Persevering despite severe physical limitations, and only partial sight in one eye, Ross has become frustrated by the loss of his previously masterful abilities. He now feels it is time to move on with his life, away from the potting wheel. The sale will be a cathartic act - helping him say goodbye to that part of his life.
Today Ross says he looks forward to more leisurely activities. He is often spotted out on long ranging walks with his loyal and talkative kelpie, Meg, and surprisingly given his injuries, the long cycle ride along the river to his cottage upriver – "the dacha".
Most who know him would agree he still lives with the same voracious attitude to life, and the hallmark personality traits, self-sufficiency, independence, and above all – anti-authoritarianism. His friends joke that no injury could deter his staunch character.
"I was still driving the van around probably illegally," he chuckles, "until I crashed in the Mitre 10 carpark. Then they took the van off me."
He was on a mission to buy firewood for the massive hand built wood-fire kiln in which he fires his works from 1000-1300 degrees Celsius.
His defiant nature has defined his life as a prominent member of the Whanganui community. In the past year he has been honoured by the community.
An exhibition of archival works of his collected by the Sarjeant, Lighting the Fire, took place between July and October. The Whanganui Regional Heritage Trust presented him with a "Heritage Hero" certificate, at the Whanganui Regional Heritage Awards for his commitment to saving Whanganui historic architecture.
He is also known for his local political activism, and antagonistic attitude toward council regulators, as well as being an outspoken community commentator in the local press.
For those who don't know him, Ross is an Australian born native of Whanganui. He spent his childhood between here and Australia, following his journalist father Barry throughout the continent. Barry was known locally for establishing a free local community newspaper in Whanganui, as well as being an editor at the Chronicle.
It is no coincidence Ross' family owns the Chronicle building on Rutland St. At a time many were under threat of being torn down and replaced, Ross took time to buy up and preserve many other heritage sites throughout the district
Ross completed teacher training in Palmerston North in 1975, intending to become a primary school teacher. His first post left him so disillusioned he left the profession.
Encouraged to play with clay by mentor Stan Jenkins at teachers college, he discovered instantly it was what he wanted to spend the rest of his life doing. Ever since his life has been devoted to the production of pottery on the wheel. A process he describes as the closest he has experienced to a state of zen like meditation.
He is known for his jugs, pots, plates, dishes, cups – and for his uncanny consistency. His works are produced using two different clays – a refined white commercial clay and a natural clay he digs from the earth in Paihiatua. He says they both have specific qualities conducive to specific styles of potting.
Heavily influenced by Asian ceramics and the works of artisan colleagues he studied with in Uzbekistan during two tours in the region, Ross' style is more utilitarian than decorative and has been described as having ego-less qualities to it.
His output has been prolific throughout his career, and he has been quoted as saying, "I make hundreds, sometimes without even knowing if people will want them."
In the past he might conduct about four large wood firings in a year, involving hundreds of pots at a time.
"My output has slowed a little since," he jokes, wincing as he remembers the three months of rehabilitation in Porirua.
He developed a close rapport with his market by selling directly from his studio/workshop on Bedford Ave, which overlooks the Whanganui river mouth. From his hand-crafted kitchen the river, derelict wharfs and jetties and an untouched landscape can be seen, as though you were in a boat. It is a magnificent view Ross spends doting on over a beer each evening.
The house he built by hand from scratch using rescued components from architectural demolition sites across the country. It is a labour of love built gradually over 40 years by the hands of countless "chippers-ins".
Notable collectors of Ross' work have included John and Dawn Scott – known to complain of the Sarjeant borrowing from their collection; former gallery owner Paul McNamara; and Raewyne Johnson.
Ross Mitchell-Anyon's Christmas Sale has its own Facebook page — https://fb.me/e/6Vgl2JyxX
