Recent Announcements

NZ potters 58th National Exhibition

posted 22 Aug 2017, 21:30 by Rick Rudd   [ updated 22 Aug 2017, 21:31 ]

It is my pleasure to resent the 2017 New Zealand Potters 58th National Exhibition.

I joined the Society in 1979 as part of the last group of potters whose work had to be successfully assessed before they were accepted into the Society (the following year the Society was opened up to anyone who paid the subscription). Between 1988 and 1991 I was president of the Society and in 2016 I was made a Life Member.

In 1987 I was convenor of the Society’s convention here in Whanganui, and organiser of the Exhibition at the Sarjeant Gallery. For that exhibition Jean Hastedt, Bill Millbank and John Parker selected 74 works by 37 makers from the 207 works by 86 makers who submitted.

This year Paul Winspear, the selector, chose 67 works by 35 makers from the 95 works submitted by 46 makers.

Of the 37 exhibitors from 1987 only four are exhibiting this year: Anneke Borren, Royce McGlashen, Gaeleen Morley and myself.

I would like to thank all those involved in the organisation and participation of this exhibition and especially commend Aimée McLeod for her work as the organiser of this and the other two NZ Potters exhibitions she has organised this year.

I hope you enjoy the exhibition, it is good to see NZ potters return to Whanganui thirty years after they were last here.

Rick Rudd


New Zealand Delft a survey of work of Anneke Borren

posted 8 Jul 2017, 18:34 by Rick Rudd

Delft is known for its on-glaze decorated ware. It was developed in the 16th century reaching a peal in the 17th and 18th centuries.

At this time Europe was importing decorated porcelain from China. Because European potters did not have the capability to make porcelain buff coloured clays were coated with an opaque white tin glaze which then had the decoration painted on the dry clay before firing.

Anneke Borren has taken this quintessentially Dutch technique and reinvented it in a contemporary style. Recently she has glazed without painted decoration but has incorporated some carved designs.

She has worked with clay for 50 years and kept an extensive collection of her work.

Anneke decided on a change in lifestyle and, as part of this has, with extreme generosity, gifted this entire exhibition of selected works from throughout her career to the Rick Rudd Foundation.

Rick Rudd

Anneke was born in Eindhoven, the Netherlands in 1946. She began to learn to throw on the potter's wheel at the age of 12 and emigrated to New Zealand with her family in 1963.

She attended the Ilam School of Fine Arts, Christchurch in 1966. She worked in the Royal Dutch Delft Factory, Delft in 1967. In 1968 and 1969 she worked in Denmark and Sweden, returning to New Zealand in late 1969.

Between 1977 and 1981 she toured and studied in the USA, Mid and South Americas, Southern Europe and the UK.

She was a member of the Potters Cooperative in Wellington (1986 - 1993), a lecturer at Whitirea Polytechnic, Porirua (1988 - 1993) and the Education Officer and Public Programmes Coordinator at the Dowse Art Museum (1995 - 2000).

Anneke has been an elected artist member of the New Zealand Academy of Fine Arts since 1974, was president of the New Zealand Society of Potters (1997 - 2000) and was made a life member in 2011.

Her work has been illustrated in numerous books and is held in private collections and museums throughout New Zealand and around the world including the Museum of New Zealand, Te Papa Tongarewa and Museum Booymans van Beunigen, Rotterdam.

Anneke was married to sculptor/carver Owen Mapp between 1971 and 1993 and has two daughters, Tahi and Tamara.

Boys of the 70s from the Simon Manchester Collection

posted 8 Jul 2017, 18:14 by Rick Rudd   [ updated 22 Aug 2017, 21:36 ]

Richard Stratton (born 1970), Paul Maseyk (born 1974) and Andy Kingston (born 1979) are three of the most exiting potters today. Their work is vessel-based but really objects are vessels of expression of their ideas and utility is total inconsequential. Their pieces are more at home in the art gallery than the craft shop.

At the moment many practitioners in clay are concerned little with techniques and craftsmanship but these three, because they were all academically trained, have taken the techniques they require to produce their work and honed them to a high degree.

I hope you are as excited by this exhibition as I am and my gratitude goes to Simon for lending this stunning collection. Sharing such a wonderful group or works for an extended period is extremely generous.

Rick Rudd

Molle exhibition ENDED

posted 22 Jan 2017, 13:51 by Rick Rudd   [ updated 8 Jul 2017, 18:04 ]

Works by Molly Goodsell, who worked in Timaru in the 1950s.

