The turquoise smaller notes though were rather accidental - and after firing it is they that are really inspiring. Sometimes accidents deliver nice results. 
This plate (about 30cm diameter, from the same mould as the plate below) had two firings. The first firing was at 1080C with an alkaline glaze. Then I added the slip edge and some turquoise glaze before re-firing at the same temperature.
The trick is to put enough slip on the plate. If you paint the slip on you need at least three coats. Of all the plates I made in the 'Plate Project', the terracotta plates with white slip interested me most. Perhaps that is because they provide a good canvas for drawing.
This zipper plate was made by making a mould with a zipper pressed into it. The name on the zipper, Luigi, is intelligible through the glaze.
It is peaceful despite the location as the thick walls are great insulation. 
The ceramics workshop is a congenial place to work.
This is a painting by Rupprecht Geiger called 402/64. Geiger was one of Germany's foremost abstract artists and painted mainly in red. (His obituary in 1996 was titled 'A life for the colour red.') 
Patonga Inlet had an autumnal feel early this morning as the sun rose over a flat calm sea.
Graphite sketch on A1 paper, transposed from the sketch done at the AGNSW ... with added bronze figure. It relates to an essay I am writing comparing the fuss caused by a French painting in 1850 with that caused by an Oz photo in 2008. One fuss was about politics and the other about nudity ... which says something about France and Oz respectively I suppose.
While I savoured my Greek Fish dish I drew the customers at a nearby table.
The guests thought ninety was a grand age to be; the birthday girl decided 60 was better and turned the 9 upside down.
