Latest posts by BMA Magazine (see all)
- [Gig Review] Karnivool, Southeast Desert Metal – Saturday, 1 June 2019 – Kambri, ANU - June 16, 2019
- [Album Review] Clarity of Chaos – Self-titled - June 15, 2019
- [Film Column] Godzilla Remains A Political Monster - June 7, 2019
Describe your artmaking practice.
Extreme porcelain! Working with nature, using nature in porcelain and experimenting with what’s left in the porcelain clay body after the organic material has burnt out in the firing process.
When, how and why did you get into it?
I remember as a child seeing potters at Cuppacumalong near Tharwa in the ‘70s throw clay on the wheel and make it into a pot. It was transformative. I have always been a tactile person and was always in trouble touching things in galleries. Good art has always moved me, and as an emerging artist, I aspire to make art that creates reactions, encourages deep thinking and seeks to find beauty in small, every day things, especially the natural world.
What ideas do you explore through your art?
I am a big picture person, and I think deeply about the precariousness of life of on earth, for people and for the natural environment. I try to create works that speak to the smallness of humans in the grand scheme of things.
Who/what influences you as an artist?
I studied anthropology when I left school because I was fascinated by what motivated people to do what they do. I loved studying different cultures. I was also interested in cultural landscapes, archaeological debris and evidence left in the landscape by cultural and natural processes. Sculptor Andy Goldsworthy is my main artistic influence. He works in and with nature and his works are usually temporary and subject to natural forces which ultimately destroy the works that he makes. This idea is particularly challenging in ceramics.
Of what are you proudest so far?
I am really proud that I am being recognised as an emerging artist in my 50s following a career working as an anthropologist, as well as emerging from what seems like rather a long time in motherhood. (Naturally I am proud of my amazing children and that we all survived the process of growing up.) I am also very proud that I have been invited back to Denmark as a fully funded visiting artist, where I recently completed an artist residency. Danish design and aesthetics and Scandinavian social and environmental policies have been of particular interest to me.
What are your plans for the future?
I have some exhibitions coming up to develop work for, including opportunities overseas which are both exciting and terrifying. I am also interested in developing a sculptural sustainable lighting range and collaborating with other creatives on some immersive installation projects. I would also like to develop a porcelain tableware range when I get time.
What about the local scene would you change?
Canberra is a beautiful and safe environment, which at times seems to lack passion, urgency and vibrance. We have an amazing wealth of diverse, creative talent here. People come to Canberra from everywhere and that eclectic mix makes for a melting pot of creative ideas. I guess I would encourage people to get out and support local artists and designers. It would be great to see more local businesses supporting local designers.
What are your upcoming performances/exhibitions?
I am currently in Emerging Contemporaries at Craft ACT: Craft + Design Centre. I have a solo show at the end of the year at Suki and Huge in Bungendore and an exhibition to develop work for in Denmark in 2018 as well as a number of other opportunities that I am working on. Lots happening!