Shepparton Art Museum
Saturday 22 August 2015 to 22 November 2015
Another spontaneous school holiday road trip treat: the Ceramic Award. This year there is barely a vessel in
sight. Really enjoyed and was inspired by the challenge this show set for me. And that is:
how these incredible objects expand the use of material and process.
I don't envy the job of the selectors.
SAM Director Kirsten Paisley said: The five
shortlisted artists are exemplary artists, each building and
contributing to the use of ceramics as a medium. Their practices span
historical cultural themes, revisit modernist concerns, delve into
social issues and moreover each challenge our understanding of ceramic
art and its positioning within contemporary practice. In this suite of
five exhibitions ceramics as a process medium, a collaborative medium
collided with other materials and as a material with technical
limitations and extraordinary capabilities its own right will be
evidenced. I congratulate each of the artists for being shortlisted for
the 2015 Australian ceramic art award and look forward to working with
them.
The 2015 shortlisted artists are:
Penny Byrne
Ruth Hutchinson
Sanné Mestrom
Adam John Cullen and
Ramesh Mario Nithiyendran who took out the $50,000 prize.
Penny Byrne Returned, 2015
My work is increasingly focused on riots, public protest, conflict, and more recently with the impact of the individuals of these events. (pb)
Ramesh Mario Nithiyendran Archipelago, 2015
I use the symbol of the phallus as an anchor point to generate discussions around colonialism, religion, creation and the body. (rmn)
Ruth Hutchinson,
Hell Mouth, 2015
' ... references a 12th century drawing by an anonymous artist from an ailuinated manuscript - the Winchester Psalter (c1500). Depicting the mouth of a beast that is represented as a medieval passageway to hell." (wall text)
Sanne Mestrom,
Leftovers, 2015
'...she has drawn on the work of contemporary rather than historical artists, writing a series of letters to those that have had a formative influence on her practice. She identified international 'art heroes' and Australian colleagues, inviting them to contribute a discarded scrap, or residual form from the production of their works, which then became the organising principle for her own.' (wall text)
 |
| Clive Murray White's electrical tape |
Adam John Cullen, Forever Stuff, 2015
'... Cullen casts the negative forms of vessels gleaned from opportunity shops and roadside inorganic collections, and the items are imbued with plaster, wax and concrete...(c)haracterised by exquisite textures and punctuated with coloured oxide powders, orbs, spheres and urns can also reveal layers of furniture, textiles and linoleum, or shards of ceramic plates.' (wall text)
It's an archaelogical dig, except the materials are not the remains of a past civilisation; they are the objects of my immediate surroundings, in a way they can be seen as a material history of the current day.' (ajc)
