Met each other in 1972
their pursuit since then …
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David and
Felicity are both descended from European immigrants to South Africa who
left their home countries in the face of extreme racial prejudice,
persecution and
oppression, and looming regional and global conflict.
Both
families instilled in their offspring a very strong sense of
humanity, social responsibility and justice which has served to guide
David and Felicity in their life and in their dealings with others. It has resulted in a life
together of very productive and rewarding work in their studio,
and they have been active in various aspects of community work,
wherever they have been. This legacy of parents and grandparents
who strove for the high ideals of social justice, liberty and equality
remains with them.
Felicity
is first generation South African born, her mother's family arrived from
Germany in 1928 and her father from the UK.
David is
second generation South African born with both sets of grandparents
arriving from Lithuania in the late 1890s and early 1900s.
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The following
timeline outlines some of the highlights of a very busy and productive
working life together, since they met in 1972.
Felicity's
son James remains within the family, being cared for at home and
central to their life and work.
Felicity
continues painting throughout the coming years; watercolour, mixed media
and design.
At a very early stage in their studio work, Felicity's
painting was carried through onto the pots produced in the studio with
David being involved in the clay
preparation, glaze mixing and making and firing the pots. It is a
division of input that has suited them both equally and remains
essential to their consistent output of work.
1970s to 2000s
Care for James
Camphill
Working Pottery Studio
Children’s art teacher
etc etc
Various design and textile projects and commissions
Periods of active
involvement in community work
1972
Moved to Cresset House in Halfway House near Johannesburg.
A Camphill School and Training Centre for Children in Need of
Special Care, and part of the international Camphill Community.
All members of the community were voluntary workers receiving just
their board and lodging and basic maintenance. They became house parents to 12 young people
and also worked as class
helpers and taught art . Approached in 1972 by the management to
consider begining a pottery workshop
at the centre and met Gordon Wales, a founder member of the
Association of Potters of Southern Africa (APSA), now known as
Ceramics SA. David had his first experience of throwing a
pot on the potter's wheel under his guidance at that time.
1973
Developing interest in studio pottery as a means of training and
therapy for young people in need of care, and worked towards the
development of a Pottery Studio at Cresset House as well as the
establishment of a vegetable garden, bakery and small dairy providing
fresh milk and produce for the centre
Introduced to the
activities of and
joined the developing Association of Potters of Southern Africa,
now known as Ceramics SA.
Became acquainted with the
work of
Tim Morris another founder member of APSA, the relationship went on for many years.
It was through this early relationship with Tim Morris that
they became aware of and influenced by the work of many leading
practitioners in the tradition of Anglo-Oriental high fired pottery
both in South Africa and abroad,
and they were among a large number
of people who were influenced and inspired by Tim Morris, and
others who were at the forefront of the Studio Pottery environment
in South Africa during the very early 1970’s, at a time when
the Association of Potters of Southern Africa, now
Ceramics South Africa, was in its infancy. Tim was a founder
member of APSA. Some of those whose names are connected to
the early development of Studio Pottery in South Africa:
Hyme Rabinowitz,
Esias Bosch, Sammy Liebermann, Andrew Walford,
Mike Kamstra, Gordon Wales, Bill van
Gilder, Toff Millway, Molly Fish, Thelma
Marcusson, Joyce Keyser, Pam Bass, Peggy
Wolstenholm, Gail de Klerk, Wendy Goldblatt,
Helen de Leeuw and Annette Lewis-Barr, Joe
Faragher to
name but a few.
The overriding impression for
David and Felicity was that working with clay could become a
rewarding and relevant means of expression, and also provide a way
of life that both of them saw as desirable and achievable. It was also seen as
a possible means of working from home thus being able to care for
James.
It was a setting that also
brought them into contact with the Studio Pottery environment abroad
and the work of prominent producers of high temperature,
reduction-fired pots at that time. The work of people such as
Bernard Leach and his sons, Michael Casson, Michael Cardew,
Joe and Ray Finch, David Frith and Margaret Frith in the
UK, Robin
Hopper in Canada and John Glick in the USA;
the list is endless and the influence on their own work profound.
