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Easter in Melbourne

Posted by admin on April 16, 2012

We flew down to Melbourne for a quick catch up with family. Back in the studio, I am now in a state called "devine perturbation" due to the emergence of a new body of work... 

On Good Friday we all flew down to Melbourne for a quick catch up with family. Being so busy the past five years setting up a new home and business, we haven't had time to realise how much we have missed our families that we left behind when we made the move up to far north Queensland. We spent some time in South Gippsland which is very beautiful at this time of year. I must admit I felt quite nostalgic about the landscape I grew up in. But cold!! I do not miss the 'slapped face' coldness that comes with Autumn in southern Australia! It was lovely catching up with family and I will always love the tall trees and the peppery smelling forests, and of course who could not love the dreary greyness of Melbourne!

Back in my studio 3000kms away from those peppery forests, I am in a state of 'devine perturbation', a term coined for an artists behaviour who is starting on a new body of work. Not yet in physical form, there is a level of mild anxiety or perturbation, while the artists brain is working out the conceptual complexities of their latest artworks.

I am working on a new body of work based on books and using bone china and glass. My first piece for this new folio of work will be in memory of my eldest sister, who passed away two years ago. She was a poet, and a book form seems to be a good place to start this new journey I am on. I am finding it emotionally hard though, sifting through old memories, and I am finding that I am reading her poetry from a new perspective. When working on new conceptual artworks, you have to think about every little detail, every memory needs to be re examined and often old perceptions don't always ring true. However, I am enjoying this cathartic process as I am starting to understand my sister and myself a little better. A little bit of navel gazing!

It will be a new challenge in marrying the technical capabilities/limitations of my medium, and the conceptual nature of these pieces. I am pleased with the initial result of a lithographic printing process onto clay, and I was able to copy my sister's handwriting onto a bone china clay page. It is not a crisp and clear image, but legible enough for the 'memoryscape' I want to create.I have also mixed paper pulp into the slip which not only strengthens the extremely fragile page, but also makes it look more like paper. I am interested in the translucency of the bone china, and will be experimenting with reflected (printed) images and other images coming through the translucent page with light.I am yet to high fire the images I have made so far, and I am really looking forward to putting the pages together...

 

 

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