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The narrative of our lives is intimately tied to the places in which memories have been made. We accrue history through our surrounds and this is bound to our sense of identity and belonging.
My work examines the meaning of place. Recollections of an English childhood are entwined with the landscape of Australia. In forests, in woods or on riverbanks, history is told though branches, bark, leaves and undergrowth. Fragments evoke memories of place and time. Each viewer brings their own story and makes a connection with their own memories.
Penelope Duke is a New Zealand born ceramicist based in Melbourne, Australia. Using stoneware clays and porcelain with food safe glazes, Penelope creates functional ceramic pieces intended to be useful as well as beautiful.
It was the search for stillness within a busy life that drew Penelope to ceramics and the potter’s wheel, and that now reflects heavily in the simple quiet forms and muted colours of her work. Shadows, light and the open landscapes of the maker’s rural New Zealand upbringing also play a big part in influencing the designs. Through the use of positive and negative space, the pieces are created to either be linked together in groups, or to stand alone.
Each body of work is designed around functionality, usability and simple beauty, and to be used daily within the home.
Elodie is a PhD Candidate in the Media, Film and Journalism Program at Monash University (Melbourne – Australia), and an installation artist... not that she has much *me to create artworks these days. She has exhibited internationally (Australia, Japan, France, UK, Honduras and Spain). Her current research investigates the transnational and transhistorical representations of young femininity in the visual culture. She equally enjoys writing for the media (The Conversation, The Pin, Ramona Magazine...) and academia. She is a member of the Darebin Women’s Advisory Committee (DWAC) which provides guidance to the City of Darebin on gender policies.
Parisian originally, Elodie is now based in Melbourne, her adopted city where she has fallen in love with the creative and inclusive edge. She also collects artworks from awesome female-identifying artists, and has a long lasting fascination for Carroll’s most famous heroine: Alice.
Mary Burgess is a hand weaver. She runs the Woven Memories project. Mary works with people who have kept precious clothes or fabrics, usually when a family member has died. Through listening to family stories and collaborating with each of her clients new ideas emerge as to how the fabrics and clothes might have a another life into the future. She takes apart and then re-works the loved items through the medium of hand weaving, creating unique keepsakes including bedspreads, and rugs. These pieces continue to offer great comfort. Mary has twice been Artist in Residence in hospitals. She plans to start weaving small woolen blankets for hospitals to be able to offer to families when their baby
dies. She is currently designing a hand-woven pall to use over a plain coffin in funeral services.
Linda Oy Ho’s ethereal and reflective sculptural artworks unite concepts from philosophy, spirituality and ecology. Ho‘s art practice highlights our innate connection to the natural and inner worlds.
Luminous, polished and refined art works combine unexpected mediums such as painting, metal, wood, fibre and textiles to reflect the intrinsic concept and narrative.
Since 2015, Ho has been selected as a finalist in the Yering Station Sculpture Awards for three consecutive years, Wyndham Art Prize, Brisbane Art Prize, among others. She loves creating artworks in her Abbotsford Convent studio, Melbourne.
Award winning Painter & Poet Belinda Rogers paints from a studio in Australia's oldest artist colony, where she devotes her life to her work amidst the legacy of prominent Australian artists. Nurturing techniques acquired from her early childhood, Belinda has broken away from traditional painting to create a unique voice in abstraction. Her paintings are an immersion of formlessness and are exhibited in local and international exhibitions. Her poetry has been obtained by several poetry publications and journals and her own compilation of poetry was released in 2015 with her book ‘Flower of Three Dawn’.
As a devoted student of Zen Philosophy, Belinda’s formal training was in Japanese acupuncture, a study which became the anchor of her artistic endeavours. Having worked as an acupuncturist for many years and as a devoted student of Zen philosophy, her work dwells within the beauty of these ancient traditions.
Bisuketto Studio was started in 2015 and the name bisuketto is derived from the Japanese word for biscuit. This is a reference to the biscuit firing or the first firing in the world of ceramics. It is a turning point where clay once soft and pliable is set in permanence by heat, a moment where the form is irrevocably determined. It is also a behind the scenes moment, between maker and clay before it gets dressed in glaze and fired to its final state.
The pieces are created on the potter's wheel and fired to stoneware temperatures.