Major art exhibition
at the school by many prominent South African artists to raise money for a
pottery studio & equipment at the school
Another major
exhibition, this time showing the work of their students from
Camphill in the centre court of Sandton City
1976
Moved to Johannesburg, rented house & began first own
home studio
First participation in a group exhibition at Helen de Leeuw Gallery in
Hyde Park, Sandton
1977
Own house and studio in
Parkview, Johannesburg
Built first big,100cu ft gas kiln in Johannesburg
1979 onwards ...
Numerous solo and group exhibitions and workshops around the country
over the coming years and continuing …
First Solo
Exhibition was at Ernst de Jong Studio Gallery in
Hatfield, Pretoria
Johannesburg –
Potters Gallery in Hyde Park, Helen de Leeuw Gallery
in Hyde Park, Akis Gallery, Everard Reid’s Sanderling Gallery,
Quadri,
The Laura Collection and others
Pretoria -
Ernst de Jong Studio & Gallery,
South African
Association of Arts, Schweikert’s Gallery
Kimberley - Gallery 5, privately and
William Humphreys Art Gallery
Stellenbosch - The Dorp Street Gallery
George - Strydom Gallery
Also at Cape Town, Durban, Plettenberg Bay at
the Lookout Gallery, Mbabane Swaziland, Bloemfontein, Port Elizabeth, Nelspruit, Clarens, Ermelo, Potchefstroom, Klerksdorp, Lydenburg, Jan Kempdorp, Windhoek, Swakopmund, Paarl & Swellendam
Television
appearances radio interviews and coverage in various form of written
media, newspaper and magazines, all still ongoing ...
Corporate and private
commissions and orders from architects, designers and landscapers,
ongoing ...
Greatly influenced by the work of
Ruth Wolff who was Felicity’s mother, and a very prominent
designer, architect & interior decorator working in Johannesburg
with many of their pieces being used in various design
and interior projects
Guest exhibitors and workshop
presenters for
A.P.S.A. (Association of Potters of Southern Africa), now
called Ceramics Southern Africa, continuing for many years ...
1980s
Feature article in ‘Living’ magazine,
early 1980s,
written by Heloise Truswell and edited by Roger Corfield
Involved
and active in township and community development for many years,
with particular interest in the role and value of the arts, and
active during various states of emergency and the events
engulfing the country in general and Alexandra Township in
particular; they were part of the original group
instrumental in
the establishment of
the
Alexandra Art Centre with
Bill Ainslie and others from the Johannesburg Art Foundation
and the broader 'progressive' arts community who were active at the
time. There were many community and arts
activists involved in these developments, and among them were
prominent people such as
Lionel Abrahams,
Ntemi Piliso and other members of the
African
Jazz Pioneers, Queeneth Ndaba, Mac Lekota, Joe Manana,
Jingles Makoti,
Sue Morrell, Bongi Dhlomo, Helen Sibidi,
Tilly Gasela, Gcina Mhlopi, Ivan Schlapobersky, Henry Paine,
Ivor Chipkin, Anthusa Sotiriades, Mzwake Mbuli, Meshack Masuku
and several others, including Wally Serote and other
returning exiles.
The patrons of the
Alexandra Art Centre at that time included Archbishop
Desmond Tutu, Dr Beyers Naude,
Dr Nthato Motlana,
Nadine
Gordimer and
Curtis Nkondo
An early priority for this initiative was a major
group exhibition of work by many prominent South African artists titled
‘Art for
Alexandra’ in the mid 1980s at Sotheby’s in Johannesburg in association with
Stephan Weltz, to raise awareness about and funds for
the Art Centre. David and Felicity remained active and involved
through the dramatic changes taking place in the country at the
time and well into
the 1990s.
1988
Exhibition at ‘The Mall Gallery’,
in London with
textiles by Coral
Stephens
Featured in the South African Potters Manual, “Making a
Tea Set”
Felicity - Design work including consultancy, carpet design &
textiles for head office of General Mining Union Corporation in
Johannesburg in collaboration with Ruth Wolff
1989
Guest exhibitors and workshop
presenters for
A.P.S.A. (Association of Potters of Southern Africa), now
called Ceramics Southern Africa, continuing for many years ...
