Wednesday, 13 June 2018

Material Memories Exhibition

On display at the Queen Victoria Art Gallery, Royal Park 

9 June - 20 September 2018

Material Memories brings together six interdisciplinary practitioners who are interested in creating work which sits at the interstices between art/craft/and design:

Susan Buchanan contemporary artist/jeweler, Janine Combes contemporary artist/jeweler; Penelope Davis contemporary artist working with photography and sculptural installation; Eli Giannini contemporary artist/jeweler; Robyn Pelan contemporary artist working with ceramics and Sarah Stubbs artist/contemporary jeweller. 


Each practitioner has sought to open a discussion and explore methods of materiality, through the mapping of existing objects/species located at Queen Victoria Museum and Art Gallery in order to reveal and trace the story of place and visual memory. 
QVMAG, beyond the public galleries walls, houses an amazing collection of artefacts, such as rare indigenous butterflies and beetles, whale tusks and bones, snake skins, birds of all descriptions and sizes, small delicate marsupials all beautifully presented methodically catalogued and stored in carefully designed shelves, boxes and storage systems. 
In corridors and a warren of rooms is a rich repository of exquisite colonial botanical drawings, specimens and pressings, a family of Tasmanian tigers, shelve upon shelves of shells, crustaceans, corals, mammals, fish, reptiles, insects, and flora of all sizes, colors and genesis.
To be in the presence of all of this is humbling, overwhelming and awe inspiring. We were fortunate to lay witness, to smell to graze to visually feast on such a vast, diverse and considered collection. 
Here in the caverns of QVMAG we become acutely aware that we were in the presence of species that have disappeared both metamorphically and physically from our collective imaginations. We were confronted with the past, loss, and longing. 
What started as an attempt to understand an object, a form, a species has morphed into trying to make sense to bring into relief a rich and resplendent collection one that is laden with science, history, poetry, narrative, and prose. A collection that speaks of and to a building, its dedicated staff, Launceston and Tasmania. Material Memories is a collective response to confront a collection and to make meaning through the act of making.
The project was made possible by the Australian Government’s regional arts program, the Regional Arts Fund, which gives all Australians where ever they live, better access to opportunities to practice and experience in the arts.





Robyn Phelan



Sarah Jones



Janine Combes 




Penelope Davis





Sue Buchanan



Eli Gianinni













Friday, 1 June 2018

Material Memories - the photo shoot


Photography by Christopher Sanders Photography 

Request of Chris: to create a broody landscape/coastal atmosphere


Marking Time & Place - 3 Capes, 2018, hand built with Dolomite shard, stoneware clay, oxides & glazes
h. 40cm w. variable d. variable
Marking Time & Place - Three Capes 

Memory Cups


Pillars

Wednesday, 28 February 2018

Klytie Pate Award 2018


Delighted to be selected to participate in the Kyltie Pate Award again this year. 

Klytie Pate Award and Exhibition 
Opening Tuesday 6 March 6pm (speeches at 6:30)
Exhibition 7-14 March open daily 10am to 4pm
MAG - 4 Highett Street
Mansfield Vic 3722
Tel 0407 664 202


This year's entry is part of a new body of work that continues to look at the contours, colours of landscape particular around the high country around Mansfield and Merrijig.

Entitled River Vessel, this pot also brings in the colours and rhythmic textures of the Delatite River. 




Material Memories Exhibition - Two Influential Women


Material Memories Statement

I remember a bleached white sky melding with the sea in the heat of the day which by evening was consumed by a sea mist that rolled in and stayed until morning. I peered over sheer cliffs made from a stone so hard it refuses to crumble but remains vertical and awesome. I marked the land for four days, carrying sustenance through this coastal landscape, footstep after footstep measuring the distance with a physical action of my body, accumulating memories of this place. 

Afterwards I ask:
How can the ceramic process and clay material embody the place?

This question arises and is a response to two influential works from the QVMAG collection by Tasmanian women, Bea Maddock who was born in Hobart and Trucanini of the Nuenonny Clan. 

Bea Maddock’s 'Terra Spiritus... With a Darker Shade of Pale', 1993-1998 is a circumlittoral incised drawing in of the entire coastline of Tasmania, each geographic feature is labelled with both the English and the aboriginal Tasmanian topographic names. The pigments used to make the colour the paper are native Tasmanian ochres. Trucanini’s Woven basket, c.1870, uses fibres of the White Flag Iris, which is particular to the eastern coast of Tasmania. 

Both these women make objects with an extricable connection to coastal Tasmania through lived experience and through use of local geology and vegetation. Both works use hand skill to create, making the maker and the time spent making evident and present in the wo






Trucanini, Woven basket, c 1870, fibres of the white flag iris 
(Probably the last basket made by Tasmanian Aboriginal women Trucanini (Nuenonny Clan)

Bea Maddock, TERRA SPIRITUS ... with a darker shade of pale 1993-1998
hand-ground ochre and blind letterpress on 52 sheets
(a-zz) 26.5 x 76.0 cm (image and sheet) (each)