Sunday, 30 September 2012


Have I talked about this before
have i told you that i think 
that one of the most beautiful words 
in the English language is 

here is my longest blog to date
the story of my connection with 
both a loaf of bread and a loaf of clay

The most important aspect, in relation to the expression of any craft, is the attitude with which it is practiced. This is, and definitely has been, the common element in my personal experience in the crafts of both Bread and Ceramic making.

Certain strict attitudes toward the making process, the materials, the tools, and the spirit of place, (the bakery), were instilled during my time as an apprentice. These were imposed with a strong sense of discipline. A discipline enforced by an authority based on knowledge. Later, earned with practice and trust, this was allowed to turn, or develop slowly, into ‘self-discipline’.

I carried the disciplines from one craft into the other without any difficulty, because the manipulation, the forming and baking of both dough and clay are very similar and based on the same premise. The premise of learning the basics first, being followed by the development of those skills to the point where they became a personal expression. Skills first learned when entering the craft through a school, an apprenticeship, or a workshop situation.

In my case there was a specialised school in combination with a practical learning experience. Yes, an old-fashioned apprenticeship. Every move I made, and skill I learned, was carefully monitored and appraised until the particular authority deemed it good enough. This careful process of learning and acquiring skills encouraged the steady development of a professional approach towards the materials, tools, and working space. With the successful development of these skills and attitudes, came more responsibility, which meant more ownership.

Both the crafts of bread and ceramic making have, within the confines of their material restrictions,  plenty of room for personal expression. The development of a personal expression of any craft can only come about once the basic skill structure is in place. Not only in place, but preferably transcended. Transcending a skill means to know it to such an extent that it does not place any restrictions upon the practitioner. The maker has become liberated from the limitations of emerging skills and is now free to make the choices of what to do with them. When this transcendence of the basic and necessary skills occurs, it is a natural development for the maker to make the process his/her own. To make it an expression of his/her own particular spirit. To place a personal stamp on it. To find one’s language in it, and express it.

When the authorities deemed that I had a acceptable grasp of the basic skills, a three year period of working in three different bakeries followed. One per year. This gave me the experience of working under the supervision of three masters of the craft, and learn about their particular specialties. After satisfactorily completing this time, I was ready to start my own bakery, create my own specialities. Be my own man.

Freedom, as expressed in the baking and ceramic process, in itself and like all freedom, is shapeless and without form and as such does not work. However, through practice, self discipline and responsibility we are able to give this ‘freedom’ a shape, our own shape, and thus make it work for us. Within the boundaries of the material, we will feel free in our chosen field. It is interesting to note here, that the creative process cannot be restricted by any material restrictions.

I started my ‘Making’ life by learning the craft of bread-making and from there moved into the craft of ceramic-making. In the first, the end product was a loaf of bread, in the second the process started with a loaf. A loaf of clay.

There are of course some differences between the crafts of bread and ceramic making. One of which is the way society views and accepts the finished work.

My reason for moving from one craft to the other had to do with ‘freedom of expression’. At the time, the craft of bread making was more restrictive than that of ceramic making. To a large extent this was a result of the expectation of the public, who wanted the same fresh loaf of bread each and every day. The repetitive nature of this kind of work, combined with the unnaturally early hours involved, became oppressive. For me there existed an element of drudgery. A spirit killer.

I realise that the process of both bread and ceramic making have the same creative potential. However, at the time I practiced bread making, the food consciousness of Australia had not moved much beyond ‘the-white-loaf’ expression. At this time also, my creative spirit, developed and nurtured within the rich tradition and variety of European bread making, became more and more frustrated because it was unable to express itself fully.

The practice of ceramics, on the other hand, offered a much larger space for the expression of my creativity. I felt I owed it to myself to move into a field where I could be as creative as possible. I believe that the more one allows the creative spirit to manifest, the more one is partaking in life. Life expressed creatively. Life creating itself. Being a-life.

The practice of each and every craft has the potential to be special. It also has the potential to be magic. Over the years of practice, I have wondered how that quality is achieved? What is the formula?

One of the enemies of the creative spirit, and the development of ‘specialness’, is taking things for granted. In most cases we take our fresh daily loaf of bread for granted. By the repetitive nature of this purchase, we have been lulled into the belief that this is a normal expectation. We have forgotten that it is a privilege. That it is special. Thus, as soon as ‘For Granted’ arrives, the concepts of ‘Special’ and ‘Magic’ disappear. That ‘special loaf’ becomes ‘just a loaf’.

Unfortunately there is, in our culture, far more room for the expression of specialness in the field of ceramics then that of bread making. Probably because ceramic making isn’t related to our daily expectations and therefore much more space is allowed for experimentation and expression. A much larger play space is available. I love that space.

Another big difference is that ceramics are placed on a plinth which bestows it with ‘attention’, which is the magic ingredient for specialness. Yet, after working in both occupations, I see just as much beauty in a loaf of bread.

Imagine, a loaf of bread on a plinth!

Although artistic expression is possible in both disciplines, it seems easier in one than the other. We can choose the one which suits our particular spirit. My engagement with bread making was chosen by my elders, my environment and social circumstance. My engagement with ceramic making came about because I expressed my freedom of choice and a strong need to be creative




Saturday, 22 September 2012


 i recently took a journey north
to the town of bellingen
the journey took me through a soft green landscape
where groups of trees stood knee deep in
large fields of golden light
for mile after mile

i camped near this landscape
which reminded me of a fred williams painting

in parts the landscape was growing,
the flat was flatter, the horizons wider
and the roads as if drawn with a ruler

then all of a sudden i was back in the land of the big brown paddock

 or this moody landscape
where i sat for hours contemplating
my good luck in having danced the big C out of my life
for now that is

and later the curves are back into the road
the straight roads left behind
the dead straight, emphasis on 'dead'
or the straight and narrow
an equally 'leave it behind' concept

and finding peaceful places to camp

in all a journey filled with wonder
the wonder of the ever changing vistas
from the flat to the undulating to the mountainess
and how privileged i am to be in it
to partake in its beauty
and to be continuously surprised by its aahhhh.... factor

"After each big event, take some time off"

Wednesday, 5 September 2012


special seating will be limited

an artist talk, without the talk
a show and not tell.

where artist petrus spronk, shares his art education,
his apprenticeship, his extensive travels
and consequent art career in images 
and some music.

be amazed, be surprised,
(as in, you did not know the above 
was one of his works)
be enchanted, be entertained, 
be excited, be inspired, 
by a visual feast of many intriguing images.
there are some beautiful things
which he has seen and experienced
and which are now part of him
and from which he continues to draw
aesthetic considerations  
which make his work special.

where: daylesford neighbourhood house
when: 5th of October
time: 7 pm
cost: members of clayspace, free
non members $ 5.00

'if you don't know where you are going,
it doesn't matter how you get there'