Christine Ball is holding an exhibition of recent work entitled Christine Ball | Pattern Maker at the Maitland Regional Gallery from 29 May – 18 July 2010, opening 3:00 pm Sunday 30 May.
These three bottles with chun over tenmoku glazes are examples of recent work by Christine Ball. We bought them last year on the way back from a trip to Brisbane. Made using resist techniques, the patterns on the two cylindrical bottles are like shell accretions, oceanic in nature, while those on the spherical bottle are like contours, with the muted colours set off by the white of the clay in all three examples.
Ball lives and works in Uralla, about 24 kilometres south of Armidale. She has a shopfront on the main street – the Barking Dog Gallery – where she also operates a framing service and sells posters and old frames. Her workshop is just behind the gallery, within hearing distance of the door bell, so that she can be throwing, decorating or firing pieces in between customers.
When we first stepped into the gallery, we thought for a moment that we were looking at the work of many different potters but, apart from some pieces by Geoff Crispin, all of the pottery on display was Ball’s. After years of making a living as a potter, she is taking time to please herself by experimenting with different clays, glazes and techniques.
She began potting full-time in 1975, after obtaining a Preliminary Diploma of Art at Seaforth TAFE in 1971 and a Ceramics Certificate at East Sydney Technical College in 1972-73, then spending a year with Derek Smith at his Beecroft Pottery in 1974. She set up her first pottery at Wheeler Heights using a workshop grant from the Australia Council and, at that time began teaching part-time at Brookvale TAFE. She moved to Myoora Road, Terrey Hills , in 1978, and in 1981 moved again, this time to Uralla, where she opened the Myoora Pottery Craft Shop, renamed the Barking Dog Gallery in 1993.
The influence of Derek Smith, who was one of her teachers at ESTC as well as her mentor at Beecroft, can be seen in early works like this one, which play with geometric forms and dry glazes. In fact, for a while I mistook the ‘cb’ mark which Ball used from 1972-1978 for a similar mark used by Smith at Beecroft, illustrated in Geoff Ford’s Encyclopedia of Australian Potters’ Marks. It has only been quite recently, with Ball’s help, that I have sorted out the two marks. Realising how difficult it is to identify and date early works, Ball has published a card with descriptions of the marks she has used over the years:
Ball is an exhibiting member of the Society of Arts and Crafts of NSW and also has entries in the 1982-1988 potters’ directories. Like many potters, she is a collector herself, with a house full of examples of her own work and pieces made by colleagues and former students.
This 15 cm high vessel with front opening has been made by combining two half circles. It may have been intended for use as a salt pig. If so, it is certainly the nicest salt pig I have ever seen. The unglazed white stoneware clay has been incised in horizontal rings on the outside and stained with oxides. The precision of the spherical form makes it recognisable as the work of Derek Smith. The Blackfriars Pottery ‘BP’ impressed seal on the top dates it to the period 1977-1983 as does the stamp on the side.
Smith trained as a ceramic designer and art teacher in England and worked in pottery studios and the ceramic industry before coming to Australia in 1956. Over the next sixteen years he taught at art schools in Hobart and Sydney as well as setting up his own kilns and studios at Bowral, NSW (1958-1962), Hobart (1962-1964) and Beecroft, NSW (1965-1972). Then in 1973 he was invited to establish and manage a pottery studio within the Doulton Australia factory at Chatswood, NSW.
This small jug stamped ‘Doulton Studio Australia’ is quite different from other outputs of the factory such as the jug on the right from the Grecian key range. In an article in Pottery in Australia (Vol. 13, No. 2, Spring 1974, pp. 4-9) Smith describes how this new venture came about, defends his use of the jolley machine and moulds to increase efficiency and speaks about his ideas for future development of the studio.
Peter Rushforth, reviewing an exhibition of the studio’s work in 1975, saw Smith’s training as a designer equipping him to take on this challenge (Pottery in Australia, Vol. 14, No. 2, Spring 1975, p. 61). Potters with a more romantic approach to throwing as part of the creative process might have found it harder to establish a studio in an industrial plant.
For whatever reason, Smith did not stay long at Doulton. He left in 1976 to set up the Blackfriars Pottery in Chippendale, an inner Sydney suburb. The Powerhouse Museum, which purchased four discoid forms in 1976 observed that Blackfriars had became the largest of its kind in Australia. From this I am assuming that he took some of his production methods with him to the new pottery. Certainly many of the works now coming up for auction by Derek Smith are from this period.
In 1984 he moved back to Tasmania and set up a studio at ‘Oakwood’ Mangalore. Here he kept a lower profile, emerging from time to time with a new collection of pieces for exhibition. We bought this spherical box from a gallery in Battery Point, Hobart, in the early 1990s. It has the impressed DS mark used for work from this period.
In 2001, Despard Gallery took a selection of his work to the SOFA exposition in Chicago. Subsequently, Smith spent four years living and working in Italy. He was back in Tasmania by 2006 when he held an exhibition at the Handmark Gallery in Hobart. Both of these exhibitions showcased his increasing use of rich burnished colours and metallic glazes.
By contrast, this small semi-cylindrical wall piece with iron-grey textured decoration which we bought from the Handmark Gallery earlier this year shows a return to a muted palette and textured surface.
A definitive book has yet to be published on Smith. Hood and Garnsey (Australian Pottery, pp. 152-153 and plates 114-120) assess his work up until 1972, finding his textured surfaces “a necessary foil to the severity of his forms”. Nine Artist Potters, (Littlemore and Carlstrom, 1973, pp. 90-105) includes an interesting potter’s statement. Janet Mansfield (A Collector’s Guide to Modern Australian Ceramics, 1988, pp. 21-23) classes his work with that of Gwyn Hanssen Pigott, Les Blakebrough, Victor Greenaway, Mansfield herself, Greg Daly, Joan Campbell and Owen Rye as genuine examples of the potter’s art.
His work is fairly easy to identify from the style and/or marks. Geoff Ford (Encyclopedia of Australian Potters’ Marks, pp. 203-204) lists the eleven marks that Smith has used over the years. These mostly consist of his name or initials in various forms. The ones to watch out for when dating early pieces are a T in a circle from his early years in Tasmania and this one, representing twin kilns with a shared chimney, which he used at Beecroft.
The early works of Christine Ball, who trained at Beecroft in 1974, and also experimented with dry glazes and geometric forms, have their own distinctive ‘cb’ impressed seal.