Secombe's idea was to make works for the garden that were not understated but rather provocative, works that provided a new focus to enhance the surrounding plants and foliage. Works that made a statement of their own, that brought a new colour dynamic to the environment in which they were placed. In most cases this demanded works of a scale most of us only dream of making. However, Secombe's twenty years of making has given him the skills so that the making of monumental sized works seems effortless. (His studio, when I visited, was 'strewn' with a dozen or more forms over a metre high awaiting firing.)

His own large garden demonstrates so many of the ideals Secombe seeks to compliment or reflect in both his surfaces and forms. The colour palette and textures of any garden are so various and seasonal. The glazes on ceramic pieces placed in the garden can be a reminder of these colours in a different season — they may be the rich vibrant oranges, browns and reds of autumn or the soft cool, greens of summer. Stronger contrasting colours can catch light and bring focus to a deeply shaded area, gentle blues and blue/greens bring coolness and a reminder of water to sunny spots. The forms themselves may be hard edged, contrasting and highlighting the softness of surrounding foliages. They may be softly rounded complementing the gentle flow of water or be assymetrical like the weathered pebbles in a stream. Some forms are a reinterpretation of traditional forms such as lanterns and water stones. Others reflect the essence of natural objects — stones, seed pods and buds.

Water, still or flowing, is an essential part of any garden. Secombe has created forms that contain water - water stones and water bowls. Soft relective moments that sit quietly in a garden, their satin crystalline surfaces reference natural riverbeds seen through clear flowing water or cool mosses and lichens.

The surfaces are soft and cool to the touch. Bowls glazed with copper reds and deep blues create mysterious reflective pools. He has also designed fountains to complement the sound and flow of water. The fountains reflect aspects of water in the cool colours and dappled surfaces created by shiny crystalline glazes. Some forms are softly rounded and inward looking, some are large statuesque urns, generously overflowing with the bounty of life, proud and upright.

The response to this work has been strong. Two years ago Secombe had his first exhibition (another is planned for this year), at Cloudehill, a magnificent garden and nursery in the Dandenong Ranges outside Melbourne. Last year the exhibition of 45 pieces was a sellout. He has found the clientele both worldly and well informed. They relate very strongly to their natural environment and see the potential and value of the works Secombe creates. This is a new angle on a market that has existed for years in a more utilitarian way and has traditionally been dominated by imported ceramics. It has great potential and is exciting not just for Secombe, but for other ceramic artists interested in developing this market.

The process of working within a particular environment has given Secombe enormous potential for creating forms with place in mind whilst providing continuing creative and technical challenges. To take his work from the more sterile environment of the gallery to a natural environment with all the challenges inherent in its diversity, has been very exciting. For Secombe to see his work in the ever changing natural light and conditions has given him new directions, new goals to pursue. This new market has also brought Secombe closer to his clients. Works are commissioned for a specific space, it may be a small inner city courtyard, a large estate garden in the Blue Mountains, an old established heritage garden or an internal space that reflects the tranquility of an outside garden. Consultations become discussions of colour, design and space. They are a three way communication between artist, client and environment. The finished works, to be successful, must successfully define a special place whilst reflecting this dialogue. This is what feeds Secombe's creativity and challenges him constantly. It gives him the stimulation to continue.

Secombe's ceramic work has become well known over many years for its strong, improbably large forms so well resolved and finished with a range of spectacular stoneware glazes in either the traditional colour ranges or in magnificent satin and gloss crystalline glazes.

For many years he has made work for corporate clients, works for hotels, buildings and public spaces. Most recently he has completed a series of large works for Chadstone, a new shopping complex. This has, and continues to be, an important training process — a training that has taught this artist the importance of deadlines and budgets, the place of negotiation and good communication, the importance of not just the maker but the client in the finished product. New commissions provide oportunities to develop new work and new skills. They demand discipline but can also open up new approaches to forms. Problems demand solutions and so new directions are taken in form and surface. This does not need to stifle creativity but it demands organisation. Better organisation means more work is made and this fact alone feeds and develops the skills and ideas of this ceramic artist.

Creative energy comes from doing — it is the making that feeds his creativity and puts Secombe in a financial position to ultimately make what he wants — to choose the work that feeds his passion. There is no art without passion. After twenty years he still finds himself shining a torch in the spyhole to get an early look at a newly fired glazed piece! As with so many ceramic artists, ceramics is a lifestyle choice, a central part of life. His work is not separated from his family life or his creative needs. It is more than a business, but as he sees it, being successful gives him the freedom to choose his lifestyle, to pursue his passion for making pots, designing and creating gardens and enjoying family all in a secure, special place. His work is relevant and honest — it has a place that is neither unreal nor over precious. It is functional and enduring. It is real.

Pottery in Australia
Sue Buckle

Ted Secombe, Yarra Glen Ph: 03 59 65 2090