Stephen HOGBIN Born England Renowned wood turner Stephen Hogbin was a craftsman-in-residence at Melbourne State College in 1975, and a visiting artist at the Gippsland Centre for Art and Design in 1999.Timber bowl made of red oak.turned wood, bowl, gippsland campus, churchill, visiting artist

Under the direction of lecturer Raymond Thomas five students of Koorie Studies at the Gippsland Centre for Art and Design created this work. The were Vickie Turvey, Robyn Yates, Kellie Parsons, Melissa Fenton, Deanna Mobourne.A large canvas with indigenous plants, and Aboriginal animal motifs. If you can assist with information about this artwork, or the artist, please use the comment box below. artwork, artist, gippsland campus, aboriginal, kangaroo, emu, fish, clan map, vickie turvey, robyn yates, kellie parsons, melissa fenton, deanna mobourne, koorie studies

Trevor WREN (1952- ) A graduate of the Bachelor of Art (Visual Art), and Graduate Diploma of Visual Arts at the Gippsland Centre of Art and Design (GCAD). This work was purchased as part of the Gippsland Campus Art Enhancement Project, 1996Sculpture by Trevor Wrenartwork, artist, sculpture, trevor wren, gippsland campus, alumni

Professor Vernon PATRICK (1943- ) Born Havre, Montana, United States of America A lecturer at the Montana State University, Vernon Patrick was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Contextual or historic informationPlatter with glaze design and stickvernon patrick, ceramics, gippsland campus, churchill, jan feder memorial ceramics collection

Judith NEUWILLER (later Judith AMBrOSE) Judith Neuwiller graduated with a Bachelor of Art (Visual Art), and Graduate Diploma of Visual Arts at the Gippsland Centre of Art and Design in 1987, and a Post Graduate Diploma of Fine Art. Victorian College of the Arts in 1988. Painted timber sculpture.gippsland campus, churchill, judith neuwiller, alumni, sculpture, gcad, gippsland centre of art and design

Stephen CUTHILL Stephen Cuthill was a diploma graduate from the Gippsland Centre of Art and Design (GCAD), and was later a tutor. He exhibited works at the Churchill Switchback Gallery iduring the 1980s. His mark is an impressed 'Cuthill' or an impressed stamp 'Stephen Cuthill"A salt glazed bottle with titanium slip glaze.jan feder memorial ceramics collection, salt glaze, alumni, stephen cuthill

Report by the director, National Gallery of Victoria, and the architect to the National Art Gallery and Cultural Centre Building Committee. It is a summary of investigations made in Europe and America during 1960, with recommendations. Of particular importance to the eventual design of the NGV are the Capodimonte in Naples and the Castello Sforzesca in Milan.Mr Boyd' written on front cover. Title page looks like personally signed by Eric Westbrook and Roy grounds.ngv, roy grounds, eric westbrook, art gallery, walsh st library

Jan Feder was a student at the Gippsland Centre of Art and Design in the 1980s. She had started studying ceramics in Adelaide, deciding to continue here study at Churchill under Hedley Potts' tutelage after moving to Strezlecki. In her final year Jan was an on-campus weekday resident to save on the travel time. After Jan's untimely death in 1981 a ceramics collection was amassed to her memory, featuring work of international, national and local significance. Funds were raised by Jan's student peers at the Gippsland Centre for Art and Design, and although many of the works were donated the intention was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus.Black and white photographic portrait of Jan Feder sitting in the doorway of a slab hut. jan feder, jan feder memorial ceramics collection, jan lorraine feder, alumni, gippsland centre for art and design, gcad

"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery

Sandy BROWN (1946- _ Born Tichborne, Hampshire. England From 1969-73 Sand Brown studied at Daisei Pottery, Mashiko, Japan. In 1988 she was awarded an residency in Australia, and was an artist in residence at the Gippsland Centre for Art and Design (GCAD). The Sandy Brown Museum opened in Appledore in June 2014.sandy brown, ceramics, gippsland campus, jan feder memorial ceramics collection

Thirty two page book, centre stapled, art paper, titled "Australian Electric Transport Museum / St Kilda, South Australia", guide book for the Museum, printed 1974. Gives information on AETM's exhibits, including ex Ballarat trams 21 and 34. Has maps of the AETM, Adelaide, Trolley buses system and brief history of Adelaide public street transport.trams, tramways, adelaide, trolley buses

