Meeting Date: 26 September 2023
Meeting Time: 7.00pm
Location: Council Chamber, Civic Centre 699 Doncaster Road, Doncaster.
Council meeting livestream
During the meeting, Mayor Cr Diamante read out a statement attributed to the Woi-wurrung Cultural Heritage Aboriginal Corporation. The Statement was taken from a social media page administered by the Corporation.
After the Council meeting, we were advised that the Woi-wurrung Cultural Heritage Aboriginal Corporation may update this statement. The Statement is therefore not included on Council’s website as stated by the Mayor.
Timestamps
Timecode | Item |
---|---|
5. PRESENTATIONS | |
05:26 | 5.1 Acknowledgement of Ryan Smith |
14:51 | 5.2 Staff Service Awards |
17:54 | PUBLIC QUESTION TIME |
11. CONNECTED COMMUNITIES | |
30:40 | 11.1 Advisory Committees Membership Recruitment for 2024 |
35:28 | 11.2 Manningham Economic Development Strategy for 2023-2028 (Final) |
13. EXPERIENCE AND CAPABILITY | |
43:20 | 13.1 Manningham Quarterly Report, Quarter 4 (April - June), 2022/23 |
14. CHIEF EXECUTIVE OFFICER | |
52:19 | 14.1 Audit and Risk Committee Chair's Biannual Report |
57:00 | 14.2 Informal Meetings of Councillors |
58:00 | 14.3 Documents for Sealing |
58:52 | 16. COUNCILLORS REPORTS AND QUESTION TIME |
01:15:53 | 17. CONFIDENTIAL REPORTS |
Get involved at our next council meeting
Petty’s Orchard is beautifully positioned along the Yarra River, and one of Melbourne’s oldest commercial orchards.
The orchard harvests over 200 different types of apples, pears and nuts. There are also several wetland areas throughout the orchard and an old packing shed which displays the history of Petty’s Orchard. In 1853 Thomas Petty arrived in Australia from England and selected land in the Doncaster and Templestowe area.
The Petty Family continued to manage the Orchard until 1981 when Parks Victoria purchased the property.
Location:
1 Homestead Road, Templestowe VIC 3106. Melway ref. 22 A12
Hours of entry:
The organic store is open Friday and Saturday 9.00am to 5.30pm and also by appointment. Open for school tours.
Visit Yarra Organics @ Petty's Orchard, Organic Shop and Cafe.
Open Fridays and Saturdays 9:00am to 5:30pm, and Sundays 10:00am to 4:30pm.
For further information:
The Heritage Fruits Society is a not-for-profit group based in Melbourne, Australia. Their aim is to conserve and study heritage fruit varieties (also known as 'heirloom fruits') on private and public land.
One of Australia’s most important national occasions, ANZAC Day goes beyond the anniversary of the landing at Gallipoli in 1915. It is the day in which we remember all Australians who served and died in all wars and operational service past and present. Come along and mark the day at one of the RSL services in Manningham.
- 8.15 am: March
Prior to the ANZAC service a march will commence at the Templestowe Hotel car park.
- 8.30 am: Service
Templestowe RSL will hold an ANZAC service followed by a Gunfire Breakfast at the clubhouse at the conclusion of the service.
Ramak Bamzar, a Melbourne-based Iranian photographer, blends art historical influences with a meticulous focus on colour, texture, and lighting. Her work explores themes of gender identity, geographical determinism, culture, and environment, all characterised by thoughtful compositions.
In these striking works, the Moustachioed Women and Rhinoplastic Girls from Bamzar’s 2022 series burst out of their imprisoning frames to capture a moment in the ongoing struggle, intertwining with the essence of Iranian culture and heritage. Through the integration of poetic motifs, epic themes, and historical allusions, the images go beyond mere documentation, offering a profound insight into the resilience and determination of Iranian women.
The Vigil – Crying for a Man I Never Met, 2022. Ramak Bamzar. Image courtesy of the Artist.
One of Australia’s most important national occasions, ANZAC Day goes beyond the anniversary of the landing at Gallipoli in 1915. It is the day in which we remember all Australians who served and died in all wars and operational service past and present. Come along and mark the day at one of the RSL services in Manningham.
- 10.30am: March
Prior to the ANZAC service a march will commence in Yarra Street.
- 10.45am: Service
Warrandyte RSL will hold an ANZAC service at the conclusion of the march noted above. Refreshments and morning tea will be available in the club following the service. Limited reserved seating is available on the club balcony for those unable to stand for the service. Doors open from 10.00am.
Phone 0481 307 696 to reserve seating
Explore Manningham's local environment with 20 self-guided walking brochures that showcase the municipality's wealth of natural, historic, cultural and environmental assets.
Offering walks from Bulleen to Wonga Park and everywhere in between, the guides include detailed maps, as well as interesting and informative notes to enhance your walking experience.
Meeting Date: 22 November 2022
Meeting Time: 7.00pm
Location: Council Chamber, Civic Centre 699 Doncaster Road, Doncaster.
