Curated in collaboration with Jane Sawyer
2 August — 19 August 2017
2 August — 19 August 2017
Lamington Drive is pleased to present Cooked – a group show of contemporary ceramics that challenge the distinction between function and sculpture. Curated in collaboration with artist Jane Sawyer, director of Slow Clay Centre.
Cooked brings together 8 contemporary artists producing ceramic objects with an illustrative, graphic style. The works range from small scale structures with finely rendered graphic detail, layered assemblages and wall-based reliefs to painterly large-scale vessels and humorous reproductions of utilitarian objects. Along with their ceramic practice, a number of the artists pursue other artistic disciplines – writing, drawing, painting, collage, architecture and sculpture – which further informs their work. Many of the pieces incorporate some aspect of cross-media experimentation which sees foreign elements and materials like glass beads, wood or paper being incorporated in the pieces.
About the artists
Informed by traditional Japanese ceramics, Scandinavian design, and a passion for the alchemic process of combining earth and fire, Davidoff’s practice spans functional production pottery, architectural studio work and conceptual ceramics. His vessels feature distinctive painterly brushwork and symbolism, often incorporating materials such as glass, lead sheeting and wood to explore high vs low art tensions.
andreidavidoff.com / @adceramics
Vachon’s ceramic assemblages combine colour blocking and clean lines which piece through or prop up softer more relaxed forms. Vachon notes that her use of experimental techniques only nudges at the potential of ceramic materials. Her bubbling glazes, melted clay and incorporation of foreign objects produce a distinct avant-garde style.
dawnvachon.com / @dawn.vachon
Brown aka Oh Hey Grace is a ceramic artist and stylist with a background in fashion design. Her work pays homage to the Bauhaus and Memphis design movements as well as architecture through strong geometry, contrasting curved and often playful forms with rigid sharp lines.
ohheygrace.com.au / @ohheygrace
Pittock mixes painting, drawing and sculpture with words, play and wordplay. His humorous ceramic sculptures reference consumerism and popular culture and often make use of both a performative element and the documentation of such.
kennypittock.com / @kennypittock
Painter and ceramic artist, Thornton-Smith examines the image/object divide through layering, reconfiguration and remediation. She’s inspired by Rosalind Krauss’ Sculpture in the Expanded Field (1979), a seminal text which examined the breakdown of medium specificity and interdisciplinary arts practice. Using collage and assemblage Thornton-Smith pushes media and challenges the tension between the functional and non-functional.
madeleinethornton-smith.com / @madsielouise
Driven by the personally evocative, ironic and tragicomic moments of everyday Australian suburban life, Bounpraseuth uses symbols of loss, displacement and self-deprecation in her autobiographical ceramic works. Recurring motifs include rubbish, discarded objects and sad food. The sculptures give rise to a duality of meaning – acceptance, humour, imperfect beauty and solidarity in shared experience.
cargocollective.com/mechelleb/About / @mechelleb_
Artist and architect, Robey explores components such as walls, windows and columns in her small-scale ceramic structures. Thin walled objects that have the lightness of paper but the solidity of buildings are created with paperclay – soft, flexible, cast clay slabs. Her works challenge the traditionally static and inert in architecture by creating the illusion of animation and personality.
She woke every morning from dreams of verdant avocados falling apart at the stone and cherry tomatoes so bright and tight that they looked as if they were about to explode.
Artist, curator and writer Tai Snaith’s short fiction piece, Hungry, can be found in the PDF version of the media release (see link in side bar).
taisnaith.com / @taisnaith
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