Material Memories - Invitation

Material Memories - images 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

Material Memories - Ceramics Process

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)
 

Material Memories - Landscape Inspiration

Three Capes Walk, Tasmania
Saturday 27 January - Tuesday 30 January 2018

New Work as 2017 Draws to a Close

Questions asked

How might I make a vessel using my visual concerns about place & environment?
How can I continue to make texture that relates to me? In additional to my pinching technique or instead of?

Continued themes

Sense of place in particular Delatite River & landscape.
My significant tree, Mountain Eucalyptus.

Starting point is the last work made at the Northcote Residency

This work is now part of the Northcote Pottery collection. Use of slabs and coiling. 

Process & Revelations 

Texture on slabs created by knuckle, river stones, fingertips and a little pinching rather than entirely formed from coil and pinch. 

Making QUICKLY. Responding to CURVES and CONTOURS from slab throwing. 

 

Works which directly expression the tree

Using foliage cotour for rim

Large quickly made slabs

Subtle texture (fingertips) combined with deeply impressed texture
No reference to 'literal' tree silhouette
Love the broader surface the the wrap connection