cycle (day 21)

After many, many hours in Gallery 3, last Thursday (day 21) marked the final day of Liz's production.


The final touches were made...

And to top it all off, a big beaming smile from Liz!

We will miss the comforting hum of Liz working at her wheel and her chattering guests, but we can't tell you how much we're looking forward to the outcome of the Water Pouring Ceremony tomorrow evening at 6pm. We bet you're curious too...

Water pouring ceremony

For the past month, Liz has spent over 70 hours in Gallery 3 meticulously re-creating the sculptures that are part of her current exhibition 'Cycle'.

Now, this Tuesday evening, the second phase of Liz Low's exhibition cycle will be launched. Liz will pack up her studio and prepare the works she has made over the past weeks for their subsequent disintegration. Water will be poured over the unfired clay sculptures constructed in-situ, inaugurating their slow demise.

Join us and guest speaker Kate Rhodes (editor of Artichoke magazine) tomorrow evening at 6pm for the special water pouring performance and the official launch of the cycle exhibition catalogue.

We might even have a chilled glass of white wine waiting for you!

Introducing... Natasha Dusenjko

Today CLOG is excited to present an interview with current Gallery 2 exhibitor Natasha Dusenjko. Featuring delicate porcelain spindles with lines of paper wrapped around them, Natasha's exhibition Babel is a show that you must have a look at up close.

Babel follows on from Natasha's word-based ceramic work Bone Ancestor II that was accepted as a finalist in the 2009 Manningham Ceramic Art Award.

In your artist talk you mentioned that Babel is an edited version of bone ancestor II. Could you tell us a bit about this?
Babel is very much related to my earlier work bone ancestor II, therefore it made sense to build upon the textual concepts of that particular work, expanding on the sensibilities of forbidden or buried texts. I have consistently worked with concepts which are interrelated, so there is a definite relationship from one work to the next. Editing the text would make it new again. It was also an experiment in how much it could be chopped up and deconstructed, yet still contain it’s original core.

You've used text from The Material Poem – is there a special reason behind this?
I find there is a refining process from one project to the next, therefore an opportunity to gain a deeper understanding of the themes and concepts. The work included in The Material Poem is titled bone ancestor. bone ancestor II was exhibited a year after publication of The Material Poem. Although this exhibition would feature the same sculptural works, it was a physical exhibition rather than pages in a book. This presented an opportunity to expand on the text already included in The Material Poem. bone ancestor II was approached in a way that would allow new text and graphics to provide an alternate context for the ceramic objects.

The Material Poem, edited by James Stuart, is an e-anthology of text-based art and inter-media writing, which is now also available as a printed publication. http://www.nongeneric.net/

Initially you started studying graphic design before changing your focus to ceramics. How did this affect the way you approached ceramics?
I have a background in graphic design and printmaking, even though I enjoyed working within these areas, I was also becoming frustrated with flat surfaces and had a real desire to work on a more sculptural level. I would find myself cutting up prints and folding them into objects and packages. My hands needed to get busy in an entirely new way. Sculptural work provides an intricate tactile process. In regards to ceramics, the lack of knowledge relating to its technical processes has allowed a particular kind of freedom. The ability to concentrate on the conceptual aspect of my work, without the potential hindrance which an overt technical knowledge may have created. I think this is an important factor relating to the direction in which my work has evolved. The marriage between various disciplines which have formed my training in art and design, is becoming more apparent in my work.

Do you think Babel is the final evolution of your exploration, or do you hope to continue working on it in the future?
I don’t think there will ever be a final evolution of my exploration! Each work that approaches resolution, re-opens enquiry anew. I am looking forward to beginning a new project, and the possibility of a new text arising out of that process, its point of departure will be Babel.

Could you please tell us about the technical side of creating the works in Babel. It must have been quite time consuming, given their small size!
There are various different aspects in the making of this work. Map 1 and Chart 2 were created in a program called Indesign. Both the layout and Black & White palette are influenced by ancient star charts. I did begin with an idea about how to create these charts, but it is often the mistakes and discoveries that only happen in the making that determine the final result. This is an aspect of the work I really enjoy. The layout of the text and graphics which would later be sliced and rolled, were also created in this way.

The sculptural aspect incorporates two processes. The first, involves sculpting the bones from porcelain. I am not, at any stage sculpting towards any definite or predetermined form. Rather, the form emerges through a playful process, allowing an intuitive conversation to occur between the material and myself. After a period of time, my fingers become fluent with both the nature of porcelain, and these bone-like forms. Alternately, the long thin spines are created by simply rolling the porcelain into ‘snakes’. This is a very child-like motion, but also requires a sensitivity and control in order that the porcelain doesn’t dry out and crack. After firing, all these pieces are individually polished using various grades of sandpaper.

The second, involves intricate work and is much more time-consuming. This process involves slicing up lines or slabs of printed text and then rolling these strips of paper around the porcelain bones. Each individual form is built up by the continual layering of these paper scrolls. Every Babelbone and Tower is an exercise in composition and balance. As always, some are more satisfactory than others!

The wall installation, unknown architect (pictured below), features 196 individual small paper scrolls. The codes are directly transferred onto the wall using Letraset.

And yes, it has been a very busy 6 months!

What has been your proudest achievement so far?
The exhibition of my latest work Babel, currently showing here at Craft Victoria. I think Babel is my most articulate work.

And finally, what would your dream collaboration entail?
Sound, definitely. Sound and light. I have been interested in working with a sound artist for some time. Sound has the power to conjure on a completely different level; it can be a very physical experience.

