Monthly Archives: June 2016

Papua New Guinea exotic arts


Sculptures, pottery and arts of PNG



Ancient pre contact, wood carved Janus ancestral figure from central Abelam area, Kalabu Village


As with most primitive traditional aesthetics, the art of Papua New Guinea is closely connected to their culture. Due to the diversity of languages (more then 700) and regions in PNG , the different tribes all have uniquely styled, identifiable art. Their artifacts being distinguished by features such as clan totems, clan symbols, deities, animals and ancestor spirits. The colours and themes depend on the individual artist, the availability of materials, local traditions as well as the unique styles of the different villages. They often refer directly or indirectly to ancestor or clan spirits and totems such as the cassowary (muruk), pig (pik), crocodile (pukpuk), eagle (taragau), or a water and bush bird (saun).

Most of the handmade tribal art takes the form of carvings, statues, masks, costumes and adornments used in religious ceremonies, or more functional objects such as bowls, pottery, canoes, baskets, weapons and bilums (string bags). Shields have a performance, decorative and spiritual role which is of more importance then their defensive purposes. Musical instruments like kudus, flutes and mouth organs, are common in the Highlands, while the Trobriand Islanders are famous for their elaborate carvings, including stylised figures, carved ebony walking sticks and fish bowls inlaid with mother-of-pearl. In northern New Ireland, a feature of the Malangan culture are the figurines carved for village burial ceremonies, while in Gulf Province, carved spirit boards are believed to contain the spirits of great heroes and warriors.
The people in the villages along the Sepik River (the longest in PNG) and its tributaries are the most active carvers in New Guinea and are renown for their art and craftsmanship. Both the men and women of the Sepik tribes use expressionistic styles to convert figures of spirits and dreams into carvings and other crafts. Storyboards are used to illustrate village history, their ornate relief carvings capturing tales of village life that were once painted on bark.



Angoram ancestor figure mask, Sepik River


With most of the tribal art of Oceania, the carvings are created to be vehicles of their spirits. They are intended both to help the people meet the challenges of everyday life and to ward off the influences of unfriendly spirits. Decoration using undulating, curvilinear lines is also common along with vivid colours made from natural pigments (limes and ochres) that result in striking imagery. Few masks are worn directly over the face, which explains the lack of holes for eyes. Some are fastened onto a large cone-shaped wicker framework for a dance costume called a tumbuan. Others are displayed outside the men’s house or inside the spirit houses or other dwellings to ward of evil spirits or to evoke the power of ancestors at the specific location.
The village spirit houses, known as Haus Tambaran’s, are where a fantastic array of carvings including masks, statues and figures are kept, and traditionally are only accessible to the local warriors. On an annual or regular basis, community ‘Sing Sings’ occur, which are a gathering where different tribes meet to display their unique identity through elaborate costumes, dance and music. New tribes and art are still being discovered in the remote parts of New Guinea and due to its diversity, I’m looking forward to seeing what appears.



 Asmat Shield, Unir (Lorenz) River, Irian Jaya





‘Damarau’ clay pottery made by the women in Aibom Village on the Sepik River

Papua New Guinea




Polished stone wedding gift – Trobriand Islands

The islands are coral atolls, and anything of stone is considered rare and valuable.
Photo Eric Lafforgue.





Unglazed earthenware cooking pot (gun), Bosman peoples, Ramu River

Madang Province, Papua New Guinea




Oceania---Papua-New-Guinea-Mask Art

Papua New Guinea — Oceania Mask Art




Angoram carved mask – Sepik River



Red, black and orange Dusky Lory Parrot-(Pseudeos-furcata)-endemic-to-Indonesia-and-Papua-New-Guinea


Dusky Lory Parrot, New Guinea




Clay pot for smoking fish – Keram River location

Papua New Guinea



Clay pottery Damarau-or-Sago-Storage-Vessel Papua New Guinea

 Damarau or Sago Storage Vessel





Carved clay ‘Kamana’ (cooking vessel) – Sawos people

Papua New Guinea





Figural Head Dress – New Britain, Sulka People

circa 1880, Papua New Guinea





Dance-of-the-crocodile - Crocodile cult dancers parading with a -crocodile sculpture Yentchen - Sepik

Crocodile cult dancers – Yentchen  Sepik






Damarau sago strorage vessel





Hulis tribe girls at Mount Hagen festival ‘sing sing’




Iatmul hook – Sepik River, PNG

Elaborate hooks are often described by anthropologists and collectors as cult hooks, food hooks or suspension hooks. They are carved and decorated to accommodate benevolent spirits and to preserve food. Suspending food from the hook discourages vermin, and the spirit thought to inhabit the hook is believed to retard spoilage.





