Here you'll find an artistic celebration of Easter and not a furry bunny in sight. Instead, the artists have chosen to relate to the season in its traditional context. Some exhibits employ religious symbolism, others reference spiritual regeneration, while all suggest the joy of renewal.
Religious symbolism is employed in painted Icons by Ian Hill, Lise Roget and Diane Selentin. Hill's excellent 'relief' images are produced by carving into thick impasto on board. He depicts St. Theresa of Avila and the Madonna with Child surrounded by symbols such as the Tree of Life, the Greek letters Alpha and Omega, and a Key (to the Kingdom) to validate them as sacred subjects.
Roget recreates portable icons from the Byzantine Era. Employing acrylic on wood she effects crackled gold and replicates the rich hues of the style in her jewel-like Madonna and Child images. She also exhibits townscapes, with Onion dome buildings and narrow streets, reminiscent of an exotic Eastern world. Meanwhile, Selentin's icons of acrylic and gold leaf on wood are modelled after 12th Century Russian Icons. I do appreciate how she uses a freer hand with her images of Saints and Madonnas to make them her own.
Spiritual regeneration is evoked in the fine textile works by Jennie Abbott. Hanging on the wall like a shroud to be venerated is the contemplative Wrappings, a shawl composed of wispy strips of silk, cotton and lace loosely sewn together. Abbott's Central Desert I & II are delicate yet potent references to 40 days in the wilderness. These exhibits involve ochre coloured silk paper, which seems spun rather then pressed, stitched with Indigenous patterns to form paths across the land.
Another form of spiritual awakening is seen in Christine Rainbird's Mandalas. These intricate patterns of rich colours, small feathers and minute beads, embrace all ideologies in their symbolic context. The care taken in painting these patterns reinforces the idea that the making is akin to ritual prayer.
Excellent making, and the joy of renewal is noted in the many craft objects presented. To produce one shape or concept repeatedly and make it original with each incarnation is a gift to be treasured and appreciated. This ability is owned by Heather Tailor as each one of her hand painted porcelain jewellery pieces and decorated boxes are flawless originals.
Sarah Breen's mottled stoneware eggs too are individually unique. I do appreciate how they are neatly 'cracked' in half allowing them to hold objects of importance in their smooth bellies. Some hold chocolates, while He Has Risen holds something more precious, bandages dipped in clay to remind us of the empty tomb.
Anne Clifton's glass work encapsulates the aspects of the joy and celebration that is part of the Easter festival. Her glass Spring Bead is not for stringing; although technically a 'bead', it weighs 7kg. This is the second largest bead in the world, and the first of its kind in Australia! Designed by Clifton and hand blown with the assistance of Peter Bowles and Mayumi Shimotori, this work of multi-layered glass is stunning in it's beauty, concept and craftsmanship. To describe it would only lessen its impact as it must be seen to be believed and fully enjoyed!
There are over 90 interesting exhibits to peruse in this show; each one of them is well prepared and presented. Happy Easter!