Ceramics is an art form that has become an integral part of Ernabella Arts activities. Whilst only a relatively recent activity (4-5 years), the 2005 conversion of the old screen printing studio has meant that Ceramics has evolved quickly from sporadic workshops, painting pots that others have made to the formation of a complete studio of making, decorating and firing all undertaken by local people.

It is hoped that in the not too distant future the Ceramics unit will be economically, socially and culturally sustainable with local people controlling all areas of production and eventually management, thus making it an enterprise that is so much more than artwork.

Click here to view the artwork in the gallery

Prior to the establishment of the present studio, the women of Ernabella Arts had some two years of part time ceramics experiences based on support from Adelaide. Early projects consisted of collaborative works with Robyn Best and the Jam Factory and later Peter Ward became the first onsite technician to support the women in their initial ceramic explorations.

These activities revealed a strong response to stunning virtuosity of batik techniques on pots, sgraffito and painted underglaze decoration with acclaimed exhibitions in Adelaide.

In April 2005, Geoff Crispin, a Potter from Grafton in NSW, was asked to assess the situation and with consultation with the women try to find a way forward for ceramics that was less dependant on permanent outside management and technical support. Together with the artists and manager, he formulated a plan that would allow a sustainable economic outcome based on a framework provided by initial business plan. Funding was sought for equipment to allow the changeover to local people producing the pots themselves rather than having them supplied by someone else.

Geoff returned in June and July to organise and install the basic equipment, and then at the end of August came to Ernabella to commence a 12 month stint to facilitate the change. This included assisting people to develop a sense of ownership of all areas of the making process and set up foundations that will eventually lead to the taking over of roles in administration and marketing of their ceramics.

Originally the women were going to make all the pots themselves. They however, decided that they wanted to encourage young men to work in ceramics. They could see an opportunity to get the men involved as job opportunities are limited in Ernabella.

These changes required the women make the decision to allow it to happen and the young men had to overcome cultural/socially accepted practice and start working in women’s art centre.

Change is always difficult and it takes some time to accept and integrate those aspects that are relevant, useful and culturally appropriate.

On a practical level the making processes were revamped to reduce dependence on technology and produce shapes that the women wanted to use as a platform for their decorative skills.

There are two main decorative techniques being used:
Carving and scraffitto through coloured slips/engobes to a terra cotta clay body. Initially this was using only one colour on each piece but this is beginning to change as confidence grows with the use of the technique.

The second method is utilising the batik techniques that have been used for many years at Ernabella. A combination of wax and coloured slips is applied to either bisque or raw and dry pots. This produces intricate pattination of slips and clay body.

These two decorative techniques provide very different outcomes with the scraffitto giving a sharp hard edged graphic outcome whilst the batik technique gives rise to a softer more fluid outcome. Some women are skilled in the batik style whilst others are stronger with the scaffitto style of work. Whatever their strengths, there is no doubt each artist possesses an individual ceramic decorative style ensuring that each piece. These individual styles vary from tradition representations to personal “walka” or individual designs based on a personal idiom. Some of the older women are utilising traditional motifs based on stories and cultural learning; adapting these into a three dimensional format. The result is each piece being incredibly individual and unique, rather than having a workshop style or design production conformity.

The system of the young men making the pots, glazing and firing the kiln with the women decorating the pieces has been successful to date. The men are providing the physical strength to do the heavier work especially making the larger pieces. The women are utlising their considerable artistic skills built up over many years and across a number of genres. Both are contributing to the fired work.

Early works were well received with some artists work winning prizes and some pieces collected by major public galleries.

Ernabella Arts took part in the Remote Aboriginal Communities Ceramic Exhibition as part of the National Ceramics Conference in Brisbane in July 2006 in conjunction with the two ceramic centres on the Tiwi Islands in the Northern Territory, with many pieces selling to major institutions throughout Australia. The Jam Factory in Adelaide then hosted another successful exhibition in Dec 2006/January 2007.

In 2008 Ernabella Ceramics will feature in exhibitions in Adelaide, Darwin, Melbourne, Sydney, Italy and Chicago. Ernabella Ceramics are available through several galleries in various Australian capital cities – WA - Indigenart, Perth; SA - Flinders University Art Museum City Gallery, Adelaide, JamFactory, Adelaide, Ruwi Art, Clare; NT – Nomad Art, Darwin, Framed Gallery, Darwin, Gallery Gondwana, Alice Springs; VIC – Australia Dreaming Art, Melbourne. There will soon be stockists in Sydney, Hobart, regional Victoria and Brisbane.