Out of the Centre - CFAT Scholarship Screening

Join me and the rest of the CFAT Media Arts Scholarship gang at the screening of our works on Thursday 9 February 2017. The evening commences at 7pm.

I was awarded the scholarship in August of last year and have been participating in a series of workshops where we have been taught digital editing. As part of the mentorship, each of the scholars is paired with a mentor. I have been very lucky to be working with Susan Tooke, a prominent painter and media artist (and all round lovely person). 

The digital work I have been creating is a continuation of my MFA thesis work, where I was exploring the physical relationship between stone and human memory. In the CFAT scholarship I continue this in a metaphysical realm where the objects, when devoid of their physical presence, become weightless and float in space.

Detached objects is a philosophical investigation about stone and its human-lithic relationship with the development of the human mind. Heavy physical ceramic objects that resemble stones or asteroids have been animated, distorting our perceptions on their size, scale, and weight. The title is a play upon the meaning that is associated with comets that inhabit the distant region of the Solar System, and it is theorised by scientists that the impact upon the Earth of one or more of these objects may have been the catalyst for life as we know it.

Beech St Children's Centre response to MFA exhibition Erratic

Beech St Children's Centre's creative response to my MFA exhibition Erratic

I received a lovely message from Justin West who works at the Beech St Children's centre

" Beech Street Children's Centre visit your exhibit At the Anna Leonowens gallery They were inspired to create their own work in response to your work This is done with string, modelling clay, and instead of nails we found old marker caps Our children responded to your materials They also laid down underneath your work and walked around it a few times - getting all angles of it They walked away and wanted to thank you for sharing your work with us and the public - this was the first time these children went to a gallery and we will be back for sure"

Erratic - the opening night

Erratic is a philosophical investigation about stone and its relationship to the development of the human mind. The term is used to describe stones that have been moved by geological forces or to describe unpredictable behaviour. This concept is explored using found objects combined with clay that are subjected to a series of traumatic yet transformative events, which often result in unpredictable outcomes. The metamorphic process that distorts the object is a metaphor for the human condition reminding us that change is inevitable, and the dissolution of order creates a fluid, malleable situation where one’s sense of identity dissolves, bringing about disorientation and the possibility of new perspectives.

After 2.5 years of dedicated hard work my MFA Thesis Exhibit opened on Monday 31 October at the Anna Leonowens Gallery in Halifax. 

The hanging objects (made from clay and found objects) were suspended from the ceiling with a meter between each object. I was hoping that this method of display would encourage the audience to engage with each object, as each one piece of work was unique, with traces of fingerprints that gripped the clay along with the found object that became another grip of the clay object. 

To my delight everyone walked through the installation, and as a result the hanging objects would sway slightly, moved by the displaced air. 

The exhibition is receiving positive feedback, including the above sketch by www.richardrudnicki.com of the MFA crew sitting amongst the installation whilst I talked about the work.

Erratic - The installation of the exhibition

I was incredibly fortunate to have access to the gallery ahead of the usual Sunday installation due to Reading week. The gallery was closed during this time which allowed for time to paint the wood scaffolding that was then attached to the ceiling. Because of the age of the building I needed to build a support for my clay objects. The ceilings are incredibly high (theres a 12ft ladder in the background). 

The next step was to then attach the ropes that hung from the ceiling. This was done at the same time as the scaffolding to prevent our legs from getting tired.

Each of the clay objects weighs approximately 5 kg, with 45 in the installation. The clay objects contain found rusty metal, some of which were old tools and some were so rusty it was hard to tell what their original use was.  

Susie counting my 'grips for a stone'

Despite working within the parameters of creating 222 grips for a stone, I haven't counted how many I have made so far. As I work on the project, the number starts to become irrelevant. Suzie counted 66, 45 of these were used in the exhibition, and the remaining 21 were taken back to my studio. 

Im guessing there must be close to 200 by now. Ill let you know when I do finally count them!

the temporal dimension of liminality

Its crazy to think that the end of the third semester is nearly upon me. Deadlines are fast approaching for papers, as well as my third semester stdio review to discuss the progress of my work.

2nd year MFA students are also expected to have their exhibition title, press image and statement ready for our thesis shows mid next year. 

It has taken me all semester to work out what I am trying to say. The concepts have been teased out through my studio work which has been working intuitively with found materials within the theme 222 Grips for a Stone.

Along side this I have been reading a book a week and writing a response for independent studies. Through my reading and writing I have slowly filtering my key areas of interest which has finally been distilled into one word: Liminal. 

Press Statement

Liminality is the moment in time when things transition from one state to the next. The dissolution of order creates a fluid, malleable situation where one's sense of identity dissolves, bringing about disorientation, but also the possibility of new perspectives. Often the liminal experience is subliminal,  existing or operating below the threshold of consciousness. 

My MFA thesis exhibition explores the social context of liminality relating to place, travel, loss and regeneration through physical and metaphysical objects.

The Thing Is - MFA Group Exhibition

NSCAD's Master of Fine Arts students are holding their annual group exhibition titled The Thing Is at the Anna Leonowens Gallery, November 17 – 28, 2015, with a public opening reception on Monday November 16 from 5:30 to 7pm.

the thing is invitation designed by Emily and Carly

This year, the group of sixteen MFA students will present work in a range of media from textiles, jewellery, ceramics, sculpture, and painting to photography and digital work. This group comprises nationalities spanning Australia, China, Estonia, Japan, and Canada, including four Nova Scotian artists.

They bring with them a variety of inspirations and ways of working, influenced both by the locality of NSCAD in Halifax and by their mother cultures. Representing a diverse range of themes, which include social engagement and working across disciplines in art and craft, the exhibition 'The Thing is' promises to be one that will engage the senses and the mind.