Council meeting livestream
Timestamps
Timecode | Item |
---|---|
02:48 | 2. APOLOGIES AND REQUESTS FOR LEAVE OF ABSENCE |
04:05 | 7. PUBLIC QUESTION TIME |
10. CITY PLANNING | |
12:43 | 10.1 Sunset of the Open Space (OSSAC), Heritage (HAC) and Liveability Innovation Technology (LIT) Advisory Committees (Page 3) |
11. CONNECTED COMMUNITIES | |
28:10 | 11.1 Whitehorse Manningham Library Annual Report 2021-2022 (Page 29) |
36:00 | 11.2 Melbourne East Regional Sport and Recreation Strategy (Page 83) |
13. EXPERIENCE AND CAPABILITY | |
41:56 | 13.1 Manningham Quarterly Report, Quarter 1 (July - September), 2022 (Page 198) |
14. CHIEF EXECUTIVE OFFICER (Page 219) | |
51:00 | Informal Meetings of Councillors (Page 219) |
52:06 | 16. COUNCILLORS REPORTS AND QUESTION TIME |
17. CONFIDENTIAL REPORTS |
Join Scott Hitchins as he returns to the Strathdon kitchen to create some of our, soon to be hot favourite, comfort dishes.
With a focus on low waste cooking, Scott will teach participants the techniques to create delicious winter warmers using every bit of what you grow or buy.
The focus in this session will be on using vegetables from the garden and an overview for slow style cooking that you can try at home.
You will be provided with a sample of what is cooked on the day and digital notes to try some of Scott’s recipes at home.
What to wear: Suitable clothing for getting your hands dirty in the kitchen and closed toe shoes.
What to bring: an apron (optional)
Who: Adults or teens
About Scott
Scott Hitchins has been working with sustainable, food-producing gardens for most of his life.
He has qualifications in biological science, permaculture design, education, and is a founding member of Werribee Park Heritage Orchard.
Scott has been providing popular workshops and garden-design advice to local councils, schools, and other community groups for many years.
He presents useful facts and skills in a fun and engaging manner. To quote Scott in a recent interview “Get me talking about sustainable gardening and you’ll never shut me up.”
Come and see this photo exhibition and learn about how Warrandyte Stone has been used in the town's walls, memorials, houses, and buildings.
Don't miss the accompanying Foundation Stone Talk by the master stonemason, James Charlwood.
Foundation Stone Talk with James Charlwood
The talk will be at 2:00 pm on Sunday, 15 May in the Federation Room at the Grand Hotel Warrandyte.
If you would like to attend, please contact the Warrandyte Historical Society to reserve your place.
The Warrandyte Historical Society are running this event.
The role of Council policies is to clearly state our position on a range of matters affecting the community. These policies assist us in our decision making and provide guidance to Council officers.
Child Safe policy
Our commitment to building a culture of child safety recognises that Manningham Council will prioritise the safety of children in our care and will build child safety into everyday practice.
Procurement Policy
Find out more about Manningham’s procurement policy. We’re always looking for suppliers who practice fairness and are technologically innovative.
Meeting Date: 29 September 2015
Meeting Time: 7.00pm
Location: Council Chamber, 699 Doncaster Road, Doncaster
View and download the full Council Agenda below. A clearer version of the Attachments can be viewed separately by clicking on the item below.
- Variation of Lease between Council and Manningham Community Health Services Limited - Attachment27.19 KBdownload
- Planning Application PL14 024694 175-179 Blackburn Road and 37 Churchill Street, Doncaster East - Approved plans21.16 MBdownload
- Planning Application PL14 024694 175-179 Blackburn Road and 37 Churchill Street, Doncaster East - Report625.84 KBdownload
- Planning Application PL14 024726 200-204 Foote Street, Templestowe - Approved plans46.29 MBdownload
Before embarking on building, renovating, tree removal/lopping or any other works, it is important to ascertain whether you require a permit.
Why do you need to get planning and building approval?
Planning permits and building permits serve different purposes.
A planning permit is required to ensure that your project complies with the relevant zoning and overlay controls applicable to your property and to ensure that your project considers its impact on the surrounding area with respect to character, built form and materials, surrounding neighbours, traffic, environmental impacts and community need.
A building permit focuses on the technical aspects of construction and safety ensuring that your project complies with the relevant building codes and regulations.
Links to the relevant controls are:
What types of projects need a permit?
Here are some common projects that need approval - contact us even if your project is not listed here:
- multi-dwelling developments and apartments
- construction of a new single dwelling or dwelling extension
- buildings and works, including some internal changes to a building
- demolition/partial demolition and new works to buildings in a Heritage Overlay
- garages, carports, sheds, pergolas, decks, verandahs
- removing trees and vegetation
- new land uses such as a childcare centre, medical centre etc...
- earthworks
- Septic tanks
- tennis courts
- swimming pools and spas
- fencing
- business identification signage on a building or property
- subdivision of land
- covenant removal/variations
- liquor license for a restaurant/cafe
- consent for any works or tree removal and the like if your land has a Section 173 agreement.
- tables and chairs and/or signage on the footpath
- asset protection
You have a dream project - where to start
New to building or renovation?
For advice on all things renovation and construction, visit the Victorian Building Authority (VBA).
Every dream project is different with its own needs and challenges. Here are the steps to give you a rough guide on the process, timeframes and costs when starting any project.
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Contact us to discuss your project with us to confirm if you need a planning permit
You can also view:
- Apply for a planning property enquiry
- Apply for pre-application advice
- Learn about the planning permit process
If you don't need a planning permit you can proceed straight to building permit
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If we confirm that you need a planning permit, start the application
After you apply you can also -
Get a building permit before you start construction
We do not issue building permits so you will need to contact a building surveyor to organise a building permit.You will need the permit to ensure what you're hoping to construct or change is done right and to building code standards.
