WFC An International Collection of Wood-fired and Sculptural Ceramics 薪窯陶芸と彫刻陶芸 インターナショナル・コレクション Een Internationale Collectie van Houtgestookte en Beeldhouwtechnieken Keramiek Une Collection Internationale du Feu de Bois et Céramique Sculptural ????????????
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Chester Nealie
Gulgong, New South Wales Australia
I began my life as a wood-fire potter in 1964 after instruction from Shoji Hamada, Takeichi Kawai and Michael Cardew in my native New Zealand. Although my pots have a basic classical form, their individuality is present in the freedom and joy in hand making combined with the magical spontaneity of flame, showing the effects on raw clay surfaces of prolonged firing at high temperatures in my anagama kiln.
I built my first anagama type kiln at my country home in New Zealand, and have built many since that time. The most recent is at on our 100 hectare property near Gulgong, NSW. All the wood I use in firing are Australian natives and come from the property, including Black Cypress.
My work begins as classically inspired vessels, but is altered in the making to produce an irregular profile, redefining classical proportions. As products of a wood-fired kiln the work evokes the prodigious sensibility of pottery making and the aesthetics of historical wood-fired ceramics. Uncluttered by tradition I have the freedom to explore the fired surfaces, creating a visual interpretation of natural phenomena in my environment.
My love of collecting evidence of both man-made and natural history is important to me and my work. Digging up old bottles, collecting scraps of weathered driftwood from the mangrove swamps or absorbing visual delights in fossils and artefacts in mucky museums are often stimuli behind my work. My shapes are a synthesis of an emotional link I feel with past objects and the accidental play with clay in its making. I like to use a slow turning Leach style kick-wheel with a minimum of water so that all the honest marks of the making remain to be seen.
April 2006
I built my first anagama type kiln at my country home in New Zealand, and have built many since that time. The most recent is at on our 100 hectare property near Gulgong, NSW. All the wood I use in firing are Australian natives and come from the property, including Black Cypress.
My work begins as classically inspired vessels, but is altered in the making to produce an irregular profile, redefining classical proportions. As products of a wood-fired kiln the work evokes the prodigious sensibility of pottery making and the aesthetics of historical wood-fired ceramics. Uncluttered by tradition I have the freedom to explore the fired surfaces, creating a visual interpretation of natural phenomena in my environment.
My love of collecting evidence of both man-made and natural history is important to me and my work. Digging up old bottles, collecting scraps of weathered driftwood from the mangrove swamps or absorbing visual delights in fossils and artefacts in mucky museums are often stimuli behind my work. My shapes are a synthesis of an emotional link I feel with past objects and the accidental play with clay in its making. I like to use a slow turning Leach style kick-wheel with a minimum of water so that all the honest marks of the making remain to be seen.
April 2006
Chester Nealie
Gulgong, New South Wales Australia
I began my life as a wood-fire potter in 1964 after instruction from Shoji Hamada, Takeichi Kawai and Michael Cardew in my native New Zealand. Although my pots have a basic classical form, their individuality is present in the freedom and joy in hand making combined with the magical spontaneity of flame, showing the effects on raw clay surfaces of prolonged firing at high temperatures in my anagama kiln.
I built my first anagama type kiln at my country home in New Zealand, and have built many since that time. The most recent is at on our 100 hectare property near Gulgong, NSW. All the wood I use in firing are Australian natives and come from the property, including Black Cypress.
My work begins as classically inspired vessels, but is altered in the making to produce an irregular profile, redefining classical proportions. As products of a wood-fired kiln the work evokes the prodigious sensibility of pottery making and the aesthetics of historical wood-fired ceramics. Uncluttered by tradition I have the freedom to explore the fired surfaces, creating a visual interpretation of natural phenomena in my environment.
My love of collecting evidence of both man-made and natural history is important to me and my work. Digging up old bottles, collecting scraps of weathered driftwood from the mangrove swamps or absorbing visual delights in fossils and artefacts in mucky museums are often stimuli behind my work. My shapes are a synthesis of an emotional link I feel with past objects and the accidental play with clay in its making. I like to use a slow turning Leach style kick-wheel with a minimum of water so that all the honest marks of the making remain to be seen.
April 2006
I built my first anagama type kiln at my country home in New Zealand, and have built many since that time. The most recent is at on our 100 hectare property near Gulgong, NSW. All the wood I use in firing are Australian natives and come from the property, including Black Cypress.
My work begins as classically inspired vessels, but is altered in the making to produce an irregular profile, redefining classical proportions. As products of a wood-fired kiln the work evokes the prodigious sensibility of pottery making and the aesthetics of historical wood-fired ceramics. Uncluttered by tradition I have the freedom to explore the fired surfaces, creating a visual interpretation of natural phenomena in my environment.
My love of collecting evidence of both man-made and natural history is important to me and my work. Digging up old bottles, collecting scraps of weathered driftwood from the mangrove swamps or absorbing visual delights in fossils and artefacts in mucky museums are often stimuli behind my work. My shapes are a synthesis of an emotional link I feel with past objects and the accidental play with clay in its making. I like to use a slow turning Leach style kick-wheel with a minimum of water so that all the honest marks of the making remain to be seen.
April 2006
Keywords: chester nealie
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