Hokey Pokey by Peter Lange ENDED

posted 22 Jan 2017, 13:49 by Rick Rudd   [ updated 8 Jul 2017, 18:05 ]

A survey of the work by Peter Lange from the 1970s to the present day.

Barry Brickell exhibition from the Simon Manchester collection ENDED

posted 22 Jan 2017, 13:48 by Rick Rudd   [ updated 8 Jul 2017, 18:05 ]

Wellington Collector, Simon Manchester, has lent an impressive group of Barry's work.

The Rick Rudd Foundation Annual Installation 2016 - 2017

posted 22 Jan 2017, 13:43 by Rick Rudd   [ updated 8 Jul 2017, 18:08 ]

"Multiplex" by Isobel Thom

The Rick Rudd Foundation Annual Installation 2015 - 2016 ENDED

posted 25 Oct 2015, 15:43 by Rick Rudd   [ updated 8 Jul 2017, 18:06 ]

"Where the Wild Things Live" by Blue Black. 

As a process-driven maker, what I do with clay starts with foraging in friends’ compost bins, gardens and recycling collections.  Like a little pack rat I drag collected things back to the studio, such as flowers, vegetable and plant roots, and a range of man-made materials and objects like egg cartons, clothes, foam, insulation and bed springs.  I dip them in special clay slip adding layer upon layer of clay. 

This work is generated from a place of making.  I just do, and in the doing, ideas and reasons for producing the work evolve during the process. It’s not until assembling the work that it fully takes shape.

Blue Black

Blue Black

Blue Black was born in Christchurch in 1957.  He had a variety of jobs in horticulture and factories, all the time taking part in creative endeavours.  

He joined a beginners course of pottery with Margaret Riley in the late 1980’s and in 1991, after three years of study, he gained a Certificate in Fine and Applied Arts at the Whanganui Regional Community Polytechnic.  In 1994 he gained a diploma in Ceramic Arts, plus an Honours year at the School of Art, Otago Polytechnic, Dunedin.

He holds a BFA and MFA from the School of Art, Otago Polytechnic, Dunedin and was awarded the Otago Polytechnic Education Foundation Award, 2010 for Outstanding Achievement.  He completed his Masters with a show against the grain, at Dunedin School of Art Gallery, Dunedin.

In 2008 he was a finalist in the Wallace Art Awards, Auckland and in 2009 he was a finalist for the Anthony Harper Award, COCA, Christchurch and part of a group show In From the Garden, Objectspace, Auckland.

In 2013 he collaborated with Desi Liversage to form a body of work, Hurry Up & Wait, a collision of clay and crochet.  The show was held in Wellington and Dunedin as part of the fringe festivals.  He was also a finalist in the Central Otago Art Gold Awards and ILT Annual Art Award, Invercargill.

Blue was the winner of the Lysaght Watt Trust Art Award, Hawera and a finalist in the Portage Ceramic Award in 2014.  He also held a solo show, Earthmovers, at Mint Gallery, Dunedin.

In 2015 he was part of a group show Three Lazy Gardeners at the Depot Artspace, Devonport, exhibited, Fallout in the window gallery at Objectspace, Auckland and completed this project, Where the Wild Things Live for Quartz.

For more information go to  
All works are for sale, POA.

Photos courtesy Richard Wotton
Above left: Flower Stand
Above right: House of bricks
Below left: The Gang
Below: middle: installation view
Below right: Climbing the Walls

Celebrating Ross

posted 25 Oct 2015, 15:22 by Rick Rudd   [ updated 25 Oct 2015, 16:10 ]

On the 21st of April, 2015 Ross Mitchell-Anyon fell approximately 12 metres resulting in extremely serious injuries. After initial treatment in Wellington Hospital and recuperation and physiotherapy in Porirua he has now returned home to Whanganui.  

This exhibition celebrates his work as a potter over the last almost 40 years.  Ross has always liked his work shown in multiples rather than as individual works and the display honours this preference.

Ross has been a strong, positive force in Whanganui as a District Councillor and “putting his money where his mouth is” by saving some of Whanganui’s heritage buildings.  As a potter he has been a teacher to some of today’s most vibrant and innovative artist potters.  

Many people in Whanganui have been thinking of Ross, his wife Bobbi and the Mitchell-Anyon family over the subsequent months.  Although not a complete recovery, his progress has been nothing less than amazing and hopefully there will be more improvement to come.

My thanks to the owners of the treasured Mitchell-Anyon pots on show.  I know it has been difficult to live without them for the period of this exhibition and most lenders have declined to let some works be borrowed because they are used every day and life would not be the same without them.  The act of sharing special belongings with a wider audience is a very generous one and much appreciated.  

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