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Apply for any other permits you need before you start works
You may need permits for connecting to infrastructure, protection of public assets and more. Often you will find out which permits you need throughout the process, so it is always best to discuss your plans with us or industry professionals.
Some common permits include:
Hoping to build sustainably?
We've created a list of resources to help you build a sustainable, energy-efficient home or commercial building.
View resources
Home Harvest Manningham is a monthly home gardening seminar series that will teach you how to grow your own delicious fresh food at home.
Want to be able to garden without spending a fortune? Maria Ciavarella from My Green Garden will show you how to utilise things you already have to garden and save money.
During this seminar you will discover innovative ways to create a sustainable garden without breaking the bank. Maria will share tips and tricks to help you save money while still achieving a beautiful and eco-friendly garden.
This session will cover how to:
- repurpose everyday items
- recycle organic waste
- make the most of your garden space.
Whether you're a seasoned gardener or just starting out, this event is perfect for anyone looking to embrace sustainable practices and save money in the process.
As a special treat, all attendees will participate in a tomato seeding activity with a heritage or heirloom seed variety from the Bulleen Art and Garden range.
The community food, seed and garden swap takes place at 6.45pm, 15 minutes before each session.
Registration is recommended but not required.
This event is part of our Inspired Living Series. This series showcases an exciting range of fun and sustainable activities and events for all ages, supporting sustainability at home, in the community and at work.
Subscribe to our Environment Newsletter
Keep up to date with our latest environment and sustainability events.
We are committed to building a better Manningham that works for all. Find information that will help you with your works – no matter how big or small your renovation or building project.
Your building and planning projects
Everything you need for your building, planning, construction and renovation projects.
View planning application portal
View all planning applications on our planning applications portal. You can view details of lodged applications such as the location of proposed land development or use and the outcome of any assessment of an application.
Rates and valuations
View the available options to learn more about your property rates and valuations.
Key projects
Take a look at the capital works programs we are currently undertaking.
The Community Grant program supports and empowers community groups and organisations to deliver programs and activities for our community in Manningham.
We are committed to developing and fostering partnerships with not-for-profit groups and organisations whose work enriches the municipality and is consistent with our vision.
Grant opportunities
Funding opportunities
Apply for assistance to preserve your bushland
These grants are designed to help property owners with land care education, land stewardship, pest and animal control and ecological improvement works.
Check out all the things you can do - from exploring our nature, looking for fun activities or learning new skills. ...
Check out all the things you can do - from exploring our nature, looking for fun activities or learning new skills.
Discover places and spaces
Whatever your experience, our places and programs will help you explore Manningham and a variety of contemporary art and recreational choices in fun and engaging ways.
Discover Aquarena
The Aquarena Aquatic and Leisure Centre is one of the largest recreation and aquatic facilities in Victoria.
Resources to help you run your sport and recreation club
Whether you are looking to improve your club operations or increase participation - you can find useful information and templates to get you started.
Discover arts, crafts and theatre
We have a vibrant arts and cultural scene for you to explore. With a proud history in visual arts, Arts Manningham is home to renowned painters, ceramicists and mid-twentieth century artists.
Find your local
Get to know our municipality through our local businesses.
Looking for a grant to fund an upcoming project?
View our range of grants available to assist your community group, club or arts practice.
Connecting our community through new facility construction is one of the ways we’re building a better Manningham.
As part of our 2024/25 Capital Works Program, we’re building a new community facility at Rieschiecks Reserve.
The new modular building will be used by the Doncaster Templestowe Historical Society and other community groups.
The Visitor Centre will include:
- an exhibition space
- a meeting room
- offices
- public toilets
- kitchen
- an accessible path to Schramms Cottage.
Featuring an environmentally sustainable design, this building will create a welcoming interface to the Schramms Cottage Museum Complex.
Where is it?
The Visitor Centre will be built at Rieschiecks Reserve, between Schramm’s Cottage and the 1st Doncaster East Scout Hall, Doncaster East.
When will the works happen?
We’re delivering this project as part of our 2024/25 Capital Works Program.
Construction will likely begin in early September 2024 and be completed by mid 2025.
This schedule is subject to weather conditions and third-party approvals.
How will the works affect me?
The works will take place on weekdays during the hours of 7.00am and 5.00pm. There may be some construction noise and minor traffic delays on Victoria Street, between George Street and Owens Street.
Construction will require sections of the footpath to be closed and reduced parking will available at the Schramms Cottage Museum Complex and the 1st Doncaster East Scout Hall. We will have traffic management and signage on site to guide you through the area.
We appreciate your patience and understanding while we work to improve the footpath connections in your area.
Questions?
If you have any questions about these works, contact us.
We advocate for you
Advocacy is an important way for us to provide a voice for the community on issues that matter. This is an essential role of local government.
We are advocating to influence state and federal governments to fund important priority projects around planning, transport, infrastructure and services.
Bus Rapid Transit (BRT)
Manningham is the only municipality in metropolitan Melbourne not serviced by either a tram or train. Therefore, our buses are crucial to how our residents move around.
The Doncaster corridor Bus Rapid Transit (BRT) proposal is Council's public transport priority, as it can provide Manningham residents with a direct mass transit public transport connection to the CBD at a cost-effective and shorter timeframe.
Jumping Creek Road in Wonga Park
Jumping Creek Road Wonga Park is in a unique and environmentally sensitive area. The road is being upgraded to improve safety for all users, including motorists, cyclists and pedestrians, whilst also protecting our wildlife and vegetation.
