Category Archives: writing

#4 “invite”

October-November 2013

from left: Anton Hart, Merilyn de Nys, Anton Hart, Mark de Nys

from left: Anton Hart, Merilyn de Nys, Anton Hart, Mark de Nys

The works in “invite” are all small; to see their details one has to move close. In this sense they are invitational; the jewellery by function, the objects by curiosity, the photographs by quietness, the paintings by suggestion.

Traci Chamber’s jewellery colours are from old anodised saucepan lids; these precisely cut shapes then composed with sterling silver reference the Hills Hoist – familiar (to some of us) domestic utilities given another life to be carried by the body (and to be talked about); memories imbued in material (aluminium) mixed with memories imbued in shape (Hills Hoist).

The photographs by Merilyn de Nys are calm, peeled off the constantly moving world; their subjects were already present as offerings upon surfaces or as remains in furniture (chalk); markings and markers awaiting notice – the graffiti an art for declaring a situation, the chalk a tool for declaring information.

Mark de Nys’s sculptures are coated by time; the entwined barb wire has done its fencing job, and now rusted by air and water it looks soft and velvety, while still strong and dangerous. Each work holds its shape internally, as if a type of jewel-like architecture as well as a three-dimensional drawing. Their solid square bases, slightly raised, carefully provide a counterpoint (to the poetic curves above).

Craig Stratford’s Culinary works reuse domestic instruments – cutlery; forks and spoons, found and gifted, that usually transfer food for the body from plate to mouth, are machined into quite different instruments that the body can carry as decoration (another form of nourishment); these jewellery pieces have served for decades in houses far and wide, and have witnessed varied and complex human lives.

Anton Hart’s paintings in the series Prop are barely there; at the same time, each brush stroke of grey is visible, as are the degrees of grey/white. These ‘pictures’ contemplate a type of action that dances around the question of what painting is and does – what might happen next, or what has just happened (for instance); their modest planes are grounds for thought.

Anton Hart and Paloma Concierta’s collaborative work, The Conversation, consisting of two small delicate paintings and a text, brings into focus the relationships between word-language and image-language. As well, it unsettles looking and reading, as ‘reading’ can be taken away. The work, therefore, ‘works’ later, at some distance from where it was first encountered. Painting adjusts itself to the presence of a form that holds writing, and to do that must, like the texts, push itself away from the wall. A text here is a made thing, created by ‘talk’… to give to you.

#3 dume, sculptures . kerrie stratford, drawings

April 2013

a limestone sculpted form

#3 Dume, limestone, detail (2013)

These limestone sculptural works were carved as ‘exercises’ for the Beachport sculpture park project D’Un Bout à l’Autre/From One Side to the Other, a collaborative art exchange between the communities of Beachport (Australia) and La Ferté St Aubin (France).

Dume has tested the limits of limestone for delicate and complex shapes.

Now they are independent works of art.

#3 Kerrie Stratford. Drawings

Some of these drawings have become paintings, some haven’t, and some might.

Drawings though are of their own kind, expressing themselves differently from paintings; line is their entire structure – line on white paper. White is their ground, they spring from white, bare, vulnerable even; each line carries the weight of the image; where there is colour it is built line by line (a different process to brush stroke, a different use of the body).  There are messages in the drawings, and these require a little time and are ‘as one finds them’, like signs, intuitions, dreams, memories. There are women, men, armour/adornments, animals, birds, and scenarios; they are all presented head-on and from their own times and spaces – these times and spaces (floating, rising, falling, released from narrative) inform appearance (and their stillness, caught, stylized, is like a moment passing through thought/realms, and we are there).

#2 everyday (I) work

(from Beachport Knitting and Stitching Groups)

April 2013

Joan Esther Walker, woollen blankets

Joan Esther Walker, woollen blankets

Val Chambers 
Di Horvath
Marlene Holloway
Heather Brown
Wendy Green
Cheryl Sharp
Pam Hales
Linda Marie Walker
Joan Esther Walker
Wendy Stratford

This exhibition is the work of local women who belong to craft groups. The work is intended for practical use – for wearing, carrying, covering, decorating. There are several pieces that are in the midst of their potential making – such as the dyed silk, the knitted strips, the unfinished stitching. Some pieces are made as artworks – shell embroidery, stitched serviette, wool hanging, assemblages.

In this exhibition therefore are a mix of the ways in which everyday craft knit/stitch skills are employed. There are also the explorations of colour and pattern and texture, and experiments in how folding, draping, cutting and assembling bring about other types of ‘images’; ones that are abstract, yet in their painterly/sculptural way are pleasurable to view; they reveal the formation of ideas/conversations.

# 1 material world

January 2013

Material World, detail

Kerrie Stratford . Aldo Iacobelli . Pam Hales
Louise Haselton . Roger Smith . Linda Walker
Teri Hoskin . Kay Lawrence

The ‘material world’ is everywhere, everything, and every time and every thought. The feel of things, and their appearance – matter and matters. It takes ages to make an artwork, even if it’s done in a moment, like a stitch; it’s taken life so far. Small brush marks, colours, weaves, whole bodies, memories, stones, bones, wood, yarn, sand, salt; in all, a process of making-for-making, and the solitude necessary. Art comes from somewhere; one’s tiny presence on earth; events, disasters, pleasures, worries, loss, hope, tenderness. It’s a fragile (material) world, worn and wearing, yet resilient, generous, beautiful, wild; its material of all tenses, tensions, weights, densities, and tempers, and it play out in all shapes and forms. The artist looks carefully, closely, and gathers.
LMW #1, January 2013