NINE MEMBERS of this group of 55 are exhibiting their recent work.

The works are diverse, as are the techniques each potter uses.  Expression of the joy of nature is a linking theme with several artists, and the vessel as the basic form links others.

Anne Langridge is showing four, large garden pots.  These aesthetically pleasing works are strong and gutsy and could be used with or without soil and plants.  Langridge has used coloured slips and ‘engobes’ to enhance the dynamic forms.

Monika Leone is showing lidded boxes, made to hold treasures and secrets.  They are exuberant in both form and surface decoration, full of life and colour.  Modelled birds sitting atop the lids of several vessels add a delightfully whimsical touch.  Leonie has manipulated the thrown form, adding life to the form.  Several have the coppery, orange-peel surface of raku-fired works, with flashes of iridescence.

More colourful and highly decorated pots are being exhibited by Velda Hunter, which appear to have a landscape narrative circling the collars.  The forms are altered, giving a slightly undulating surface, and include cylindrical vases, bowls and platters.

Mountains and valley floors around Canberra provide inspiration for Melinda Brouwer’s works.  Topical maps showing creeks, borders, parish lines and some vegetation and butterflies are delicately drawn on the hidden surfaces, highlighting the interaction between the harsh environment and human’s need to conquer it.

The organic forms found in the landscape, rocks and bones are the focus of Jacqueline Lewis’ work.  She is showing two different bodies of work – tall Gum Tree Vessels and several plates and wall panels and I found it difficult to reconcile the two.

Two members of the group are showing sculptural forms.  Linda Davy is showing sculpted birds – some recognisable and others with rather grotesque twigs and branches sprouting from their heads.  Suzanne Oakman is exploring littoral detritus found at the beach and on creek and river beds.  She is also exhibiting some imagined or mythical creatures.

Liz Crowe has focussed her work on the simple form of pears.  The pears are fired using a Belarusian raku technique which gives a beautifully tactile, satiny and patterned surface.  Silver stems and collars by Susan Moore enhance some, while Michael Nordsvan has added copper stems.

Tea pots are always a challenge for potters, and Rick Beviss has embraced the invitation.  Arched-over handles are often a particular downfall for teapots, despite their elegant appearance, as there must be sufficient room for the lid to be removed comfortably, and to empty the tea leaves.  Several of the teapots on display fail on this score.  The use of turned, wooden lids – often brightly coloured – is a practical touch in teapots with arched-over handles and those with handles on the body of the pot.

This is a large exhibition, and it is unfortunate that the artists have not exercised some restraint in the quantity of pots being displayed.  However, viewers can see a large variety of work from local ceramicists.