Review: Maryke Henderson's Unpredictable exhibition merges skill and chance

Maryke Henderson's ceramics are widely known and have been in many group exhibitions in Canberra. It is only with this survey exhibition at the Watson Arts Centre, however, that a deeper appreciation of the wide scope of her ceramic practice from 2004 to the present day is possible. The exhibition showcases the artist's focus on form and surface decoration and the direction in which these concerns have taken her. The judicious care with which these ceramics are displayed enables Henderson's eloquent pots to speak to us directly.

Henderson's involvement with ceramics began in the New England region of NSW where she grew up. She relocated to Canberra to continue her ceramic studies and completed a thesis on the subject of soda vapour glazing for her BA (Visual Arts) Honours degree at the ANU School of Art in 2004.

Several early works in the exhibition including the artist's "first pot ever" from 1978, demonstrate her early interest in using different methods (raku, salt glazing and pit firing) to obtain special surface effects. This interest is the continuing theme throughout her ceramic practice. Unpredictable, the title for this exhibition, refers to the artist's preferred method of creating distinct and unique markings on clay that are "unpredictable" insofar as the end result has an element of chance that the artist cannot control.

The use of soda vapour has been called "painting with fire" because of the beautiful marks and textures left on the surface of the pots during the firing process. Instead of conventionally using salt, Henderson uses a wet mixture of baking soda inserted into the kiln during firing. During the firing process the water in the soda mixture evaporates, causing the vapours to react with the flames. The markings caused by this interaction make each pot unique. The colour of the clay and slips used determine the coloured surfaces of the pots. A lot of skill and experience is involved, not merely chance, to create the beautiful coloured, mottled and textured surfaces of her pots.

Among Henderson's best known works are her groups of small bottles with exaggerated spouts that often twist and turn in gravity-defying ways. The original oilcan that inspired them (Inspiration - Dad's Oil Can) is included in the exhibition. Yet it is the larger works that I find the most compelling. The artist is motivated by the landscape and many of these pots seem to be part of the earth itself, carrying the changing processes of nature on their surfaces.

A group of large vessels (Ripples Series) with altered rims seem in their majestic presence to be related to the earth's topography. Another group of stoneware vessels called simply bowls nos.112-18 are elegantly balanced each on a finely turned foot, demonstrating the versatility of the artist in creating satisfying organic forms that are sympathetic with the soda firing method.

The forms and markings of trees have always been an inspiration for Henderson. She observes their trunks and branches with their subtle colourings, rough textures and fissures and interprets them most successfully in her wall installation Forest Memories. In other works - the Snowgum and Pale River Gum series, the tree forms are free-standing and sculptural. The patterns and marks made by the effect of soda vapour firings are perfectly attuned to the seemingly random markings and rough-hewn textures of nature and present a sensitive interplay between form and decoration. As Janet DeBoos comments in the catalogue essay on vapour glazing, "the glaze is the surface and the surface is the glaze".

We've made it a whole lot easier for you to have your say. Our new comment platform requires only one log-in to access articles and to join the discussion on The Canberra Times website. Find out how to register so you can enjoy civil, friendly and engaging discussions. See our moderation policy here.