In this episode of Talking ArtZ on Radio Blue Mountains, interviewer Brad Diedrich (The Professor) sits down with Linda Kemp, President of the Blue Mountains Clay Collective, for an in-depth conversation about a dynamic period of activity for ceramic artists across the region.

Broadcast during April’s “Clay Month,” the discussion begins with reflections on the highly successful opening of the Hands on Clay exhibition at Gang Gang Gallery. Despite travel disruptions, the strong turnout underscored the growing enthusiasm for ceramics in the Blue Mountains and beyond. From there, the conversation turns to the much-anticipated Blue Mountains Pottery Fair, now in its seventh year and in its second year under the stewardship of the Clay Collective. Linda shares how the event continues to go from strength to strength, with a record number of applications from ceramicists and a carefully curated selection of exhibitors representing both local and visiting artists.

A key theme of the interview is the remarkable diversity of work presented at the fair. From finely crafted domestic ware to ambitious sculptural and figurative pieces, the event offers something for every taste and budget. Linda highlights the generosity and skill of participating artists, many of whom also contribute to the Collective through workshops—sharing techniques, knowledge, and creative approaches with fellow members. These learning opportunities are described as invaluable, particularly for those developing more complex ceramic forms.

The conversation also offers a personal insight into Linda’s own creative practice. Known for her distinctive hand-built “pod” forms, she describes a process deeply inspired by the natural environment of the Blue Mountains. Using locally gathered grasses, seed heads, and plant materials, Linda creates delicate surface impressions that are later fired, leaving organic traces embedded in the clay. Her use of oxides, layered glazes, and natural fibres further enhances the connection between her work and the landscape, resulting in pieces that feel both elemental and contemporary. She also speaks about transforming some of these forms into candles using her own “Blue Mountains Bush” fragrance, reflecting a holistic and sensory approach to her craft.

Looking ahead, the interview touches on exciting future initiatives for the Collective, including a forthcoming members’ exhibition at Gang Gang Gallery and the possibility of a concurrent market event designed to support emerging ceramicists. These plans reflect the Collective’s ongoing commitment to inclusivity, professional development, and community engagement.

Warm, informative, and wide-ranging, this conversation offers a compelling snapshot of a thriving creative community—one grounded in collaboration, generosity, and a shared passion for working with clay.