The works are expected to cost up to $21 million over the project life. This is a significant burden for the Manningham community, and we seek contributions from all levels of government to enable this project to proceed.
5 Ways intersection
5 Ways is a complex staggered intersection on State controlled arterial roads in Warrandyte South that experiences significant congestion and has a poor safety performance.
This intersection experiences significant congestion and has a poor safety performance, with one serious injury, and five other injury crashes in the past five years.
Other advocacy issues
The North East Link project
The North East Link is Victoria's largest road project. The needs of our community and surrounding environment must be considered, before, during and after construction.
Suburban Rail Loop
We're advocating for a Doncaster Station to be included in the first phase of construction of the Suburban Rail Loop.
Youth mental health
We are seeking increased local access to youth mental health services in Manningham. We support the delivery of a headspace facility to meet demand and create meaningful impacts.
We welcome the announcement of funding for a service and will continue to advocate for local delivery.
Affordable housing
The Eastern Affordable Housing Alliance (EAHA) is a formal collaboration of six councils working to address the housing affordability crisis in Melbourne’s eastern metro region.
Better public transport
We are seeking accelerated funding by State Government for more bus services to meet growing demand and infrastructure improvements to improve the reliability and frequency of the local bus network. Key to this, is larger capacity buses and more services during peak periods to be provided on the Doncaster Area Rapid Transit (DART) SmartBus network.
We are also advocating for the implementation of a Bus Rapid Transit (BRT) connection between the CBD and Doncaster as part of the North East Link Doncaster Busway project.
Doncaster Rail
We will continue to advocate for a heavy rail line between the CBD and Doncaster. We are strongly advocating to ensure that the North East Link project preserves a future alignment for Doncaster Rail, and that the design of the Doncaster Busway is delivered in a manner that allows it to be transitioned to heavy rail, once buses the bus system reaches capacity.
Doncaster Hill public transport infrastructure
Improved transport infrastructure through Doncaster Hill will unlock and complement regional opportunities for improved access to jobs, educational and health facilities and to other community and social services.
- Advocacy Factsheet - Springvale Road, between Mitcham and Reynolds Roads, Donvale Duplication and Safety Improvements90.03 KBdownload
The Manningham Victorian Ceramic Art Award supports Victorian studio ceramics and acknowledges the special place ceramics have in the Manningham region.
The biennial acquisitive award and accompanying exhibition celebrates the best in contemporary Victorian ceramic art practice from across the state. Works acquired through the award form part of the Manningham Art Collection and are subsequently displayed in public buildings throughout the municipality, including Manningham Art Gallery exhibitions.
The Manningham Art Collection includes almost 30 ceramic artworks acquired through the Award since 2009, representing some of the best contemporary ceramic work in Victoria.
The award is currently not running, please keep up to date with Arts Manningham news, opportunities, and events via our Facebook page and newsletter.
Past winners and acquisitions
Title | Description | Year |
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David Ray |
"Within my work I apply critical comment to contemporary consumerism and the less reputable aspects of our national identity through often flamboyant baroque creations. WILD explores the juxtaposition between the perception of the beautiful and the ugly. Decoration is incorporated within the body of the work, weaving, twisting and turning, with a confounding plethora of images, motifs and decals – the ‘glamour of the artificial’ colliding, almost in total meltdown. The hand of the artist is never far from one’s consciousness when viewing my work, which is intentionally imperfect, asymmetrical and sometimes seemingly top heavy. Also lingering in one’s awareness is the nature of ceramics; usually pristinely designed and immaculately fashioned and fragile. These two opposing qualities are a reaction to the overriding influence of machines as opposed to the natural." - David Ray, 2017. |
|
Tim Clarkson |
"Some say the world is getting hotter, some say this is due to mankind’s impact upon the earth, yet others refuse to acknowledge that the environment around us is changing and in a rapid way. With more information and knowledge at our fingertips than ever before, why is it that many of us just don’t see the impact our actions are having on the world around us? With each day, we are given the opportunity to do something about it, yet for something so critical to our future survival, there is little being done about it. Since 1992, melting ice from both poles have been responsible for a fifth of the global rise in sea levels, with the polar ice sheets melting faster in the last 20 years than in the last 10,000. The work titled Washed Away looks at how other inhabitants of this world are suffering the consequences of our own actions. Global warming is altering key habitat elements that are critical to wildlife’s survival and putting natural resources in jeopardy. Studies have projected that the Arctic could see its first ice-free summer as soon as 2020." - Tim Clarkson, 2017. |
|
Magdalena Dmowska |
"When approached in the round, my ‘still life’ of ceramic forms references domestic objects, architecture and the body, whereas from a distance it references painting. Painting is confined by its frame, or self-contained by its edge as it encounters the wall, while ceramic objects work in the round, hence they frame themselves as the ‘clothing of emptiness’. I want my work to show the special power of ceramic forms through their association with tactility and the familiar, as they create intimacy with the viewer, contrary to the experience of separation associated with painting. My work explores the manipulation of familiar forms in order to move the viewer’s attention towards the metaphysical aspects of ceramic objects soothingness and lastingness, the metaphor for the perceptible representing the immaterial. I want the viewer to think about the inside of the closed forms, to embark on a journey of discovering what is really present in the space – the still life of ceramic forms translated into abstract painting. Beyond the art gallery, ceramic objects are perceived through their socially embedded meaning associated with function. My work demonstrates that ceramic forms can operate as hybrids, referring to the function while completely abandoning it in order to embrace the container as the ‘ultimate form of abstraction’." - Magdalena Dmowska, 2017. |
|
Bridget Foley |
