Shifting SenSeS Shifting SenSeS Ebony HEindEnrEicH

WaynE Mcara

SopHia nuSkE

Maria parMEntEr

SopHia pHillipS

aliSon SMilES

ulrica trulSSon

GEorGE ZacHaroyanniS

curatEd by raylEEn ForEStEr

Supported by the South Australian Ceramics Committee and Guildhouse this exhibition showcases South Australian based ceramicists at M16 Artspace in Canberra to coincide with Stepping Up: The Australian Ceramics Triennial, 9-11 July 2015. Cover Image: Maria Parmenter, Kameruka Road 2015, wheelthrown and altered porcelain, variable dimensions. Photographer Michael Kluvanek Shifting SenSeS

Guildhouse in partnership with the South Australian Ceramics Committee are proud to present Shifting Senses in collaboration with Stepping Up, The Australian Ceramics Triennale, Canberra 2015.

Following on from our successful partnership presenting Subversive Clay, The Australian Ceramics Triennale, held in in 2012 we are delighted to present eight highly talented artists during the Canberra conference.

Our intention is to give emerging and mid career artists and a curator the opportunity to be presented during this national event and to showcase a select group of talented South Australian artists. Curated by Rayleen Forester this exhibition highlights a broad range of ideas and interests of these creative professionals along with presenting their skilled craftsmanship and creativity.

Rae O’Connell

Executive Director, Guildhouse

Sophia Nuske, First World Problems? Here’s a BADAID 2014-15, stoneware, house paint, acrylic surface sealant. Variable dimensions. Photographer Michael Kluvanek My recent works consist of simple forms that often make links between plant, the tranSition human and animal from functional to Sculptural

After completing my undergraduate wonderful Asian ceramic collection. Also, Glasgow School of Art. During this period about predicting the future. Lately it studies in ceramics at the South since marrying a person of Middle Eastern I made a transition from functional to seems to me that ceramic or clay is one Australian School of Art in the late 1970’s heritage I became interested in a wider sculptural ceramics but also spent some I worked as studio potter for 10 years. view of the history of ceramics (although time working with a wider range of media. an artist may choose to make things At this time teaching institutions were I think I only really appreciated European I also began working in collaboration with. Artists are combining the technical somewhat divided between the school with my partner Hossein Valamanesh on nature of this craft with the theory of funk and the school of functional the work of Lucie Rie and others. public projects such as the Memorial to of contemporary practice. It seems ceramics. I chose functional, beginning the Irish Famine at Hyde Park Barracks that people are more focused on the I loved making pots that people would classes with Milton Moon and learnt to in Sydney completed in 1999 and more content of what they’re saying as part use and handle in their daily lives but make bowls, cups, bottles and eventually recently the Ginkgo Gate at the Western of the process rather than just trying to I was exhibiting in galleries so when teapots. There was not much formal entrance to Adelaide Botanic Gardens master the material that they’re using. I started to make forms that did not exposure to design principles but a focus completed in 2011. Personally I would like to see a balance have glaze on them I realised that they between content and material thoughts probably would no longer be useful in the The transition from functional to and basic glaze principles. The classes in art works in the future. same way. I was making functional forms sculptural practice meant I needed to were small in number and we were that would only be looked at, not handled be more aware of the content or ideas expected to be present from 9am to any longer, and became more interested underpinning my work. My recent works in the surface and colour of the clay. consist of simple forms that often make We were pretty good at making pots and links between plant, human and animal . understood the basic principles of studio In the early 1990’s I returned to the South pottery well. Australian School of Art undertaking a I think there will certainly continue Master of Arts in Visual Arts and was to be ceramic practices for as long as The presence of Milton Moon leant a we are here on this planet and artists Gordon Samstag International Visual Art continue to have the drive for it as a Scholarship with a one year residency at the Art Gallery of South ’s Shifting SenSeS

