Vce Essay Comparison Two Artists
Compare the ideas, techniques and approaches of two ceramic artists from different periods (Alan Peascod and Bernard Leach).
Australian ceramics has experienced an exciting evolution over the past 60 years, when ceramics was first offered as a full-time course at RMIT in 1947. At that time, the “high priests” of pottery were Shoji Hamada o f Japan, and Bernard Leach in the UK, who shared similar philosophies and aesthetic values. Leach wrote “The Potters Book” which was to become the ‘bible’, or text of choice for the many tertiary institutes around Australia who were opening up ceramic courses to satisfy the growing demand for training in what was seen to be an alternative career path in Australian arts during the post WWII years.
From this Leach foundation the first generation of Australian potters went forth, amongst whom the more notable were Anne Dangar, John Perceval, Arthur Boyd, Peter Rushforth and Ivan McKeekin. Rushforth is a much celebrated traditional ceramicist, and who then went on to teach at East Sydney Technical College (now known as the National School of Art) for 25 years, and who remained faithful to the Hamada/Leach philosophies all his life. One of his students, Alan Peascod went on to challenge many widely accepted techniques, developing his own innovative, unique and deeply explorative series of work.
Looking through the Analytical Frameworks, Leach had a strong personal philosophy, and in his teachings he referred to “ethical pots”, advocating simple and utilitarian forms that are “naturally shaped”, and look hand crafted, as opposed to “expressive or fine art pots” which promoted aesthetic concerns rather than function. This is in contrast with Alan Peascod’s innate sense of expression through the use of elegant adornment, and forms that were designed to be beautiful, not necessarily functional. However, like Leach, for most of his career he retained a utilitarian form (the ‘vessel’) as the basis of his artworks.
Leach saw
Australian ceramics has experienced an exciting evolution over the past 60 years, when ceramics was first offered as a full-time course at RMIT in 1947. At that time, the “high priests” of pottery were Shoji Hamada o f Japan, and Bernard Leach in the UK, who shared similar philosophies and aesthetic values. Leach wrote “The Potters Book” which was to become the ‘bible’, or text of choice for the many tertiary institutes around Australia who were opening up ceramic courses to satisfy the growing demand for training in what was seen to be an alternative career path in Australian arts during the post WWII years.
From this Leach foundation the first generation of Australian potters went forth, amongst whom the more notable were Anne Dangar, John Perceval, Arthur Boyd, Peter Rushforth and Ivan McKeekin. Rushforth is a much celebrated traditional ceramicist, and who then went on to teach at East Sydney Technical College (now known as the National School of Art) for 25 years, and who remained faithful to the Hamada/Leach philosophies all his life. One of his students, Alan Peascod went on to challenge many widely accepted techniques, developing his own innovative, unique and deeply explorative series of work.
Looking through the Analytical Frameworks, Leach had a strong personal philosophy, and in his teachings he referred to “ethical pots”, advocating simple and utilitarian forms that are “naturally shaped”, and look hand crafted, as opposed to “expressive or fine art pots” which promoted aesthetic concerns rather than function. This is in contrast with Alan Peascod’s innate sense of expression through the use of elegant adornment, and forms that were designed to be beautiful, not necessarily functional. However, like Leach, for most of his career he retained a utilitarian form (the ‘vessel’) as the basis of his artworks.
Leach saw
References: http://www.australianceramics.com/DEC03/index_newc.html?newc_gall.html~main. (Retrieved on 3 July 2010 from http://www.aber.ac.uk/museum/collections/collectingceramics.shtml (Retrieved on 4 July 2010) http://qag.qld.gov.au/collection/contemporary_australian_art/gwyn_hanssen_pigott (Retrieved on 4 July 2010) Bernard Leach in ‘A Potters Book’, 1940, Faber & Faber,London Owen Rye, article in Pottery in Australia, “Tribute to Alan Peascod”, 2007 Owen Rye, ‘Alan Peascod: Richness and Beauty’ – Influences and Dialogues, Faculty of Creative Arts – Papers, 2008 Graham Oldroyd, ‘Alan Peascod: Magician’ - Influences and Dialogues, Faculty of Creative Arts - Papers, 2008 Janet Mansfield, ‘Alan Peascod: Technical Innovator’ - Influences and Dialogues, Faculty of Creative Arts – Papers, 2008 Erica Kritikides, Director of Mossgreen Gallery, Melbourne, 2010 http://www.dhub.org/object/166344&img=66052