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2008
FEBRUARY 5 – FEBRUARY 23
Emptying
Steve Williams
Following on from a recent
residency in China, Steve engages with materials, place and factory
environment at Clayworks Australia to produce a body of work.
‘Emptying’ says something of the way Steve works…an intuitive making
energy that results in making/firing invention and innovation.
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FEBRUARY 26 – MARCH 15
In the Spirit of the
Wind – Homage to Andre Sollièr - Surai
Students of André Sollier
“The aim of the sumi-e
brushstroke is to pictorially express and represent colours and
shades by the sole means of black ink.” André Sollier
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MARCH 18 – APRIL 5
Andrew Halford
“My work is an ever emerging synthesis of influences from
nature, ceramic culture from around the world, a long and intense
training and a gradual accumulation of experience.”
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APRIL 8 –
continuing
Janet DeBoos
"Simple pots, complex relationships...like elegant solutions to
difficult mathematical problems. These pots exist in the space
between making and use. "
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APRIL 29 – MAY 17
Nude
Margaret Gurney
An exhibition of contemporary,
spontaneous brush ink drawings and paintings of nudes. Artist
Margaret Gurney has painted these pieces with an economy of detail
and sensuous lines capturing the essence of the human form.
“I really love working with wet mediums such as ink and
watercolour, managing them and letting them flow to achieve a result
which is spontaneous, sensual and exciting! I see the nude as
representing us all, bare of pretensions and a projection of our
desires, fears, pleasures, pains and mystery in our lives. For me,
working with the nude from life is a very contemporary way of
expressing myself in the time I am living. It also comes to us from
the great traditions of Western art.”
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MAY 20 – JUNE 7
Maureen Williams-Levy
“The art of the potter is of all arts the one that fuses
together in indestructible unity earth and heaven, matter and
spirit.” Herbert Read.
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JUNE 10 – JUNE 28
Kevin Boyd, Sue McFarland, and Ian Currie
An enlightened showing of commitment to ceramics as an art form and
valued friendship between three teaching colleagues and ceramic
artists.
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JULY 1 – JULY 19
"Koji Hoashi and Peter
Pilven. Now and Zen. 20 years on."
Koji Hoashi and Peter Pilven
have had a very close professional and personal friendship for over
20 years. Their mutual love of ceramics and its attendant history
has been the cornerstone of a symbiotic relationship that continues
to inspire pots with integrity.
Peter Pilven -
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Koji Hoashi - View Photo »
JULY 22 – AUGUST 9
Stuart French
“I feel compelled to create recollections of physical or
emotional experiences. What you now see is the manifestation of
those thoughts and experiences into something visual and static
which can trigger an emotion or memory.”
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JULY 22 – AUGUST 9
John Ferguson
An enticing and intriguing foray with John Ferguson’s ceramic forms,
examining the worlds of the internal and the realm of opposite.
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AUGUST 12 – AUGUST 30
Susie McMeekin
Collection of works, classic oriental in form and surface, calm
and peaceful, encouraging you to look and to hold.
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SEPTEMBER 30 – OCTOBER 25
Greg Daly
This body of work develops further the intense colour of Greg's
glaze palette to enrich the surface of the work, creating an
illusion of depth of surface.
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OCTOBER 28 - NOVEMBER 15
Jane Barrow
Jane's new collection of vessels and forms feature inlay decoration
with slips, and lustrous surfaces.
Jane Barrow’s studio on the banks
of the Hawkesbury River affords no boundary between nature and her
working space. At high tides, the mangrove waters lap the concrete
floor and bisque-fired pots are raised to avoid water damage. The
river, naturally, finds its way into her work. Drawing on the
tradition in which she trained with Bizen master Isezaki Mitsuru,
Barrow’s ceramics are mostly unglazed. Variations in colour come
from the clay itself and the firing. The quality of the clay surface
is given pre-eminence and might be inlaid or decorated with slips,
applied in many layers and carefully cut back between layers. The
effect can be reminiscent of woven fabric, recalling an early
interest in textiles.
One of Barrow’s characteristic surfaces is dimpled, much like the
river touched by a light breeze. In her studio there is a bowl of
the fingernail-size chips that have been gouged from the leather-dry
clay, resembling shells from the river. Her studio was once an
oyster shed, a ‘midden’ lies on the doorstep.
Barrow maintains the rigorous discipline learned with Mitsuru, where
trainee potters were given one shape at a time to throw, sometimes
for up to a year. Her pottery stands in groups of multiples,
evidence of the long hours of repetitive work where hands remember
the shape as it grows on the wheel. Tall cylindrical vessels,
coloured through the charcoal firing process, might be pale green,
or have a metallic finish depending on the temperature and flame.
Broad dishes bear the marks left by the spontaneous gestures of her
fingers in the slip. Flat platters, striped with slip, ripple and
shine like water.
(taken from an article by Merryn Gates)
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NOVEMBER 18 – NOVEMBER 29
RMIT Ceramic Graduates
An annual exhibition by the RMIT Ceramic Graduates showcasing
creative artistry and individuality.
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NOVEMBER 25 – DECEMBER 20
Tempting Two
Marylyn and Gabriella
Verstraeten
Marylyn and Gabriella come together in their complimentary
mediums of fine sculpture jewellery and embroidered textile art.
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Photo »
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