Tempus Fugit is the next episode in the practice of a group of artists who have exhibited together regularly since Uni days. It is interesting to watch their development as individuals within the group and note how each has progressed in their preference for material and form.
Christine Dyer is veering toward an exciting direction of combining textiles with ceramics. In some exhibits rope is wound around the necks of elongated, textural ceramic 'pods' to suspended them from the wall. Elsewhere Dyer has pulled and shredded different coloured nylon rope to produce 'hairy' extensions that grow from the open end of egg shaped receptacles. Finally the artist dispenses with the clay medium and opts to coil shredded rope (in imitation of coils of clay) into shallow dishes. The logical conclusion is seen in Life Line, a colourful cornucopia shaped vessel made of nylon and rope.
As much as this progression is appreciated, one hopes Dyer will not forsake clay for too long as she works it well. So too does Dee Jaeger, but in a more sculptural format. Among her large paperclay floor pieces is the amazing series Daughter of Eve, where three fecund females emerge from primeval plinths, each painted and potent and armed with symbolic objects. These and other paperclay sculptures are well constructed and painted to provide charming scenarios. Meanwhile each of the smaller wall pieces of the painted terracotta series Ladies Potting Club is a winner. Here Jaeger gives us aptly attired ladies growing out of hanging clay pots, each a flower of femininity and a delight to behold.
Paper, clay and paper clay are media well employed by Graham Hay who presents exhibits that range in concept from the challenging to the humorous. Hay has never shied away from using unusual material to make a point, for example, Layers is constructed of 1500 black and red Biro pens arranged in an open circle. One begins to consider the idea of the written word with its layers of meaning and its manipulation by the author, or even concepts of profit (in the black) and loss (in the red). But before you get mentally tongue tied you encounter, Circle of Fire (Taste 111) which has red tongue shapes (or are they chillies?) politely protruding from all sides of the construction. Works by this artist are always well conceived and constructed.
Irene Poulton presents large mythical warriors on pedestals and small dragon boats that fascinate. Her use of gold lustre and raku firing add another element of magic to her works. Bill Jeffrey continues to experiment with form, but some of his complicated shapes seem unresolved. However the free-form Ceramic Sketch series satisfies with gentle hues and flowing lines. Then there are the functional and visually pleasing jars, bowls and bottles by Stewart Scambler. His traditional shapes and warm glazes remind us how well thrown ceramic ware will always hold its own as art amid contemporary experiments.
In all, this is an exciting exhibition by a group
of creative artists who work with clay and continue to expand their talents.