Joyce Scott

'[2] Art Critic Ivor Frances reported in a newspaper review, Pottery is Exciting, that ‘The [exhibition] pottery is large and sculptural, subtly coloured in harmonious glazes .. Joyce Scott has overcome many of the firing problems which occur in making large, light ceramic articles .. [and] the glazes crawl and break into fractured earth colours, browns and greens, all over the surface.’[5] 'In awarding ... [Scott] first prize for the 1974 Carillion City Festival Ceramics Award, judge Kenneth Hood, then Curator of Decorative Arts and Senior Curator at the National Gallery of Victoria, described her entry as of "exceptional quality" and said: "Joyce Scott was clearly a potter of major talent ... [who] manages to combine a feeling of massiveness with a sense of lightness, even elegance, and the combination of the two is exceedingly satisfying ..

The United Nations declared 1975 to be International Women’s Year, with conferences and celebrations held worldwide, including a broad programme of events in Adelaide, South Australia.

The party of 10, led by Australian Potter Ivan McMeekin[8] and accompanied by Diplomat Geoffrey Marginson, spent 35 days studying pottery techniques in urban and regional settings.

Rowland Richardson, Head, North Adelaide School of Art, reviewed the opening in the Spring 1978 edition of Pottery in Australia.

Subsequently, '... in 1983, the late John Bannon, then Premier of South Australia, opened an exhibition of Scott’s ceramics at Bonython Art Gallery.

Skillitzi, then Lecturer in Charge of Ceramics at the South Australia School of Art, praised the 'intrinsic warmth and richness of clay, amber and black oxides, and white glaze are fused into composites that are bold in their simplicity and yet rich in their delicate detail of applied brushed and incised textural patterns and line and soft torn clay slab additions.’[2][12] After surveying a number of individual artworks, Skillitzi concluded ‘These strongly conceived yet delicately executed and cogent statements in stoneware underline Joyce Scott’s gradual refinement and maturation into a ceramic artist with significant vision.’[12] Wild Grass was the title of Scott’s first drawing exhibition.

'[2][17] 'She coordinated Units in Sculpture, Clay, Glaze Technology, Visual Research and Core Studies across all years of the Graduate Programme.

Boughton described ‘Each piece [as] uncompromising in its "earthiness", a feeling created through the glowing warmth of the earth reds, burnt oranges, and yellow ochres which appear to shimmer across the surfaces almost like the illusion of a mirage on a desert landscape.

It is not a surprise that Joyce Scott regards the flat areas of her pieces as a "canvas of clay" on which she works her magic with variations of tone and intensity of hue.’[3] Boughton quoted the artist as saying: "I am endeavouring to produce a series of forms and images influenced and inspired by the Australian landscape.

This involves a two-way vision, looking outward, and looking inward at the essence of life.’’’ The 1995 edition of Craft Arts International published a second feature article on Scott by historian and freelance writer Dr Noris Ioannou.