Clay transforms, permanent, mutable, changeable. This is an exhibition about material transforming, from a lump of dirt into a myriad of forms. Clay is a an expressive material, from the belly of a bowl to the gestural marks of an abstract sculpture there is something seductive about clay, it calls out for human touch.
The making of an artwork in the studio is a very limited, private performance. The physicality of working with clay and drawing is rarely discussed, as it is a side of an artist’s life that is almost never made public. Pushing blocks of clay around, denting, altering and moving over the surface of form, the physical rhythm of making is a large part of a ceramic artist’s life. Clay is heavy; being able to manipulate it requires strength and ingenuity to solve technical problems that arise between the material and the human body.
This exhibition highlights 10 Queensland artists working with clay from the raw woodfired works of Ray Cavill to the refined, delicate porcelain of Anne Mossman. These objects are highlighted and linked by the ephemeral eco installation of artist Tijn Meulendjiks, his, airy, gravity defying installation a physical embodiment of the idea of desire. Tijn’s installations and Shannon Garson’s exhibition design draws the viewer further and further into the luscious, mysterious, tactile, colourful world of Objects of Desire.
Artists: Mollie Bosworth, Andrew Bryant, Ray Cavill, Janet Fieldhouse, Chizuko Jones, Clairy Laurence, Tijn Meulendijks, Pru Morrison, Anne Mossman, Jenny Mulcahy and Megan Puls.
Artist and jeweller Ari Fuller’s intricate works in this exhibition combine plique-a-jour enamel and Argentium silver to tell a personal story of a world evolving and beautiful. Inspired by Egyptian jewellery, Lalique and Faberge, Fuller employs many symbols in his work, from death and masks to trees and the sun, to weave narratives of his experiences.
Born from a diminishing cube, the curvaceous forms of Mundanity Continued have been individually sculpted from solid offcut pieces of foam. The original form, which was developed while Tom was studying at Central Saint Martins in London, has progressed to take on different scales and functions. Handcrafted and industrial processes converge in these pieces, with the forms being individually carved yet modular with an industrially applied coating. Additionally, the polystyrene foam is commonly associated with packaging rather than traditional craft. These pieces aim to pose questions about the relationship between handcrafting and industrial design manufacturing, and explore the possibilities of sculpting for design and industry.