Handmade ceramics

Lauren Bamford

Lauren Bamford creates exclusive pieces in her backyard workshed in Melbourne’s St Kilda East. She has made ceramics for Raph Rashid of Beatbox Kitchen and Taco Truck, and has collaborated with stylists to create tableware for food shoots; her other passion, her “day job”, is food photography. Bamford’s ceramics are stocked by Mr Kitly in Brunswick and Scout House, St Kilda.

Why ceramics?

I had a desire for a long table of beautiful organic, misshapen, creamy plates and bowls for my wedding reception. When I was unable to find them, I decided to make them myself.

What were you doing before and how long have you been making ceramics?

I’m a photographer and I’ve been making ceramics for two years.

How did you fall into this area?

Making ceramics for my wedding was the beginning, but without the technical advice and encouragement of my colleagues I may not have persevered. I was also encouraged by Bree Claffey, the owner of Melbourne ceramics gallery and store Mr Kitly. It was Bree who approached me to make pieces, which set me in the direction of creating functional one-off items.

Describe your work.

Functional tableware with personality. I hand-build everything, so each piece has its own unique characteristics, such as fingerprints and organic shapes. I don’t measure or weigh the raw clay, so when I slice some off and start working, the piece evolves.

Do you have any influential mentors or artists who helped shape your aesthetic?

I admire designers, from jewellers to architects: the work of Natalia Milosz-Piekarska, a master of organic shapes; Nest Architects for creating well thought-out and spacious homes on small blocks; and Groupwork, a collective of young creatives making beautiful everyday items. Also the late Australian artist Grace Crowley, who created compositions and colour palettes I can only dream about.

What is your favourite piece?

It changes, but my favourite oxide is cobalt. I love the vibrant blue and applying it like ink, with big fat brushes, is really enjoyable. I have a real fondness for the “Moon Bowl” shape and the “Dash and Grid” collection.

Karen Morton

Irish-born potter Karen “Kaz” Morton makes ceramics from a Mornington Peninsula studio she shares with printmaker Emma Cleine. Morton works with Husk in Melbourne and Koskela in Sydney, creating exclusive bespoke pieces after lengthy consultations involving drawings and perhaps a master piece. Her work is also stocked at boutiques Australia-wide, including Crate Expectations, Katie Hosking Design, Mushu, Forum House of Cards, Willow and the Bowerbird, Scout Home and Soul, Funky Homes and Inside. She has an exciting project coming up with Sydney-based stylist Megan Morton (no relation) and Space Furniture.

Why ceramics?

I was drawn to clay’s tactility. It’s beautiful but unforgiving and commands respect, with no short cuts allowed. Ceramicists live by kiln prayers. I hold my breath opening the kiln. There have been big disappointments – whole kiln loads ruined by power outages or failed elements. It’s ceramics on the edge.

What were you doing before this and how long have you been making ceramics?

I studied fine art in Dublin, then lived in New Zealand for five years working in a gallery and my studio. When I moved to Australia, my passion for ceramics was reignited teaching kids.

How did you fall into this area?

While teaching I was making pieces to sell at markets. I took a pink bowl to Julia Green of Greenhouse Interiors. She asked what other sizes and colours I could do. My first order was for 20 bowls. That was two years ago. I now work full-time in my studio.

Describe your work.

It’s organic, textural, heartfelt, with a calming palette. I’m influenced by my surroundings. I live in a storybook house in Mount Eliza, among trees and kookaburras.

Do you have any influential mentors or artists in your life who helped shape your aesthetic?

British sculptor Antony Gormley, whose work Field I first saw in the Tate Gallery in London, consisting of 35,000 small terracotta figures. This was so powerful – no gimmicks, just an appreciation and bewilderment of our world.

What is your favourite piece?

A palette plate that I made early this year. I loved it so much, I only made one – and it’s mine. But I’m also very proud of my ceramic and leather pieces, which took nearly four months to develop – the detachable handles were so tricky.

Alison Fraser

Alison Fraser of Slab + Slub works from her studio in Sydney’s leafy Pymble, juggling work and children. She has produced pieces for Pinbone restaurant in Woollahra and is excited about working with chef Federico Zanellato on tableware for his new restaurant LuMi in Pyrmont. Her work is stocked at Small Spaces in Sydney, Mr Kitly in Melbourne and is coming soon to a Poet’s Ode in Hahndorf, South Australia, and Bokeh Gallery in Daylesford, Victoria.