Geometrically carved clay pot – Madang Province, PNG



Kanganaman-Village painted mask ---East-Sepik-Province---Papua-New-Guinea-


Kanganaman Village wood carved statue—East Sepik Province—Papua New Guinea





Hand painted mask – Kanganaman Village

East Sepik Province – Papua New Guinea

Flickr – Rita Willaert




Kwams–eating bowl with figural relief art – Naimi, Papua New Guinea

Flickr–Ant Ware




Large wood carved ancestor-Cult Hook

Wood carved hook – New Guinea



Large-Dream-Face-Mask Papua New Guinea

Dream Face Mask, Papua New Guinea





Anthropomorphic Figure, Melanesia, Urama and Era River groups, Papua New Guinea

Musée Barbier-Mueller




Ceramic Sago Pot – Iatmul peoples

Sepik River



Lime-Pot---Trobriand-Islands Decorated-spherical-gourd,-160-mm-high

Decorated gourd Lime Pot

Trobriand Islands




Madang eum-The-Chief's-Throne

Hand carved chief’s throne – Madang, PNG



Mary-Cotterman-flickr clay- relief pottery New Guinea

Relief decoration cooking pot – PNG

Mary Cotterman – flickr



Masked-dancers-in-front-of-the-men’s-longhouse-at-Tovei-village-Urama-Island-1921-Margaret-Whitlam-Gallery-Sydney photo Frank Hurley

Masked dancers in front of the men’s longhouse at Tovei village

Frank Hurley, 1921,  Australian Museum.





Red Mask

Murik Watam, PNG, Sepik Province

The Barbier Mueller Museum





Abelam clay pot with spirit-face mid-20th century

Michael Hamson Oceanic Art



Michael-Hamson-Oceanic-Art--Madang-province-clay-pot-20th-century with pointed base

Madang province clay pot

20th century





‘Aripa’ – Hunter’s helper figure

Korewori Caves region, PNG

National Gallery Australia




Orator stool

Orator stools are carved wooden artefacts, unique to PNG. They are symbolic statues of an ancestral or spirit figure who is sitting on this stool. The figure represents an ethereal convenor or “chairman” of meetings in Sepik men’s houses. During meetings and gatherings, speakers tap or slap the orator statue to give authority to their words. This orator stool is carved out of a single piece of timber and is rich in detail. The main ancestor figure has big powerful savi eyes and sticks its tongue out to ward off evil spirits.



Michael-Hamson-Oceanic-Art---Nagum-Boiken-clay- pot-with face 20th-century

Nagum Boiken clay pot

20th century




New-Guinea-Mask carving

Wall art tribal mask – PNG




Three New-Guinea-tribal masks

Tribal masks in Port Moresby, Papua New Guinea





Carved canoe splashboard, Trobriand Islands, PNG





Fish smoking clay pot, Dimeri Village

Lower Sepik River, New Guinea,





Female spirit figure sculpture





Yam Spirit pottery head- Washuk Region

Papua New Guinea




New Guinea natives in full costume---Ambua-Lodge

Huli wigmen





Wood carved female statue –  Melpa tribe

Rondon Ridge, PNG





Huli Wigmen in tribal costumes designed to resemble the Raggiana Bird of Paradise





Tribal masks – Palambei Village -East Sepik Province

Papua New Guinea




Bowl with incised decoration – Papua New Guinea



Papua-New-Guinea---clay-pot with geometric face motif

Incised decorative face pot – PNG





 Women dancing in the Purari Delta,Gulf of Papua

Photographed by Rev Harry Moore Dauncey, Late 19th Century

 British Museum



pole-carving-New-Guinea central roof support in the Spirit House of Kanganaman, Sepik River

A central roof support in the Spirit House of Kanganaman,
Sepik River, Papua New Guinea. The carving represents an ancestor spirit.





Sepik River mask

Rita Willaert





Pearl shell inlay altar cross






Haus tambarans facade




Spirit Board, Gope Ethnic District

Papua New Guinea



London wall mural – Indigenous Person of Papua New Guinea

Dale Grimshaw




Tribal feast Bowl –  Tami Islands

Huon Gulf, Papua New Guinea – length 22 inches





Polychrome terracotta bowl underside – Sawos people, East Sepik Province




Malagan ceremonial mask, Lissenung Island, New Ireland - photo by Alison Wright

Malagan ceremonial mask, Lissenung Island, New Ireland, Papua New Guinea,

Photo – Alison Wright




Lou Island tribal mask –  Admiralty Islands, PNG




Trobriand Island dance shield kai-diba






Raggiana Bird-of-paradise, (Paradisaea raggiana) is the national bird of Papua New Guinea

photo: Al Dayan on Artflakes



Carved statue - Yamok---Tambaran---Spirithouse

Wood carved statue – Tambaran Spirithouse

Yamok Village, East Sepik Province

by Rita Willaert






NEXT POST  — Persian contemporary pottery Downunder


Japanese modern ceramic aesthetic


Footed abstract ceramic sculpture-by-Takiguchi-Kazuo---mjc

Takiguchi Kazuo ceramic sculpture


The concept of aesthetics in Japan is seen as an integral part of daily life, especially since the dominant religion of Shinto is a celebration of the innate beauty of landscapes and emphasizes the wholeness of nature. Shin is related to kami which includes the ‘essence’ of the inanimate and animate, including rocks, rivers, trees, animals and people.

