NOVEMBER 4th – 28th
JILLIAN CULEY, CAROLYN DANCE, KAYLENE BROOKS and MICHIYO MIWA
Adrift is a collaborative exhibition focused on the amazing array of twisted, burnt, dented, discoloured and gnarled wood that gets washed onto the shores every day. Every piece has its own personality, and has been shaped by its journey through storms, currents, tides and bushfires.
Whatever happens in this universe as far as we know, everything is transient. We, humans (animals), plants, and the environment at large constantly change and are shaped by forces that remain unknown. In the midst of this universal flow, we simply try to capture and present what we witness in the world around us at that moment of time.
OPENING EVENT – Saturday 6th from 2pm
Jillian works predominantly with locally harvested fibres. She explores and experiments with ancient and traditional basket weaving techniques including twining, string making, ribbed and randing.. For Jillian weaving is also an opportunity to explore the connection of mathematical patterns and the natural environment. Her baskets and sculptural pieces take their roots from the colour and forms of the bush where she lives and works
Carolyn’s home and studio is nestled on a bush block in the Blue Mountains. The surrounding flora and fauna inspires and informs her creative practice. For Carolyn weaving is a meditative process where the purposeful, slow and rhythmic movements help to transform natural materials into functional baskets and unique pieces. Carolyn enjoys the whole process; from a walk in the bush to harvest materials, to weaving the final creation.
A multi media artist living and working in the picturesque Kanimbla Valley where inspiration is plentiful. “Shape and form is explored in this collection incorporating natural fibres, textures and of course drift wood with a muted pallet of colours with a whimsical twist, no prethought was put into each piece, like driftwood I let each work dictate its own design and form. I really enjoyed the relaxed process this allowed.”
Michiyo Miwa lives in the bush in a house and garden with a distinctively Japanese atmosphere—wide, open verandahs surrounded by gums and banksias and a view through the trees to the hills beyond. It is the banksias in particular with their unusual fowers, sharp serrated leaves and nobbled bark which have drawn her artist’s eye.
The practice of sumi-e, Japanese brush painting or ink wash painting, seems entirely appropriate in such a setting. This is painting which aims to depict the spirit rather than simply the physical semblance of an object. Sumi-e is described as employing the two dynamically opposed forces of the universe, utilising the principles of nature’s vitality in its design and execution. The ultimate goal is to achieve the balance and integration of these forces and the eternal interaction of yin and yang.