As the new Assembly’s winners are grinners, MICHAEL MOORE says we owe a vote of thanks to all the election’s candidates.
THIS exhibition is introduced with a quote from Nick Cave referring to the mythology that surrounds the ‘artistic process’. Basically, he states, it is hard work.
Glen Martin, in his brief exhibition essay, states that there may be a seemingly tenuous link to us, but that is the way inspiration works.
Many pieces speak of place – ranging from the intimate to the broad environment. Gail Nichols, whose ceramics work is far more familiar to us than the hooked, recycled cloth hanging “Bobs Creek Culvert” is immediately recognisable as a landscape, while the tiny porcelain objects by Kaye Pemberton in “Tidelining” speak of the littoral zone, its fragility emphasised by the material she uses.
Flora frequently is the basis of many artists’ work, evidenced in Margaret Brown’s delicate coloured porcelain “Fallen Leaves”, Ximena Briceno’s prototype “Banksia Serrate” and the vessel “Dwarf Kerrawang” by Cathy Franzi.
A wide range of materials and techniques is displayed as is an increasing use of technology, such as Niklavs Rubenis’ laser etched cups in Douglas fir and Monique van Nieuwland’s handwoven panels taken from books published in the late 1800s from hand dyed monofilament.
This exhibition sits comfortably with its companion in the gallery, the solo show by Tom Skeehan “Thought – Process”.
Creating great craft requires skill, dedicated hard work, more hard work, experience and knowledge. The work in this exhibition brings consummate resolution between the elements needed to make great craft.