"The movement of the glazes and the irregular line that moves around the vessels where the glazes overlap evokes the shifting lines of sand that occur when tides come in and out. I have spent many hours walking along the beaches on the Surf Coast of Victoria. These experiences get expressed in the work I make." - Bridget Foley, 2017. |
|
Eva Glac |
"Duality and duplicity, the agony and the ecstasy of reproduction and sexuality. A species may employ illusory tactics for its reproduction and survival. Unwitting suitors and would be predators see what they want to see or are tricked into seeing. However, no human is a tool for someone else’s purpose. They are not owned, exchangeable or reduced to mere flesh. Body parts are beautiful and are not things without personality or dignity. We are slowly adapting to survive the verbal and physical abuse that is the result of objectification. Will we change physically, behaviorally or physiologically? The Eucalyptus flower buds are for your viewing, but do not ever touch the Corymbia ficifolia without my permission." - Eva Glac, 2017. |
|
Dean Smith |
"This artwork focuses on the link between the worked ceramic form and the disquieting landscape near my home. The gold-mining activity of the past has left the landscape disordered and jagged. The jagged line is echoed not only in the topography and quartz reefs but in the dry, brittle vegetation - the bare twigs whose reflections are amplified and multiplied in the dams and reservoirs. These observations are worked into my ceramic form as surface markings, through scoring and drawing with enamels and palladium. The landscape has contrasts of light and shade, past and present. The tannin-stained dams, the shadowy pine plantation, unearthed metal relics, scorched white bones and unexplained objects, sounds or past movements. My vessel-like form refers to the randomness and order I see in this particular landscape - the unexpected elements translated through strong contrasts and subtle nuance in the sculptural form." - Dean Smith. |
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John Dermer |
"I have pursued the demanding and often frustrating discipline of salt glazing for almost fifty years. Couple this with my preference for working with porcelain, and the potential complications are amplified. However, this is a conscious choice I make and not some perverse form of self-inflicted pain! After much experimentation with various clay bodies I find that the porcelain provides me with a clean palette and a fine surface which underlays, and integrates with, the materials I apply to react with the salt. For my purposes the clay body is as integral to the form as it is to the nature of the surfaces I seek - it does not remain hidden as with most conventional glazing and firing techniques. I view the salt kiln as an extension of my hands. It is a final tool in the process of making pots. Unlike alternative glazing techniques, salt glazing requires a huge investment in time and money through the construction, maintenance and firing of these dedicated kilns. It is not a ceramic field to be taken lightly. Over the years I have persistently endeavoured to push the boundaries in order to break away from the universally accepted limitations of the salt glazing process. After relentless experimentation and research, many disastrous failures, kiln calamities and some lucky mistakes I have been able to achieve surface textures and colours that are totally unique in the history of salt glazing. However, this pot presents a surface that I have never seen or achieved previously. I also fear I may never again! My aesthetics are a reflection of the traditions and values of the Leach-Hamada movement. I believe in a balanced form, an honesty of process towards materials and a respect for the timelessness of presence. When this pot emerged from the kiln I was both stunned and elated. The proud, organic forms and the subtle nuance of colour and surface texture appear to have been born and not created. They have integrity, beauty and presence. They encourage me to continue to seek the magic pot. A pot that will live far beyond me, but would proudly occupy any place along the historical timeline." - John Dermer. |
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Kate Jones |
"The combination of painted surface and sculptural form creates an ambiguity that questions assumptions about both genres. This allows the work to sit in a liminal space that affords a realm of possibility in which new configurations of ideas and relations can occur." - Kate Jones. |
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Irianna Kanellopoulou |
"My practice is largely involved with the creation of individual ceramic forms that create a narrative and explore issues of identity, (dis)placement, unity and movement. I often utilize collected images and objects of our environment and popular culture to explore the persona and emotional associations with our immediate environment and memories, real and invented. I am interested in using the figure as a cultural object to project a narrative of surreal reality; a super reality. The work is infused with symbolism and it personifies imaginary dialogues, deliberately shifting relationships while drifting in and out of an augmented reality. Different characters and personalities are captured in a fleeting moment to reveal a network of masked identities, fragmented conversations and hidden emotions. Focusing on the micro the work draws our attention to the small details which are often overlooked. This microcosm, at times humorous and bizarre, highlights the transformation and personification of such images as a means of making sense of our surroundings, our environment and ultimately ourselves. Drawing inspiration from 18th century European porcelain, the work fuses the traditional with the modern and utilizes traditional techniques that are rapidly being lost through modernization." - Irianna Kanellopoulou, 2015. |
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Susan Robey |
"As an architect and ceramic artist I use architectural imagery to make ceramic objects that are about the boundaries between one kind of space and another - outside and inside, hollow and solid, open and enclosed. I play with mass and scale in both form and surface texture and make reference to architectural elements such as walls, windows and columns. With soft, flexible cast clay slabs, I draw on my detailed understanding of architectural structures to construct thin walled objects with the lightness of paper but the solidity of buildings. I have adapted builders' techniques to my handbuilding processes including the use of formwork and the application of carpentry joints such as the mitre and the dowel. I use the static and inert in architecture to create the illusion of animation. I want the objects I make to be challenging and ambiguous." - Susan Robey. |
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Prue Venables |
