Open Studio, if you are in the neighbourhood drop by, the 15th and 16th of August

A national event, Australian Ceramics Association’s, Opens Studios, to be held on the 15th & 16th of August 2015 , 10 am to 4pm, ceramic studios and artists open their working spaces to the public, see listings of studios, http://www.australianceramics.com/events/category/open-studios/.

IMG_2781

“This August hundreds of potters and ceramic artists around the country will open their studios to the public for the third annual Australian Ceramics Open Studios. The event is hosted by The Australian Ceramics Association and shines a spotlight on the diverse practice of Australian artists working today in clay.

According to Shannon Garson, President of The Australian Ceramics Association, the event is an inspiring opportunity for members of the community to step inside the creative spaces of contemporary potters and ceramicists who continue to develop their unique voice within this ancient practice.

‘We have a strong ceramics community in Australia and presently we’re enjoying the growing appetite the community has for unique handmade objects. There has been a shift in thinking where people want to know how ceramic objects are made and who makes them.’
‘It’s an exciting time for clay workers to have such receptive audiences and the open studios event is a chance for the community to get to know their local potters and for potters to share their rich knowledge and skills,’ Shannon said.”

My studio will be open, Wharf Street, Marrickville, NSW, where I will display a range of work. http://www.australianceramics.com/event/acos-kate-dorrough-marrickville-nsw/

IMG_2782IMG_5646IMG_5642IMG_5645

Redfern Biennale 2015

IMG_6168 IMG_6169 IMG_6170 IMG_6171 IMG_6172 IMG_6173 IMG_6174 IMG_6175 IMG_6176 IMG_6177 IMG_6178 IMG_6182 IMG_6183

Damien Minton, the curator of the annual event now part of Art Month, the ‘Redfern Biennale’, asked me to contribute this year. An exhibition with a difference, on the streets of the Sydney suburb, Redfern. Outside the commercial gallery context and on the streets of the NSW Housing Commission precinct; readymade objects, found materials, photography, all responded to the environment. I found it a liberating experience, placing art out of doors in an installation context. It made me realise it would be great to see more art in the streets without the accompaniment of commerce. The readymade exhibition was only held for one day, the 21st of March 2015.

“Be ready, again, to view for free readymades, sculpture, multi media, new media, painting, found object or even a cobweb on the street. This year, 2015, with the assistance of local community service centres, the Redfern Biennale will feature the display, on the street, of artwork by local NSW Housing Commission residents. The Redfern Biennale precinct is focussed around the fences and footpaths of Walker Street, bound by Cooper and Redfern Streets, Redfern.

The Redfern Biennale is an outdoor, eclectic, democratic free-for-all happening that will just happen on the day.

There is no Council approval, we are just placing the work on the streets for 7 hours.

Whether it is John Cage remarking ‘beauty is now underfoot wherever we take the trouble to look’ the notion of this show stems from the art dealer Damien Minton photographing readymade objects and clusters around the streets of Redfern and posting them on social media.” (Art Month, Yellam Nre)

As the internationally renowned contemporary curator Yellan Nre commented in his/her essay for the Redfern Biennale 2014, ‘Clusterfuck Aesthetics, the Radicality of Garbage:

“The nihilism of the readymade – both sneering and naïve, complete yet broken – defines our experience of contemporary art today. Objects umoored from the womb of the white cube are without referent or narrative, and yet generate narrative in their very abandonment. Art made in public space is an assault on the narrative of community, and complicates the periphery of our social engagement. But when the anti-establishment gesture of the guerrilla artwork is subsumed within the cannibalising assault of gentrification, how can the art object reclaim its radicality?

“In its democratizing gesture of a free-for-all pile of stuff on stuff, Redfern Biennale is a shot across the bow of government sanctioned social sculpture for the greater good. It places public art back in the hands of the public, where they are free to ‘engage’ with it as they wish. The utopian desire, imagined or otherwise, of a multifarious yet united society is thus enacted via the analogy of trash. The value of what we discard, conceal and detain outlines the border of our collective culture. Thus the artist’s gesture of displaying a work of art in public space becomes one of defiance and generosity. In doing so, it confounds Duchamp’s exhortation to indifference to the aesthetics or origin of an object – it enforces direct interaction with the situation of appearance and context. Destructions should take place more rapidly.”

IMG_6180

My work ‘Domesticity’ incorporated a collection of found materials that reflects my personal world at present. The stretcher frame without a painting except a small sketch of mother and child, signifying the amount of time you get to do your own work! The domestic world with its olive branch, acceptance, patience and love.

http://www.artmonthsydney.com.au/experiences/redfern-biennale-2015/

Muswellbrook Art Prize

I have been selected for the 43rd Muswellbrook Art Prize, with the work ‘Marking the Terrain’. The judge was Anne Ryan, Curator of Australian prints, drawings and watercolours at the Art Gallery of NSW. The selected works are exhibited at the Muswellbrook Regional Arts Centre, 1st of March to the 19th of April 2015.