Sandra JOHNSTONE (1936-1991) Worked California, USA Sandra Johnstone is a graduate from the University of California, Berkeley, California. She is known for her large wheel thrown stoneware pots with deep incision on interior and exterior surfaces. Iin 1985 Sandra Johnstone was a visiting artist to Gippsland Centre for Art and Design. (now Federation University Australia) Salt glazed jugJohnstone incised on basesandra johnstone, ceramics, jan feder memorial ceramics collection, gippsland campus, visiting artist

Mechanics Institutes were first established in the 19th century in Scotland and England to improve the education of working class men and to instruct them in their various trades. In Australia Mechanics’ Institutes were set up in the late 1920s with the first one in Melbourne dating from 1839. The Institutes in Victoria were (and some still are) a feature of Victorian country towns, usually consisting of a hall containing a Library and in bigger centres art class rooms and other recreation areas. The Woodford Mechanics’ Institute was established in 1861, enlarged in 1868 and burnt down in 1917.This seal is of major interest as it is the only seal we have of Mechanics’ Institutes in our district. These Mechanics’ Institutes were very important in the educational and social development of Victorian country towns. This is a seal or stamp made of brass and attached to a wooden handle. The wood on the handle is of a dark colour and is urn-shapedStamp - Woodford Mechanics Institutemechanics’ institutes, woodford, early mechanic institute seal

Ino SHUKUHO (13.02.1943- ) Born Kyoto, Japan The work of Ino Shukuho are completely handmade with the vast majority of his pots rectangle, squares or oval in shap. His pottery techniques limit production to a maximum of 3-4 pots daily. He is considered a Jaoanese 'national treasure' and he once handcrafter pottery for the Japanese emperor. In 1982 Shikuho Ino was a distinguished guest of the Gippsland Centre of Art and Design (GCAD). Wheel thrown porcelain with celadon glaze.Artist's stamp on base. jan feder memorial collection, ceramics, artist, artwork, gippsland campus, ino shukuho, jan feder memorial ceramics collection

Jillaine HURRELL This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. A collection of raku-fired stoneware, wheel thrown and altered bottles with dry glaze decoration. jan feder memorial ceramics collection, raku, bottles, ceramics, gippsland campus

Sandra JOHNSTONE (1936-01/1991) Worked California, USA Sandra Johnstone undertook graduate study at the University of California, Berkeley, California. From 1957 she worked as a studio potter. Between 1983 and 1990 she was a teacher at Napa Valley College, Napa, California. She is known for her large wheel thrown stoneware pots, often deeply incised both on interior and exterior surfaces. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD), Churchill.Presented by the artistWheel thrown salt-glazed stoneware. Gift of the artist"Johnstone" on basesandra johnstone, ceramics, gippsland campus, jan feder memorial ceramics collection, churchill

Victor GREENAWAY (1947 - ) Born Sale, Victoria Victor Greenaway studied Ceramics at RMIT. He established his first workshop in Hawthorn in 1968, before moving to Ian Sprague's Mungeriba Pottery, Upper Beaconsfield in 1969. He studied under Tatsuzo Shimoaka in Mashiko, Japan under a Churchill Fellowship awarded in 1974. Upon his return he established Broomhill Pottery in Upper Beaconsfield in 1975, and in 1976 started employing trainees. He was a visiting lecturer at the Gippsland Centre for Art and Design (GCAD) c1980. Hand-decorated wheel thrown porcelaneous stoneware glazed with semi-matt, silky white and dry black glaze and magnesium carbonate. The brushwork and banding is cobalt and iron with bronzelustre on-glaze bands. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Artist's stamp on base.gippsland campus, victor greenaway, ceramics, artists, artwork, jan feder memorial ceramics collectrion

