soft plastic mass, in its slightly stiffened, but still very wet plastic state and piled it up in lumps on the pugging table to air dry. Once the plaster is saturated, it keeps the clay damp, so best to get it out and get it air drying. This has proved tot be the fastest way to deal with so much slurry. I also need the plaster tubs dry again for Friday’s next onslaught of failed experiments from the last 3-day summer school.

Everything will be in order by the time the next class starts tomorrow.

After the cleaning I baked another loaf of bread and cooked a potato dauphinoise for dinner finishing it off with a whole camembert sliced on top. The garden is revelling in all this warm weather and occasional storms. The self-sown tomatoes are small but prolific. I found the time in the evenings to make my first batch of tomato, garlic, capsicum and basil passata. 10 litres of sliced tomatoes boiled down in their own juice and then reduced by half to concentrate the flavour.

The bread turned out well – as usual. I’ve got it nailed now. Success every time. but I’m still trying variations, and different brands of flour. I’ve ended up with a 50/50 blend of wheat and organic stone ground rye flours.

There are so many vegetables coming from the garden in summer, we give a lot away, and do a lot of preserving. We also eat as much as we can. 

Nina and I worked together to make a sort of Greek inspired moussaka dish. I did the tomato/meat sauce and Nina did the béchamel topping. Working together made it so much quicker. Everything from the garden, egg plants, zucchinis, garlic and last years passata.

It was so nice on a cool rainy evening, we’ll be doing it again.

We are continuing to cube and roast pumpkin with olive oil, garlic and a sprinkle of salt. Everything is working, we are well, although quite tired from the intensity of the work load with the workshops, added to the summer harvest work, which can’t be put off or delayed. After next weekend’s workshop, I might try and make some cider from the apple and pear crop that is peaking at the moment.

Is there a pot of gold at the end of the rainbow, in the new pottery? Hit by the end of the amazing double rainbow. I rushed down there to check it out. I went to the decorating cupboard where I keep all the pure gold leaf for use in kintsugi. But no pot of gold!

I could swear that I had a full fresh book of gold leaf in there, but NO! all gone.

I think that we got the wrong end of the rainbow. It sucked up all my gold and dropped it over the rainbow, somewhere else. Possibly in Kansas?

Bummer!

Summer jobs and cooking up some delicious fun

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Those first two big-pot throwing summer schools took all of our time and effort to start the year. Since we finished them, a couple of weeks ago, we have had time ‘off’, playing catch-up in the garden and orchards. 

We have been mowing, watering and harvesting, for the past two weeks. We have been dealing with that harvest since then, picking fruit, bottling tomatoes, making passata, roasting pumpkin cubes, bottling pears and making pear and apple juice, then picking and drying prunes. 

Diced pumpkin cubes, roasted with olive oil, garlic, salt and pepper.

Everything comes on in earnest in January. There is a lot to deal with all at once, so we are eating very well. I really look forward to that first ripe pear. Just like I do that first ripe tomato of the season. The kitchen is a busy place every day. We spaced out the gap between the two pairs of workshops to give us time to do all this ’self-sufficiency’ work. I had also booked in a couple of other jobs that were needing to be done. So our two  weeks off, has really been ‘full-on’!

Pears poached in a little white wine, cinnamon and sugar, served with fresh picked passionfruit and a little ice cream. These are the tangible benefits of self-reliant living and gardening. 50 years in the planning, execution and nurturing. 5 minutes in the eating.

I ordered some double glazed, argon filled, metal coated, low energy, toughened, window panes to replace the 3mm. plain glass that is in our big arch window in the house. That fancy energy efficient glass arrived just before Xmas. The big window has been working well, letting light in, but keeping the rain out for almost 40 years, since I built it, and glazed it myself all those years ago. At the time, I tried to find double glazed glass for it, but to no avail. I also tried to buy special ‘stick-on’ glass coating mentioned by Amery Lovins, when he was here giving a lecture tour back then. But no one seemed to be aware of any such product here in Australia, not even ‘3M’ who I was told made it.

So we just lived with it as it was, eventually adding a huge sheet of thin perspex to the inside to create a semi-sealed air gap, but although that did work to some extent. There was room for improvement, and the unsealed gap always fogged up in wet weather, causing the wooden sill to get very wet and start to rot on the surface, so something had to be done.