The inclusion of Tao and Zen Buddhist philosophies into Shinto contributed to an understanding of the subtle balance that permeates nature and its appreciation became fundamental to the aesthetic ideals of the ‘arts’ and other cultural elements. According to the Japanese philosopher Kitaro Nishida, the essence of Oriental wisdom is driven by fact that one craves for harmony in experience and also for unity. Much of what the West admires in Japanese art today can be traced to Zen influences on Japanese architecture, poetry, ceramics, painting, calligraphy, cuisine, gardening, the tea ceremony, flower arrangement, and other crafts.
This was expressed in the Japanese arts, for example in calligraphy, where the brush line became sweeping and fluid — spontaneous rather than predictable, irregular rather than regular. In landscape painting, emptiness became a crucial ingredient and space itself was brought to life with a few strokes of the brush. Japanese haiku ( poetry) embraced silence and simplicity to evoke mood and sensation while Ikebana flower arrangement achieved beauty with a solitary spray of blossoms and emphasis on space instead of a complex arrangement and combination of colours favored by Western floral artists.



Yukiko Asakura flower vessel

The aesthetic concept of Shibui originated around 1370 and was used to describe an appearance or experience of intrinsically fine quality, tempered with economy of form, line, and effort, that created a timeless tranquility. Shibui objects appear to be simple overall but they include subtle details, such as textural design that balances simplicity with complexity. This is one instance among many where Shibusa treads a fine line between contrasting aesthetic elements, such as elegant and rough, a distressed uneven finish with smooth or spontaneous and restrained. The polarities all allude to the presence of the Taoist/Zen middle path, with its inherent stillness, detachment and serenity. Quietude represents one of the elements of Shibui along with the dynamic of moving towards non-dualism and the resolution of opposites. Shibui, represents a recognition or ‘felt sense’ of evolving perfection that is reinforced by the presence of opposites. Japanese potters, musicians, painters, bonsai and other artists often aspire to integrate ‘Shibui-like’ qualities into their art.


Kintsukuroi-Lakeside-Pottery pottery bowl cracks filled with gold

Kintsukuroi bowl

Wabi Sabi also contains the aesthetic of evolution of perfection where imperfections are accepted for the potential dynamic of still having to attain completeness. Kintsukuroi, the use of gold to repair broken pottery, is a recognition of this feature. Weathered, aged pieces contain the dynamic of new turning old, that evokes wabi sabi, as do irregular shaped pieces, possessing the potency of attaining symmetry.
Another aesthetic concept is Ensō, which means “circle”. It symbolizes the Absolute, enlightenment, strength, the Universe, and the Void. Some Zen Buddhist calligraphists believe that the character of the artist is fully exposed in how she or he draws an ensō.. Some artists will practice drawing an ensō daily, as a kind of spiritual exercise.
Gazing upon a horizon after a boat has sailed from view is used to describe the subtle aesthetic principal of “yugen” where the visual is more hidden than overt. Circumstances and objects that provoke the imagination and the subtle can be connected to yugen. A deep awareness of an elegant and profound beauty is associated with yugen and what is distinctive about Zen aestheticism is its emphasis on enlightenment through contemplation of beauty in nature and art.
Simplicity, balance and refined elegance in Japanese art acts as a metaphor for the depth and beauty inherent in the natural surroundings. Even the Samurai recognized the disciplines and sense of balance exhibited in the arts and emulated some of their principals, which is why it is known as martial ‘arts’. Japanese art is deeply established in the traditions and lifestyle of Japan and the strength and structure of their culture will ensure it future longevity. Of all the artistic disciplines in Japan, the ceramics arts is probably the most elevated, having an important role in the presentation of their cuisines , ikebana floral displays, tea ceremony and interior decor.



Contemporary-Form-Zogan-Vase-by-Usui-Kazunari-(Japanese--1954) striped pottery vase

Contemporary vase – Usui Kazunari

20″ tall

Sold by Modern Japanese Ceramics, Kyoto




Oribe Koro Incense Burner — Kato Kuniya




Kato-Toyohisa-Purple-Shino vase

Kato Toyohisa purple shino vase






Ceramic bowl – Zogan decoration – Matumura Matumura

‘Zogan’ (damascening or inlaying) technique, is carving into the surface of the pottery, then inlaying clay of other colors into the carved-out areas to make a design. After inlaying the clay, a glaze is applied and then it’s ghost-fired.




