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Showing posts from August, 2016

Objects of Ideation -

Blurring the lines of creative authority  Kari Lee McInneny-McRae
Tessy King
Samantha O’Farrell
Niamh Minogue
Caelan Blake 25th August - 6th September 2016 Junior Space, 65 Smith Street Collingwood, Melbourne 
Objects of Ideation features five artists working with the ceramics process who blur the domain of creative authority and individuality. McInneny-McRae, King, O’Farrell, Minogue, Blake are all either RMIT recent graduates or current students. They also share a distinct aesthetic palette. 
The gallery boundary has become a space in which to construct formal, sculptural vignettes about colour, texture, line and plane. Moving around the gallery, it is clear there is no single author, confirmed by the lack of an exhibition list. Whether this was oversight or intentional, the effect is a sense of singular outcome from the hand of many makers.

Rights of Spring 1883 - featuring contemporary artists using clay

Spring 1883 The Hotel Windsor, Melbourne 17-21 August 2016
Delighted at the return to The Hotel Windsor during Melbourne’ Art Week 2016 in spite of the cancellation of the Melbourne Art Fair.
This is one of my favourite site specific events this year. Artists and gallerists made witty and ingenious use of the Hotel Windsor suites with installations in bathroom, bars, cupboard and on beds, on windows and chairs.

See following an indulgent,  ceramic-focussed record of what was presented across all four floors and a few sneaky inclusions of my favourite installations. Apologies for the low light; it was a rainy Melbourne day after all. Also, I could not get an image of Ruth Hutchinson's drinks cabinet installation, there were too many people crowded around.

My Cobalt Blue's - new work by Jia Jia Chen

The Beaded Surface
My Cobalt Blue'sJia Jia Chen
c3 contemporary art space
The Abbotsford Convent
St Heliers St. Abbotsford
17 August 2016

Jia Jia Chen plays with the process of ceramics. Her glaze is dominantly present in blobs, splashes, dollops and beads of nepheline syenite and cobalt oxide melted onto the non-vitrified bed of alumina. The unpredictable and multitudinous result of Chen's process is hundreds of unique glass-like beads. These have been applied to surface of hand pinched vessels and display tables using a loose mosaic technique. The effect is one of intricacy and glossy tactile patterning.

I am reminded of  PixCell-Deer by Kohei Nawa who covered a taxidermied deer with artificial crystal glass. Nawa enveloped surface is so seductively beautiful yet up the glass bead magnify the gentle patter of fur of this beast. The result is a feeling of suffocating and reduction of nature to a synthetic artifice.
Chen's surfaces also have an alluring presence as 'chin…