Luckily, there is now a factory in town, that makes these fancy window panes. There was a one month wait while they were made to order. Back in December, I spent time rebuilding the structure of the glazing bars to make them deeper in preparation. We have managed to install 7 of the new double glazed panes so far. 5 to go. Interestingly, I have spent over $200 just on special window glazing silicon and wooden glazing beading to complete the job.

I booked a few days of help from my friend Andy, who is a local architect and environmentally conscientious builder. A rare breed! He has been very kind in offering us loads of assistance since the fire. He also offers good council and advice on environmental/building matters. I asked Andy to help me install two louvre windows up  in the big pottery shed loft. I bought some louvre mechanisms and the ground glass panes online, then I built a couple of hard wood window frames to mount them in. I also made all the custom flashings to go around them. Andy did all the outside ladder work on the day, cutting the hole in the wall and we installed them without too much trouble. It gives plenty of ventilation up there to take the heat out of the loft, but also brings in so much light and the view is good too.

We haven’t quite finished setting it up again yet, but it has been transformed into a lovely, light and airy, comfortable place now.

I have to ‘fix’ a kiln for a friend, even though I am retired, this is a special favour, then it will be back into the workshop for the next two summer schools. I’m looking forward to getting back into making pots for myself again. I have a few batches of experimental clay bodies that have been ageing for some months now. I’m keen to try them out. Especially to see how they will look in the wood fired kiln.

January in the Garden, Orchards and Pottery

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We have been very busy with our summer schools since the beginning of January. I originally advertised one Summer School to teach the making of larger forms on the potters wheel by ‘top-hatting’ and ‘coil-&-throw’ techniques.  We got such a massive response to my add that we could program 4 summer schools of 3 days each, and lined them up with a few days in-between. Two in January and two more in February. We only have 8 potters wheels in our workshop, and we got over 30 replies so I had to run 4 schools and space them out.

Top-hatting is a technique of placing one thrown form on top of another to make a larger pot than you might otherwise be able to throw in one piece. It can involve the stacking of multiple forms to gain extra height. Coil and Throw technique involves throwing a substantial base for the pot and then adding a coil of clay to the top and throwing that coil up to become the wall of the pot, extending the height. This technique can be repeated several times to make a taller pot.

We got such a massive response to my add that we could program 4 summer schools of 3 days each, and lined them up with a few days in-between. 2 in January and 2 more in February. As we only have 8 potters wheels in our workshop, and we got over 30 replies, that meant staging 4 consecutive schools. 

I made up some clay specially designed for big pot throwing by joining techniques, slightly softer than usual and with added ‘tooth’ and ‘grit’ for structure and good drying and firing of the larger forms. I originally made 400kgs of clay, thinking that it would be sufficient for the 4 workshops, but I was way out in my estimations. The first two workshops used up nearly all of my stash, so I was back in the clay making shed the next day to make up another 400kgs for the next two in February. I like the clay to get a little age on it to improve its work-ability, 3 months would be good, 3 years even better, but needs as needs must. One month in this case will have to be enough.

Clay develops its plasticity by the intimate mixing of water molecules in-between the infinitesimally small clay particles. The best way to achieve this is to make a ‘slip’. A very watery mixture of clay and water, to get the water into, and in-between the clay crystals, which in their purest form are flat and hexagonal shapes. It takes a very long time for the water to penetrate the ‘pack of cards’ structure of the clay particles and individually flake off the crystals one at a time to get that intimate mixing of clay and water that is required to appreciate the very best potential of any particular clay.

I don’t have that luxury of time in this instance, so I am using powdered clay material that I bought in, in 25kg paper bags. I’m using a mixture of all Australian clays from Victoria, NSW and Qld. to get a good blend of the required properties that I need. It’s getting very difficult to buy Australian raw minerals and clays these days, as the multi-national mineral companies have bought up most of the clay mines and shut them down, forcing us to buy their imported products from overseas. We are not short of clay here, but we have been locked out of access to our own resources. Welcome to the future!