Owen RYE (05.11.1944 - ) Born Cooma, New South Wales Internationally recognised in the field of Ceramics, Owen Rye was a lecturer at the School of Visual Arts, Gippsland Institute of Advanced Education (incorporated into Monash University 1992), 1985-91 and senior Lecturer at the Gippsland Centre for Art and Design, Monash University (later Federation University) from 1992-2003. Proficient in the use of the wood-fired Anagama kilm, the surface of his work is dependant upon the placement of the item in the kiln, with ash glaze developing where ash and embers coat the form. Wheelthrown Anagama [woodfired] stoneware. Jan Feder Memorial Ceramics Collectionjan feder memorial collection, jan feder, owen rye, ceramics, gippsland campus, artwork, artist, gippsland centre for art and design

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Sandra JOHNSTONE (1936-Jan 1991) Born Southern California, USA Worked California, USA Sandra Johnstone was awarded a MA in Ceramics and an MFA in Plastic Arts at San Jose State University, where she later also lectured. Specialiing in functional and sculptural forms, with emphasis on wheel-thrown shapes and salt-glazed stoneware and porcelain, her work is best known for salt glazing, using surface texture and colour to enhance the character of the clay. Sandra Johnstone was a visiting artist to the Gippsland Centre for Art and Design (GCAD). Salt glazed platter. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there."Johnstone" on basesandra johnstone, ceramics, artist, artwork, gippsland campus, jan feder memorial ceramics collection

Paul GREENWAY (1955 - ) Born Wagga Wagga, New South Wales Paul Greenway was a visiting lecturer at Gippsland Centre of Art and Design (GCAD) c 1977 This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Handbuilt porcelain with multi-fired low tempreture lustres and enamels. Gift of the artist. jan feder memorial ceramics collection, ceramics, gippsland campus, turtle, paul greenway

Len CASTLE (23 December 1924 – 29 September 2011 ) Born New Zealand 'My best work is when intuition and conscious choice come together successfully.' Len Castle trained as a secondary schoolteacher and started making pottery in 1947. Initially self-taught, he was the first potter to be awarded a fellowship from the Association of New Zealand Art Societies, travelling to St Ives to work with Bernard Leach in 1956-57. He lectured at the Auckland Teachers' College until the early 1960s, before concentrating on making stoneware at Titirangi, New Zealand. Len Castle was an artist in residence at the Gippsland Centre for Art and Design (GCAD).Two piece press moulded ceramic form with glaze wash surface.ceramics, len castle, gippsland campus, jan feder memorial ceramics collection

Len CASTLE (23 December 1924 – 29 September 2011 ) Born Auckland, New Zealand 'My best work is when intuition and conscious choice come together successfully.' Len Castle trained as a secondary schoolteacher and started making pottery in 1947. Initially self-taught, he was the first potter to be awarded a fellowship from the Association of New Zealand Art Societies, travelling to St Ives to work with Bernard Leach in 1956-57. He lectured at the Auckland Teachers' College until the early 1960s, before concentrating on making stoneware at Titirangi, New Zealand. Len Castle was an artist in residence at the Gippsland Centre of Art and Design c1979.Press moulded bowl. Gift of the artist.ceramics, jan feder, jan feder memorial ceramics collection, len castle, gippsland campus

Tony NANKERVIS A graduate student from the Gippsland Centre for Art and Design (GCAD), Tony Nankervis has been a pioneer of the long wood-fired ceramics technique in Australia. He retired from lecturing at Southern Cross University after working there for 19 years in 2004. He describes his work as 'one-off functional table ware', which includes highly-individualised everyday table items. Nankervis prefers the pre-Industrial Revolution method of firing pottery, involving heating the kiln by burning wood for five days, to the modern, quicker methods using gas or electricity. The distinctive surfacing in wood-fired ceramics is generated by the ash and volatile salts from the burning wood. The wood ash and salts blush the ceramic pieces in the kiln, with finished work taking on the nature of the firing process, which has been described as painting with fire.Two woodfired earthernware cylindrical forms by Tony Nankervis. tony nankervis, woodfire, jan feder memorial collection, jan feder, ceramics, gippsland campus, jan feder memorial ceramics collection, alumni

