Short Courses

Saturday 6 to Sunday 7 November, 9.30am-4.30pm  

Immerse yourself in the tactility of clay in a workshop investigating the relationship between humankind and the natural world. Explore hand-dipping organic matter in porcelain slip before firing to force the material to ‘burn out’ leaving a shell-like remnant of the original form; incise through terra sigillata/colour pigments and build intricate floral structures. 

Level: All | Cost: $330 + 70 materials 

Dr Julie Bartholomew is an artist and educator in ceramics, formally Head Ceramics at the University of South Australia and Australian National University. Julie’s art practice engages with creative approaches that focus on challenges posed by ecological conditions today. Julie was awarded a Doctorate of Visual Arts (Sculpture) and has been the recipient of numerous awards including four Australia Council for the Arts Grants, the Tokyo Studio Residency, Australia-China Council Red Gate Residency in Beijing and the Asialink Taiwan Residency. Julie was also the winner of the International Gold Coast Ceramics Award in 2006. Her work is held in significant public collections including The National Gallery of Australia, The National Museum of Australia, Shepparton Art Museum, Wollongong City Gallery, Manly Art Gallery and Yingge Ceramics Museum, Taiwan. Julie is represented by Sabbia Gallery, Sydney and Beaver Gallery, Canberra. 

Please bring with you: 

• dried plants such as dried thistles, banksias, gum-nuts, thick leaves, proteas 
• knife without a serrated edge 
• fork 
• metal ruler 
• any pottery tools and brushes you may have, particularly sgraffito tools 
• your lunch, mug and water bottle

Friday 12 to Sunday 14 November, 9.30am-4.30pm 

Explore the ancient art of Kumiko using beautiful Japanese hand tools to make an intricate clock. 

Day 1 - Basic Kumiko course - Asa-No-Ha coaster. 
Students will learn about and use Japanese hand tools in making the famous Japanese Asa- No-Ha (Hemp leaf) Kumiko pattern. Students will be taught the traditional hand tool method of making the square Jigumi grid which is the base pattern for all square type Kumiko patterns. Then use the unique jigs to make the infill As-No-Ha pattern. 

Day 2 & 3 - Intermediate Kumiko course - Kumiko clock part 1 
Students will use Japanese hand tools making a Kumiko clock. Learn the traditional had tool method of making the hexagonal Jigumi grid using the base pattern for all hexagonal type Kumiko patterns. Students will also be introduced to more Japanese hand tools and jigs used to assist them make the hexagonal frame. 

Level: Some experience | Cost: $495 + 160 materials 

Jason Bennett is the son of a builder who started exploring Kumiko to add another dimension to his work. Kumiko adds a “3D” effect to an already “3D” object whilst providing another vehicle to explore creativity through fusing Western and Japanese woodworking techniques. Jason enjoys teaching woodwork just as much as he enjoys woodworking. Helping grow the woodworking passion in someone is just as important to him as making. 

Please bring with you: 

• your own PPE 
• closed toe shoes 
• optional: your own tools (must be sharp and ready to use) 
• note pad 
• pen and pencil 
• your own lunch, mug and water bottle

Saturday 19 to Sunday 20 March, 9.30am-4.30pm 

Learn the skill of bezel setting cabochon or faceted stone rings while you revisit traditional silver-smithing techniques such as sawing, annealing, soldering, forming, and polishing your pieces. 

Over the weekend, depending on skill level, you will make either two simple bezel set stone rings or a more detailed silver bezel set stone ring. Practice with cutting & texturing skills with copper before moving onto pieces of silver to create your own unique stone set rings. 

This is an intermediate to experienced workshop, where prior knowledge of silver smithing techniques are essential. 

Level: Intermediate - advanced | Cost: $330 + 80 materials + stone 

Yvette de Mestre is a contemporary Australian Jeweller, based in the Illawarra. Her work is defined by experimentation to produce unique pieces of various materials using hand working processes. Today Yvette’s practice explores silver clay texturing and laser cutting timber technology to create her distinctive range of jewellery. Inspiration comes from nature and includes organic and symmetrical shapes, found objects, precious colourful gemstones which are incorporated into a variety of metals. Yvette draws on international experience and practice of over 20 years to create and teach in secondary and tertiary institutions. Her work is represented by Sturt Gallery and selected galleries throughout Australia. 

Please bring with you: 

• note pad for sketching 
• pen and pencil 
• Yvette will supply some stones for purchase, eg opals, onyx & some facetted stones, or you may wish to purchase your own 
• round stones on line 
• ring size of the ring you’re creating 
• your own lunch, mug and water bottle

Saturday 19 to Sunday 20 March, 9.30am-4.30pm 

Immerse yourself in the world of design, pattern and colour, exploring and developing techniques to create interest or tell a story on the surface of your vessels. 

