Showing posts with label exhibitions. Show all posts
Showing posts with label exhibitions. Show all posts

Friday, September 13, 2013

The sea of Benwell


If you are in Melbourne any time between now and Nov 10, and you like things made of clay, then it is almost obligatory that you visit Heidi to see Stephen Benwell's Beauty, Anarchy, Desire - A Retrospective. Even on the slim chance this work is not your cup of tea there is no denying it is substantial and worthy of experiencing.

I have talked about Stephen Benwell's work before, on this blog. I am a fan. So seeing his work in this context and on this scale was special. 

Owl Form, lidded container, 1982, stoneware

Representing a career in ceramics that spans over forty years and presenting his works in a chronological manner, you can't help but notice the changes in ceramic materials with the passage of time - from the earthy tones of 70's stonewares and stains, through the more vibrant earthernware years to Benwell's current use of porcelain and high fired colourants. His ideas and self expression have develop alongside and with developments in ceramic materials.

Bowl, 1987, stoneware

There is a beautiful publication to accompany the exhibition and comprehensive text displayed on the gallery walls so I wont go into the hows and wherefores of Stephen's work. But I enjoyed my time in the space so much that I wanted to visually share a few moments and reflect on the subtle, nuanced way Stephen manipulates clay and also paints.


Stephen uses ceramic underglazes like a water-colourist but... well better.. because he marries his imagery to his three dimensional canvas. They are mutually dependent - the pot is so much better with the images, the images so much better on the pot. Even on his flatware there is compulsive finger impressions.

In Arcadia, 2005, eartenware

His work seems so personal, there is no sense of sermonising, more didacticism in its truest form and an individual narrative formed from quiet observation. There are beautiful, humourous moments and on the odd occasion it looks a little like he is taking the piss. But more than anything on display there is an understated intelligence and poignancy that speaks louder to me than any words ever could.


And I stand by my observations of three years ago... Benwell's faces are amazing.


This is an inspiring retrospective of a well deserving artist. 
Get there!

Tuesday, April 2, 2013

Last Winter


It was ridiculously hot the night of Shane Kent's exhibition opening at Australian Galleries. I stupidly cycled there and felt pale and clammy amongst the beautiful people, as they nibbled on their wagyu beef hors d'oeuvres and completely bewildered by the fact that I couldn't see any 'pots'. Plates, yes, on the walls, but not a plinth with a vessel to be seen.

Shane's previous exhibitions have included flat based, high sided forms, cups with fluid handles and curvaceous, bath-like shapes, all covered in his trademark, landscape-inspired markings and a spectacular, almost golden, high gloss, clear glaze. This show was different and opening night had me befuddled. I made the decision to scarper and come back another day and when I did I was fortunate enough to catch Shane and ask him a question or twenty, which he patiently answered.

Shane is interested in observation, the recording of observations and viewer recognition of what is recorded. Last Winter features a series of large scale, wall mounted compositions that record his observations of a bare Hawthorn tree in winter, over long periods of time. Rather than 'draw' the tree, he records precise imitations of what he witnesses by scratching on unfired porcelain plates.


The marks on the white surface are only revealed when black clay is washed over them and scraped back. The resulting 'drawings', while being intimate observations of  the emerging shapes and spatial relationships of a single tree, come to resemble abstract, landscape pictures of fields of wheat , barbed wire fences or aerial views of pastoral land.


The glaze and colours of his previous work has been replaced by the matt black and white of vitrified porcelain and terra sigillata, so as not to distract the viewer from recognising the intimacy of the artist's observations. The compositions balance light and dark, fine and bold to become strikingly beautiful displays of chiaroscuro


There are many other elements at play in this exhibition. Taught in Japan to create the surrounding space when making a pot, rather than the pot itself, Shane is interested in the environmental effect of objects. In mounting the plates on the wall he attempts to manipulate the atmosphere of the gallery space. These are not canvases and are not flat. The sculptural curve of each form, with it's raised central point, cushions the surrounding space, softening the square room and creating a flow of energy that would otherwise be still.