"A search for simple, quiet, innovative forms to be held and used; the translucency of porcelain with light dancing on the sprung tension of a rim, the softly melting body inviting touch; even the frustration of failure - all motivate my work. The procedures and intelligence of making hold my attention. I delight in the relationships that spring and develop between objects as they stand together like elements of musical harmony. From the shadows that form between them to the implied movements across spaces, they dance. An exploration of technical invention with origins in both studio and industrial spheres now enables handles to be fired separately, suspended, to be joined later. Such high risk practice leads to objects that have a sense of impossibility and without the encumbrances of limitations defining them even while they are still an idea. Silver components extend formal possibilities and facilitate the strengthening of joints between sections. The silver material and new techniques has enlivened my understanding of the porcelain I thought I knew so well." - Prue Venables. |
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Petrus Spronk |
"My new series of work is concerned with the magic of the firing process. The throwing of the bowls is the same, though more refined. The burnishing of the bowls is the same, though more refined. The preparation for firing is as it has always been, but more finely skilled. With this work it is the firing process in the wood-fired kiln where the emphasis lies: the enriching of a surface imbued with flame and smoke markings, extracting from the kiln is visual magic, enhancing the work with kiln mysteries, painting the surface of the bowl with a brush loaded with fire and smoke, creating landscape images in its primal form, returning to the source, something raw with something refined, and there lies the necessary tension in the work; the tension which gets the attention." - Petrus Spronk. |
|
Alan Constable |
Constable’s sculpture is a lyrical interpretation of a technical instrument and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Alan Constable’s camera can be viewed as an extension of the body as much as a sculptural representation of an object. |
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Neville French |
"My work involves an exploration of elemental porcelain vessels. Through each work, I try to distil an essence of place and evoke notions of quietude and transcendence through the expressive use of glaze and its relationship to form, space and light. The Willandra dry lakes region in southern New South Wales is a World Heritage site of profound significance for its record of geological evolution and human cultural record of earliest Australians. At Lake Mungo the land has been sculpted by climatic changes spanning millennia and the vast basin, silent spaces and ephemeral effects of light, weather and time, inspire my current work. In response to this extraordinary Australian landscape – a place of great spiritual significance – I have gently altered this wheel thrown piece to evoke a poetic sense of the vast topography whilst extending the glaze matrix to achieve subtle shifts in the colour and light on the form." - Neville French. |
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Terunobu Hirata |
"For more than 30 years, I have lived in Australia after leaving my home country, Japan. The life in Australia has always reminded me of my origin as Japanese. My passions have been to express the emotions and feelings I have had through the life in Australia into my work. Also, tasks such as working with clay, throwing on the wheel and firing the kiln give me a sense of satisfaction through interacting with nature. They are a source of my inspiration although they can be distressing at times. I have been fascinated by the ash glaze on dark body. This work gives the feeling of harmony of movement and tranquility. I draw upon the Bizen pottery style from Japan which influences my dark surfaces and undecorated forms. I have been experimenting with various methods to fulfill my passions for pottery. I have been excited and thrilled with what I do as a potter." - Terunobu Hirata. |
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Janetta Kerr-Grant |
"I am interested in how a particular sense of place is conveyed in ceramics. For the past few years I have been drawn to the urban iconography of freeways. My inspiration derives from frequent travel, often at dusk, along the Western Highway. The soft haze of twilight dissolves the heavy traffic, streetlights and road signs into a richer more ambiguous landscape. In this diffuse half-light these ordinary, even banal, vistas are transformed into landscapes of unexpected and fleeting beauty. Working from reference photographs, I use this imagery as the starting point to produce elemental ceramic vessels that explore notions of mood and atmosphere." - Janetta Kerr-Grant. |
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Vanessa Lucas |
"A single smooth dark stone among rough grey rocks on a deserted beach in Tasmania suggested the form of these jugs and the dark satin glaze. The jug series has emerged with variations from the primary immutable form, each descending shape seeming to fall naturally from the largest vessel." - Vanessa Lucas. |
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Tracy Muirhead
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"Utensils have been used by man for millennia. They are useful, practical objects, but the use of tools and utensils is not unique to humans; in fact gorillas, chimpanzees, elephants and birds have been observed using stones, twigs and bone shards to help obtain a desired object or substance. Today, we regard table manners and the ability to wield cutlery as a mark of sophistication.This series of utensils removes all pretension of sophistication in that they are basic, verging on crude, yet as a group, make an elegant statement where the whole is greater than the sum of its parts." - Tracy Muirhead. |
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Christopher Headley |
"Forgotten Worlds responds to memory and emotion. The intention of the work is to allow the viewer time to reflect on the past. Guided by the rich assembly of images that create a history - the broken fine china plate, the idealised view of nature and the dream of flight. Such histories are recorded and projected into present time and we connect with them through our emotions - such as melancholy. Melancholy is thus evoked in the context of quiet reflection, evoking memories of both happiness and sadness." - Christopher Headley. |
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Paul Wood |
