connecting communities through creativity connecting communities through creativity connecting communities through creativity connecting communities through creativity connecting communities through creativity connecting communities through creativity connecting communities through creativity
Ken is the Education Manager of Pottery Workshop Education Center in Jingdezhen, China. He has a studio provided by the company where he makes functional wares and slab build work. Besides the different methods of construction, he researches into Shino glazes and kilns.
I have built 5 hard brick kilns to date in China and in the US. Wood firing does not only embody stoking, flames, reduction, types of wood, etc but it needs the firer to have a good understanding of the kiln design to obtain optimum effect from the firing. My interest in this residency is to network and gain more knowledge not only about wood firing but also about simplistic forms from artist such as Nancy Fuller. Moreover, in Jingdezhen (the porcelain city of China), there are about 300 smokeless cross draft kilns(Kusakabe Smokeless kilns) and I feel there are tons of other design kilns which can obtain far more enriching effects than the smokeless cross draft that I have come across. This will aid in my teaching career and making an educational impact in China. Last but not least, of course, to build my own kiln in the future.
After graduating with a Bachelor of Visual Arts specialising in ceramics at the University of South Australia in 2017, Hannah Vorrath-Pajak is now in her second year of the Associate Training Program at JamFactory. Throughout her emerging practice, she has found a love of making both functional ware and exhibition pieces. Through this work she aims to explore research into the natural world and traditional pottery processes.
Raised in Arizona, Matthew has been fascinated by geology since a childhood. A recent graduate of the Masters program at Montana State University, Matthew’s primary focus is sourcing local clays and rocks for use as ceramic glaze materials. With a house and studio located in Minnesota, where he lives with his fiancée, he is deeply connected to the growing pottery scene there in the St. Croix River Valley. Matthew’s research into material literacy is evident in his utilitarian vessels, which can be seen on his website www.woodfirelust.com
We are thrilled that one of our 2018 resident artists, Victoria Hannan has been awarded the 2019 Victorian Premier’s Literary Award for an unpublished manuscript. Victoria completed the second draft of her book during a residency at all that we are. Victoria was a very dedicated writer and when not going for a swim at one of the local beaches spent many hours a day writing… Congratulations Victoria!
A few years ago I received a commission to illustrate a picture book by Sherryl Clark for Allen & Unwin. I’ve found it difficult to complete for many reasons. A number of other all-consuming projects including animated sex-ed videos for schools and concept design for The Museum Of Australian Democracy have claimed my time and energy. And I’ve had second book-jitters and an irrational fear of colour.
This Christmas holiday window is the time to finish it. I’m so glad Simon and Victoria allowed me to come to All That We Are in their off-season. The main purpose was to go somewhere removed from distractions and get the work done to that magical point where completion feels inevitable. It’s certainly quiet here, which is great. But what I’m finding even more conducive is the beauty of the house – it’s like my dream of a place to live and work – and being surrounded by creativity, both on the walls and in Victoria and Simon’s approach to life.
In 2019 all that we are will run three artist-in-residence seasons – one in the Autumn (April/May) and two in the Spring (October and November). Being an artist in residence gives you complete freedom to make work, relax and reflect on your practice and explore the rich environment of Tasmania. You have your own room, a shared kitchen, bathroom and work/living space (with the option of using a studio) within the private residence at 1450 South Arm Road. You can stay for up to 21 days with costs ranging from $50 – $75 dollars per night self catering.
We cater for individuals, couples and groups and provide a quiet and creative environment with stunning views across the water. It’s a great opportunity to meet other like-minded artists, take time out to reflect and engage with Tasmania artists through our ArTELIER program.
There is no formal application process. Just fill in the form below with when you would like to come with some links to your work, together with an idea of what you intend to do while you are here.
I’m back at All That We Are for a second residency. A week in the bright studio space, amongst the open forest, of the Ridgeline above Pipe Clay Lagoon.
During my first residency I set myself a plan for accomplishing a set of drawings I had been planning to embark on and had my head down in the studio. This time around I am taking time for learning through being within this place as well. Along while ago I did a course on the plants of Tasmania and since then I comeback to learning about them when ever I can. They feel like old friends. At the moment many of the native grasses are in bloom and I have been taking the opportunity to learn more about them, the long stems of the kangaroo and wallaby grasses are nodding with seed and the native cherry is beginning to fruit so I am drawn back to the cherry trees to collect from them each day.
My practice for a long time has circled around my curiosity for plants, I find they speak volumes about our attitudes and ideas and I often use this as the initial point to pivot upon in developing a work. This week I am pulling a few of the local plants into the studio to influence the making, drawing and thinking. All with a gratitude for the space of generous professionalism thatSimon and Victoria have developed here.
Ridgeline Pottery, together with ALL THAT WE ARE and The Australian Ceramics Triennale are excited to offer an opportunity for two emerging potters / ceramic artists to be part of a wood firing mentorship residency at Ridgeline in the lead up to the Australian Ceramics Triennale event in May 2019.
Apply to be part of an incredible wood firing experience featuring Peta & Ben Richardson, Elisa Helland-Hansen, Anne Mette Hjortshoj, Nancy Fuller, Kelly Austin and Isaac Patmore; while staying as an artist-in-residence next door at ALL THAT WE ARE for the duration of the opportunity. Then jump in to the Australian Ceramics Triennale team & get in on all of the Triennale action!
This is a rare opportunity that offers an extraordinary experience of place, creativity, collaboration, and professional development.
Having spent some time at All That We Are in January for the Australia Council for the Arts, Arts Leaders Program, I was taken by the nature, quiet and incredible views. Simon and Victoria have created a beautifully welcoming space that encourages creative freedom and connection. I knew I wanted to come back here to work on some of my own writing.
As part of my Sidney Myer Creative Fellowship, I have spent time developing a book project. Essentially, this project will be a curated collection of early – mid career practitioners who bring something important to the dialogue and frameworks of community engaged practice, arts and culture.
My time at All That We Are is to focus on my own chapters for the book. I am aiming for between 1000 – 1500 words each day. Sometimes I get lost in the view but primarily, am enjoying the time and space to write, think and dream about the good things to come.
I am very grateful for this opportunity to take some time out of the busy pace of daily life and focus on creative thought and practice. The effects of being in this peaceful place are immediate, and my mind switches from a busy Urban life to that of a new artistic project.
I will spend this week working with a reflective practice of writing and making in the natural environment.
My creative practice is embedded in our relationship as Australians with the land and the natural environment. This week I will begin to explore how these relationships have changed as a result of the drought.
In time the work will include themes of memory, and narrative from farmers recalling attitudes of the past and present towards the natural environment.
The creative works made during this project will be a response to this issue.