As I began to prepare for my talk on the marginalization of women within the wood fire community (or women ceramists in general) at LaBorne in a few weeks, I took the opportunity to do what was done earlier with art history survey texts: I started to examine the inclusion of women in publications on the subject.
In 2011, Mansfield Press, owned by the late Janet Mansfield (herself an internationally respected woman who fired her work with wood), published Owen Rye’s The Art of Woodfire: A Contemporary Practice. The book has a statement from Rye on why he is so passionate about wood firing in addition to a discussion on the aesthetics, history, and materials and processes of this very physical method of working with clay. There are pages devoted to individual artists alongside beautiful (and large) images of their work and kilns. Most discuss their choice of wood firing over other methods or what inspires them. My objective was a little different.
The book was written in response to to an exhibition which was held at the Front Room Gallery in Gulgong, NSW, eventually travelling to all of Australia in 2011. But it is much more than a catalogue and the discussions could be applied to the concerns within the wood firing community internationally. Rye included a discussion of the 24 artists within the exhibition. Of these the women represented include the late Janet Mansfield, Sandy Lockwood, Barbara Campbell-Allen (including a large photo of her anagama kiln in Kurrajong, NSW opposite an image of a vase and a bottle), and Carol Rosser. Mention was made of others including Gwyn Hanssen Pigott and Moraig McKenna whose lovely wood fire porcelain was featured in two photographs.
Would I like to see at least half of the attention go to women? Absolutely. But a gold star has to go out to Owen Rye. Many of the other publications do not include a single woman. Stay tuned!