From Flour to Clay: Leonard Smith's Journey of Craftsmanship and Renewal
Leonard Smith's journey through the world of pottery is a testament to the enduring passion and dedication that can fuel a lifelong craft. From his humble beginnings as a mill worker to his later roles as a teacher, academic, and mentor, Smith's commitment to pottery has been unwavering. Despite feeling that he hit his professional peak early on, his continued curiosity and support for younger artisans demonstrate a deep love for the art form and a desire to see it thrive for generations to come.
Smith's transition from the industrial world to the world of pottery likely provided him with a unique perspective and appreciation for the craftsmanship involved. His experience as a teacher and academic undoubtedly allowed him to pass on his knowledge and inspire future generations of potters. And his role as a mentor speaks volumes about his commitment to nurturing talent and fostering a sense of community within the ceramic arts.
As Smith reflects on his life's work, he can take pride in knowing that he has not only contributed to the advancement of pottery as an art form but also played a significant role in shaping the lives and careers of countless aspiring artisans. His dedication, passion, and support for the next generation of potters truly make him a beacon within the ceramic community.
Initially toiling in a flour mill in Dulwich Hill, Leonard Smith never lost his admiration for the craftsmanship involved in milling wheat, even though he considered it just another job.
However, a significant turning point came during what he describes as an "early mid-life crisis," coinciding with the death of his father and the birth of his first child, against the backdrop of Whitlam's ascent to power in 1972. Seizing the opportunity afforded by student payments, Leonard enrolled in East Sydney Tech, where he delved into ceramics, drawn by the tactile nature of clay.
"I love the sensation of drawing in a three-dimensional space. With clay, you sculpt with your fingers, shaping forms in a way that's fundamentally different from drawing on paper. It's about actively engaging with a tangible object, exploring its dimensions through touch and manipulation."
Then began the difficult life of earning a living as a production potter. “I used to make pots all week”. He would then sell his wares from his Combi van on the side of the road at Dural. “The 1970s was a time when we could make anything in clay and brown glaze and people would buy it”. A teaching career also beckoned which saw Leonard and his wife, Lindy also a potter, take up a two-year residency at Kings School teaching the boarders at night the art of pottery. While it was an enjoyable period, he and his wife culturally felt like a “fish out of water”. Peter Rushforth known as the father of studio ceramics was a former teacher of Leonard and also influenced his work. At the time, he was seeking full-time teachers at TAFE particularly in Liverpool. “Being a Western Suburbs boy, I seemed to be an obvious choice”.
After 12 years, Leonard became Head of Art at Hornsby and then went back to teaching at the National Art School. Taking an early redundancy, he set up, The Rosedale Street Gallery and Studios in Dulwich Hill with his wife, Lindy, now an accomplished textile artist. The gallery operated for a decade, but due to Covid, it's now open only twice yearly or by appointment.
Despite feeling that his career has peaked, Leonard remains deeply involved in pottery. He not only manages the gallery but also advances his academic career, actively engaging and supporting the pottery community.
Co-authoring the Handbook for Australian Potters with Janet Deboos and Stephen Harrison stands out as one of Leonard's career highlights. So too is his deep connection to China, furthering his understanding of the art of pottery, particularly in the area of sustainability. “I am always looking at ways to make my practice as sustainable as possible”. It had led him to research a type of glazing called Tenmoku, thought to be from Japan.
In 2014 He started his Ph.D. at the Australian National University, where he discovered that Tenmoku originated from a small valley in Southern China, where black tea bowls were made during the Song Dynasty (960-1279 AD). Before he visited China, he discovered that much of the pottery from that era is now housed in U.S. museums. This discovery prompted him to visit the U.S., affording him the opportunity to do research at the University of Michigan, Harvard, the Boston Museum of Fine Art and The Met. This led to being invited back to speak at the Met to the curatorial staff about his discoveries in China.
Leonard remains dedicated to sustainable practices in pottery. “I've also been experimenting and developed firing techniques using solar energy, so I don’t need to go to the grid to fire my work”. It’s a work that has brought him back to his early life as the mill worker.
“I now make glaze from the rocks that I found out on the railway line down at Dulwich Hill’s Mungo Scott Mill where I used to work”.
Leonard will be presenting on these themes of sustainable practice at the National Ceramic Conference in Perth next year.
As a life member of the Australian Ceramics Association, Leonard has recently participated in several major exhibitions, alongside TABLED, where potters collaborate with chefs, cooks, artisan food producers, and distilleries, he's also featured in HELD, with one of his works on display at the Manly Art Gallery and Museum (MAG&M). Leonard describes these exhibitions as "fascinating and great shows."
His advice to pottery artists is at first obvious: Know your materials but also importantly, engage with social media and not be afraid to promote yourself through this medium. “If you want to make a success of it these days you really do have to be switched on to social media. The people who are doing well are the ones who ensure their narrative is about their work. They also have that ability to sell their work across this media as well as in exhibitions”.
Leonard's optimism about the pottery craft's resurgence speaks volumes about his enduring faith in the art form's ability to evolve and thrive. The recent MAG&M show, with its showcase of new talent, serves as a testament to this belief. As Leonard observes the emergence of fresh creativity and the rise of previously unknown names in the pottery community, he recognises the signs of a promising wave of innovation and artistic expression.
His friend's remark, acknowledging the unfamiliarity of many of the artists' names, further underscores the sense of excitement and possibility surrounding this new generation of potters. It signifies not only the growth of the pottery community but also the diversification of voices and perspectives within it.
For Leonard, witnessing this influx of new talent is not only a cause for celebration but also a source of inspiration. It reaffirms his belief in the enduring relevance of pottery as a form of artistic expression and reminds him of the importance of continually embracing change and evolution within the craft.
As Leonard Smith continues to shape his legacy in the world of pottery, his consuming interest in sustainable practice serves as a guiding principle for the future. With a steadfast commitment to craftsmanship and a deep appreciation for the tactile nature of clay, Leonard's journey embodies resilience, renewal, and a dedication to preserving the essence of his art form. As he looks towards the future, fueled by newfound energy and creativity within the pottery community, Leonard remains optimistic that sustainable practices will not only elevate the craft but also ensure its continued vibrancy and relevance for years to come.

website: Leonard Smith

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Written by Priyanka Smithfield
Smithfield is a creative writer and former journalist. She lives in the inner west and enjoys the myriad of cuisine on offer as well as the vibrancy of her neighbourhood.

photo: Leonard Smith (Lucy Mihaljevic)
embedded image: courtesy Leonard Smith