Why ceramics?

I was working in graphic design, but yearned to do something more hands-on and self-directed.

What were you doing before this?

I had been a graphic designer, but when I had children I found kiddies and deadlines don’t mix well.

How did you fall into this area?

My first influence was British ceramicist Lubna Chowdhary, who creates wonderful handmade tiles. She collaborates with a graphic designer and I thought, “I’ll give it a go”. It seemed easy, but

is extremely difficult.

Describe your work.

It is very textured and reflects the organic feel of ’70s pottery. People say my work looks Japanese. This wasn’t a conscious decision, but I went to Japan for the first time last year and saw my philosophies are prevalent there – like leaving mistakes and not oversaucing the pudding.

Do you have any influential mentors or artists in your life who helped shape your aesthetic?

I love the layered works of artist Ian Fairweather with his subdued palettes and visual narratives. In terms of design, I love Jacqueline Fink of Little Dandelion with her wondrous, enormous knits. My mother has been my aesthetic guide, as she did pottery in the ’70s. My teacher, Kwi-Rak Choung, known for his wood-fired work, has given me great direction, advising me to stick to hand-building.

What is your favourite piece out of all the work you have designed?

I’m happy with the slab platters I just push through my roller and leave – they are completely raw, with uneven and organic edges. I only glaze them.

The Fortynine Studio

The Fortynine Studio is made up of a group of young creatives – Ben Elbourne, Harriet Watts, Sarah Spackman, Carly Vickers and Lauren Austin. The collective uses various materials and disciplines, including ceramics, and has just shown a collection of work with The Other Hemisphere at Milan Design Week. Their work Raw is stocked at Jardan in Sydney, Melbourne and Brisbane, while the Flip Flop Slip range is available at Object: Australian Centre for Design, and Relax Homewares pop-up stores.

Why ceramics?

We were asked to make tableware for Bill Granger’s cookbook Easy and haven’t looked back, explains Harriet Watts. The work struck a chord with people, so we developed and refined the pieces to create our Flip Flop Slip range.

Describe your work.

Our work is often driven by materiality, concept and narrative beyond the objects themselves, so our aesthetic comes from the design process. This comes from our deep love for and exploration of materials and textures.

Do you have any influential mentors or artists?

The support and guidance from ceramicists such as Jacqueline Clayton, Paul Davis and Rod Bamford have given us confidence to trust ourselves. We admire people such as Grace Cochran and Brian Parkes who design and craft in a meaningful way. Sarah King, who runs The Other Hemisphere, also isn’t shy about promoting good Australian design internationally.

What is your favourite piece?

Collectively, our favourite is the pasta plate we make as part of the Flip Flop Slip range. We have sets of them at home; they’re a really nice size and shape for food.

Bridget Bodenham

Ceramicist Bridget Bodenham makes unique pieces from her studio in a shipping container on a property in Hepburn Springs, Victoria. When she works at her wheel, she enjoys bush views and can keep an eye on her vegetable patch and chooks. Bodenham produces organic, almost prehistoric-looking pieces, often adding a touch of glam: fat gold handles on coffee cups, for example. She is currently collaborating with local chef Gary Thomas and has worked with cook Belle Gibson creating pieces to complement the food in her new book. Bodenham’s work is stocked by Mr Kitly, Potier, Mr Sparrow, Lunar Store and Nook.

Why ceramics?

I was encouraged in secondary school; clay was calming but at the same time exciting. I vividly remember my family’s curiosity when I unpacked my school bag with functional pieces. I saw the interest and enjoyment from using these pieces and thought it would be great to do this full-time.

How long have you been making ceramics?

I went to art school after leaving high school, so I’ve been making ceramics for 10 years.

How did you fall into this area?

I have been addicted to making ceramics since high school.

Describe your work.

It’s functional sculpture that is earthy and elegant.

Do you have any influential mentors or artists who helped shape your aesthetic?

My dad was a painter, potter, bronze artist, etcher and sculptor and my mum is a painter and amazing creator. My father showed me how to see form and my mother is constantly engaged in my craft. My teacher Neville French taught me to work with clay.

What is your favourite piece?

The pieces that are used for food preparation like the mortar and pestle. Also the small “Treasure” cups that have gold handles; they force intimacy with the object.