Wall mounting these mark-laden plates also conjures cave drawings. Early inspiration for this body of work came from journeys in outback Australia and Shane pointed out that, unlike painting on a canvas, his drawings are created from above, as the plate lies flat, akin to the process used in aboriginal dot painting. To this purpose four plates were set on a bench, lying flat as they were when they were created. For me this acted as a nod to the initial function of the plate form and the roots of Shane's practise and provided a required counterpoint to the wall mounted installations.


Last Winter marks the beginning of exploration into large scale, architectural ceramics. Shane cites the drawings of Richard Serra as a strong influence and an admiration for the ceramic murals of Miro. Some of the works in this show utilise physical impressions for marks, rather than scratches and painted lines, giving flashes of the sculptural scope of the medium and perhaps a sign of things to come.


I asked Shane if his purpose was to explore the multitude of ideas represented in this work for personal fulfilment or with a desire to communicate a message. He responded that his aim was to create work that could be recognised for what it is. Good answer. I look forward to seeing where it takes him next.


Shane Kent
Last Winter
Australian Galleries (Smith St, Melbourne)
12 March to 7 April


Tuesday, September 25, 2012

In context

Getting back on top of things now, a few orders complete, studio clean and starting to think about next weekends trip to Adelaide for Subversive Clay. Woohoo. 

I have even had the inclination to raise my head from the wheel and see what's happening out and about as the winter hibernation comes to an end. Ahhhh spring.

Last weekend I rode to Abbotsford Convent to see what Colin and Ilona have been up to in their studio at Cone 11. They had mentioned an event called Spin Off, an installation of their ceramic works for sale, and it had me intrigued. It was not in their studio, as I had thought, but thankfully as I wandered vaguely through the farmers market (eating the best ever spanakopita) I bumped into Ilona, who pointed me in the right direction. 


In a beautifully lit, high ceilinged room within a convent building, the pair had set up a space that felt like a minimalist, Eames-era entrance hall and lounge room, providing a natural and calm setting to display their recent explorations in clay.  It is wonderful when artworks are given room to breathe and are allowed to inhabit a space. This environment was like the half way point between gallery and home and provided a lovely way to view and appreciate the works. They do context well.


So well in fact that while I was there two ladies downed bags and jackets and sat amongst the exhibit with coffees for a chat. Ilona appeared beautifully unperturbed.


Colin has been spending some time with Phil Elson and the influence is evident in his large bowl forms. I was very taken with these beautiful porcelain light shades (below).


Ilona has been exploring new satin glazes that compliment the raw clay body in functional pots, vases... 


 incense holders, bowls, cups and...


 lots and lots of jugs!


I had to pick up one of the larger jugs because I was enjoying the aesthetic of the handle to body relationship but was not convinced of it's practicality. Convinced I was however as soon as I lifted the vessel and it gently swung to a beautiful pouring angle.

Exciting developing work to see in a really beautiful context. 

Spin Off - A Cone 11 Ceramics + Design Studio Initiative
Satellite Showroom
21 - 05 Oct
St Heliers St Gallery
Abbotsford Convent

Tuesday, September 18, 2012

Pictures from an exhibition

Tuesday, so five more possible days (today-Sat) to see our exhibition, The Deep End at Potier. We had such a lovely opening night with friendly, interested people and some very excited swimmer/models who saw themselves immortalised on an art work for the first time. It was a whole lotta of fun.

Our pieces are installed on the central table and in the window of Judith Buckridge's most excellent store, Potier, dedicated to Australian ceramic art. Being surrounded by some of the best ceramicists in the field is a little intimidating (!) but we are aided by the fact that this body of work is vastly different from anything else on the shelves. I am really pleased with how it looks and when we added some water to a bowl, here and there, the swimmers and the vessels came alive. 

