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(Sculptural
Ceramic) |
PO Box 381 QUEANBEYAN NSW 2620
Studio Address:
Pastoral Gallery
Old Cooma Road VIA QUEANBEYAN NSW 2620
Phone: (02) 6297-1515 Fax: (02) 6297-4112 |
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| 1981
- 1999 |
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Lecturer
in Ceramics at the Canberra Institute of the Arts. |
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Is
represented in the Australian National Gallery and all State Gallery
collections in Australia. Also in many public and private collections
throughout the world. |
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For
the past 43 years has specialised in the coil-and-slab building of
sculptural ceramics, fired to stoneware temperatures in a 20 cu.ft.
toploading electric kiln. |
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To
date has held 17 solo exhibitions and participated in scores of group
and travelling exhibitions in Australia and overseas. |
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Has
conducted numerous demonstration workshops throughout all States in
Australia, as well as New Zealand and Japan. |
| 1974 |
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Became
a naturalised Australian citizen and founded the "Bimbimbi Ceramic
Study Group" that same year to remain the group's mentor for
the next ten years. |
| 1973 |
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Established
Pastoral gallery at Bimbimbi, to provide the ideal setting for most
of her major solo exhibitions in this country. |
| 1971
- 1973 |
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Part-time
ceramics teacher at the former Canberra Technical College. |
| 1968 |
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Marriage
to Australian artist/designer Cornel Swen brought her to Sydney. Two
years later moved with husband to a rural property, "Bimbimbi",
near Canberra. |
| 1962 |
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After
a five-year apprenticeship to Master potter H Hayashi, became an independent
studio potter in her home town. |
| 19xx |
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Born
and educated in Kyoto, Japan |
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|
| 2000 |
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Retrospective
Exhibition "Hiroe Swen's Ceramics from 1965 - 2000" at The
Craft ACT Gallery |
| 1995 |
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Japanese
Garden Centre, Cowra NSW |
| 1993 |
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Weswal
Gallery, Tamworth NSW |
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Gallery
ANRI, Nagoya, Japan |
| 1988 |
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Perth
Potters' Clut |
| 1981 |
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David
Jones Art Gallery, Sydney |
| 1973
- 1990 |
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Nine
major shows at Pastoral Gallery, near Canberra |
| 1972 |
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Japanese
Embassy, Canberra |
| 1969 |
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Strawberry
Hill Gallery, Sydney |
| 1968 |
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Craft
Centre, Melbourne |
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 |
| 2000 |
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Appointed
"Visiting Fellow" to the Australian National University's
School of Art, Canberra |
| 1999 |
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Retired
after 18 years' service from the ANU Institute of the Arts, Canberra,
ACT
|
| 1998 |
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Lecturer-in-residence
at Seika Art University, Kyoto, Japan |
| 1997 |
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Galerie
b15 Handwork, Munich, Germany |
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Kunstgewerbe
Museum, Dresden, Germany |
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Museum
of Ceramics, Sevres, France |
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Meat
Market & Craft Centre, North Melbourne VIC |
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"Designed
& Made" at CFCC Gallery, Brisbane QLD |
| 1996 |
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"The
Bowled and the Beautiful" at Frementle Art Gallery WA |
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Canberra
School of Art Staff Exhibition at Pastoral Gallery |
| 1995 |
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"Pieces
of Importance" at CCACT Gallery, Canberra ACT |
| 1994 |
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"The
Bowled and the Beautiful" at The Door Exhibition Space, Frementle
WA |
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"Bowl-shaped
Objects" at Penrith Regional Art Gallery NSW |
| 1993 |
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Ceramic
Art Gallery, Paddington NSW |
| 1992 |
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Galerie-L,
Hamburg, Germany |
| 1990 |
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Goulburn
Regional Art Gallery NSW |
| 1988 |
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The
Collectables Gallery, Perth WA |
| 1985 |
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Crafts
Board show at CCACT Gallery, Canberra |
| 1983
- 1984 |
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Retrospective
at Art Gallery of NSW, to travel on to Newcastle City Gallery NSW |
| 1982 |
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"Australian
Ceramics", travelling exhibition, USA |
| 1978 |
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"Australia:
Clay", travelling exhibition, Europe |
| 1976 |
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Faenza
International, Italy |
| 1967 |
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Nitten,
Tokyo |
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| Australian
National Gallery, Canberra; The State Art Galleries of Queensland,
New South Wales, Victoria, South Australia, Tasmania and Western Australia;
The City and Regional Art Galleries of Manly (NSW), Orange (NSW),
Shepperton (VIC) and Fremantle (WA); Government House, Canberra; The
Australia Council, Sydney; The High Court of Australia, Canberra;
Australian Embassies in Washington, Tokyo, and New Delhi; The Department
of Foreign Affairs, Canberra; The New Parliament House Collection,
Canberra; The Australian National University, Canberra; The Power
House Museum, Sydney; The Canberra University; The Japanese Embassy,
Canberra; The USIS Centre, Canberra; The Auckland Museum, New Zealand |
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| Australia,
New Zealand, Japan, USA, Canada, France, England, Germany and Mexico |
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| 2000 |