I mix the various minerals together in an old recycled bakery dough mixer. I have owned this machine for over 40 years. It has gone through 2 fires and been rebuilt each time. Luckily, it is very well made, mostly of cast iron frame, but the fabricated steel sheet bowl was very badly split and warped after the last fire and needed a lot of work to re build it, and get it back into action. see my blog post from 4/6/21  “Our Old Twice Burnt Dough Mixer Proves to be a ‘Phoenix’ mixer”.  I use a blend of recycled clay slip and the new powders to get the best outcome that I can from this compromise of speed, quality and efficiency. 

I use a few tricks of the trade to get the best possible result out of my available materials. I use water from the dam and rain water from the old pottery shed water tank that is full of gum leaves that creates a very useful tannic acid water that is ideal for making clay. It is a transparent pale grey and has a very low pH so that when mixed with white kaolin, it attaches to the clay particles and flocculates the clay mass, which settles tightly in the bucket leaving only crystal clear water on top. It is also ‘live’ as it has all sorts of microscopic organic matter and bacteria in there, which helps age the clay. City water that is full of chlorine is pretty much sterile and kills off any live matter that may help the clay mature and become more plastic and workable.

I have a ‘snorkel’ fitted to a fan in the wall that sucks all the fine dust out of the clay mixer room to keep me safe while I’m working in there, but I also wear protective gear as well. Afterwards, once the clay is all wetted, ‘plastic’ and ‘pugged’ into sausages. I cut all the ends off the stacked pugs and re-pug it all again to make sure that there is a consistent mix of all the 3 different batches of clay represented in each bag of finished clay body.

It is bagged and stacked to ‘age’ and the floor is wet mopped twice to collect all the clay dust off the floor and make the work space clean and safe again.

In the garden, we are picking the last of the blueberries, the first of the egg plants, and we are mid season for zucchinis. The tomatoes are coming on quite strong now and we have started to make our first batches of tomato passata for the summer. Every meal from now on will be some sort of variation of ratatouille in all its various forms. What else can we do when the garden is full to bursting with tomatoes, aubergines, zucchinis and basil? We try and give away as much as we can, but everyone in the village has an excess of tomatoes and zucchinis at this time of year.

Our breakfasts and deserts are mostly of fruit these days. November brings on the berries, December is the month of cherries and apricots, January for plums and peaches, February is all about apples and March for the last of the pears.

4th summer school announced

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We have filled 3 summer school workshops of three days each, learning coil and throw, plus top-hatting techniques. It’s a kind of hybrid combination of of hand building on the wheel.

I have 4 more names on my waiting list, for a 4th workshop during the 2nd week of February, 7th, 8th and 9th of Feb.

If you are interested, there a still 4 places left. Please let us know if you are interested.

If we can get 8 names on the list, then we will run the 4th workshop. Then that will be it for the year as far as coil and throw technique is concerned. In March or April, we may do throwing flatware, dishes, plates and platters. Then possibly a glaze workshop concentrating locally sourced and collected stones, gravels and ashes.

The summer heat arrives

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We have been suffering 30 degrees in the shade, each day for the past couple of weeks now, with only occasional respite for a day or so, then back the the heat again.

The heat has brought on the stone fruit. We have now finished all the apricots, and are half way through the plums, with the peaches just beginning. We diligently went through the stone fruit orchard a few times during spring, picking off a lot of the small emerging fruit, before it got too big. 

It takes a lot of weight off the small, thin branches of these young trees, but also allows the remaining fruit to grow larger. There are just two of us here, so we have all the fruit that we need for a couple of months.

In the vegetable garden, the asparagus is almost finished its first full flush of growth, we now have just occasional spears shooting up. We collect them over a week or so in the fridge to get enough for a meal these days.

The zucchinis are in full flower now. They are the first of the summer vegetable plants to come on. I make an effort to pick the small emerging fruit as soon as it flowers. I pick the fruit with the flower still on and use them for stuffing.

I stuff them with a mixture of mostly ricotta, but with added gorgonzola, diced fetta, plus a few capers, olives and artichoke hearts. Then pan fry them for a few minutes and finish them off by steaming them with the lid on and a splash of white wine.

