Working with clay is one of the oldest artforms. Perhaps it survived the march of time and variety of cultures as it has the enviable ability to reach across the perceived chasm between Art and Craft. Whatever the terminology used for the stuff and it's workings ~ earthenware, clay, porcelain, ceramics, pottery, hand built, thrown, shaped ~ the ability to manipulate 'mud' in such a way as to construct functional and/or decorative objects is, to my mind, akin to magic. And this exhibition is chock-a-block with excellent examples of clay magic.
Five well-respected practitioners not only offer excellent examples of their work, they also give us a glimpse of the steps taken to transform earth to exhibit. Richard Woldendorp's informal photographs of the exhibitors at work in their studios reveal the practitioners' joy of making, and the photographer's respect for their efforts. It must have been daunting for the artists to have their practice revealed, however the collage of photographs shows the concentration and enjoyment experienced by these creative people. I do appreciate how the pictures are presented along the wall, not as 'exhibits' rather as an informal clutch of friendly photos of folk doing what they love.
The exhibition offers examples of hand built, slow fired stoneware by Sue Cotton; salt glazed, wood fired stoneware by Greg Crowe; raku fired stoneware by Francine Hines; thrown, incised, glazed mid-fired stoneware by Garry Zeck; and slip cast porcelain by Andrea Vinkovic. The variety provides interesting viewing while the quality guarantees viewer satisfaction.
Cotton's figures are odd yet inviting. I felt I could converse with any one of the white heads on thin white necks sprouting from black 'bodies', as each has its own identity. Also appreciated is how she put 'masks' on the larger busts, Shoulder Pain Scale and You Can Not Know. One has to be impressed by Greg Crowe's stoneware dishes, bottles and bowls as they reveal the artist's ability to produce excellent forms and glazes. The three Lidded Pots by Haines stopped me in my tracks as each owns a perfect balance between size, shape, colouring, elegance and strength. Meanwhile her black and lustre works evoke thoughts of recently excavated, ancient treasures. Then there are the elegant white boat shapes of Vinkovic's Journey series and her fascinating, open weave-like porcelain Curtain. But it was the matt white stoneware platter A Piece of It by Zeck that said so much. With quick brush strokes he drew on the flat face of the work, a picture of a seated man drawing with a brush. It brought to mind the confident ink drawings and long history of working with clay owned by the Chinese. It seemed the proper way to pay homage to ceramic art, then and now.
Do see this exhibition. It is enjoyable and informative as it celebrates the beauty and variety of working magic from the earth's own creative medium.