Ceramics, for me, is essentially a functional art form. I like to create shapes that can be used in everyday life and perhaps even enhance daily rituals. Much like my experience in Architecture, it is a functional form of creative expression just at a different scale. Born from a concept, you sketch it out, model it, refine the design, make the piece and you use it, perhaps refine the design yet again. I like exploring simple forms, finding the right glaze to highlight the form and leaving a little unglazed to show the clay body. I find it amazing that clay, essentially earth, can be manipulated by hands and water, and set in permanence by fire.
I am interested in revealing the untold tales of women and their souls. In freeing a woman’s voice.
In elevating the feminine.
To craft and be wholly of the feminine in way and word. To ride on the back of instinct and to write.
I look for the spaces in which we may seek our rest. Where words provide pause.
Where beauty cracks us open.
This is what my own heart seeks most – to be broken by beauty and for words to become the imperfect veins of gold that allow us to weep and let us truly be.
Sai-Wai Foo is a Melbourne based emerging/ early career artist, who began to develop her art practice 2012.
Her fashion background influences and informs her current art practice; finish, construction, materials, themes and approach.
The practice primarily focuses on the manipulation and folding of cut paper, to produce volume and structure from a traditionally 2-dimensional medium. These sculptural works combine these organic paper growths with other pieces of collected ephemera to create vignettes and still points in time.
In conjunction with her art practice Sai-Wai runs a commercial illustration practice under the brand name “Pleatybunny by Miss FOO” as well as still being active in the fashion industry with a focus on brand business development and social media. With over 20 years in the fashion industry, she is a freelance professional who has worked as a commercial designer, stylist, marketer & illustrator. Having experience across product categories and brands, as well as a diverse range of products and special projects for a wide mix of clients.
I am a visual artist, specializing in painting and printmaking and have had over twenty solo exhibitions in Australia since 1989. My work is in many public and private collections and can be seen in Melbourne at the Peter Mac Clinic, State Library of Victoria, Park Hyatt Hotel, Crown Promenade Hotel and Monash University.
My work history includes 5 years as an art director on independent films and music videos in the 1980’s. During this period I also taught visual arts at Prahran and Dandenong TAFE colleges, was the co-ordinator of TAFE Drawing Conferences and started an art gallery for students at Dandenong TAFE.
I was the curator and co-ordinator of Artists Make Books, an Australia Council funded touring exhibition. I designed and co-ordinated the installation of the exhibition and obtained funding, sponsorship and publicity for the exhibition I supervised the design and production of the catalogue and arranged for the exhibition to tour interstate venues.
For the past twenty years I have focused solely on my work as a practicing artist and have brought up my two sons, Angus and Edward.
From 2012-2013 I was a Creative Fellow at the State Library of Victoria and undertook research on early Australian Botanical Art. The result of this research is the touring exhibition, Voyages Botanical. The exhibition was launched in December 2014 at the Alliance Française, Melbourne and concludes in September 2018.
Anna-Marie is an industrial designer turned artist, currently working in clay, reviving an old alternative firing method called saggar firing. Harnessing the unruly elements of Earth, Water, Air, & Fire, she creates contemporary & often unconventional tableware for discerning chefs & high end restaurants around the world. Her unorthodox firing methods see her foraging for native Australian flora & utilising discarded waste from indigenous Australian fauna to create the unpredictable & unrepeatable markings on the surface of her high fired stoneware & porcelain works. Most traditional potters still say her processes, & outcomes, aren’t possible, but she’s far from a follower of popular opinion. She’s also passionate about helping other emerging artists build sustainable practices for themselves, running internships & facilitating workshops.
“I have a penchant for solving problems, & I especially enjoy doing what others say can’t be done, with any medium, in art & in life. Peculiar processes & atypical outcomes are definitely what attract me to an art form, & I’ve worked across many, but clay has definitely captivated me more completely than any other. It’s one of the most difficult media to work with; it’s temperamental, it’s demanding, it’s all the things most sane people would avoid, with its physically exhausting processes, long arduous stages, countless variables & possible setbacks along the way, especially the way I choose to do it, but for me that’s the point. Challenge is how we grow. This process has taught me so much about myself, tested my patience, forced me to let go of control. I have to step back & allow the fire to do its job once the human input component is complete, the unrefined oxides & minerals in the organic materials used to make marks are not mine to control, I become irrelevant, just the facilitator, stoking the fire, it’s the most humbling way to make art, relying on alchemy to transform the base materials you’ve spent weeks collecting, cajoling, coaxing into form, & hoping they become something transcendent via the fire.”