Clay has been used, decorated, coveted touchstone within this practice; it and collected for generations, the medium continues to surprise and of art making; imbuing generational rearticulate itself through innovative tales and fostering a narrative that can cross social and cultural barriers. There Contemporary ceramicists are constantly is always an element of chance with setting new standards and pushing the ceramic art and the process of marking, boundaries of this historically honoured stretching, moulding and reworking craft material. forms creates a new dialogue between the artist and their chosen materials. Ceramics has consistently explored the notion of an embodied experience, often Sophia Phillips Ribs (Adam, Eve, the abstraction, as a way of engaging with connection between the artist, material the processes of making art. and process. Hanging ominously from the ceiling and comprising a number of Shifting Senses is an exhibition that components Ribs forms part of a larger investigates experimental processes in body of research undertaken by the contemporary ceramic art. By engaging artist in Australia and China. The work with three curatorial concerns – a mark, communicates a strong physicality driven a vessel, and a scene – this exhibition focuses on the formation of new narratives whilst addressing issues concerning identity, the environment, purposeless objects by linking them process and possibility. together to form a partial cage. The piece A MARK exudes tension built from the action of gripping the clay; it is an emotional act This section focuses on the relationship only to be released with a contradictory between the artist, material and the impression left in its place. The viewer elements. They are fundamental components in reading visual arts and attempting to let go or trying to hold on? could be considered more recognisable in the work of ceramic artists than any other. Mark making is a historical Sophia Phillips, 2014, Jingdezhen porcelain, wire trace, variable dimensions. Photographer Michael Kluvanek Alison Smiles, Shared Repose 2015, hand built raku clays, linen, variable dimensions. Photographer Michael Kluvanek Ebony Heindenreich, Still Lives I the old, new again Heindenreich and A SCEnE society’s dilemmas (without dictating it gallery, Alison Smiles Shared Repose Parmenter devise a new kind of curiosity is an installation of hand built forms towards art making and the use of in its approach but addresses a larger made from raku clay that rests in a historical materials. They are focused on investigates the role of installation and discussion around the value of current large formation. The works transition in contemporary, popular culture ideologies other contemporary visual arts practices social and political discourse. and out of the familiar and the peculiar steeped in traditional, aesthetic driven in ceramics art. The works exhibited George Zacharoyannis’ Untitled delves practices. For Heindenreich process is just initiate a new dialogue regarding into personal narratives and story-telling Here, Smiles considers the shared act as important as the outcome. Each form, contemporary ceramic art and the role of through objects. Hand built pieces, found of simply sleeping; various shapes and although visible as a functional piece, is the artist and their audience. objects and mass produced bricks line a sizes all laying down and undertaking the also an experiment in action. Parmenter’s Wayne Mcara’s practice is known for same ‘performance’. Smiles translates beautiful objects succinctly highlight artist’s own truths regarding a number of this act through hand built carved forms; the capability of this art form. These textural and earthy, communicating a ‘metaphorical vessels’ are instilled with the familiar or emotive he (sometimes practice allows him to test and re-test ‘landscape’ of bodies undertaking an multiple meanings although they exude materiality and kinetic energy. Untitled unspoken shared experience. delicate porcelain forms he makes. unravels the artist’s views on individuality in the mundane whilst rearticulating These works lay the foundation for #icantbreathe is one such work which and his position within social constructs. the domestic without highlighting the rereading the context of contemporary history or personal memory of what Curatorially, by engaging with three ceramics today. It is an art form that reading. Utilising slip casting and hand these objects mean; this translation or areas of concern, each artist has had the can speak to a history and future connection is stripped away from the simultaneously. Phillips’ and Smiles’ masks can be seen hanging against the surface yet remains charged within the and approaches to their art making. exhibition works communicate wall. A cluster of identical masks sit on work. Through this experimental approach the physicality and material driven the artwork produced speaks to a larger processes used by contemporary ceramic For Ulrica Trulsson an intrinsic part another. On closer inspection we can see theory regarding process driven art, the artists today. Whilst remaining true of her practice is experimenting with the detail of the original paper masks formation of narratives through the to the tradition of the medium, their functionality, form and metaphors and the intricate stitching that Mcara object, and the relationship of ceramics reinterpretation highlights this art form’s associated with the vessel. Driven by an has undertaken on the surface of the to sculpture, craft and installation. capability as a site for forming new intuitive process the evolution of her Ceramic art is a multifaceted practice narratives, processes and ideas. work continually develops throughout which can inform audiences of a number the creative process. Her connection A VESSEL of concerns through traditional and with landscape is apparent; through within social structures. #icantbreathe experimental art making. Shifting Senses Here we see works that transition into richly textural surfaces reminiscent of toys with perception and narrative is an exhibition that not only brings the contemporary and experiment with deserts or coastlines; for Trulsson, the through sculpture and installation. together the individual practices of eight form and ideology. Testing skills and domesticated object is a boundless ceramic artists, but also communicates processes into functional or abstract form of purposes and its exploration is a broader conversation around works allow artists to push theories, limitless. number of personal and global ideas. contemporary processes in this historic existing histories and re-contextualise This section communicates an expansive Sophia nuske’s delicate First World material. the functionality and placement of range of ideas, forms and materials that Problems? Here’s a BADAID is a clever ceramics in visual arts culture. a number of ceramic artists’ utilise in and humorous approach to social and Ebony Heindenreich, Maria Parmenter and their practice. A vessel considers the political unrest, sensitivity and the trivial Ulrica Trulsson each experiment with this space in which ideas are held, molded and nature of modern-day problem solving. re-articulation of the ordinary. By creating reinterpreted. Maria Parmenter, Kameruka Road Ulrica Trulsson, Traverse 2015, porcelaneous stoneware, glaze, series of seven, variable dimensions. Photographer Michael Kluvanek biographieS

