SEPTEMBER 23 – OCTOBER 31
JULIE BARTHOLOMEW, KWIRAK CHOUNG, ANNA CULLITON, MEIKE DAVIS, LISE EDWARDS, ROBERT LINEGIN, SIMON REECE, BILL SAMUELS, LINDA SEIFFERT and CAMERON WILLIAMS
A group exhibition showcasing a collection of masters in their field in this dynamic and thought provoking show.
OPENING EVENT – Saturday 25th from 2pm
Hands on Clay II and GANG GANG gallery are proud supporters of Clay Gulgong
“I would like to think that clay objects at their best, whether understated or strongly expressed, illustrate a harmonized interplay, between surface texture, colour, form and interestingly enough, the makers perception.”
Anna is a ceramicist working in the Kanimbla Valley of NSW.
A love of animals and nature is integral to her work, with many different styles, specialising in “funk” ceramics. She has exhibited regularly since the mid 2000’s and in 2015 was a finalist in The Muswellbrook Art Prize, National Portrait Gallery 2016.
“….In my own way it exemplifies my approach to the creative process – realizing a whole new technique then solving the problems as they emerge. The idea also evolved out of my approach to ceramic materials in general. While I lean heavily on the traditional approach to ceramics I have deliberately chosen to find and use my own materials rather than commercially prepared ones. THe beauty of some of the old pots from cultures that have a long ceramic history (unlike Oz that has none) has intrigued me for the last 50 odd years. I believe their beauty resulted from the potters use of “materials at hand” and their “primitive” methods of preparation. I don’t mind being called a nutter by my colleagues because I enjoy the chase, the research is endless and it’s what keeps me going, albeit at an increasingly slower pace.”
Compelled by the physical and metaphysical (metaphor) language of nature – my practice explores the infinitely evolving visual expressions, of patterns and structures throughout Natures organic processes. The mystery of nature excites me, exploring the realms where physical matter is infused with the unquantifiable substance of spirit, and where spirit can breathe and pulse in the densest most inert form of matter. I aspire to embody in the hand formed, abstract organic, clay sculpture – the sense of mystery, sanctuary, diversity and dynamism that I experience as the spirit of Nature.
As an artist working primarily with clay and the ceramic process, I inherit the legacy of an artform which has held a space, telling stories of earth and culture through millennia. “The vessel”; the archetypal ceramic container, remains as important now as ever, as do the methods of creating with clay. Within and outside of the vessel there is the infinite world of potential expression in clay.
My recent body of work explores “breaking the boundaries” of the “vessel”. Challenging conventions, evolving ceramic traditions and inspiring fresh audience perceptions and understandings of this art form. The work Undulatus resides “off the plinth”. The sequential wavy modules emerge from the ground, forming a sculptural environment. As the sculpture interfaces directly with the surfaces of the gallery space, a dialogue has been introduced which allows the audience to share the space with the sculpture, to feel the physical impact of the work, and to navigate their way as they would through a living landscape. This work is the latest expression of a body of work which ponders the place of humanity within the natural universe; reflecting on our relationship with nature in all its forms. As an innate part of nature we exist inarguably within an earthly and cosmic ecosystem, yet the prevailing condition of our modern lives is an unreconciled, alternating experience of belonging and separation that leaves us searching for meaning, connection and wholeness. The transitional zones between the man made & natural world can be like a bridge between dimensions.