If you take a stroll down Russell Street at Inveresk be prepared for a total makeover at the ceramic studio. Originally founded in 1988 by Catharine Batten, Lisa Boyter, Zsolt Faludi, Rudolf Sibrava and Therese van der Aa the pottery operated as Ceramic 5 Studio. Catharine and Therese, the remaining partners, have sold up. Cath Wyllie, Fenwick Makepeace and Jilli Spencer have purchased the studio and premises. It will continue operating as Tin Shed Pottery.
This is an important transformation and is a testament to the health and vigor of ceramic practice in the region. In addition to a change of ownership the premises have been re-clad, the interior re-organized and new tenants seconded to invigorate the practice. The Tasmanian Potters Society (Northern Branch) is moving in, bringing a healthy membership of over 40 clayworkers. Individual spaces are also rented out and shared. Every tenant comes with a rich history

It is important to acknowledge the work of Ceramic 5 Studio. The studio has given access to local schools, adult education, practising artists and potters. The space has been utilized for exhibitions, residencies and workshops. Schools, clubs and tourist groups have been welcomed to tour. Gas and electric kiln access has allowed artists to flex in and out, working on specific commissions and community art projects. The aims have always been to provide working space for artists who would otherwise have given the craft away; to be an access studio for those who work at home and a centre for those seeking knowledge of the art of pottery and other disciplines. Firings are booked and shared and there are many stories centered around the kilns. Against all the rules the frugal potters have filled the studio port-o-kiln to the hilt and slumped glass! Arlene Short, who until now has maintained studio space, cracked one load to find a bad batch of clay melted by flux, oozing and dripping over every shelf. That kiln has so far registered 949 firings and hosted suitable ceremonies for auspicious firings, such as the 500th.

Catharine and Therese are certainly not leaving in total–they both have continuing commission work, making wares for local and national hotels. Therese is now renting space and Catharine will move in and out to work on various projects. The legacy they leave–a working studio, will also continue to work for them and Therese is more than happy for someone else to keep the books. They are also leaving a wonderful archive of meeting minutes with topics ranging from the signing of the original partnership agreement, the fallibility of local clay, changes in management and arrival of a cat, its care and eventual fate. There are albums of photographs, technical information, videos, letters, newspaper cuttings, certificates of appreciation, children’s drawings and postcards. At least sixty artists have accessed the studio and as they have moved on messages have arrived from all over Australia, Asia, Europe, China and Russia. Everything has been kept and images recorded.

Cath Wyllie is keen to acknowledge how studio access has allowed her to work and build up a clientele of outlets for her crystalline glazed wares. Wyllie Creations has operated from the studio for nine years. Cath says access is the key. The new management hopes to continue to offer safe, affordable space for small business or artistic endeavor. Sharing space means access to equipment, promotion and cost savings. All the previous studio development work makes this possible. Personally and professionally she has gained from the knowledge, experience and encouragement of the previous partners.

Fenwick Makepeace is a sculptural handbuilder. TAFE teacher Bernadine Alting recommended the studio where he has rented for two years before taking a partnership share in the new venture. After selling a woodwork business, the studio came along at the right time in his life. Fenwick wants things to continue in the same welcoming way remembering the feeling of belonging and trust from the moment Therese welcomed him and handed over a key. For him this is a generational change and there is a responsibility to continue the good work.

For Jilli Spencer this is one of the biggest decisions in her creative and professional life. The element of nervousness she feels is a very positive energy and a commitment to the long term. Her wheel thrown and functional wares are outletted in Tasmania and interstate, she teaches at the local TAFE and makes her own special combination ceramic and basket forms. Particularly, she hopes this work will continue to evolve and grow in the stable environment of the new partnership.

Other tenants are Steve Hudson, teacher, mouldmaker, and creator of larger sculptural installations; Shirley Bond, wheelthrower and vessel maker inspired by sea and shore and Monika Zechetmayr, mixed media artist with clay work evolved from landscape painting and drawing. Five other ceramists and artists are also joining the pottery as it changes hands.
President of the Potters Society (Northern Branch) Ros Kingston is excited about the move because the membership will be able to learn and be close to professional potters and clay workers. The studio is also geographically close to the TAFE and University, at the Academy of Arts, Inveresk. She hopes the northern branch will liaise with the institutions and also make opportunities to sell and exhibit their work. The society is a grass roots organization that took the proposal from Tin Shed Pottery management, debated, gained consensus and voted to make the move. To enable that to happen, fund-raising started immediately with a cake stall in town. Kick-starting their new home base the group are acquiring finance to replace a tired electric kiln.

Olive Newman, a past office-bearer and long-term member of the society, spoke with me about the forming of the branch. That is another story, because the branch grew out the activities of passionate individuals getting organised. Consequently adult and technical education courses began in the northwest and north of Tasmania. Olive gave up golf for pottery, and speaks about the early days from the perspective of a true romantic. Bea Maddock was her teacher, and truly inspired her. Most of the practitioners and tenants have links with educational institutions, past and present. Reminiscing over lunch she told me the founding members of the branch were thrilled to find clay and life outside the domestic sphere– “they were wonderful times”, (we would)” almost eat the clay” and “have eyes only for clay”. All the original members were productive people–Olive has carved and made furniture, crafted patchwork quilts, leadlight, mosaic, spun wool, knitted and made felt. Working weekends at The Grange in Campbell Town were organized with workshops given by, amongst others, Les Blakeborough, Gwyn Hannsen Pigott, Jim Nelson, Peter Rushforth and the memorable Raku workshop of Shigeo Shiga. There was a lot of cross-fertilization between the three branches and particularly the northwest branch of the Australian Potters Society. The northern branch officially started in the early 1970’s and has survived to bring its working history to Tin Shed Pottery. Most of the practitioners and tenants have links with educational institutions, past and present.

Fast forwarding to 2003, June was a dedicated month for re-organising, moving in, moving out, meeting and making plans. Tip trailers were pillaged. It is so difficult to let go of something that might come in handy later. Wrapping wares and moving home was a wrench for Catharine Batten, but the ceremony of handling all that labor, packing it carefully, labelling and sorting is a kind of salve. There is still a studio to come to for meeting and working in. Business officially re-opened on the 1st July and on the 27th July Tin Shed Pottery hosted an exhibition of past and present members’ work. Re-connecting with so many people focuses on the spirit of a functioning community and business oriented, energised working studio. Different narratives, different people–access for all.