Square-vase-with-white-glaze-and-trailed-glaze-decoration by Ryo Suzuki

Ryo Suzuki





Tokoname Tsubo Vase – Konishi Yohei




Brown Contemporary-Vase with geometrical motif-by-Hiraga-Taeko-A-mjc

Contemporary vase – Hiraga Taeko A

Modern Japanese Ceramics





Slab molded bottle with clear celadon gosu underglaze – Kawai Kanjiro

Eocene Arts




Footed black and white bowl – Yuri Takemura





Mashiko Bottle Vase — Shimaoka Tatsuzo





Chawan Tea Bowl by Ono Hakuko




Faceted shino vase – Hayashi Shotaro – White Shino glaze clings like ice and thick snow to the crenellated precipices of this sculptural vase.

height 15 inches

Modern Japanese Ceramics Gallery



Huge-ovoid Tetsu-e-Pottery-Tsubo-Vase-by-Shimizu-Yasutaka

Shimizu Yasutaka




Japanese-Living-National-Treasure-KATO-TAKUO-Vase in turquoise with black botanical patterns

Tato Takuo vase





Vase with white tree zogan inlay design – Moriyoshi Saeki

The zogan (damascening or inlaying) technique, is where the surface of the pottery is carved, and then clay of other colors is inlaid into the carved-out areas to make a design. After inlaying the clay, a glaze is applied the it is ghost fired.



Hagi-flower-vessel-with-white-slip-glaze--red-and-engraved-wavy-line-decoration by Atsuyuki Ueda

Contemporary Japanese vase – Atsuyuki Ueda




Hayato Sawada faceted vessel

Gallery Japan




Porcelain lidded vessel – Takashi Ikura

21st Century Museum of Contemporary Art, Kanazawa

Photo: SAIKI Taku





Contemporary ceramic vessel – Ki Kakuseki



Morino-Taimei contemporary ceramic vessel

Morino Taimei

William Bayer Collection




Junko-Kitamura from Ceramic Art and Perception

Junko Kitamura

Ceramic Arts and Perception




Kaneta-Masanao abstract ceramic sculpture

Kaneta Masanao




Kakurezaki-Ryuichi-Bizen-Mizusashi vessel

Kakurezaki Ryuichi – Mimitsuki fresh water container





Kato Ichiro Exhibition — Kaki Tsuto gallery



Kawamoto Taro-sculptural-vase asymmetrical shape

Kawamoto Taro sculptural vase




Ken-Matsuzaki,-Square-vase,-hidasuki-technique,-stoneware,-10-x-5-x-5-inches - orange and white glaze

Ken Matsuzaki, Square vase, hidasuki technique.

Bizen stoneware, has the characteristic reddish hidasuki or “fire-marked” pattern. Bizen stoneware is produced from a unique clay that can only be mined from the Bizen area of Okayama Prefecture, Japan. The clay has an unusually high Fe content compared with the traditional porcelain clay and prior to firing, the Bizen works are wrapped in rice straw that was used originally as a separator to prevent adhesion. The hidasuki pattern only appears where the rice straw has been in direct contact with the clay and potassium from the straw is thought to be the catalyst.




Ken-Mihara--contemporary Japanese pottery

Ken Mihara




Shimaoka Tatsuzo jomon platter





Marbled jar – hydrangea design – Matsui Kosei





Large Mashiko vase – Shimaoka Tatsuzo




Large-white Shino-Tsubo-by-Hayashi-Shotaro with red highlights

Large white Shino Tsubo by Hayashi Shotaro





Bizen vase with fire marks and kiln mutation effect – Kazuya Hashimoto

Gallery Japan



Large-turquoise vase-by-Morino-Taimei-with gold highlights

Large turquoise and gold sculptural vessel by Morino Taimei





Mitsui Kosei





Mentori Shigaraki Vase by Koyama Yasuhisa




Yamazaki Akira





Faceted bowl with Iroe decoration in engraving  overglaze enamel  gold and silver. Hokuto Ito

Iroe (literally color painting in Japanese) is a technique in which a transparent glaze is applied and the piece glost-fired, then paint is applied over the glaze and the piece is fired again at a low temperature of approximately 800 degrees Celsius. It is also called uwae, or over-painting. The paint used in traditional iroe is known as wa-enogu (Japanese-style paint), and color choices include red, blue, yellow, green and purple. It is also possible to use yo-enogu (Western-style paint).