Janet MANSFIELD (1934-2013 ) Born Sydney, New South Wales Janet Mansfield studied Ceramics at the National School of Art, East Sydney Technical College in 1964 to 1965. She received a Crafts Board Grants in 1974 to study in the United States of America; to research salt glaze technique in 1975; to exhibit in Japan in 1985; to travel to Hungary fir a symposium, and an Australia-Japan Foundation Grant in 1977 to study in Japan. She was a visiting lecturer to the Gippsland Centre for Art and Design in 1980 and a Spotkanie guest in 1984. Her work was fired to wood kilns and taken to stoneware temperatures. She used salt for shorter firings, or in the anagama kiln depended on the ash and flame for glaze effects. Janet Mansfield has been editor of 'Pottery in Australia' and 'Ceramics: Art and Perception'. In 1987 she was awarded an Order Of Australia Medal for services to art and ceramics. In 1980 Janet Mansfield was a visiting lecturer at the Gippsland Institute of Advanced Education. She was a guest at Spotkanie in 1984.Wheel thrown wood fired and salt-glazed stoneware.jan feder memorial ceramics collection, ceramics, janet mansfield, gippsland campus, visiting lecturer, spotkanie

This photographic exhibition was developed by the Federation University-led Community Wellbeing research stream of the Hazelwood Health Study in collaboration with Morwell Neighbourhood House and Gippsland Centre for Art and Design at Federation University Australia. It highlights people's hopes for the future of Morwell has its roots in two unexpected places: the Hazelwood mine fire in 2014 and an academic study into community recovery from that fire. In late summer of 2014 a bushfire spread to the coal mine near the town of Morwell in the LaTrobe Valley, in south-eastern Victoria. The Hazelwood mine fire burned for 45 days, shrouding communities - especially Morwell - in smoke and ash. Strong calls by the community for an investigation into the health impacts of the Hazelwood Mine Fire led to the Department of Health's (Know the Department of Health and Human Services) decision to fund a ten year study of the potential health effects of this smoke event (Known as the Hazelwood Health Study). This exhibition came out of work undertaken by the Community Wellbeing Stream of the Hazelwood Health Study during 2016 and 2017. Based at Federation University Australia's Gippsland Campus, just a few kilometres from where the fire took place, one of our Study's main aims has been to find out from the community how the smoke event impacted on community wellbeing. We also planned to talk to community members about the effectiveness of community rebuilding activities, and find our how these have aided recovery following the smoke event. In 2017 we began working with community organisations on a project to foster community recovery and wellbeing. What emerged from these discussions was the idea for a photographic exhibition, on the theme of 'Our hopes for the future of Morwell'. Invitations to participate were extended to up to 50 members of various community groups. The groups were asked to think of some object that symbolizes their hopes for the future of Morwell. Individuals were then invited to attend a photographic session kindly hosted by the Morwell Neighbourhood House. Each individual was to hold this object while it was photographed, as well as explain what the object represented in terms of Morwell's future. Out of this process twenty nine photographs with their captions were produced, enlarged and framed for exhibiting. The photographs were taken by Clive Hutchison of the Gippsland Centre for Art and Design at Federation University Australia.Twenty nine framed original photographs.morwell, our hopes for the future of morwell, clive hutchison, photography, morwell neighbourhood house, hazelwood health service, gippsland centre for art and design, hazelwood mine fire, haxelwood health study, morwell neighbourhood mine fire, neale stratford, tracie lund, ian brown, susan yell, sue whyte, ainsley ja, ainsley james, michelle duffy, shaun mallia, valerie prokopiv, morwell art and framing