In terms of an artist, I immediately think of Patti Smith. Her words, music and poetry have definitely been an inspiring influence. I respect the intensity in Patti Smith’s work. The reckless beauty, passion and visionary relationship with what I would describe as the Muse. Her installation The Coral Sea at Anna Schwartz Gallery (2008 Melbourne International Arts Festival) was particularly moving; I was enveloped and mesmerised by the visceral sounds and dark liquid imagery.

To view more images of Natasha's exhibition Babel, click here. For an excellent article about the exhibition written by Natasha and published in the May issue of Trouble magazine, click here.

Babel will be on show in Gallery 2 until 13 June.

cycle (day 20)

And for something a little different today, here's a look at Liz's inspiration wall...

...and look! Well well well, what do we have here... the cutest doggy ever?

Liz's dog Phoebe

cycle (day 19)

Working on Colony, the final sculpture for cycle

Check out the smaller Colony sculpture hiding inside!

Simon's artist talk

Last Friday, Simon talked (and walked!) his audience through his Gallery 1 exhibition Gleaning Potential. There was a lovely turnout and it's always a pleasure to hear an artist speak so passionately of their work.

Simon's exhibition is on until 13 June. That leaves you with about 2 weeks left to catch this marvellous show!

In the meantime, have a peek at past CLOG posts on Mr Lloyd.

cycle (day 18)

Peek-a-boo!

Liz Low's diary (days 3 to 7)

Here are some more shots of Liz's progress log from days 3 to 7. Don't forget, click to enlarge the image and to make reading easier!

Days 8 to 14 coming soon to a CLOG post near you, so stay tuned.

cycle (days 16 and 17)

day 16:

With Colony now complete, Liz has commenced working on the base of Cellular Form

day 17:

Chicks on Speed theremin tapestry: final update!

Here are some photos of the now finished Chicks on Speed theremin tapestry, courtesy of the Victorian Tapestry Workshop (thanks guys!). The completed tapestry look absolutely fantastic and it's now on its way to join the Chicks on Speed entourage.

Here some images of the tapestry as it neared completion and its subsequent dismantling:

Introducing... Sophie Milne

Current enCOUNTER exhibitor and wonderful lady Sophie Milne is the subject of this week's Introducing... feature. Based in Melbourne, Sophie's work features a distinctive colour palette of earthy brown and sky blue and we are very proud to be featuring one of COUNTER's dearest stockists.

In the meantime, do check out Sophie's blog, in particular her posts on installing Street Side - it's always lovely to hear an artist talk about their work, especially when it's done willingly!

Happy Friday everyone, enjoy your weekend.

Before embarking on a Diploma of Ceramics, you initially completed a Bachelor of Arts in Philosophy and Literature. What prompted this move, and has your previous degree influenced you in some way?
I did my BA as soon as I left school. It was somewhat esoteric with no particular career path in mind, just general interest. After completing my studies I enrolled in a short wheel throwing course, only to fill in some time really, while deciding what I wanted to do with my life. Then I was hooked.

My studies in philosophy and literature have and will continue to influence my work because they are part of what has shaped me. As have environment, music, visual art, people I spend time with and everyday life, just to name a few.

You've written that your work fuses Japanese and Western wheel techniques, could you tell us a bit more about these techniques as well as your use of sgraffito lines? Would you consider sgraffito as your signature style?
My wheel technique is an amalgam of various methods learnt from past teachers and other ceramicists as well as personal trial and error. Sometimes I throw ‘off the hump’ which is a Japanese technique. A large amount of clay is placed on the wheel-head and only as much clay as is needed to make each individual piece is centred and thrown from the top of the lump. But unlike traditional Japanese throwing my wheel has power! In regard to technique I really just absorb all I can from any source and use and abuse different aspects for my own purposes.

I’ve never really thought about having a ‘signature’ style but my use of sgraffito lines is something with which I am comfortable. The marks I make are like a language that I have been learning and practising and am now able to use to express ideas.

The colour palette of your work tends to be towards browns and blues - is there any particular reason behind this?
A lot of my work to date has been strongly influenced by the Australian bush so the colours are often muted and earthy. More recent pieces reflect my urban environment and the colours are beginning to change.

What's the best thing you've made so far?
Gosh, that’s a tough one. A favourite at home at the moment are these bowls. (pictured below) They are quite understated: small, simple and quiet. They are really lovely to use, if I do say so myself.

What gets you in the mood to create?
A clear head, an ordered studio, the right music and a deadline!

Where were you 10 years ago...
I was establishing a ceramic studio and retail outlet in High St Northcote with two fellow ceramic graduates from Box Hill TAFE. Or to put it another way - on a very steep learning curve.

...and where do you hope to be in 10 years' time?
Healthy, happy, creating, exhibiting and still learning.

Red Ribbon Bowls

cycle (days 14 and 15)

Day14:

From left to right, past director Kevin Murray (who is curating CVHQ's next exhibition!), Liz and current director Joe Pascoe.

Still Life with Sea Pinnacle maybe? Just kidding!

Day 15:

Liz putting the final touches on the second scuplture, Colony

Liz Low's diary

Over the course of her residency in Gallery 3, Liz Low has been keeping an informal progress diary to give visitors, and now CLOG readers, an insight into her work.

To start, here are days 1 and 2. And give your eyes a break, click the images to enlarge them! Ah the wonders of technology will never cease...

Expect more over the coming weeks! Or even better, pop by Gallery 3 for a chat with Liz and a peek into her progress diary. Liz's hours are Tue-Fri from 11am to 3pm and Sat from 12 to 2pm.