Ando Hidetake ovoid vase





‘Dragon Cloud’ – Two piece kutani stoneware sculpture – Nakamura Takuo




Jar-of-irregular-shape-with-colored-slip-decoration by Ryuji Miyahara

Jar of irregular shape with colored slip decoration – Ryuji Miyahara

Gallery Japan



Akira-Satake ceramic cup japan

Akira Satake – ceramic cup




Bird decoration vase –  Kazu Yoneda



Nakamura-Takuo Square jar - Santa-Rosa-Junior-College

Nakamura Takuo




Nakashima-Ichiyo ceramic vessel

Nakashima Ichiyo



Okumura-Hiromi---sculptural ceramic form

Okumura Hiromi – sculptural ceramic form




Ceramic bowl-with-indigo-three-color-glaze-decoration.-'1307-'---Kiyokazu-Kato

‘1307’ indigo bowl—Kiyokazu Kato

Gallery Japan




Porcelain Tenmoku Jar  — Taku Nonaka




Elegant blue shino vase -Hiroshi Sakai




Huge pottery vessel, mottled surface – Shimizu Uich




Pottery-Tsubo-by-Shimizu-Yasutaka--orange and black glaze mjc

Shimizu Yasutaka tsubo




Tsumiage Kaki (Flower Vase) – Yamamoto Izuru





Miyake Yoji





Kazuhide Uchida




SAIDEIJI-TSUBO by KIKUCHI, Hiroshi painted slip surface

Sadeiji tsubo – Hiroshi Kikuchi




Vessel-with-black gold-and-silver-decoration

‘Flowing shadow’ – Yoshie Kitahama




Vintage vessel – Takiguchi Kazen






Wood fired vase – Tani Seiuemon

Sold Modern Japanese Ceramics





Oribe Plate – Shigemasa Higashida





Shigaraki Vase by Ueda Mitsuharu




Takiguchi-Kazuo abstract ceramic sculpture

Takiguchi Kazuo





Tomoo Hamada




Gomi-Kenji-ceramic sculpture

Gomi Kenji



Kato-Takahiko ceramic sculptural form

Kato Takahiko

Santa Rosa Gallery




Yasuhisa Kohyama




Yasuhisa Kohyama

Japan Art Galerie




Kawabata Fumio




Matsui Kosei – Stoneware with layers of colored clay

Alain A Truong



Yoshitaka-Hasu abstract vase

Yoshitaka Hasu

Touching Stone Gallery




NEXT POST – Papua New Guinea exotic arts


Watershed and Objective Clay Salad Day


‘Salad Days’ – 9th July, 2016


‘Salad Days’ is a novel event held in Maine at the Watershed Center for the Ceramic Arts, which is run annually on the 2nd Saturday in July. Included in the ticket price is a souvenir handcrafted plate made by the artist in residence and a free lunch, created with fresh local produce, by the Watershed cooks and restaurants in the area. Live music is included and there is also pottery on sale from Watershed artists as well as featuring Objective Clay, which is a collective of ceramic artists focusing on utilitarian clay items. Workshops will also be held giving technique demonstrations.

More Info –



Watershed and Objective Clay artists:



Deb Schwartzkopf


‘I find it rewarding and challenging to make pots people will use. In my home growing up, hand made objects held special value.  They were gestures of consideration and love. Each work is porcelain fired in an electric kiln to cone six.’



Red Bowls Deb Schwartzkopf

Deb Schwartzkopf



Ceramic Cookie+Jar Deb Schwartzkopf

‘Cookie Jar’ – Deb Schwartzkopf



Two mugs - Deb-Schwartzkopf-pottery

Mugs – Deb Schwartzkopf




Teapot –  Deb Schwartzkopf



Red Pitcher+Set Deb-Schwartzkopf

Pitcher and cups – Deb Schwartzkopf




Emily Schroeder Willis


‘ In the past few years I have been trying to simplify the work I make, constantly asking myself, how much is too much? What is essential and what is excess? I try to make every mark on the surface of my work matter, every dart necessary, every line indispensable.’


Emily-Schroeder-Willis White hand made vase with flowers

Emily Schroeder Willis




Emily-Schroeder-Willis---selection of ceramic pieces

Emily Schroeder Willis




2014 plate – Emily Schroeder Willis



Dinner bowls and plates - Deb-Schwartzkopf

Bowls and plates – Emily Schroeder Willis



ceramic platter_in geen and white - Emily-Schroeder-Willis-_2013

2013 platter – Emily Schroeder Willis



Ernest Gentry


‘Making pots enables me to bring multiple interests into a variety of forms. Historical objects, modern design, and domestic considerations all inform my making process. My hope is that function, form, and the surface of my pots will bring the user respite. Clay presents the opportunity of constant problem solving, and combines my interests in aesthetic research and manual labor.’


Ernest-Gentry Red mug with indented surface pattern

Red mug – Ernest Gentry





Lidded box – Ernest Gentry

Woodfired, reduction cooled iron rich stoneware, cone 9



Ernest-Gentry ceramic plate

Ernest Gentry




Ernest-Gentry-lidded box with vertical ribbed surface - iron rich stoneware and glaze

Lidded box – Ernest Gentry



Ernest-Gentry---Black Yunomi

Yunomi – Ernest Gentry

Schaller Gallery



Bryan Hopkins


‘Following in the lineage of “fine china” I produce objects for domestic service, adding my own sense of affect and defect. The work’s primary use is that of a utilitarian object, and all the pieces perform as they should – cups hold fluids, vases present flowers without leaking, etc..  I have been using porcelain for about 20 years now, and am drawn to its’ physical qualities (strength, fragility, color, translucence) as well as the implicit class association, cultural significance, and assumption of purity and worth.’