RAylEEN FoRESTER is an Adelaide EboNy HEINdENREICH is an emerging WAyNE MCARA is a ceramic artist and based curator and arts writer. Rayleen ceramic artist based in Adelaide. In 2012 designer working from his studio at graduated from the South Australian she completed a Bachelor of Visual Arts JamFactory in Adelaide. A graduate from School of Art majoring in History & at the University of and Adelaide College of the Arts, Wayne was Theory and continued her post-graduate has recently completed her Honours the recipient of a Helpmann Academy studies completing a Graduate Diploma degree. During this time she has taken professional development scholarship in Art History and a Graduate Diploma part in various exhibitions and was in 2010, which saw him undertake a six in Arts & Cultural Management at the privileged to receive the Trudie Alfred week residency at the Pottery Workshop University of Adelaide and University in Jingdezhen, China. In 2012 Wayne of South Australia. Rayleen managed 2014. Throughout her practice she has completed the two year associate the production of the 2014 Adelaide endeavoured to honour this age-old craft training program at JamFactory, during International a biennial exhibition which time he won the inaugural South presented in four major public art contemporary clay working also lends Australian Emerging Designer Award. institutions in South Australia as part itself to an element of exploration and Wayne has exhibited his work in Adelaide, of Australia’s longest running arts subversion. Pushing the limitations of interstate and overseas including festival, the Adelaide Festival. She the material, looking outside traditional JamFactory Galleries in Adelaide and co-curated the long established 2014 functionality, crossing boundaries the Barossa Valley; Kerry Packer Civic Artists’ Week symposium with Lars Bang between disciplines and mediums are important aspects of her work. Ebony has Rayleen’s curatorial interests focus on always been interested in the rich links Gallery; Gallery M; Beaver Galleries cross-cultural engagement through between ceramics and the home and she contemporary and experimental art is currently exploring themes of women’s Artinformal in Manila, Philippines. Wayne practices. In 2012 she was awarded work, the importance of materiality and has participated in two group exhibitions the inaugural Curator Mentorship the act of making. during Feast Festivals in 2007 and 2009, Initiative grant through nAVA and the and in 2013 presented new work in the Australia Council for the Arts to work exhibition Eyes on Design at JamFactory with established international curator retail space. Cuauhtémoc Medina at the second largest European Biennale MAnIFESTA. In 2010 Rayleen was awarded the Bank of Tokyo-Mitsubishi Travel Grant to collaborate with Japanese curator and Gallery Director Katsuya Ishida where she lived and worked for two and half years. She writes for national publications including Arts Hub and Broadsheet and is co-founder of Adelaide’s longest running ARI FELTspace. Wayne Mcara, #icantbreathe 2015, porcelain, thread, woven elastic & silver wire, 120 x 110 x 60 mm each, seven pieces. Photographer Michael Kluvanek biographieS