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5-Year
Visiting Fellowship at Australian National University, Canberra |
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"Artist
of The Year" Award |
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 |
| 2000 |
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Book
by Sally Milner, titled "Masterworks, Decorative + Functional
Art" |
| 1992 |
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Book
by Grace Cochrane, titled: "The Craft Movement in Australia:
A History" |
| 1990 |
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Booklet
by Pastoral Gallery, titled "Hiroe Swen expressions in handbuilt
ceramic forms" |
| 1988 |
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Book
titled "Ceramic Form: Design and Decoration" |
| 1986 |
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Book
by Peter Lane in UK titled "Explorations in Ceramic Form" |
| 1986 |
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Magazine
article in "Craft Australia" |
| 1985 |
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Magazine
article in "Pottery in Australia" titled "Japanese
ceramists & sculptors in Australia" |
| 1984 |
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Book
by Alan Moult, titled "Craft in Australia" |
| 1984 |
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Book
by Faenza Editrice in Italy, titled "The Masters of Modern Ceramics" |
| October
1983 |
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Booklet
by the Art Gallery of NSW, titled "Project 42" |
| 1982 |
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Booklet
by Peter Lane in UK titled "Studio Potters" |
| Spring
1981 |
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Magazine
article in "Craft Australia" |
| September
1980 |
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Magazine
article in "Pix-People" |
| 1980 |
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Documentary
film by the South Australian Film Corporation titled "Women Artists
of Australia" |
| 1980 |
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Documentary
film by Capricorn Films (for the Crafts Board of Australia) titled
"The ceramic handbuilding techniques of Marea Gazzard, Hiroe
Swen and Peter Travis" |
| 1980 |
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Booklet
by the Crafts Board titled "Recent Ceramics" |
| 1979 |
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Magazine
article in "Women's Weekly" |
| 1978 |
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Booklet
by the Crafts Board of Australia titled "Australian Crafts"
|
| 1976 |
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Booklet
by Pastoral Gallery, titled "The handbuilt ceramics of H Swen" |
| 1976 |
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Catalogue
by Faenza Editrice in Italy, titled "International Ceramics Exhibition" |
| 1975
- 1976 |
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Summer
issue Magazine article in "Pol" |
| 1975 |
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Booklet
by the Crafts Council of Australia, titled "Craft 75" |
| 1975 |
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Booklet
by the Interim ACT Schools Authority titled "Art & Craft
Workshop Report" |
| 1975 |
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Booklet
by the Australian Government Publishing Service, titled "The
Crafts in Australia" |
| 1974 |
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Documentary
film by CTC TV Channel 7 titled "A Closer Look" |
| December
1974 |
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Magazine
article in "Hemisphere" |
| 1974 |
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Booklet
by Pastoral Gallery, titled "Hiroe Swen...ceramics" |
| August
1973 |
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Magazine
article in "Family Circle" |
| 1972 |
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Book
by Fay Bottrell titled "The Artist-Craftman in Australia" |
| August
1972 |
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Magazine
article in "Hemispher" |
| 1972 |
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Documentary
film by the Australian News and Information Bureau, titled "The
pottery of Hiroe Swen" |
| 1969 |
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Documentary
film by ABC TV (in co-operation with NHK in Tokyo, Japan) titled "A
Japanese woman potter makes her home in Sydney" |
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My involvement in pottery is a response to a deepfelt
love for clay. People have often told me that without
any explanation to them about my work they still get a
strong message, a warm feeling or a greater sense of peace
from viewing my ceramics. If there were to be a message
in my work, I would like it to bring a feeling of joy
and inner peace to people's lives by presenting - as a
positive image - visually appealing ceramic forms, which
are equally pleasant to the touch. This is in marked contrast
to a prevailing trend in art which chooses to depict the
negative aspect and thus emphasise a particular point.
I prefer to reach people at their emotional rather than
their intellectual level.
The prominence of oval and rectangular forms in my handbuilt
ceramics clearly indicates that I am also very interested
in creating the ideal wide "canvas" for my glaze
or relief pattern decoration. That is the reason why I
keep the basic form of most of my ceramics clean and simple.
Surface decoration on my pots is very important to me,
but I treat each phase of the creative process - from
the finish of the coiling to the quality of the glaze
firing - with equal care.
I don't consciously try to be a nationalistic potter,
whether Australian or Japanese. What is important to me
is that my own ideas come through in whatever I am doing.
Influences can come from as far afield as Alaska, Melanesia
or Europe. Ceramists, as all other visual artists and
craftspeople, live by their work not their words. Yet,
many of us find it necessary to waste much valuable time
on writing beautiful essays or making eloquent speeches
about our work.
Since my first solo show in Australia in 1968, collectors
have shown an interest in my ceramics. I believe this
interest is due to two factors: (a) the timelessness of
my work, as it does not attempt to be trendy, (b) the
collectors' knowledge that my ceramics are consistently
increasing in value. More and more collectors are beginning
to appreciate the lucrative investment potential of sound
art-ceramics buying. |
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| Click
the images to enlarge. |
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"Tree
Shadows" (2000)
24cm H x 20 x 20 |
"Migration"
(2000)
32cm L x 29cm H x 15cm W |
"El
Nino"
30cm H x 30cm L x 18cm W |
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