Selling my Tetlow K7 single phase kiln
Comes with Stafford controller
46 x 46 x 46cm internal dimensions (97L)
Single phase, 30amp, 1280'C top temp
I purchased it brand new in 2021, it wasn't installed until 2023 and only had 2 years of use in that time., so near-new condition!
Comes with 4 shelves and props.
Located in Thomastown, Melbourne. Happy to arrange inspection.
Currently retails new for $17000 + $2000 for the controller.
I'm asking $15,000 but happy to negotiate, would love to see it go to a good home or someone I know!
It weighs 175kg so needs forklift or 4 very strong people to move it. Also can come with the stand if you want, it was custom built, has a concrete sheeting top and storage underneath.
Really sad to be parting with this kiln, but I rent, am leaving my studio and just have nowhere to put it unfortunately. She runs like a dream.
Please get in touch if interested!
These little trays plus many more lovely things will be available to purchase @soca_brunswick this weekend.
Come get some pressies for your loved ones and support your local makers đź
You can use them for food, jewellery, or I personally use one as a soap dish. Many possibilities â¨ď¸
Sat 13 December + Sunday 14 December
9am-4pm
24-26 Ovens Street Brunswick VIC
Beautiful install of 'Distant Blues' @craftvictoria
This work is up until June 14 and did you know these works are for sale? Shop in person or online on the Craft Shop website (link in my bio)
Images courtesy of Craft @craftvictoria
Photographer: Claire Armstrong
'Distant Blues,' 2024
fired waste glaze, oxide and porcelain material blends depicting Google Earth images of cobalt and copper mines, printed pre-firing with paper lithography technique
approximately 10 x 22cm each, 129 tiles in total
'Distant Blues' is the third and final work from my Masters research, which responds to the ongoing environmental crisis and the ecologically destructive systems of extractivism inherent in ceramic production.
The blue-grey hues in this work are generated from the presence of cobalt and copper in the accumulated waste glaze from class experiments conducted @soca_brunswick . In this work, the site of this studio expands until we are positioned out in space, looking at colossal scars all over Earth where these materials likely originated.
Today, twenty countries are home to the top producing quarries of the worldâs cobalt and copper. There are one hundred and twenty-nine mines in total, all of which are represented in this work. An archive of destruction and extraction, borne from a bucket labelled 'SCRAP.'
In the studio, these materials are fully abstracted from any connection to their source, and I am too. In the stacked boxes of blue and green powders, I donât recognise the chunk of chalcopyrite that they came from, or the landscapes that are home to the mineral ore. Reconnecting the materials with their sources, 'Distant Blues' starts to contextualise these metals in my mind, expanding my map of the studio across the globe and out into space.
Through revising my use of materials, I seek to question our perception of these ecologically interconnected systems, sites and narratives. Via ceramic objects that focus on the legacy of waste, I examine my own complicity in these systems, and demonstrate a desire to enact change.
'Common Ground', 2024
glazed and unglazed saggar-fired blocks made from ceramic waste sink matter, steel platform
8 x 176 x 125cm (blocks), 6 x 204 x 153cm (steel platform), approximately 1300 blocks in total
numerous blocks glazed by students and staff at The School of Clay and Art, Melbourne
Part of my Masters research focussing on adaptive reuse in ceramic practice, the clay body of 'Common Ground' is made entirely from the sink sludge collected from the clay trap sink @soca_brunswick , which salvaged over one hundred kilos of wet material from landfill. Numerous blocks have been glazed by students at the studio, who were invited to repeat a surface they were testing on one of the sink sludge blocks, specifically if the glaze contained cobalt and/or copper.
This work is made by many separate pieces coming together to create one work and could not exist without the community it comes from. We created this topography together, but not consciouslyâthe sludge is a subsidiary outcome generated from the personal practices of each individual.
The work speaks to the collective responsibility held by everyone at the studio. Even washing up a single tool, a person has contributed something to the sludge material over time. Containing the physical matter of these contributions, and bearing witness to the conversations that were had while cleaning up at the end of the day, the sink is imbued with the anticipation of waiting for a surface test to come out of the kiln: the waste is actually full of promise.
A huge thank you to @by.cal.kent for his assistance in making this work. He threw the huge saggar pots that the blocks were fired in (seen in the last picture). Thank you Cal and everyone who helped this work manifest into being!
'Leftovers', 2024
Steel and glass vitrine with 12 ceramic objects
120 x 80 x 40 cm
One of three works from my Masters research, 'Leftovers' is a collection of material residues and waste collected from @soca_brunswick . They are curiosities, including samples and evidence of ceramic processes: small clumps of fused matter from experimental material combinations; stacks of clay trimmings; textured chunks from firing supports; slabs of glaze from forgotten containers; folded and layered sheets of waste glaze.
Sitting in the separate strata of the glass case, this work invites closer inspection of the systems of studio practice, and the waste generated by these processes. 'Leftovers' asks whether these objects being sheltered as matter or memories, kept and stored as a yield, or sealed and sequestered as waste? Created from waste, yielded as desirable material and sheltered for contemplation, they can be all of these things simultaneously: the waste has many values.
This work is part of my research project 'Reclaim: Actioning Adaptive Reuse and Place-Centered Experimentation in a Contemporary Ceramic Practice,' which critically explores ceramics as a medium for fostering ecological awareness and connection to place. Through an examination of ceramicsâ cultural and material entanglements, this research seeks to reclaim the mediumâs potential for ecological responsibility, shifting it from a process of resource depletion to one of material recuperation and relational healing.
My work 'Distant Blues' is one of three new works from my Masters research that I'll be showing at the @vca_art Grad Show, come along!
Opening 21 November 5-8pm
Exhibition runs from 22-28 November, 11-5pm
Location VCA, University of Melbourne Southbank campus
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Distant Blues, 2024
fired waste glaze, oxide and porcelain material blends depicting Google Earth images of copper and cobalt mines, printed pre-firing with paper lithography technique
approximately 10 x 22cm each, 129 tiles in total
Before I made ceramics I made prints. I found these two from 7 years ago, deep in the archive while (presently) procrastinating. They are screenprinted on Japanese rice paper and coated in beeswax which makes them translucent, so are pictured here with a white sheet of paper behind to help the colours pop.
Holy moly this makes me miss printmaking so much! Shout out to all my printmaking buddies đ
(1) 'Thermal', 2016, edition of 2
(2) 'Undertow', 2016, edition of 4
Both CMYK screenprint on kozo paper with beeswax
Print size of each is 50x50cm
Johnson Street Phases, 2023
Southern Ice porcelain and locally sourced terracotta
Photos by Jaime Emily Powell @jaime.jaime
Comprising clay slavaged from a suburban Melbourne building site, this work is a practise of observation of the nature of this clay.
Drying, rehydrating, blending and throwing the clay is a slow and meditative exercise. By going through this process over several months, I formed a connection with the terracotta that differs from my connection with the porcelain.
The sequential nature of this work and the time consuming process of making speaks to a slow paced, reflective practice. This material is not waste; it is precious, powerful and useful.
I hope it encourages people to slow down with they encounter it, and think about what is below ground where they are, what stories this ground holds and how they might reconsider the materials in the ceramics that they interact with daily.
You can see it in person next week @vcaartspace
March 28 - 31
Opening 5pm, Tuesday 28 March