SoPHIA NUSkE is an artist based at Drawing upon her memories and SoPHIA PHIllIPS is a ceramic artist and JamFactory in Adelaide. She completed a recollections, MARIA PARMENTER works writer born in Adelaide who has exhibited Bachelor’s Degree in 2010 and Honours in porcelain and stoneware to create locally and nationally. After growing up in 2013 at the University of South playful, handbuilt sculptural forms playing with local clay Sophia went on to Australia. In 2012 nuske contributed to that celebrate the nature of recall, study ceramics at the South Australian a number of events coinciding with the and explore the beauty of everyday School of Art in 2002, completing a Australian Ceramics Triennial, co-curating paraphernalia. Maria’s ceramics are the student survey exhibitions, as well reminiscent of ordinary domestic objects and Honours in 2005. She continued her as presenting on the student panel that are used in our daily unspoken postgraduate studies at UniSA after discussing future directions in tertiary rituals of everyday life. Her hybrid forms receiving the Australia Postgraduate art education. After graduating, nuske are intentionally ambiguous in shape, Award; her PhD in Visual Arts, which was selected to take part in the annual often combining distinct, recognisable was conferred in 2010, explored the Helpmann Academy Graduate Exhibition. elements from a range of objects therapeutic aspects of making with Here she was awarded the Adelaide City in a single piece. This morphological clay, with a particular interest in the uncertainty allows the viewer to explore embodiment of emotion and experience soft penCiLs becoming part of the council the abstract reality of our memories within the hand made. In 2011-2012 collection. She later travelled to the and the feeling that exists between Sophia was a ceramics associate at Jingdezhen Pottery Workshop in China the familiar and the unfamiliar. Maria’s JamFactory where she contributed to the for six weeks as part of the Helpmann design of the studio product, the ‘Sophia Academy Residency. This year nuske is a personal attachment to utilitarian Bowl’ with Prue Venables and Kirsten tenant based at JamFactory and will be Coelho acting as her mentors. Along undertaking a mentorship with ceramicist we place on them as a connection to with two people she met during her Stephen Bird in South Korea through our past. Maria Parmenter completed time in the ceramics studio, Stephanie the Beyond Limitations clay mentoring a Bachelor of Visual Arts in ceramics James-Manttan and Alison Smiles, program. at the South Australian School of Art, Sophia is now working in a group studio University of South Australia, in 2004 and in West Croydon – one of the only group completed her honours the following ceramic studios in South Australia. In year. She was recipient of the Helpmann 2014 Sophia undertook a six week artist Academy Optus Mentorship (with Angela residency in Jingdezhen, China where she awards including Judges Commendation at the South Australian Ceramics from the University of South Australia. Maria’s work is exhibited throughout Australia and is held by numerous private collectors and in the collection of the Art Gallery of South Australia. George Zacharoyannis, Untitled 2015, white earthenware, glaze, imitation gold leaf and found objects, 230cm x 170cm x 30cm. Photographer Michael Kluvanek biographieS

AlISoN SMIlES is an emerging artist; UlRICA TRUlSSoN is an Adelaide based GEoRGE ZACHARoyANNIS graduated the main area of her practice involves ceramic artist. She uses functional from the University of South Australia sculptural ceramic work that explores objects as vessels for exploring form, in 2010 with a specialisation in ceramics the gaps between the art object function and subtle metaphor. Trulsson and minor in painting. He continued his and the intangible world of human likens her investigations into form, studies in ceramics at Adelaide College of relationships. She completed her material and surface in ceramics to the the Arts. George has shown work in group limitless discoveries in the intricacies shows across South Australia. He recently at the University of Sunderland, UK, of objects and details of the landscape. participated in the exhibition Flora as part of a student exchange, and The apparent simplicity of her work Botanica at Adelaide Central Gallery. His work is informed by introspection ability to explore her work in a practice precise detailing in their making. Wheel based process, enriching her work and throwing is central to her practice, examines mythological, sociological and although she also develops work using existential themes and its relationships her practice further. Initially working a blend of both wheel throwing and to the individual throughout his work. in the area of two dimensional, yet very detailed monochromatic drawings arranged groupings are enhanced by the and printmaking processes, Alison’s use of textured and coloured clays and sculptural work has been greatly richly variable glaze surfaces, usually informed by this background. The three dimensional work she makes retains a Trulsson was a Ceramics Associate at narrative context, due to the illustrative JamFactory 2012-13, and has exhibited nature of the surface treatment. A nationally and internationally. former associate at Adelaide’s JamFactory ceramics studio, Alison is also a co- founder of 6 Hands Studio, an artist run ceramics studio based in Croydon, Adelaide.

Sophia Nuske, First World Problems? Here’s a BADAID 2014-15, stoneware, house paint, acrylic surface sealant. Variable dimensions. Photographer Michael Kluvanek