We are usually up very early to do the garden work, before the heat sets in, watering, weeding, harvesting etc, then breakfast. We spend the rest of the day keeping to the shade, under the verandah, or inside the pottery shed, out of the heat. This week, I’ve been making clay for the summer school workshops. Mixing, Pugging, blending, and twice pugging, bagging, and then cleaning everything up and mopping the floors spotless. Ready to go again.

Two batches = 250kgs of plastic clay. It’s a big job and takes all day, sometime it’s two half days, with a break over night to recover from the heavy lifting of the 25kg bags of raw material.

I’ve had my old dough mixer for over 45 years, and re-built it twice after fires. It came from a bakery that closed down in Western Sydney out near Parramatta. In it’s first incarnation, I ran it using a petrol engine. Then after the first fire here, I converted it to a 3HP single phase electric motor, with a loose fitted belt as a safety ’slip-clutch’. It is now properly set up with a 3 phase, 5 HP electric motor.

It’s a beautiful old thing and I’m proud that I have been able to rebuild it twice after each fire and keep it going all these years. I still have to make another couple of batches of clay, as we have been over-subscribed for our summer school, and will now be running it 3 times in a row, with a waiting list for another on the way.

Last week I finally got around to building the stainless steel mesh fly screens for the front windows on the pottery.  I bought the roll of mesh soon after building the pottery, 3 or 4 years ago. But then it rained for the next 4 years, so there was no risk of bush fire for a few years. Now I have finished a lot of the other jobs that needed to be done to finish the pottery. I have finally got my self back to the window fly-screens job. I found that I had some left over ‘merbau’ hardwood decking planks, that I have used to make all the door frames. It has some sort of fire rating and is allowed for door frames. I rip-sawed it down to thin strips and them planed them smooth to make fine battens to hold the SS mesh in place. This will stop sparks getting to the cedar windows when the next fire comes. Hopefully i will be here to start the fire pumps and run the sprinkler systems that I have installed all along the western faces of all the buildings here.

The windows needed to be thoroughly cleaned and then re-painted, to bring them up to scratch, before they would be hidden, and inaccessible behind the fly-screen. It turned out to be a three day job, working only in the mornings, as the afternoon sun beats down on the verandah in the afternoons.

I made home-made gyoza for dinner and spent the afternoons inside the workshop cleaning and restoring the old platform scales that we used to use in the old pottery for weighing heavy bags of raw materials up to 100 kgs. These platform scales were bought at the closing down sale of ‘Coty’ cosmetics in Surry Hills in 1978. They got badly burnt in each of the fires, but are made mostly of cast iron. The damage this time was pretty severe, well beyond me to do anything with then at the time. Just after the fire I had too many very important jobs to do to get us back up and running. I was also pretty run down. But now I’m better and felt ready to give them another a go. Cleaning, grinding, loosening seized parts and then oiling/greasing and re-assembling it all and painting them in traditional black and red livery. The brass work had started to melt and sag. I had to take it all off and hammer it straight again, then polish it back to its gleaming original state.

The next big job on my summer list is to replace all the glass panes in the big arch window in the kitchen of the house. I made this window by hand, 35 years ago, without knowing what I was doing, or how to do it. I learnt as I went along. I taught myself how to steam and bend wood to make the big arch top of the window frame. I ended up making the 200mm x 50mm. arch out of 4 different 12mm x 200mm. planks, all steamed and bent at the same time and then glue-lammed together to keep the tight bent shape of the arch. Steaming and bending such big pieces of wood is a two-person job. I was assisted at that time by my sister-in-law Sue, as Janine and her brother were working on some other project together.

I recently commissioned 12 new double glazed and argon filled panes made from metal coated special low’e’ glass. These will replace the old 3mm plain glass that was all I could afford back in the 80’s. I’ve been told that it would cost me in the vicinity of $20,000 to get a custom built window of these dimensions specially made today.

My aim is to try and get my old cedar window frame re-modelled, extended and strengthened to take the thicker and heavier glass before the end of summer, but there is no rush or rigid time frame, it’ll get done when it’s done. Whenever that is.

I have started by extending the old glazing bars with deeper cedar ribs, glued and screwed onto the old cedar glazing bars. That part is now completed. Luckily, I found that I had quite a few old pieces of western red cedar that I could saw down to size and then plane to do the job, so far at no cost. But I did have to buy new stainless steel screws! 

