Each year the members of the Inner City Clayworkers invite graduating students who might like to apply for Gallery Experience. These students complete a form and present their work at a special meeting at the Gallery. The Gallery members then vote on the basis of the work, presentation, enthusiasm and the general ability to take on the work required to help run the Gallery. Those selectedd are then offered the opportunity to experience all that it takes to be involved in the Clayworkers Gallery for twelve months. After this time they may apply for fullmembership. The number chosen depends on the number of permanent members occupying the space.
This year, 2010, we have three Gallery Experience members, who will exhibit throughout the year and have their own group exhibition which will be from
Thurs 3 June l - Sun 27 June

Ray Stevenson


All of my work is made from Southern Ice Porcelain. This Australian-produced clay fires to a beautiful white in both reduction and oxidation and is translucent when held to the light, particularly if it has been thrown thinly. My forms are sometimes decorated before bisque by applying shellac and washing away a layer of clay. The resulting patterns show because of the variations in translucency of the different thicknesses of clay. Most pieces are fired in oxidation and the form remains a bright white. I have been concentrating on making bowls lately. The patterns on them reflect ideas about clouds in the sky or wave lines and other patterns found on beaches and the wider landscape. The bowls are most often glazed on the inside with copper in oxidation, giving the green/blue colouring. In 2004 I began studying Ceramics at Hornsby TAFE, enrolling in Certificate III and last year I completed my Diploma in Ceramics. I wish to thank the teachers at Hornsby TAFE who were a very professional group, highly experienced, extremely helpful, inspirational and best of all, a lot of fun to work with.

Jill Klopfer

Rock formations of the desert gave me the initial inspiration for my work. The colours of the rocks, although intrinsic to the overall effect, were not the cause of my excitement - rather it was the way in which nature had taken the different coloured layers, and with a time-span that was unfathomable to me, had fashioned them into the fine patterns that I encountered, and which held me in awe. Throughout their formation, the rocks had kept the layered ‘imprint’ of geological history. In places these layers appeared to be so very fine, that some unseen ‘magic’ could have kept them from forming one congealed mass of colour and pattern. The excitement for me, in working with the thrown and hand built layering technique, is the mystery of the resulting finely layered effect. How will the throwing and turning process reveal the ultimate linear patterns in the pot, and bring out the hidden, unrepeatable striations, and random spiral effects, which decide the finished look. The different layers (upwards of 200 at times) will ‘organise’ themselves during the making of the vessel, and, as I cannot predict the outcome, the result never ceases to fill me with wonder. My work is in fine white porcelain, tinted with stains.









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