Bryan-Hopkins-Butter-Dish green porcelain

‘Butter Dish’ – Bryan Hopkins



Bryan-Hopkins--porcelain Cake-Stand

‘Cake Stand’  – Bryan Hopkins



Bryan-Hopkins-Short-Cup porcelain

‘Short Cup’ – Bryan Hopkins



Bryan-Hopkins-Porcelain Tall-Cup tumbler

‘Tall Cup’ – Bryan Hopkins




Kip O’Krongly


‘I use functional pots as a vehicle for setting tables with visual stories. The functionality of the pieces I create serves as a daily nudge to reflect on the interwoven nature of our lifestyle choices and the broader world around us’. 



Kip-O’Krongly bowl stack with bicycle motifs

Stacking bowls – Kip O’Krongly



Kip-Okrongly-farm animal mugs

Kip Okrongly



ceramic pig_platter Kip-O’Krongly

‘Pig Platter’ – Kip Okrongly




Kip-Okrongly-kip-okrongly-T-rex-tumbler in red, orange and white

‘T Rex Tumbler’ – Kip Okrongly



Farm theme cake_stand Kip-O’Krongly

Farm themed ‘Cake Stand’ – Kip O’Krongly




Gwendolyn  Yoppolo


Her visionary designs challenge us to rethink the ways we nourish ourselves and others within contemporary food culture.  By preparing whole foods with minimal technology, by sharing food with a group from a single serving dish, or by sitting down with a loved one to create a shared experience, we break apart from the individualized ready-to-eat mentality of our industrialized food system.




Ceramic mug – Gwendolyn  Yoppolo




gwendolyn-yoppolo mortar's and pestle's

Mortar and pestles – Gwendolyn Yoppolo




gwendolyn yoppolo_prasdouble

Prasdouble  – Gwendolyn Yoppolo



gwendolyn-yoppolo-mustard colored mug

Gwendolyn Yoppolo





Tea set for 2 – Gwendolyn Yoppolo



scoop bowl gwendolyn-yoppolo

‘Scoop Bowl’ – Gwendolyn Yoppolo




Sunshine Cobb


“I want my work in clay to represent growth and accomplishment, in which I believe reminiscence and nostalgia play a part. I rely on texture and color to create a sense of motion and time in my work.”


sunshine+cobb+horizontally ribbed mug

Sunshine Cobb



Sunshine-Cobb-ventilated yellow ceramic box

Sunshine Cobb




Sunshine Cobb



Sunshine-Cobb----footed ceramic yunomi with a turquoise glaze

‘Yunomi’ – Sunshine Cobb



Spiral Watershed plate - Yoshiro-Okuma,-1995

Watershed  1995 plate by Yoshiro Okuma



Adero-Willard,-2008 ceramic plate

Watershed plate 2008 – Adero Willard





Jennifer Allen


“My focus is to express sentiments of beauty and joy through porcelain tableware.  Whether forming a vase that decorates a room or producing dinnerware that celebrates a meal, my work is made to honor and enhance the rhythms of home life.”


Jennifer-Allen ceramic jug

Porcelain Jug – Jennifer Allen





Jennifer Allen



celly+breakfast+plate-Jennifer-Allen leaf motif dish

 Jennifer Allen



Jennifer-Allen-pocelain teapot

Jennifer Allen



Mugs – Jennifer Allen




Jennifer Allen




Lindsay Oesterritter


“It is my intention to utilize a reduction cooled wood fueled kiln to highlight form and surface variations, and reference slow and continuous change.”


Lindsay-Oesterritter-raku pitchers

Lindsay Oesterritter raku jugs



Lindsay-Oesterritter-wood fired tumbler

Lindsay Oesterritter



Lindsay-Oesterritter-ceramic mugs

Lindsay Oesterritter



Liz Hafey


Liz-Hafey--folded ceramic vessel

Liz Hafey



Liz-Hafey---sake cups

Liz Hafey – sake pourer and cups



Liz-Hafey-ceramic tea pot

Teapot – Liz Hafey



Liz-Hafey---Ceramic-Work rustic tea pot

Liz Hafey




Stephanie Rozene


Stephanie is dedicated to the advancement and development of the field of Craft History and Theory and in particular the use of historical ornament as a visual language.