This course will cover various techniques and their design considerations: shellac/water resist, stamping and texture, sgraffito, transfers, carving and inlay. Initially experimenting on flat tiles you will then progress to explore a technique of your choice, allowing you to further develop your technique onto a small vessel. 

At the conclusion of your weekend you will have made a series of test tiles and at least one small decorated piece. Work will be left at Sturt for a bisque firing plus an option of a stoneware firing of the unglazed work. Includes a half bag of Lumina Stoneware clay and all materials. 

Level: Beginners - intermediate | Cost: $330 + materials $60 (includes bisque firing) 

Tracey Mitchell’s working life has led her through fashion and graphic design and into ceramics with a keen interest in nature and an obsession with patterns. Tracey’s ceramic work explores the surface of vessels, specialising in shellac resist, stamping, texture and sgraffito using a combination of slab, slip casting and throwing. 

Please bring with you: 

• apron/old shirt 
• visual art diary 
• B Pencil, pen, eraser & metal ruler 
• inspirational reference & images 
• any tools (if you have them): sgraffito for carving , kidney (rubber or metal), sponge 
• stoneware clay *optional 
• raw, previously made pieces ready to decorate(please keep them small) *optional 
• closed toed shoes 
• your lunch, a mug & water bottle 

Saturday 19 to Sunday 20 March, 9.30am-4.30pm 

Carve small wooden animal forms using hand tools while learning finishing techniques that enhance the characteristics of your subject in this engaging 3-day workshop. 

Working with beautiful Australian timber, learn to select suitable timber for whittling your small sculptures, playing with shapes and grain without being bound by functionality. 

Focus on aspects that make your animal so endearing; the tilt of the head, the position of the ears, its beauty and vulnerability, encouraging your story telling to evoke strong emotion. 

Level: All | Cost:  $495 (all materials included) 

Carol Russell has worked with wood all her adult life. She began as a furniture maker, but these days it’s the small hand-held, whittled and carved pieces that are of most interest. She spends most of her time teaching people the meditative art of creating small, sculpted forms using only a few tools. 

‘I love the silence of using hand tools and the conversation between your hands, the tools and the material. A lot can be said in a simple form. There are so many ways to interpret what we see and I love observing what each student will draw out of their work.’ 

Saturday 21 to Sunday 22 May, 9.30am-4.30pm 

Discover the art and science behind the amazing Cyanotype process producing exquisite blue and white images on paper from both natural materials and photographs. Cyanotype is a non-toxic 19th century photographic process doesn’t require a camera - only the sun and your imagination! 

Over the course of the weekend you will: 

• learn about the fascinating history of this technique 
• how to mix and coat papers with photosensitive emulsion 
• how to make photograms using pressed flowers and plants; feathers, lacy fabrics; stencils; 3D objects; photographic negatives and much more. 
• how to tone and distort your cyanotypes using different processes

Level: Beginners - intermediate | Cost: $330 + materials $60 

Julie Ryder is one of Australia’s leading textile artists and educators. She has been exploring the cyanotype process for over 15 years with The National Museum of Australia acquiring her large-format cyanotypes of seaweed in 2019. Many of Julie’s smaller works are now in private collections. Cyanotype adds a wonderful dimension to her repertoire of techniques and is an addictive process with which to focus on the beauty of nature around us. 

Please bring with you: 

• apron/old shirt 
• notebook 
• B Pencil, pen, eraser & metal ruler 
• closed toed shoes 
• your lunch, a mug & water bottle 

Saturday 21 to Sunday 22 May, 9.30am-4.30pm 

If you can centre clay on a pottery wheel and wish to improve your throwing skills, this workshop is for you! 

This 2 day course will cover the important steps of clay preparation; centring, managing larger balls of clay and developing a greater understanding of shape development. 

Under the guidance of Megan Patey you will throw a range of pots, jugs, mugs and plates exploring endless possibilities creating forms on the potting wheel. Starting with the basics of a cylinder and a plate, Meg will begin the weekend with subtle distortion and extension to create new and exciting results. Day 2 will include creating handles, turning and finishing methods. 

Level: Some experience | Cost: $330 + $20 materials  (includes one bisque firing) 

Meg Patey is a professional ceramist and educator. Megan has taught ceramics in TAFE and has worked at and taught in pottery studios in Australia and France. Meg currently makes thrown, slab and altered tableware for galleries as well as producing unique pieces with her own reduced lustre technique for exhibition.