Oil on linen 98 x 107cm

 

Puddle Series

IMG_1676 IMG_1920IMG_1837 IMG_1930

On my many walks at the witching hour with a new baby, when it was still daylight saving, I photographed a series of puddles at that ambivalent time between dusk and nightfall. We had quite a lot of Autumn rain, and I liked how the many remaining puddles reflected the sky, creating there own abstracted shapes.

IMG_1929IMG_1926IMG_1922IMG_1846

It is these spontaneous ideas that I am mulling over to incorporate in my next painting series inspired by my surrounding environment, the Cooks River.

IMG_1942IMG_1941IMG_1896IMG_1897IMG_1943IMG_1944

 

IMG_1845IMG_1843IMG_1938IMG_1931

The Democracy of Drawing, AirSpace Projects

I went to the opening of ‘The Democracy of Drawing’, AirSpace Projects, a new gallery space in Marrickville. A large and varied range of artists works exploring the concept of drawing were on display, ranging from Peter Sharp courtesy of Liverpool Street Gallery to Judy Watson, Milani Gallery, and Floria Tosca, Flinders Street Gallery. A gallery space worth checking out for interesting and innovative exhibitions.

“AirSpace Projects is dedicated to exhibition and curatorial ideas from both emerging and established local, national and international practitioners who make ambitious, inspiring and inventive contributions to art processes and discourses. We aim to pursue both solo and thematically curated exhibitions to extend and deepen an understanding of artistic practice while facilitating an exploration of art and its relationship to the world.”

http://airspaceprojects.com/about/

IMG_1878 IMG_1880 IMG_1881 IMG_1882 IMG_1884IMG_1883

Yoko Ono at MCA, Sydney

The retrospective exhibition of Yoko Ono, ‘War is Over!’ is on now at the MCA until the 23rd of Feb, which means there is now only this week to go! For anyone in Sydney if you havnt had a chance to get there, I would recommend getting down to see the show before Sunday the 23rd.

IMG_1154

The video ‘Cut Piece’ in the background of this image, and ‘Play it by Trust’ in the foreground. ‘Cut Piece’ is considered one of Yoko Ono’s most significant artworks today, first performed in 1964, Tokyo, Japan. The audience members are invited to cut pieces of her clothing away with a pair of scissors, as she sits impassively upon the stage. In this exhibition the film documentaries of two of the performances are shown, one in 1965 at Carnegie Recital Hall and the second, in Paris, age of 70, in 2003. “The relationship between the younger and older woman, as well as questions of venerability, dignity and audience response are touched in these films”. ‘Play it by Trust’, first installed in 1966 at Indica Gallery, London, has been repeatedly made over several decades. Customised boards and chess pieces are all white, once the game commences the pieces intermingle and it becomes difficult to know who controls which piece, the idea of competition founders. Ono says, “this leads to a shared understanding of (our) mutual concerns and a new relationship based on empathy rather than opposition. Peace is then attained on a small scale”.

IMG_1158 IMG_1156

‘Windows’, 2009/2013, Another participatory work which is a great thing about her work, everyone can get involved. Here writing a letter to add to a beautiful original travel suitcases.

IMG_1159

‘My Mommy is Beautiful‘ 2004/2013, Participatory artwork, writing a note to one’s mother. “Ono has long been interested in the complexity of gender and the feminine through her art…a participatory artwork which takes the form of a wall upon which audience members are invited to pin or tape private messages of love, hope, forgiveness and reconciliation to their mothers…elicits a spectrum of responses from love and thanks, to anger and sadness.”

IMG_1161

A selection of mothers in front of the art work.

IMG_1160

‘Imagine Map Piece’ 1966/2013, Participatory artwork, where the viewer is invited to stamp ‘peace’ in differing languages on maps of the world.

IMG_1162

‘Mend Peace’ 1966/2013, Participatory artwork, an invitation to select broken ceramic pieces and put them back together again in a morphemic new form.

IMG_1166IMG_1163

Displayed on shelves, the public’s mended pieces of ceramics ware, complete with string and glue.

IMG_1164IMG_1165

Helmets – Pieces of Sky‘ 2001/2013 Participatory artwork, “Ono witnessed the physical and economic devastation of Japan as a young girl living through World War 11…. she has written about her war time experiences, describing the hours that she and her brother  spent watching the sky and clouds drift past….Images of the wide blue sky with drifting clouds have become a recurring theme within Ono’s art works ever since”. In ‘Helmets’ World War military helmets hang upside down from the ceiling, filled with pieces of blue sky jigsaw puzzle. Gallery visitors are invited to take one piece of sky away with them “in the hope that, one day in the future, they will return with their pieces to build a beautiful new sky together”.