Stephanie Rozene



Stephanie-Rozene ceramic mugs

Stephanie Rozene



Jessica-Brandl,-2014 rooster motif plate

Watershed 2014 plate – Jessica Brandl




Watershed Salad Days



Tess-Stilwell,-2013 octotpus plate

Watershed 2013 octopus plate – Tess Stilwell




Sean-O'Connell,-2010 plate

Watershed plate, 2010 –  Sean O’Connell



More info on Objective Clay artists






NEXT POST  —  Japanese modern ceramic aesthetic


Australian clayarts – wildlife fauna, flora, landscapes


Owl-Lindy-Rontji - aboriginal pottery art

Handpainted Owl pot – Lindy Rontji


The culture of the Australian indigenous peoples is deeply entwined with their landscape, plants and animals. The rugged, ancient land has a vastness that conveys a sense of the pervasive power of the elements and time.
You could venture to say that the ancient landscapes of Australia have aged gracefully. Despite the ravages of time, there remains a vitality and defiance in the features of the land, highlighted by the ubiquitous bold ochre colours and slashes of vivid hues from the wildflowers and also reflected in the expansive smooth surfaces of the eroded rocks. The eternally elegant gumtrees are locked in synch with the timelessness of the land, reflecting a spirit of survival which is also expressed with smooth, strong trunks that are juxtaposed against the raw, rocky terrains. The distinctive landscapes are a vision of endurance and seem to stretch into infinity and have more hues and subtle tones in their palette then the green European landscapes. The enchanting vistas are simultaneously unfathomable and alienating while remaining inclusive and embracing. Birds have survived in these inhospitable environments along with many unique Australian animals through formidable adaptation and by virtue of the massive underground water table ( 1/3 of the continent) which feed the creeks, billabongs and springs.


Hans-Hayson Flinders Ranges Australian Landscpae

Flinders Ranges, SA – Hans Heyson

This natural and wild environment has acted as a source of inspiration for many Australian and overseas artists. The pottery art of the indigenous artists based in Hermansburg, in the remote Anada region of the Northern Territory, Central Australia, vividly expresses their connection to their environment. I once witnessed a 7 ft tall red kangaroo on a remote beach in Western Australia in its natural environment and from a distance of a few metres it was an impressive animal that left an indelible impression. Along with the koala, it was a popular inclusion in the decoration of the Mid Century Australian pottery. Below I’ve included ceramics and sculptures and photos showing the diversity of the Australian landscapes and animals along with images of some of the lesser known Australian animals such as the Quokka and the Numbat.



ENTATA,-Mrs;-HERMANNSBURG-POTTERS handpainted pot with landscape vista

Handpainted outback vista pot – Irene Entata

Hermannsburg Potters, NT




Irene-Entata---Bilbi aussie animal pottery jar

‘Bilbi’ – Irene Entata

Hermannsburg Potters, NT





Titjarritjarra (Willy Wagtail Dreaming)’ — Anita Ratara

22cm height




“This work depicts my traditional Country, Palm Valley, west of Hermannsburg”. -Hayley Coulthard Panangka, 2016

Western Aranda artists of Ntaria

Photography by Tobias Titz Photography.



Three ceramic globular pots - New-Marks-by-The-Hermannsburg-Potters

‘New Marks’ by The Hermannsburg Potters



Hermannsburg-Potters pottery jar with red parrots

Lidded parrot vessel – Hermannsburg Potters



Hermannsburg-Potters-indigenous-art pottery with handpainted owl and owl figure lidterracotta-po

Terracotta Jar with owl lid and motif – Hermannsburg Potters





Lidded vessel with an Echidna – Judith Pungkarta Inkamala




Judith-Pungkarta-Inkamala wedge tailed eagle

Wedgetail eagle – Judith Pungkarta Inkamala




UNGWANAKA,-Rahel;-HERMANNSBURG-POTTERS Frilled neck lizard ottery jar

Frilled neck lizard jar – Rahel Ungwanaka

Hermannsburg Potters, NT




Red Dress Girl by Judy Prosser

‘Red Dress Girl’ by Judy Prosser




Goanna vase – Aboriginal artist Tammy Kealy Kiralaa




128-Rinconada-Koala - hand carved and painted ceramic figurine

Hand carved Koala’s ornament – Artesania Rinconada






‘Banksia Grevillea Bell Vase’ – Janet De Boos.

Thrown porcellaneous stoneware, black underglaze, terra sigillata, sgraffito, clear glaze,






Barrier Reef jug




Aboriginal arts platypus vase

Tatiana Lou – ebay




Raku jar, bunny figure lid – Jane Sabey

South Australia




Black-Galah-sculpture in a park in Melbourne

Black Galah wood sculpture – Valley Reserve, Melbourne

7.3 ft tall






Two convex laser cut metal sculpture ‘Pendant’ disks

The Flower Garden



Chris-Stubbs resting wombat sculpture with incised ceramic surface

Reclining wombat sculpture – Chris Stubbs




Cockatoo metal sculptures – Kooper Tasmania

Height 1 metre

Kooper Tasmania is a creative partnership between Folko Kooper and Maureen Craig.