Part of the original group stimulating the formation of the
Johannesburg Studio Route with more than 20 artists and craft people &
remained active participants for several years
Felicity - Design work including consultancy,
carpet design &
textiles for First National Bank in collaboration with Ruth Wolff
Felicity - Design work – textiles for
Design Story, London
1991
Feature article in
National Ceramics Quarterly, issue #18, December 1991
Included in the book
'Contemporary Ceramics in Southern Africa' by
Wilma Cruise and Doreen Hemp
Johannesburg Studio Route -
continued participation
1992
Appeared in the book 'Around Africa' by Peter Marshall,
and then in the TV Series of the same name. Helped to
facilitate and co-ordinate Peter Marshall's tour of Johannesburg and
surrounds and interviews with prominent personalities at the time.
Featured in the book and the TV Series and a priority for Peter
Marshall's visit to Johannesburg is David's brother John
Schlapobersky who recounted his experiences at the hands of the
South African Government's Security Police while studying psychology at the University of the
Witwatersrand in Johannesburg during the late 1960s.
Imprisoned without trial in 1969, held in solitary confinement and tortured on suspicion of being involved in
the activities of subversive organisations, John was deported and made his way to
England where he became a psychotherapist and also worked for the
Medical Foundation rehabilitating torture refugees from all over the
world.
Commissions
1993
Guest exhibitors and workshop
presenters for
A.P.S.A. (Association of Potters of Southern Africa), now
called Ceramics Southern Africa, continuing for many years ...
Group Exhibition with the
Craft Council of South
Africa in London
Included in the publication 'CraftArt - Focus on Clay' edited and compiled by Doreen
Hemp
Exhibitions, Kimberley and Klerksdorp, and commissions
1994
Started making plans for move to the country, bought historic
house
Bukkenburg in Swellendam and rented it out, started teaching in Johannesburg to
pay the bond
1995
Craft Council Exhibition at Museum Africa, Johannesburg
August - Decorex in Johannesburg
November - invited to
exhibit work on the 1st APSA 'Prestige Exhibition' held
at Schweikert Gallery, Pretoria (APSA - Association of Potters
of Southern Africa, now known as Ceramics Southern Africa)
1996
Moved to Swellendam, 1 October
1996
Feature article
titled 'A Potter's Lunch' in the November 1996 issue of
SA Garden &
Home
Group exhibition by local and regional artists at
Morgenzon House, Swellendam in November 1996
1997
Renovations and alterations to the house Bukkenburg and to
the outbuildings in order to establish the studio and showroom.
First glaze firing in Swellendam, 40cu ft oil-fired kiln, and
first pots ‘Made in Swellendam’
Working Pottery Studio is open to the public
in Swellendam
First 'Open Studio Weekend' at Bukkenburg in November 1997 –
these open weekends continue with three events a year …
1999 & 2000
'Decorex Cape 1999', at Spier
in Stellenbosch
Exhibition in Westcliff, Johannesburg
Became involved in local community development,
interaction and tourism in Swellendam
which continued until 2003
'Decorex Cape 2000', at Spier
, sharing a group stand with four other potters
They were disturbed
by the polarisation and fragmentation evident in the town and became
increasingly active in local development,
community interaction and tourism in Swellendam; they
had been involved since their first open weekend. These activities were part of an
integrated initiative and comprised four main elements as its
strategy initially including:
The
reactivating of an annual cultural event calling it
the Swellendam Alive Festival with Hanli
Matthysen and others.
Working
together with the Swellendam Municipality, the Trustees of the Drostdy Museum
in Swellendam, Provincial Government
of the Western Cape and their Investment &
Development Agency, Wesgro, and others on
the tender procedures and requirements, and selecting
a suitable private
anchor tenant for The Old Gaol Complex at the
Drostdy Museum in Swellendam.
The 'Tender
Call' as advertised, required that bidders for the lease
demonstrate their commitments to implement a meaningful
empowerment and capacity-building programme. This was for
the establishment of a coffee shop, restaurant and art/craft
outlet at the Museum, for work produced at Morgenzon and
others, as well as working space for selected
producers in the arts or craft industries in order to facilitate the
establishment of the first
empowerment businesses in Swellendam.
