Friday, 22 March 2019

NGV Porcelain - SO - IL Viewing China

SO - Il, (Solid Objectives – Idenburg Liu) and white porcelain objects from the NGV’s Decorative Arts Collection, ranging from the seventeenth, eighteenth and nineteenth centuries, hard & soft paste objects from China, France Britain and Germany.

National Gallery of Victoria (International), Federation Forecourt March 2019

SO -Il say:

Through the organisation of colour, form and material, we seek to reduce the object-ness of the individual pieces … It is about a transition from object to experience, and the power of architecture to act as a mediator in that process.

Congratulations again to NGV who have again championed ceramics & porcelain in a large public installation in their main court of NGV. This porcelain experience could be more different from the 'hallowed darkened halls' of the permanent collection room design. 

Try as I might, i cannot pick a Mennecy from a Meissen but the experience is not meant to be like an episode from Antiques Warehouse. Instead the dichroic prisms sharpen the focus, highlight the brilliance of porcelain and the plinth height and full-strength natural light reveals every delightful detail from these Baroque & skilled modellers of clay.

Johann Joachine Kändler, modeller
Pair of Parrots 1738
hard paste porcelain
from the Meissen Porcelain Factory

Thursday, 14 March 2019

Argillaceous Relations

Dean Cross, Kate Hill, Kerryn Levy, Tyson Yunkaporta

Curated by Hannah Presley and Debbie PryorMr Kitly gallery, 381 Sydney Road Brunswick16 March  - 6 April 2019

Argillaceous Relations illustrates connections between the earth and self. Communicating relationships to land, to ways of making, materiality and place. We believe objects made from the earth are imbued with an intimate connection to both the land and human touch, and relate to images and interpretations of landscape that express family histories, community rituals and adamantine bonds.
  1. (of rocks or sediment) consisting of or containing clay.

Wall, 2019
Kate Hill's raw earthen wall/brick/plinth make explicit clays link to architectural structural and how simple and majestic a material can be

Water & Clay, 2019
Dean Cross' video eloquently importance of earth water and place to the narrative of his practice

First Law, 2019
Tyson Yunkaporta use of indigenous patterning on both the boondi (stick) on earth (clay) add a visual and tacit complexity to this installation around indigenous laws of time and space. 

Kerryn Levy sinuous forms embody the physicality of making 

Sunday, 27 January 2019

Gilded Encounters-an exhibition of new jewellery inspired by the rich history of Hadley's Orient Hotel

Sophie Carnell, Janine Combes, Alex Parish, Sarah Stubbs

Hadley's Orient Hotel, 34 Murray Street, Hobart, Tasmania

22 November 2018 - 28 february 2019

Over its 184 years Hadley's has seen many secrets and scandals, the hotel is woven with tales of convicts, entrepreneurs, celebrities-past and countless other patrons of days gone by. The profound number of exciting and interesting untold stories are still being revealed to this day. ​The Gilded Encounters exhibition explores and highlights elements of Hadley's' rich history and illustrates these wonderful stories in the most unique way.

Sarah Stubbs uses porcelain and the ceramic process to capture atmospheric vignettes from the interior spaces of Hadley's. Fleeting, poetic and antique-looking. Stubbs uses the form of a cameo brooch to capture these distills sensations. 

 Janine Combes
Janine Combes recreates local flower designs combined with the material of wealth and privilege of Hadley's furnishings 

Hadley's famous leadlight room

Sophie Carnell's jewellery inspired by the Hadley's significant past patrons 

Friday, 14 December 2018

Alicia Van Rhijn

A Sense of Being
gallerysmith Project Space

29 November - 8 December 2018

A substantial exhibition from this artist who complete 1st year ceramics at RMIT and in 2018, 2nd year ceramics at the National Art School, NSW. Evocative titles allude to personal events, memories, doubts and aphorism. Alichia's phenomenological investigations uses the vessel as a physical carrier of meaning. This surface is punctuated with small, whimsical objects that read as calligraphy or hieroglyphics, understood only by the artist but hint at a subconscious language. 

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There's No Leaving Now, 2018, earthenware, porcelain, stoneware, oxides

Self Portrait (Open Book), 2018 terracotta

Ghost (love stain) & Escape (So Long and Far Away)

Only a Broken Light & All the Little Lights

The discipline of phenomenology may be defined initially as the study of structures of experience, or consciousness. Literally, phenomenology is the study of “phenomena”: appearances of things, or things as they appear in our experience, or the ways we experience things, thus the meanings things have in our experience. Phenomenology studies conscious experience as experienced from the subjective or first person point of view. This field of philosophy is then to be distinguished from, and related to, the other main fields of philosophy: ontology (the study of being or what is), epistemology (the study of knowledge), logic (the study of valid reasoning), ethics (the study of right and wrong action), etc.

Saturday, 8 December 2018

Bec Smith & Té Claire RMIT

RMIT School of Art Masters and Honours Graduate Exhibition

Bachelor of Arts (Fine Art) (Honours)  & (Masters)Building 2 (levels 2, 3 & 4) and Building 4 (levels 2, 3, 4 & 5), Bowen Street off La Trobe Street, Melbourne

Saturday 8 December to Saturday 15 December 2018

Featuring: Bec Smith (Honours) 

Featuring: Té Claire (Masters)

Saturday, 1 December 2018

Owen Rye

Grit & Grace

Latrobe Regional Gallery

3 November 2018 - 10 February 2019

A rare chance to see work of an artist spanning 1995-2018. Rye is a master of wood firing technique and these vessels display the play of wood ash with heat, clay body over form. In some instances vessels have been re-fired from one to thirteen years later. The trace of historical or technical advancement is not revealed in this exhibition installation. The placement of works is personal and formal, a harmonious parade of colour texture scale and pairings. What has Rye developed over this time frame is infinitesimal and illusive, subtle. 

Girt and Grace begs the questions, 'What does the maker treasure in a work?' 'When is a work complete?' 'Has this ceramics practice changed or developed?' 

Winged Form, 1995, wood fired with ash deposit 175cm, Collection of artist

Installation view of one wall & entry

Morewell Ceramic Treats

Opp Shop porcelain

Opp Shop Bendigo Pottery

NGV Porcelain - SO - IL Viewing China

SO - Il,  (Solid Objectives – Idenburg Liu) and  white porcelain objects from the NGV’s Decorative Arts Collection, ranging from the sevent...