At the Manly Art Gallery & Museum, West Esplanade Reserve, Manly, 2 May – 8 June 2014

‘The Course of Objects: the fine lines of inquiry’ is an exhibition without a specific theme, Rather, the intention is to provide a way to map, gather, assemble and reflect on current ceramic practices. It is intended too, to take the pulse on what is being made now, and to ask about current ideas or issues of influence. Importantly, its intention is to try to unravel the triggers that inspire practice, and lead to focused and rigorous lines of inquiry”

My quote, “My fine line of inquiry is the interplay and tension between the gestural mark and the hand built three-dimensional form, a conversation between paint and clay.”

Several views of my six ceramic vessels

The opening night

Artist talk on 4th April, Toni Warburton talking about her work, “Shells stained black by mangrove mud, white light grey day bay waters. Graphite gleams on paper, mists, clouds, pond rain, sombre moods, quietude. Old gardens, arbours, safe harbours appear in silver gelatin prints. Round walls hold borrowed views. White lines of molten feldspar track through iron grey surfaces. Dragged and dug from drawing, walking, seeing and talking.”

Kylie Rose McClean talking about her work, “I’m on a journey connecting my past and current experiences with my ideas and dreams. In these works Japanese quilt block patterns formed the basis for paper-resist designs using slips, with the addition of tissue transfers, iron pigment was and sprayed dry glaze. I see these forms anew on each viewing they draw me in; they make me feel calm and embraced”

Sarah Ormonde, “Finding a true and sensitive understanding of materials is central to my practice, so that my form and surface can deliberately express an idea. The landscape in which I live is an ever present and pervasive aspect of my work, and as such informs all my inquiry.”

To the left, Neville French. “In my work, glaze and form are used to stimulate the imagination and evoke associations with the natural environment, and as well, to express a deeply internalised and ethereal sense of place”. To the right, sharing the table, Vicki Passlow, “My work is an exploration of the sinuous line. I work in porcelain for its ability to create soft organic shapes and for its colour response.”

Steve Harrison, “I have always had an interest in the natural world, particularly in growing plants, as well as attempting to live a gentle, creative life with a small, light footprint. My research into and use of local materials has been the central mandala in my ceramics. My recent work has involved growing some of my glaze ingredients, which I use in the form of ash glaze.”

To the left, Simone Fraser, “My inquiry involves looking from the macro of the landscape to the minutiae of surface. Exploring creativity in process, I see my work as a series of communications about the senses, texture and beauty.” , and sharing the table to the right, Fiona Fell, “I attempt to dissolve the tough skin of three-dimensoonal work, and blur the hard and fast distinction between artwork and artist, interior and exterior, animate and inanimate, fact and fiction, body as art and corpus of art. It is an investigation of a zone where clay no longer solidifies into common, everyday reality but spins a metaphor for vaster, more fluid fabric of experience.”

Kirsten Coelho, “Utilising domestic forms and social history as a vehicle- I am always attempting to investigate the points of convergence between materiality and abstraction.”

Prue  Venables (sharing at table with Toni Warburton), “My experiments have led to new lines of inquiry in my work – the exploration of new materials, new techniques, and radical adventures into a range of unusual and experimental objects. I continue to extend this practice to incorporate the use of materials other than clay, and making separate components to be joined after firing.”

Left, Dianne Peach and Tania Rolland in the foreground. Right, Kathy Franzi

Left, Robyn Phelan, Right, Fiona Hiscock and Janetta Kerr-Grant

Lynda Draper in the foreground, and Juile Pennington

Left, John Dermer in the foreground, Right, Merran Esson in the foreground.

Vicki Passlow and Neville French in the foreground, and my work behind.