For those further a field, who kindly requested images, I have done my best to capture the feel of the room and the work but as we all know, it is never quite the same as being in touching distance.








None of these images do justice to the spectacular imagery Jacqueline Kennedy 'scratched' on the forms. The detail is just too tricky to capture in a snap. The day after the opening Jacqui declared her intention to  work in PNG, for an indefinite period, as a cook on another kind of vessel, sailing the ocean, surfing, diving and fishing. So the Deep End project draws to a close due to the call of the waves. A fitting end to thoroughly enjoyable collaboration.


Thanks for all the support and interest!


Thursday, August 16, 2012

Just a few more laps


I have heard it said that the resulting work from a creative collaboration is often greater than the sum of its parts. With our exhibition just a few weeks away I have been contemplating what has emerged from the interaction Jacqui and I have had over the last year or so and have attempted, in a fumbling kind of way, to put it into words.

Here's what I come up with so far...

Half way through a party we started talking about pictures and pots. The idea of combining underwater imagery with vessels sang of avenues to explore and themes such as volume, containment, reflection and light started to take shape. By the end of the night collaboration had begun.

It was important that there was cohesion and interplay between the images and forms, although initially the practicalities of process directed our choices. Distortion of figures on a three dimensional canvas mirrors the magnifying effect of water, and not always in a flattering light. 

As conceptual elements developed, we made a decision to utilise only the open bowl form with its clear parallels to still bodies of water. The darkened engobe provided a sense of depth from which swimmers partially emerged.

The symbolism of water could not be ignored and explorations of a more personal nature also took place. Like the cathartic act of swimming itself, emotions surrounding grief and loss manifested in the work. Seemingly of their own accord, the works began to convey the feelings gained when swimming; the exorcism of negative energy that physical exertion allows; the opportunity to think, or even not think, in isolation; but also the sense of an intimate connectedness to others and the immediate environment.

This dichotomous notion of alone yet together reflected in the way our collaboration took place. Alone one threw pots, alone the other ‘scratched’ , swimming in our separate lanes but from time to time taking pause to inhale a collective, creative breathe, in the deep end.”                                                 
Jacqueline Kennedy and Sophie Milne


It has been, and I think will continue to be, a wonderful conversation without words.

We hope you can join us at the opening for a celebratory beverage or you find time to pop in to the Deep End at some stage during the course of the exhibition.

The Deep End
Sophie Milne and Jacquie Kennedy
11 to 25 Sep 2012
opening Tues 11 Sep 6-8pm
29 Mills St Albert Park
open hours Tues - Sat 10-5



Thursday, July 12, 2012

The Deep End


July already. Yikes! In less than two months Jackie Kennedy and I exhibit our collaborative work at Potier. Aye Karumba! The work has continued at a realtively steady pace that will no doubt become a rather rapid and frenzied pace in the next few weeks. (Well... ahh... after school holidays.)



The always-so-supportive Jude, at Potier, was most excited with the idea and kind enough to offer us a two week show amongst the beautiful array of ceramics in her store. Opening night is September 11... hard to forget, unfortunately for all the wrong reasons. That's a Tuesday night from 6-8pm. Pop it in your diary but I will, of course, be sending out a reminder or 20 closer to the time.



I am pretty excited about the direction this work has taken and am looking forward to putting it in the public domain.

Wednesday, March 28, 2012

Prospect

Pan

I wish beautiful was a word used less frequently. My dictionary defines it as "delighting the aesthetic senses". I like to use it only when I wish to bestow high praise.

Kirsten Coelho's current exhibition at the Helen Gory Galerie, Prospect, is beautiful - aesthetically, conceptually and in execution.

Photo by Jeremy Dillon

When you enter the exhibiting space it feels as though you are stepping into a colonial setting only recently vacated by it's inhabitants. While there is the right amount of work to draw you in, there is a sense of Amish-like sparseness and an unashamed romanticism.

