For some reason the hermetic world of studio ceramics produces its fair share of mavericks. While I was at university in Adelaide in the eighties Alan Peascod was a visiting artist. He seemed to be a mixture of Paul Soldner, Voulkous and a Sufi poet. While most potters were borrowing from the far east , Peascod seemed to be searching further back to the Middle East.
Watching him throw was a joy. Large pots were thrown upside down, flipped on the wheel head re-thrown,joined together,force dried with a torch ,then decorated on the spot. After the softly-softly approach I had been exposed to by other practitioners, this spontaneous approach to the medium was a revelation. The work was also imbued with that rarest of qualities : a fluid conjunction of form and surface to a point where the curlicue handles and spouts were a continuation of the painted and scratched images encircling the vessels.
To celebrate the influence of Peascod on Australian ceramics the Wollongong City Gallery has put together Alan Peascod-influences and dialogue which runs from December 4th till March 09. As a special treat the show is being opened by a National living treasure, Jayne...no....Janet Mansfield .
'Alan Peascod (1943-2007) was one of Australia’s best known, innovative and most admired ceramicists. Son of noted Illawarra artist Bill Peascod (1920-1985), Alan was most recognised for his pioneer work with extraordinary lustre ware glazes. This exhibition honours a rich life and influential career in art.'