LINDA SEIFFERT

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.

BILL SAMUELS

“….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.”

REBECCA VERPOORTEN-LAWS

I use clay to tell stories. My heart and hands love to touch clay. I feel that I need clay like the air I breathe.

This work is a collection of decorative narrative pieces that play with the idea of decorative and function. I see the work as lustrous illustrations straight from the heart. The work explores the recent Bush fires, evacuation, regeneration and life in the Blue Mountains. Other themes depicted, the impact of illness, heartache and breakdown of things we hold closest to us. Decay, love and loss and nostalgia. The vintage references evoke a sentimental yearning for return to a past period or irrecoverable condition. A longing to hold onto love and the pain and inevitability of loss, and the moments of beauty that are found and embedded in-between.

All events are framed within in creation and my belief and eternal hope that there is so much more to heaven and earth.

EBONY SALAMA – emerging artist

My work borrows from the romantic ideals of union with the natural world and the connection we as humans share with the creatures that walk alongside us. This work depicts the battle scarred Mercenary flaunting wounds upon his face, and the Mother lying exposed with swollen teats but baring no kittens. The cats manifest both the anger and aggression of the dominant male, and the submission and nurturing of the reserved female. Both are common behaviors found in each respective sex of cat, and the animal kingdom as a whole. As such, these pieces are both consciously buying into the stereotypes of traditional gendered roles. It’s up to the viewer to decide whether or not they support the idea or reject it, and if they think of these attributes as a positive or negative force. We like to think ourselves above this behavior, however I’m curious as to how prevalent this nature is in our own species and want to question how far removed we actually are from our primal instincts that we so look down upon.