Blue Budgies glass birdbath – Kooper Tasmania




Emu-sculpture-corten-steel,-Cooper Tasmania

Emu sculpture – Kooper Tasmania




erica evans-Land-of-the-Budgies

‘Land of the Budgies’ – Erica Evans




Feeding-cocky-sculpture-corten-steel,-Kooper Tasmania

‘Feeding Cocky’ sculpture – Folko Kooper and Maureen Craig (Kooper Tasmania)




Pelican-sculptures-corten-steel,-8m-wing spans,

Pelican sculptures – Kooper Tasmania

Corten-steel, 8m wing spans,




3 bird vase- Anita-Reay Gum leaves with Galah and cockatoo

Galah and Cocky vase – Anita Reay




‘Arrernte welcoming dance, entrance of the strangers’, Alice Springs, Central Australia

Photographers – Walter Baldwin, Spencer and Francis J Gillen – 1901





Kangaroo and joey  – Lisa Larson




Peter-Ferguson hand painted mudka pot

Peter Ferguson





Stoneware handpainted parrot plate





‘Laughing Kookaburra’ mug – Ian Bell




Ian-Bell-Sculpture-wombat black finish with concentric circles motifs in white

‘Wombat’ – Ian Bell




‘Lyrebird’  ( mimic extraordinaire)  – William T. Cooper





Kookaburra figurine – Hebb




Tassie Devil ceramic ornament

‘Tassie Devil’ – Anita Ray





Salt and Pepper Owl Shakers – Kanga





‘Wombat’ – Silvio Apponyi

Maroochy Botanic Gardens, QLD





Koala in a ghost gumtree





Quokka feeding at Rottnest Island, WA




AUS-kangarroo-island natural rock formations

Natural rocks – Kangaroo Island





Striped ‘Numbat’, Australia



Jenny-Orchard-Mishief-2009 brenda may

‘Mischief’ zookini sculpture – Jenny Orchard





Large Lucas Daisy Ware vase





‘Conference of the Birds’ charger – Barbara Swarbrick



Lovely-Vintage-Retro-1950s-Australian-Pottery-Banksia-Decorated-the antique store west pymble

Retro Australian Banksia Decorated dish – ‘the antique store West Pymble’




Conference-of-the-Birds vase by Barbara Swarbrick

‘Conference of the Birds’ vase by Barbara Swarbrick






Owl sculpture, corten steel, on stone plinth – Kooper Tasmania





‘Spheroid’ sculpture Kooper Tasmania

1.8 metres tall





Adriana Christianson ceramic bowl




yuparli_Eunice-Napangardi Australian indigenous art

Yuparli – Eunice Napangardi




Ricketts-Sanctuary tree sculpture

Clay statue merged with a tree – William Ricketts Sanctuary



underwater animal-selfie-seal and Alan Dixon

Irishman Alan Dizon in Australia – underwater seal selfie



animal-selfies-allan-dixon-milinf kangaroo

 Alan Dixon with smiling wallaby.





Quokka selfie @ Alan Dixon





A seagull sharing a chip with a cockatoo – Alan Dixon selfie



Alan Dixon meeting a white kangaroo

Irishman downunder Alan Dixon meets with a white kangaroo




Possom-Pots-plate---potters-Bev-Puckridge-and-Ian-Winter - Possum in a flowering gum tree

Vintage Possum Pots plate – Bev Puckridge and Ian Winter

Sold @ Bemboka Pottery




South Lagoons vessel with teabowl

Jeff Mincham




‘Arrkingarra (barn owl)’ – Lindy Rontji Panangka

Terracotta and Underglazes

Photography © Tobias Titz Photography.




A rather regal looking koala paperweight – Royal Crown Derby




”The legend of Albatross Bay’ – Thanakupi

The big legends of my country are often about the birds: Emu, Brolga, and many others. In this sphere you can see the foods as well, yams, yam seeds, small fruits, and others. – Thanakupi




‘Wacombe the bushman and Ndhwalan the dingo’ – Thanakupi




‘Emu Corroboree Man’ – Clifford Possum Tjapaltjarri

Early 1970’s

see more Australian aboriginal art here





A Ponga Ponga woman carries a pet possum, Northern Territory, 1922




Opussum-Jug---Melrose-Art-Pottery---Bundoora-Homestead-art-Gallery-1932-42 Greg Hill Collection

Possum Jug – Melrose Art Pottery




Rainbow-serpent-rock-art on cave ceiling - Australia

A huge Rainbow Serpent painted on the roof of a cavern, extending down into the sandstone overhang, Mount Borradaile, Arnhem Land, Northern Territory, Australia





Large Goanna lizard sunbaking – Ben Pearse

Blue Mountains, NSW





‘Bunabiri’ Australian aboriginal art plate -Westminster Fine China





Echidna ceramic sculpture Aleida-(Liddy)-Wright

Echidna ceramic sculpture Aleida (Liddy) Wright



endangered-tiger-quoll in the bush

Endangered Spotted Tiger Quoll





George Nissen-•-Inventor of the Trampoline jumping with his Kangaroo





Noongar artist Laurel Nannup’s sculpture ‘First Contact’

Elizabeth Quay–Perth



Young Tasmanian devil joey intrigued by falling snow






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