About Slateworks
I spent eleven years at the University of Adelaide researching material culture, specifically how domestic objects carry social meaning across generations. My doctorate was on ceramic production in Song dynasty households, which sounds obscure until you realise it is basically a study of how people set a table and what that says about them. I published papers, taught seminars, attended conferences in Taipei and Edinburgh. None of that prepared me for the moment in 2019 when I had to furnish a rented house in Castlemaine on about four hundred dollars and found almost nothing worth buying. Everything was either disposable or aggressively styled. That gap bothered me more than I expected.
Before the move to Castlemaine I had never seriously made anything with my hands. My research was archival, material in the sense of studying objects rather than producing them. But I had always spent weekends at the Salamanca Market in Hobart picking up pieces made by local ceramicists and stonemasons, partly out of habit and partly because I genuinely liked understanding how things were constructed. I knew slate well from fieldwork in southern Tasmania and from a supplier contact near Huonville who had been quarrying the same seam for thirty years. That knowledge sat dormant for a long time. It did not feel like the basis for a business. It felt like background reading.
— Make things worth keeping. — Chuan, Chuan Li