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Showing posts from May, 2015

Freebie anyone?

looking back I have fond childhood memories of making things in clay

There is a lot of talk about cutbacks in school and art programs in 2015,

so while I can't fix the problem,

but maybe I can help plug a couple of gaps appearing:

So, for 2015 I'm offering a free, one day paper clay in school workshop/AIR.

To the first two W. Australian schools who contact me, and who doesn't have a dedicated art teacher.

Past workshops I have given are at http://www.grahamhay.com.au/workshops.html

It's not much, but I'll try it for the year and see how it goes.

If there is a lot of demand, then maybe I will need to consider:

http://www.theclaystudio.org/claymobile/gallery.php ?

Contact details on my website.

Update: 3 January 2016 Offer again on this year.

Freer than California, s bigger than Texas

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Most artists with a ceramic background know how Voulkos, Mason, Price, Arneson, Gilhooly, Shaw and others widened the expressive possibilities of clay.  They moved it outwards from traditional function ware, towards larger scale, sculptural work.


In California in the 1950s and 1960s the art climate was open to experimentation. Physically and psychically removed from the New York art world, a California artist felt little restrained by the East Coast's hierarchical and traditional definitions of fine art.  The less formal California life-style also encouraged a personal and artistic freedom... 1

A similar sort of thing has happened within more recent times in Australia.

Wherever I travelled overseas, I kept hearing that Australia (and Canadian) ceramics is more adventurous, more exciting.

This could be due to the appearance of the regular, truly international ceramic journals; Ceramics Art and Perception, and Ceramics Technical, both produced and edited by the late, constantly glo…

It's A FAKE

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The digital disruption of the arts currently underway has a couple of unanticipated consequences, that I am just starting to tease out.

In discussions with Mark: from Harvison Gallery,  and Dirk: a GIS expert, it has become clear that institutional changes in the arts will mean we, as artists may need to change how we do some things.

A decade or so ago when the WA state government art gallery acquired one of my works, I was required to provide information on both the work and myself.

This information was stored in the gallery's library, which in turn was used by curators, writers, collectors and the public to research works and artists.

A few years later, as a cost saving measure, the library was moved 200 metres across to the State Library of WA (SLWA), which also contains the  J S Battye Library of West Australian History.

Now there plans afoot to reduce services at SLWA, as a cost cutting measure.

Not before too long I expect that this small library will quietly fade away  (…

No storm in a tea cup?

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Am I a Mug? Above is an image of my ceramic porcelain sculpture on a tall cup.
Bought for less than the price of the clay, glaze and firing, from my redbubble  folio.
Laughing our heads off, in the studio this afternoon: the very idea of my artworks printed out on leggings, bed coverings ... 
On a more serious note, is printing images of my porcelain artwork onto mass produced porcelain cups a capital offence in the ceramics community?
Post modern example?
Alternatively, ridiculing  "CONCEPTUAL ART".
Or just the reality of what has happened to ceramics in Western Australia over the last couple of decades.  Is ceramics an economically obsolete craft form in Western Australia?
What do you think? Scandal?
Not?
Or don't care, just want to go buy your own Graham Hay Mug?*

*Note, just before buying you get to chose between the tea cup and mug