When I built the original window, I used a waterproof window wood glue called ‘resorcinol’, or some word very similar to that. It was eye wateringly expensive and came in very small packets of 2 parts. One of dry crystals and the other of a liquid, to be mixed and used very quickly after mixing. It was stated to be water proof and capable of taking high stress. It has lived up to its reputation. The window is still strong. I haven’t seen it or heard of it for years, so this time around, I’ve used a 2 part epoxy boat builders wood glue. Lets hope that it last another 35 years.

In this hotter weather, we picked our first tomatoes of the season, from self-sown plants. It’s always a challenge to get a ripe tomato before Xmas. The early seedlings that I planted before leaving to work in Korea, all got burnt off in the severe frost in late September.

I’ve been baking extra loaves of bread to give away as Xmas presents. There are always too many jobs and more work than can be done in a day. I come to enjoy a little nap after lunch too, which doesn’t get anything done quickly, but is very nice and relaxing, almost necessary these hot days.

Nothing is ever finished, nothing last for ever and nothing is perfect.

Summer is here

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Summer has arrived. and we are ready for all those lazy, hazy, long, hot, relaxing day and balmy evenings with a G&T on the lawn.

But first.

We have to deal with the fruit flies and possible bush fires, but dealing with them is interrupted by the rain.

We have had sudden down pours and thunderstorms, followed by a week of wet weather. It’s a bit like the 70’s, when we used to get sudden summer storms that only lasted an hour, but dropped an inch of rain. That’s 25mm these days! Then it would go back to being hot and humid again, but it gave us sufficient water in the dam to get through the summer with water for the garden, orchards and possibly for fire fighting.

Before this last week of wet, the little top dam had dropped down to just 600mm of water in a little puddle in the centre. Not Good! As we have been pumping water out of it every day for watering the vegetable garden and one day a week in rotation on each of the orchards. Luckily, there was still water in the bottom 2 of the 4 dams that we had built in a ‘key-line’ system across our land, so as to harvest and store as much of the rain fall as possible. 

I get a little bit edgy when the top dam is almost empty like this at the start of summer. We may need 50,000 litres of water in a hurry if a bush fire breaks out near us. I like to be prepared. So I have already gone around and started up and tested all the petrol fire fighting pumps to make sure that they are in good condition and working well. Particularly that they start on the first or second pull of the starter cord. There is no time to be messing around with an engine that won’t start in an emergency.

I use 1 of our 4 different petrol driven fire fighting pumps to pump the water up from the lower dam, up to the little top dam closest to the house. The pump is built in a carrying frame and is not too heavy, so I can lift it into the wheel barrow and walk it down to the dam bank, then drag the lengths of plastic piping into place. It’s all set up with the various fittings already attached to the ends of the pipe. I keep the pipes sealed at both ends with screw-on caps, so that small animals and ants don’t build nests in there during the long periods of non-usage over winter.

The little top dam is closest to the house and was the first dam that we got built back in 1976. It has the solar powered electric pump on it that we use for most of our watering and irrigation. I have kept the long lengths of 50mm dia polythene pipe that I bought after the fire to do this transfer. This is the 2nd time that I have used it.

This works well and gives us plenty of water for the next couple of months of summer. But then, before I can congratulate myself. I rains for 5 days and on one of those days, it rains hard enough for the water to flow down the street and into the culvert drain and into the dam, topping it up just a little bit more. It makes me feel more relaxed about our capacity to cope here when there is water in the dam.

With the heat of summer comes the fruit, and with the fruit comes the fruit fly. Nearly all the the new dwarf fruit trees in the stone-fruit orchard have a crop on them this year. We have gone around and tip pruned all the trees. This summer-pruning keeps the trees in good shape as they grow and develop. We also pick off a lot of the small developing crop to reduce the load on the branches, as a really heavy crop can snap the branches due to the weight of the fruit. There are only two of use here, so we don’t want or need a heavy crop. I fill two wheel barrow loads of small fruit and prunings. 