Tin Can and Bowl with Flange

Kirsten's porcelain vessels, predominantly glazed satin white with iron oxide markings, draw on colonial era enamel ware. She currently lives in Adelaide but has also lived and worked in the UK. The combined influences of her interest in colonial Australia and British studio pottery blend seamlessly in her work, successfully embodying "points of historical and contemporary cultural intersection". There is a strong sense of Kirsten's respect for classical Chinese/Japanese and Korean ceramic traditions, with her uses of iron oxide and subtle suggestions in shape. 

Saturated Iron Bowl

Vase

Ceramic objects that appear simple yet contain layered meanings captivate me. The catalogue essay by Wendy Walker accessibly expands on the themes in the exhibition. I enjoyed the point made regarding the circular motion of influence, Kirsten's porcelain works interpreting historical enamel wares which were in turn "simulations of their more costly ceramics incarnations." And the notion of the influence of North Asian ceramic traditions representing the cultural impact of the immigrant experience in colonial Australia.

But beyond the narrative, the installation and the context, lies the inescapable fact that each individual object, in it's own right, is simply beautiful.

Cup

The above photos were supplied by Helen Gory Galerie. I must say how lovely it was to go to a gallery where the staff are welcoming and helpful and, more importantly, informed and interested in conversing about the artists and her work. Thanks Jemma.

Kirsten Coelho
Prospect
14 March - 07 April
Helen Gory Galerie
25 St Edmonds Rd
Prahran, VIC

Thursday, March 1, 2012

Mixed bag

Craft Victoria has an unusual combination of exhibitions on at the moment that all have a ceramic component. They finish this weekend and at 2pm on Saturday there will be artist talks by the exhibitors, which I imagine will be fascinating. 

I was excited by the idea of seeing three ceramic exhibitions in one space but I must admit to slight confusion and disappointed in the lack of relationship between the shows. Although the exhibiting spaces at Craft Vic are segregated to some degree, there is a sense of journey when you walk along the elongated space to the tucked away room at the back and I felt a little jostled by the disparate nature of the exhibits.

 That said, the shows themselves offered much to consider.


Gary Bish's work is a display of mastery in technique by an accomplished artist. In The Vessel: A Space Oddity Bish aims to "explore the nature of perspective and create an effect that warps the viewer's sensation of space."


His forms appear to reference antiquities while surface images and text suggest futuristic ideas and portals in time and space. 


Although not objects with which I felt a personal relationship I admired the skill, attention to detail and finesse of the pieces and I enjoyed the contemplation of past and future the pieces provoke, still maintaining their resolution and completeness.



Jacob Ogden Smith's Pottery Practise Project in Gallery 2 frustrated me. It had a great brief that you can read here and I am glad to see someone exploring representations of pottery in mediums of popular entertainment (if someone mentions Ghost to me one more time... I swear....)  but I found the exhibit confusing. Watching a video of a potter striking his work in progress with his long hair is most certainly surprising and entertaining. Listening to the artist's talk would no doubt be of great benefit but to view the exhibit without further explanation felt incomplete.

But....

That 'tucked away room at the back' at Craft Vic is so often the space that surprises and delights me and this visit was no exception.


Kirsten Perry's installation Home Time captured my imagination, as her work so often does. Her anthropomorphic building forms and small objects are slightly repellent yet make you want to cuddle them, achieving the exhibitions directive of "subtly interrogating the void between emotional states and the material forms used to represent them."


Kirsten uses a variety of materials, on a small and large scale with equal success. I was particularly taken with a shelf of miniature objects that took oddly familiar forms and, with the suggestion of eyes, turned them into adorable characters.



My favorite was somewhat reminiscent of Brendan Huntley's ceramics...


A rock only it's mother could love!

I don't think I will be able to make the talks on Saturday, more's the pity, but I recommend a visit to this mixed bag of exhibitions at Craft Vic before they close. Always a joy to see ceramics take the limelight for a moment.