IMG_1169IMG_1168

‘touch me 111’ 2008, Participatory artwork, “Ono has often addressed the quiet undercurrent of violence done to women and their bodies through her art”. This theme is expanded in this work, with individual parts of women’s bodies, in silicone, are placed in small wooden boxes upon a platform. A bowl of water is at one end, with the instructions for the viewer to wet their fingers and gently ‘touch’ the body. “The depressions and gouges left by the gallery visitors when this work was first shown in New York caused Ono’s gallery to recommend taking it away from view. Ono declined, leaving the damaged body on display as a reminder of the violent treatment that so many women endure in their daily lives'”

IMG_1170IMG_1171IMG_1173

Doors and Sky Puddles’ 2011, this work was exhibited at the Hiroshima City Museum of Contemporary Art, with multiple upright doors that appear to float in the gallery space. The wooden doors are old and peeling, flecked with the passage of time. If you look closely at the doors surface, Ono has written tiny messages as well as writing haiku poetry directly on the gallery wall using Japanese calligraphic ink. Clouds and sky are inverted in the sky puddles that sit upon the floor. Ono wroye in 1968, “Doors are just a figment of our imagination’, suggesting that barriers exist in our mind, as much as reality, and that we need strength and courage to pass through them.”

IMG_1172

We’re All Water’ 2006/2013,

IMG_1175IMG_1174

‘Balance Piece’ 1998, “Much of Yoko Ono’s art is affirmative, reflecting the desire to wish for a better, more peaceful world. In some works, however, there is a equally an undercurrent of violence – for in keeping with Buddhist principles of universal balances, harmony cannot be expressed without its opposite state”. In ‘Balance Piece’ an ordinary kitchen is “literally suspended in a precarious balance, with a large magnet visible on the other side of the wall.” (all quotes are from the MCA gallery catalogue)

IMG_1176

And the cafe after for sustenance, view from window! Not the harbour but an ocean liner!

‘One Night Stand’ at Damien Minton Gallery, night 9, Connie Anthes, night 11 featuring Rachel Burns and Ulan Murray

Damien Minton Gallery has created a great new initiative , ‘One Night Stand’, over 14 nights, 14 consecutive shows are held within the gallery space, 583 Elizabeth Street, Redfern, Sydney, running from 9th December to the 22nd December. I have managed to make to two of them so far, night 9, Tuesday 17th, ‘Low Relief’ curated by artist Connie Anthes, and night 11, Thursday 19th December, the works of Rachel Burns and Ulan Murray. It is really great to see such a range of artworks, artists practices and creatives from all fields and spectrums all exhibiting in such a whirlwind affair. Contributers to ‘One night stand’ range from the South Sydney Multicultural Community Center, Art Teachers, performers, Paul McDermott and Paul Livingston, the cooperative and pottery studio ClayPool and muscian, Robert Moore. Such contributers, often lying outside the traditional commercial gallery scene, has created a dynamic and energizing series of eventful nights.

http://damienmintongallery.com.au

Tuesday 17 December 2013
Low Relief, curated by Connie Anthes

“Inspired by two sets of gun-metal grey plan drawers acquired by artist Connie Anthes when Sydney’s last map shop closed in 2011, Low Relief explores the possibilities of shallow space and its relation to mapping place, time and ideas of perception. Twenty artists have each responded to a drawer with its original label intact, with the work to be displayed in situ and experienced one-on-one by the audience.

20 drawers/20 artists, including: Matthew Allen, Sarah Breen Lovett, Catherine Cassidy, Criena Court, Michaela Gleave, Sarah Goffman, David Haines, Janet Haslett, Greg Hodge, Leahlani Johnson, Anna Kristensen, Abbas Makrab, Noel McKenna, Ian Millis, Eric Niebuhr, Peter Nelson, Madeleine Preston, Peter Sharp, Floria Tosca, and Paul Williams.”

Thursday 19 December 2013
Rachel Burns + Ulan Murray

Rachel Burns
“This series of paintings deals with the Australian culture of the road trip. Living in such a vast and largely vacant land we often find ourselves travelling long distances, in our cars, at speed. As we drive through the landscape some things attract our eyes and others just become a blur of colour and form.

‘My works never attempts to be a realistic interpretation of the landscape but rather a jumble of remembered and imagined forms’

Ulan Murray
The sculptures celebrate the beauty and intricacy of nature. By altering the scale and abstracting the forms the works reflect nature’s mathematical structures. They look at the fragility and complexity of life forms reflecting the care needed for our ecological systems.”

 IMG_1213 IMG_1214 IMG_1216 IMG_1215
Rachel Burns paintings are all oil on canvas, and Ulan Murray’s sculptures (that also featured along with my ceramics at this years ‘Artisans in the Gardens’) are all recycled copper and steel.