It was
understood at the time that working towards the
achievement a "Living Museum" environment would help in
stimulating and increasing 'critical mass' in the Museum
Complex and the historic heart of Swellendam; attract more
visitors to the town and the Museum and also to identify
additional sources of income for Museum operations, which
was facing a decline in funds from visitors and subsidies.
A
partnership comprising Judi Rebstein of Jan
Harmsgat Country House, and Hanli Matthysen of the
Swellendam restaurants, No 1 Baker Street and Mattsens
were awarded the first tender in 2000.
Lobbying and then arranging for the transfer of the historic Morgenzon
House from the provincial government of the Western Cape
to Swellendam Municipality to be used as a community art,
craft and skills training centre, as well as providing
access to main stream tourism for marginalised communities,
with special emphasis on stimulating new activity in
local and regional tourism. Many young unemployed people
were trained at Morgenzon in a variety of disciplines.
Finally, these efforts included working towards the
reorientation of Swellendam's marketing strategy - from
simple stopover between Cape Town and the Garden Route, to
more of a destination approach and lobbying for a
professionally prepared tourism and marketing strategy with
particular emphasis on building capacity, the creation of
jobs and the alleviation of poverty in the region.
These activities attained great prominence and received
several awards during the
early years.
During the development
stages of this initiative while they were busy with much of
the administration and planning with others in Swellendam,
Felicity was instrumental in the creation and development of
the textile screen printing studio including product
development and design.
Sadly, and under pressure from
within and also outside the project, by mid 2003 it was necessary
for them to resign. With their resignation they were able once again to get back full time to making pots in their own
studio and begin catching up on outstanding work. Their own
studio had been severely disrupted and even neglected for several
years and they were now able to focus on their own work again.
2001
Exhibition at Dorp Street Gallery in Stellenbosch and in Melville,
Johannesburg.
Work began on
building a large oil-fired (paraffin/kerosene) kiln of about 100
cu ft
2002
Joined Cape Overberg Meander at its
launch
Group Exhibition at
William Humphrey’s Art Gallery in Kimberley
2004
Wrote and published
own website:
www.pottery.co.za
Exhibition in Parkwood, Johannesburg
Feature
article titled 'Not Just Pottering Around' in the November 2004 issue of "South African Country Life"
Group Exhibition at
William Humphreys Art Gallery in Kimberley
Group Exhibition in
Swellendam
2005
Group Exhibition in
Swellendam
Exhibition in Parkwood, Johannesburg
Cover story & feature
article in National Ceramics, issue No 71, Autumn (March)
2005
2006 to 2008
Orders, commissions etc and open weekends at the
studio in Swellendam continue
Workshops given in Swellendam
2009/2010 ...
James celebrates his
50th birthday in Swellendam!
Work continues to be shipped to
several destinations abroad including UK, USA, Spain, Middle East
Feature article in National Ceramics, issue No 87,
Autumn (March) 2009
Feature on 'Throwing Big Pots'
in the
May/June 2009 issue of the
US magazine 'Pottery Making Illustrated'
Commissioned to make
large Amphorae for
Hamilton Russell Vineyards in which to mature their wine ‘Ashbourne Sandstone 2009’
David & Felicity's Facebook
Studio Page launched - please click on the big f to visit the page:
f
Published Facebook Memorial Pages to three
pioneers of high temperature, reduction-fired studio pottery in
South Africa (please click on their names to visit the pages):
Tim Morris - Memorial Page on
Facebook
Hyme Rabinowitz
-
Memorial Page on Facebook
Esias Bosch - Memorial Page on
Facebook
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Work in various private and corporate collections
Corobrik Collection at Pretoria Art Museum,
William Humphreys Art
Gallery
Corporate work including pots, tiles & wash basins etc for:
Goldfields
General Mining - Gencor
Anglovaal & Grinaker
Shell
Conservation Corporation,
hand washbasins, tableware etc for several of their game lodges in South Africa and
Zimbabwe
Nigiro Tea Merchants, Cape Town in collaboration with Paul de Jongh
Hamilton Russell Vineyards -
Amphorae, large hand-made stoneware jars, to be used for
maturing wine