"I begin new work by gleaning op shops, ebay and second-hand shops for unwanted ceramic objects. These are piled into a kiln and fired. Their shape and glazes melt, warp and fuse together into new forms. I am interested that their previous existence in one’s everyday domestic life to their rejection as non-fashionable ‘clutter’ are given a new life and resurrected into small monuments to their past circumstances. Their new rather wilted form expresses the exhaustion of their previous domestic setting. L.N. Fowler is a re-produced Phrenology head lying on its side on a pile of platters. A glass bowl is melted over its head. The leaf imprint on the melted glass bowl becomes like a textile pattern on a cloth head scarf. Gone is the previous brittle and rigid state of the bowl. Now it is fluid and feels light like a piece of muslin cloth. Tucked inside the Phrenology head’s bust are two miniature figurines. In their earlier context they may have seemed innocent and a little banal. Perhaps they sat on a quiet mantel piece. In their new context there is something a little darker coming into play. Looking closely at these two figurines you notice that the male figure has been beheaded. The Fowlers head, previously used for science and now lying on its side on some platters and clothed in a beautiful scarf also alludes to a more sinister narrative. Perhaps a King or Queen has called for its head to be chopped off and served on a platter!" - Paul Wood |
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Brian Keyte |
Humankind has evolved within the natural world. I reason, therefore, that if one can utilise nature’s design rules then the product will rest easy on the human eye that has evolved with it. As the golden mean or phi seems to be what nature uses, each piece is made with this in mind as a guide to structure, with the plastic nature of the clay and the intended glaze contributing to the final form. I constantly work with the ratios of a form’s elements in mind. Thus much of my work could perhaps be classed as an engineered structure. The calculated rhythm of a wave formed rim, and the careful forming of a bowl shape coming close to perhaps a sine wave, a catenary or parabolic curve. Some may see these forms as clinical in their calculated aesthetic, but they are informed by nature as the mathematics behind them is simply the mathematics that falls out of the natural world when we study it. It is the Cartesian mathematics of Descartes, Newton, Venturi and others who simply observed nature in fine detail and sought to explain it in the language of numbers. With an understanding of these rules and a piece constructed to them, I can then break those rules to move beyond this clinical thoughtful foundation and add creative flair unbounded by them. |
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Robyne Latham
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The mystique of saggar firing is captivating. The process is complex from beginning to end, from wedging the clay to firing the work. It invariably requires the artist to juggle the potential of intuition with the whisper of serendipity. The inevitable and unavoidable flip-side of this magic, due to the very nature of the firing, is the possibility of a disaster. Frequently, one can open the kiln to find hours of work have literally ‘gone up in smoke’. This necessitates the artist to develop a sound and philosophical resilience to the loss of works. Works which do endure a saggar firing however, emit a unique quality, borne of the coalescence of earth, fire, water, air and space. This unique quality can challenge the construct of time. With curiosity one can ask, “Could this work have been created last week or a century ago?” The works, Kick’n Goals and Strange Fruit address timeless themes of the human condition. Both works explore the co-existence of beauty with ugliness, and grace with trauma. On one hand humans can create a sculpture, a garden or a symphony of such beauty, and concurrently such violence and destruction. There exists a synergy between the unique quality of saggar fired work, the intent of challenging the construct of time and the exploration of universal themes. |
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Tina Lee |
"After collecting ceramics for 10 years I have become interested in the ceramic objects that people do not collect. The objects discarded or rejected and existing on the periphery of good taste. My current body of work juxtaposes elements of the highly sought after collectable with elements of the undesirable object relegated to the junk pile. The small ceramic vase in the opportunity shop that no one ever buys has become an object of focus. I decided to call a forlorn, common 1950s vase, Karen. Like the vinyl LP’s of Tijuana Brass, Kamahl and Karen Knowles, she is always available. She is usually two dollars. She is dependable. The slip cast shell that is covered in a dry textured glaze characterizes Karen. She is one of probably thousands cast so many times the relief decoration is hardly legible. In the ceramic world, Karen competes with the handcrafted, the one-off, the authentic, and the unique collectable object. In the hierarchy between the handmade and the slip cast multiple, she remains at the bottom. But that is what is appealing about her. After living with her for a while, her simple ordinariness begins to grow on you. The psychology of the mass produced is comforting to us because it’s everywhere—past and present." - Tina Lee. The Karens' is permanently displayed above the entrance to Manningham Art Gallery. |
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Vipoo Srivilasa |
"Child’s Play is a piece from the series Bloody Bangkok. This series is a response to the red shirt and yellow shirt protests that have occurred in recent years." - Vipoo Srivilasa |
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Michael Doolan |
"My work, inspired by popular culture and finding expression in a 'world of the toy' de- and re-construct childhood imagery. They engage the viewer with this world. Intentionally set up to be viewed through the eyes of an adult while still allowing us to participate childlike, in this 'world of the toy'. My aim is to capture and reveal the invisible, hidden qualities of the miniature. Their featureless countenance employed to subvert “my” subject’s visually-friendly nature. A major feature of these works is their high gloss reflective finish. This mirror-like finish will force the viewer to engage with the work as an active and intimate participator, so they observe themselves as a distorted reflection. There is an intention with this work to question the way we perceive ourselves in the world, in this case, my world of the toy, around them." - Michael Doolan. |
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Tim Clarkson |
"Long intrigued with the art of origami, this work reflects ceramic sculptures based on typical origami forms. The forms are then used as canvases in which current issues that we are facing in the world today are expressed. Whilst researching origami, the crane was used as a starting point. Although this form is one of the most commonly known origami folds in the world, it was the history behind the origami crane that made it the perfect subject matter. The crane is strong, graceful and beautiful, and is a symbol of loyalty and honour. Each year thousands of paper cranes are folded around the world as ways of promoting peace, making friends and also honouring those whose lives were destroyed in the bombing of Hiroshima. By using the ceramic medium, the forms are created and imitate the paper qualities of origami, whilst also giving the work a more permanent existence. From the sharp angular lines to the crisp paper folds, all elements of the paper crane are recreated to symbolise the precision and geometrical forms found in the art of origami. With the use of custom decals, the newspaper print further adds to the illusion of paper. Almost 60 years on we are still faced with the threat of nuclear attacks, with the rise of civil restlessness in the Middle East testifying to this. With reference to the Hiroshima bombing the work connects the past with the future reminding us that history has a way of repeating itself." - Tim Clarkson. |