S.S, No 4688, Francis Street, Heathmont, 3135 History Two A4 pages of notes on the beginnings of the Heathmont S.S The text is:- STATE SCHOOL No 4698 Frances Street Heathmont, 3135 HISTORY School classes at Heathmont commenced in the original Methodist Church building in Canterbury Road in 1952 with Mr A.J. McKinlay as Head Teacher in charge of a school of 80 pupils. Shortly afterwards both a Parents and Citizens Association and the first School Committee were formed. Mr J.B. Harper was appointed as president of the Association and Mr H. Walker was elected as chairmen of the Committee, while Mr T. Jago acted as secretary to both bodies. Later in that same year the district Inspector, Mr H. Fleigner since retired and still a Heathmont resident, woe instrumental in obtaining a site for the establishment of the present Heathmont School at the corner of Frances Street and Balfour Avenue. The land was purchased from Mr. Handasyde, an orchardist of Wantirna South. In March 1963 a Bristol prefabricated aluminium building comprising four classrooms and an office was occupied. On April 21st, 1953 the school was opened officially by the Minister for Education, the Hon. A.E. Shepherd MLA. By December of that year the attendance had increased to 191 pupils, Mr N. Gillham was Head Teacher at the time. In February 1955 Mr. K. Gerraty succeeded Mr Gillham and by 1957 attendance had risen to 326 pupils necessitating the provision of additional light timber construction classrooms. Meanwhile the subdivision of large areas of local orchard land into housing estates with its resulting rapidly increasing population presented a persistent school accommodation problem that was met temporarily by the hiring of district church halls to accommodate a steadily rising attendance. Fortunately the tradition of voluntarily contributing to school funds and voluntarily providing labour initiated by the original parent bodies in 1952 was maintained. Then Mr V. Milligan commenced as Head Teacher in 1959, much of the steeply contoured playground area had been terraced, a football oval formed and the basketball court and assembly areas were sealed. These improvements were finally completed largely due to the enthusiasm, vigor and work effected by the School Committee under the chairmanship of Ringwood Councillor Mr JM McRae, as is borne out by the following report by Mr R.J. Chapman, District Inspector in 1961. "The local support by parents given to the Head Teacher and his staff is exceptional and I express my appreciation of their outstanding service." Mr Milligan's contribution to progress, however, lay equally in the internal educational development, particularly with regard to the teaching of reading. A course in the mechanics of speed reading, involving the use of the tachistoscope reading rate controllers and programmed comprehension sets was introduced and a start was made in the building up of a library of literature and reference books. As a result the Education Department appointed a Teacher-librarian to ensure continuity and further progress with this Reading scheme. A feature of Heathmont School is the splendid modern Art/Craft room opened while Mr L. Sebire was head teacher in 1966. This building and courtyard, linked to the original building by a covered way was designed by Mr Salvatore who acted as honorary architect, and was completed by Mr John F. Swan at a cost of �10,000 of which 52% was provided by a School Committee Co-operative loan and 42% by Departmental special grant. Materials used were white sandstone brick and oregon pine. The building bears the name of Councillor J.M. McRae Art Centre as a tribute to the man who did so much to enable its construction. An Art/Craft specialist teacher is provided by the Education Department. As attendance continued to increase to 520 children in 1969, additional accommodation became an urgent necessity. Following negotiations conducted by Mr A. Lethbridge School Committee President, Mr JJ Egan, former Principal and the present Principal, Mr A.S. Don the Education Department Assisted by a second Committee Co-operative loan, purchased the adjacent Baptist Church property thus providing much needed extra accommodation and playground area The newly acquired building is at present in use as two temporary classrooms, but will subsequent be used as a utility rope. A smaller room has been converted to a canteen operated daily by the Parents and Citizens Association, thus providing both a service to the pupils and a source of income. +Additional Keywords: McKinlay, Mr.A G Harper, Mr J.B Walker,Mr.H Fleigner, Mr.H Handasyde, Mr. G Shepherd, Hon. A.E. MLA Gillham, Mr.K Garraty, Mr.K Milligan, Mr.V McRae, Mr. J.M. Chapman,Mr.R.J. Sebire,Mr.L Salvatore,Mr. Swann,Mr.John F. Lethbridge, mr.A Egan,Mr.J.J. Don,Mr.A.S.

Bryan TRUEMAN (13 November 1941- ) Born Derbyshire, England worked in Australia 1975–1992 Bryan Trueman studied at Blackpool School of Art in 1962, undertaking Postgraduate studies at Manchester College of Art in 1963. He toured the east coast of America in 1967-8, then returned to England where he started to train himself in Ceramics. Migrating to Australia in 1975 Bryan Trueman lectured at Caulfield Institute of Technology, Melbourne. In 1982 he opened a studio in Warrandyte, Victoria. Bryan Trueman was a visiting lecturer to the Gippsland Institute of Advanced Education c1982. He is particularly well-known for his painterly use of glazes to depict the Australian landscape, using the platter as the base form. Bryan Trueman was a visiting lecturer to the Gippsland Centre for Art and Design in 1982. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Wheel thrown stoneware platter, with colourful landscape glaze.Bryan Trueman Aug '82ceramics, bryan trueman, gippsland campus, artists, artwork, jan feder memorial ceramics collection, landscape