Wednesday, November 19, 2014
Walking around the International Ceramic Studio at Kecskemet was like looking at the roll call of the best of the world's ceramic artists. Every space, shelf, nook, cranny and alcove had sculpture to look at. These five works were amongst my favourites from the many that I could have picked. I love the retro numbers on the metre square terracotta work by Csulgal Ferenc.
Saturday, November 8, 2014
Tuesday, November 4, 2014
Made lots of sculpture and some great friends at ICSHU, the International Ceramic Studio while there as artist-in-residence. The studios are very spacious and the staff and accommodation were excellent. The black incised surfaces related to the embroidered costumes which my grandmother wore when she was a cabaret dancer. The pointy sprigs are based on nipples - a reference to my Hungarian mother. The sculptural shapes are influenced by various forms including WW1 grenades, seedpods and acorns which I came across in Kecskemet at a Cifrapalota exhibition and at the Kecskemet Arboretum.
Tuesday, August 5, 2014
Coming soon to Northern Rivers Community Gallery in Ballina is our new exhibition, 'Pieces of Eight' with Sue Fraser and Ruth Park. Inspired by the exotic history of the Spanish Silver Dollar, we have responded in different ways to the title of the show. In colonial Australia, the Spanish Silver dollar was brought in to replace rum as currency. The dollar was punched out, making both the Holey Dollar and the punch. The donut shape of the Holey Dollar is the same form as the Chinese 'bi disc', also a form of currency in ancient China. This was the starting point for my version of 'Pieces of Eight'. You can see in the image the turquoise glazed bi disc. Our launch event is on Thursday 28th August from 5.30pm to 7.30pm. NRC Gallery is open Wed - Fri 10.00am to 4.00pm and Saturday - Sunday 9.30am to 2.30pm.
Have entered this piece into the Woollahra Small Sculpture Prize. I'm interested in etymology. I have been learning Hungarian for the past nine months and it has heightened my awareness of my primary tongue, English. In this sculpture, words and numbers combine and transmute into more complex meaning. Unless you grow up in a culture, you can't really recognize the hidden implications in a simple phrase. The piece is called 'Ordinal', and the face is stamped with the word, BORN.
Tuesday, December 3, 2013
One of my favourite glazes is a white crawl which matures between 1080 and 1100 degrees Celsius.
Monday, November 25, 2013
I went to the 2013 graduating TAFE student show in Lismore last week. There was a signature piece by Leila Page, a 1.2 metre stylised ceramic figure, sandy coloured with hundreds of daisy-like flowers on the surface. I discussed the piece with a friend, saying that, for me it reminded me of a Linde Ivimey piece. For me it had the same overall look and surface qualities, a basic shape with tiny details. I think it was attractive to me because it was similar to a lot of my own work. My friend didn't see the likeness. If you look at Leila's, Linde's and my work, I think you can see a conversation between artists with a similar aesthetic. When you look at an artwork, are you looking at the materials used or at the overall effect? How do we decide the connection between artworks?
Sunday, November 24, 2013
This piece is based on a coral bommie with an anchor point and small piece of dead coral attached. In the end it turned out a bit like an animal with its four legs. It was part of my 'Hide nor Hair' show at the Tanks Arts Centre. I used paperclay as it is so easy to use even if it dries out and you can make very fine attachments. The barnacles on the bottom were made as sprigs then attached. I have several glazes including a magnesium one that becomes like foam.