and More artists studios, Artisans in the Gardens 2014

The lovely ceramics of Katherine Mahoney and her group of functional porcelain and stoneware ceramic ware, ‘Flora Impressions’ created in her studio at home, at the bottom of the garden. Bowls, platters and vases are thrown and then impressed using materials gathered directly from the Botanical gardens, and glazes created to reflect the palette of a watercolourist. The ceramics are “inspired by the beautiful native seedpods and leaves that are bountiful in Australia”.

 

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Harriet Schwarzrock’s studio where she created work for Artisans in the Gardens using tinted blown glass and stainless steel. The sculptural glass blown forms, vases and tumblers, “speak of organic growth and transpiration cycles”, predominantly organically inspired “I am often drawn to the delicious form of the spiral”, “and seek to express a rhythm and cadence between individual, yet sympathetic forms”.

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Bev Hogg’s studio a converted garage, overlooking her front and back garden, created a collaborative work with Marianne Courtney, ‘Groundwork 1’. Using assembled cut and stacked eucalyptus sticks, taking essential elements of garden or bush land “and translating them into a semi-ritualistic meditative work that speaks of growth, wholeness, and also vulnerability.” The outdoor sculpture will weather over time reflecting the “natural cycles of birth, ageing, change and decay”.

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Marguerite Derricourt’s studio where she created  ‘Travelling Light 11’ using moulded Japanese papers. These sculptural wall pieces of moths, in particular the migratory patterns of Bogong moths, are made from moulded Japanese papers and laser cut powder-coated steel. The works speak of the moth’s nocturnal habits and self-destructive behaviour, a poetic and symbolic universal theme within

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Jan Howlin’s studio where she has created the work ‘Family Tree’ using ceramic, glazes and underglaze. “As a maker of sculptural works, I try to create forms that embody meaning; objects that suggest ideas”, “I am drawn to universal issues such as human relationships, foibles and experiences along with sustainability, the natural environment and the contemporary world”.

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Further artists studio visits for Artisans in the Gardens

A few more images of exhibiting artists studios for Artisans in the Gardens 2014.

Peter Anderson’s hand built stoneware ceramic, ‘Ruins and Relics’, “draw upon the power and complexity of all manifestations of landscape from scars of heavy industry and urban decay to notions of wilderness”

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Giselle Courtney’s studio where she creates her jewellery using flame worked borosilicate glass lustre, stainless steel and sterling silver. Her jewellery is inspired by the Botanical Gardens, the garden’s flora, and the surrounding harbour foreshore.

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Linda Davy’s studio, creating hand built ceramic sculptures with raku and stoneware firings. The works exhibited for Artisans in the Gardens, ‘Empty Pockets’ explores concerns about the environment, both societal and personal connections, focusing on rare and endangered birds as well as imaginary birds based on the Australian landscape.

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Artist studio visits with Artisans in the Gardens

Along with the Artisan in the Garden committee we have made several visits to artists studios that are exhibiting in this years Artisans in the Gardens at the Botanical gardens, Sydney, from 1th – 19th of October 2014. I have been posting these studios daily on our Facebook and Instagram pages. Here is a snap shot of some of the great spaces and work.

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Denise McDonald works in stoneware and cool ice porcelain, and creates her own glaze producing a range of functional tableware ceramics, ‘The Flannel Flower Range”. The bowls, jugs and vases are soft-slab and wheel formed featuring a vintage flannel flower design. The design is taken directly from her immediate environment in her home and studio, a source of inspiration and part of her family for three generations. “the range speaks of our relationship to our native flora and our use of decorative motifs of great longevity”.

 

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Dimity Kidston creates tapestry using wool, cotton and linen. The shapes and textures of the seeds, pods and flowers of the Botanical Gardens inspire a series of woven tapestries, printed aluminium and ceramic plates.

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Geoff Harvey is both a painter and sculptor, creating ‘The Garden Dogs’ series using laser cut steel and found objects which frolic in the garden. His extensive studio has built up a collection of  found materials that is a source of inspiration for many of his works.

 

Visiting the studio of the inspiring ceramic artist Ros Auld

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Visiting the ceramic studio of Ros Auld was a another source of inspiration on our country sojourn. Ros Auld, is a master ceramicist, one of Australia’s leading contemporary ceramicists and  local to the Orange district. In 2012 Ros Auld had a major exhibition at the Bathurst Regional Gallery, and has also exbited at Narek Galleries, Tanja, Cudgegong Gallery, Gulgong, Orange Regional Gallery, Dubbo Regional Gallery, Janet Clayton Gallery, Sydney, and has worked on collaborations with the painter John Olsen, Tim Winters and Gabriella Hegyes. Her work is a powerful physical sculptural manifestation of the landscape in clay.

http://www.janetclaytongallery.com.au/artists_details.php?artistID=135-Ros%20Auld

Ros Auld specializes in slab-built, or thrown and manipulated, stoneware forms decorated with wood ash glazes and trailed and incised slips, coloured oxides and gold lustre. “Her sculptural and functional work is informed by the dynamic forces, surface textures and subtle colours of the Australian landscape.” (Artsite)

“Landscape is my source – more the accumulation of recollected impressions than particular sites. I love the weathered surfaces, textures and subtle colours of the Australian bush, as well as the patterns of cultivated landscapes….The large vessels are an ongoing series, where functional form, painterly surfaces and sculptural form can come together. Surface texture, informed by geology and botany, play a major role in the work..” (from Roa Auld’s Artist Statement, ‘Ros Auld Ceramics’ catalogue, Bathurst Regional Gallery exhibition, 2012)

“Auld’s vessels are signature in the uniqueness of their form. Each sits on low feet, which slightly elevates the object from the ground….The vessel/object is a visual metaphor, a plastic equivalent of a physicality (and simultaneously imagined) place which holds the terrains, marks and spiritual presence of the land..” (from Peter Haynes, University Art Curator, University of Canberra, catalogue essay, also from the Bathurst Regional Gallery exhibition, 2012)

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At the potters wheel

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The studio entrance, and kiln entrance. A wonderful large sheds, work places  you can only create with more space in the country.

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Outdoor sculptures

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Some of Ros Auld’s beautiful generous platters in use

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Thank you Ros for sharing your inspiring studio and beautiful work!

In my studio, new work in progress

I am currently working on a series of ceramics for a group exhibition I am in next May ( 2 May – 8 th June 2014) at the Manly Art Gallery & Museum, selected for the Australian Ceramic  Association’s Biennial Exhibition, ‘The course of objects; the fine lines of inquiry’, curated by Susan Ostling. “the environment and nature as a source for ideas; the aesthetics of still life; rigorous material investigation; the figure as a source of delight and wonder; and aspects of function.”

The ceramics are hand built stoneware vessels which I have often re-fired several times to build up layers of glaze and underglaze paints. Paintings in the background are works in progress for my next solo exhibition at Art House Gallery, Sydney.

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Entrance to my studio

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Works in progress

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Experiments using oxides on white slip on hand built stoneware forms, before firing.

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Experiments using oxides on white slip on hand built stoneware forms, after the first bisque firing, still cone 10 Stoneware firing to go.

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Works after final stoneware firing, with the iron of the clay now emerging through the slip.