The Thing Is
Exhibition view looking through the window from Granville Mall

My work in the show continues to explore the concept '222 Grips for a Stone'. I have set parameters within the exploration, limiting my materials to found objects, wire and glass.

Presence of Absence Series

Whilst exploring the materiality of the objects I have also been contemplating themes that continue to surface in my work, including travel and movement, place, loss and regeneration.

Found clay object
shino glaze, wrapped with copper wire and steel handle
#36 of 222 Grips for a Stone 

The clay object (found in the clay recycling room) represents a sped up version of the natural geological occurrences in nature. It contains a sense of place, and is energised by fire and sensitised by touch.

Found clay object,
wrapped with steel wire, melted copper and glass
#37 of 222 Grips for a Stone

 Human occupation is a layering process on the landscape. The wire alludes to the impact of white settlement: roads, mapping and fences. At the same time it is reminiscent of women work, knitting and embroidery which uses line to create their own surfaces.

"The thread, or line transforms into traces, and surfaces are brought into being. At the same time the transformation of traces into threads also dissolves the surface" ~ Tim Ingold

Wire protects the stone, inhabiting the liminal space at the boundary of the object. It holds the stone together, but at the same time things are slipping through its grasp.

Found clay, railroad spike, glaze, steel wire
#38 of 222 Grips for a Stone

Glass has a materiality that under heat, or through time it will liquify which enables it to slip through the grasp of the wire. But at the same time it begins to also grasp the wire. Which embodies a continuous state of being.

Found clay object
nail and chain
#39 of 222 Grips for a Stone

The found objects have material, political and cultural resonances. 

The Presence of Absence, aligns with an extensive tradition of assemblage art that continues through to the work of Louise Bourgeois.

“To Bourgeois, assemblage is an act of ‘restoring…and rebuilding…it is a coming to terms with things…a work of love’ (it is a) a peaceful existence, not like carving, which she sees as an ‘attack on things' (Bernadac & Obrist 1998p.142-143)”

For more information on the exhibition, visit the NSCAD MFA blog. 

The beginning of the Second Year of the MFA

Its hard to believe that my summer holidays are over already! Already I am wondering how 4 months have disappeared so quickly, but when I think back to what I have achieved it makes sense. 

I received a scholarship to attend the SNAG conference in Boston in May.

I also received a scholarship to study traditional jewellery in Florence during July. 

And I was also selected to participate in Ruudt Peter's workshop Ground Now in the Netherlands at the end of July.

No wonder time has passed so quickly.

And now it is my first week back at NSCAD for the second year of my MFA (Master in Fine Arts). Due to the interdisciplinary nature of my work I have been graciously provided with a studio space at the historic Fountain campus and one down at the Port.

The Fountain studio is full of charm and character. Tucked away in the attic of an historic building, which must be over 200 years old, I am nestled in amongst old large giant wooden beams, large thick brick walls that look out over the Halifax harbour. I delight in watching the ferry go past and thinking about the history of the building.

View from my attic window

I feel a little like Rapunzel sitting up so high and watching the world go by. It is a great place to read and think. This semester I am participating in a class which discusses the philosophy and theory of Things, and I am sure you will find me tucked away in here contemplating Heidegger's Thing theory or the fundamentals of phenomenology and metaphysics.

My attic studio looking very clean and organised

My studio at the Port campus is in ceramics and allows for the messy making of larger scaled objects, particularly in ceramics but can lend itself to other forms of sculpture as well. This campus is newly built and has wonderful floor to ceiling windows with great views of the harbour (when there isn't a cruise ship in the way) and natural light.

View from Port Studio
And yes, that is a cruise ship you can see blocking the view!

My summer adventures have led me to realise that I the direction of my thesis will be changing this year. Last year I focused on the pioneer and post colonial feminist theory. My travels provided the space to critically asses my project and with my new experiences I came to the realisation that I was would like to explore the themes of place, travel, loss and regeneration - which essentially does include pioneering (so thankfully my previous research can be incorporated). However I wish to move away from the pictorial and towards a subjective, and perhaps ephemeral or atmospheric artwork.

To give you an idea of my current thinking, check out Olafur Eliasson's phenomenological art work.

Studies of fences in the snow

My fascination of fences continues whilst I am in Canada. 

Whilst the structure of them does not differ much to that of Australian fences, I am drawn to how they look in the winter landscape. Their dark silhouettes contrast sharply with the cold white snow.

I love the monochrome palette of these images, white ground, pale sky, and everything else in shades of grey.

My exploration into fences continues into my MFA thesis in which I am researching fences in the post-colonial context.

The fence is an extension of the home delineating an area between the private feminine domestic realm and the public masculine realm outside the boundaries of the fence. The space between the house and the fence is an area where the gender roles mutate. This space is a liminal area reflecting a continual shift between masculine and feminine, public and private, past and present.

The fence symbolises ownership, boundaries, protection, inclusion and exclusion. Generally the fence is constructed consisting of vertical and horizontal planes in a three dimensional space, although it can feel illusory, with only the posts being visible, the lines of wire almost transparent and lost in the landscape. Without the weight of the shadow to enhance its presence it is insubstantial yet it can still have considerable impact on the land and the human psyche. The fence physically prevents movement in space, providing an illusion of security and restricting movement in thought, inhabiting our thinking and shaping our cultures through social restrictions.

Fences are built not for security, but for a sense of security. What a fence satisfies is not so much a material need as a mental one. Fences protect people from anxieties and fears. In this way, they are built not for those who live outside them, but for those who dwell within. In a certain sense, what is built is not a fence, but a state of mind.

The fence became a symbol of colonial plunder, promising that those who erect them have the right of territorial control. They became masculine tokens of order in the wilderness.