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Ann-Maree Gentile |
"When I was growing up Manningham was a road, a road that lead to my Nonna and Pop’s, Aunties and Uncles and the Doncaster Baths. Now it’s a municipality. For a very long time Doncaster was my world. I lived there, went to kinder and school there and all my friends did too. The landscape, places and people of Doncaster inhabit many nooks and crannies in the memory section of my brain. I have taken this opportunity to explore some of my childhood memories, there is nothing earth shattering in fact it makes me wonder how some of these memories are so vivid while others have just faded away. Sometimes when we speak of these times people ask how do you remember something so obscure and when they talk I wonder if I was really there. Long live the joy of finding a plastic toy in cereal box and the strange machinations of memory." - Ann-Maree Gentile. |
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Victor Greenaway |
"The strength of my work is in the ability to create spontaneity in each piece during the session on the potter's wheel. As a brush or chisel is the tool of a painter or sculptor, so too is the wheel mine. The dynamics are created through light and shade, modelled through the use of indentations and various surfaces and colours. The translucency of the porcelain contributes to this by passing light through thin linear markings and fine edges. As in a quick sketch or abstraction the outcome relies on experience, intuition and a confidence in technique. Often the result is uncertain and the work lost or discarded but the journey is an exciting one and constantly rewarding. I look for glaze surfaces to enhance the form and lines by creating light and shade, adding dynamic energy to the piece. I often find glossy glazes to be too distracting so tend to select glazes that are more satin or matt. I also produce work that follows the specialist techniques of the black Etruscan bucchero firings. It provides a beautiful and appealing contrast to the high-fired, pure white of the Limoges porcelain." - Victor Greenaway. |
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Wendy Jagger |
"Surrounded by the beautiful and sometimes austere alpine environment of Victoria’s North East, my work is strongly influenced by its seasonal landscapes. Field drawings are developed in the studio in a range of painting media or depicted in translucent porcelain imagery. Working with Southern Ice porcelain, etching the imagery, layer by layer into the thrown walls of the vessel is painstaking and fraught with danger. At any moment, the bone dry clay could shatter, as I rub away at the shellac resist, eroding the surface. Yet it is exciting. It’s like painting with light. It’s like a treasure hunt, as I search for that luminous translucency. It is a quest of passion. Firewheel came about when a shadow play of light cast dancing botanical patterns on the wall one afternoon. Different densities of light passed through the growth of the native shrubs outside the window. Firewheel has been delicately double etched, on the interior and exterior of the form to recreate this shadow play." - Wendy Jagger. |
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Irianna Kanellopoulou |
"In the piece Dreamscape different images of automobiles are fused together to represent the car as an important icon of desire as well as an embodiment of our personas, dreams & sexuality. I use a combination of handbuilding and slipcasting techniques, exploring the sculptural and plastic qualities of clay in a contemporary context. Working with modules and different components allows relationships between forms to develop, investigating the life of an object outside of its initial intent and purpose. I seek to merge traditional hand crafted ceramic techniques with industrial methods and processes to achieve a fusion of techniques. The integration of these contrasting elements is an essential aspect of my artwork and enables me to continue to explore and push the boundaries of my artistic practice." - Irianna Kanellopoulou, 2009. |
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Sally Lee
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Sally uses translucent porcelain for her work as she appreciates its fine texture and the way it provides for the passage of light through the form. She also enjoys the challenge of working with such a technically challenging medium. The technique of combining pattern, colour and design within the body of the vessel itself is her particular enthusiasm. In the union of luminosity, pattern and structure Sally is seeking to create an ideal of beauty inspired by nature. Her soft muted colours and designs take inspiration from anything from a simple rock, flower, a butterfly, fish or feather to the colours and forms of the Australian landscape. The irregular forms reflect the accidental deviations and variations often found in nature. Sally's pieces are exquisitely delicate and are not glazed as she feels that the subtlety of the forms can be better appreciated this way. The vessels are instead simply polished both before and after the final firing. |
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Mary-Lou Pittard |
"Clay allows me to use many processors when forming my work. I enjoy the transformation from the soft pliable state through to the hard durable finish. I often push its bounders to see what I can produce sometimes to no avail but still find myself back the next day exploring again. Once the piece is made its shape often dictates the decorative elements. With every year my decoration seems to become more intricate. My love for food and cooking has always played a big part in my creating process. Ideas in the studio or dishes in the kitchen are inspired by the mood or flavour of the day. Like cooking I start with traditional ingredients but end up with something new and exciting. Mass production never interested me as a student, I never wanted to let go of the imperfections of the hand made object. Years ago I came across an unusual ceramic object in a Regional Gallery. It was titled “Asparagus Dipping Bowl ‘It was made especially for dipping asparagus I loved it. I also have a book on Victorian household goods that is full of obscure and extravagant objects. I enjoy combining elements of a ceramics tradition with my own artistic desires. They play on the functional decorative side, to use or not to use, ‘Breakfast Tray’ is for those lazy mornings to use out on the veranda or enjoyed displayed on the sideboard." - Mary-Lou Pittard. |
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