I have been spraying the trees every two weeks or so since October, – when it isn’t raining, with organic approved sprays for both fruit fly and codling moth. I missed a couple of months while I was away working in Korea, but got back to it when I returned. However, the recent rains have played havoc with my ability to spray, as these are all water based organic sprays, they simply wash off in the rain. They aren’t cheap either at $25 to $35 per packet, which yields 4 to 5 sprays.

I have also infected the apples, pears and quinces with parasitic wasps eggs of ’trichogramma’ wasps. These are bred to hatch out and predate the codling moth and other caterpillars. I haven’t used them before, so have no idea how effective they are.

I also built a few steel triangular housings for codling moth pheromone lures. These work by attracting the codling moths with the scent and then catching them on sticky paper inside the lure. These are working. I can see half a dozen little coding moths inside the lure stuck to the sticky paper. I’ve also been tying hessian bandages around the tree trunks, but so far I’m yet to find a caterpillar in there. This definitely hasn’t worked so far. I also added a ring of sticky bandage around the trunks as well. This also hasn’t yielded any results – so far. My last approach has been to hang empty milk bottles in the trees with cut-out windows, and spreading ‘Spinosad’ fruit fly attractant jelly inside. I use it inside the milk bottles to stop it being washed off in the rain.

Lastly, I re-filled the old ‘DakPot’ style female fruit fly lures with new hormone baits. When I emptied the old ones at the end of winter, there were 50 or so dead fruit flys in each of them. So this does work. It doesn’t stop the female fruit flys from stinging the fruit, but it reduces the numbers of flies by eliminating a lot of the males out of the system.

We still have fruit fly problems, but I presume that it has been significantly reduced by my efforts. Well, I have to tell myself that don’t I?

Otherwise, why am I wasting my time like this with all these organic techniques, when I could so easily just spray the whole orchard with dieldrin or some other horrific poison? All the fruit for sale in the big supermarkets is sprayed with chemicals. S what are my options? Buy poisoned fruit, or try and grow clean, organic fruit? We are trying to live a pesticide free, low-key, creative, organic, carbon constrained, Post-modern peasant lifestyle. Everything costs more and takes longer and needs constant attention, but we are committed to living it.

Nothing is ever finished, nothing is perfect and nothing lasts.

Summer School Throwing Workshop Jan 6th to 8th – FULL

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The second workshop on the 11th to the 13th of January is also now FULL

I have started a new waiting list for a third workshop for sometime early in February, yet to be determined. I already have 3 names, but need 8 to run the course.

Janine, Len Smith and I will be offering a 3 day throwing workshop over the summer break. Jan 6th to 8th.

We will be teaching throwing techniques for beginners and intermediate level, aimed at making larger forms.

This is NOT a Masterclass for advanced throwers. This workshop is aimed at beginner to intermediate level.

You will need to be able to center clay on the wheel, from there on we will help you make some larger forms, demonstrating exercises to give you confidence to tackle slightly larger projects. Progressing from whatever your current level of skill is.

I will be demonstrating a series of techniques such as top hatting and coil and throw building techniques. 

We will also be demonstrating construction techniques, assembling your thrown sections together to build slightly more complex or larger pieces. We will help you work at your own pace to gain confidence and increase the complexity of your forms, or the height and scale of your pots, as you choose.

The workshop runs for three days from 10 till 4pm on Monday 6th of January to Wednesday 8th of January.

Clay is provided, you will need to bring your throwing tools and lots of batts, a dozen or more. If you own an electrical heat gun, you can bring it along with your tools.

Tea and coffee are provided, please bring something to share for lunch.

Numbers are Limited, as we only have 8 wheels in the studio. First in best dressed.

Cost $375 for three days. Enrollment is confirmed after payment is made.

Bookings <hotnsticky@ozemail.com.au>

ACA Open Studio Weekend

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This weekend is the Australian Ceramics Association, Open Studios.

We will be open from 10 to 4 each day. 

I have been continuing to work over the past few weeks. In particular, I have been doing some ‘kintsugi’ gold repair on a few of my pots with interesting cracks. 

Some 23 carat gold really lifts a slightly damaged pot.

I have also found time to make the weekly loaf of rye bread, and a tray of rock cakes to share with our visitors over the weekend.