Mollie Bosworth’s art practise is driven by the materials and creative processes inherent in working with porcelain. Her recent work investigates layering and surface treatments that uplift the translucent nature of porcelain.

Consisting of wheel thrown and sometimes altered bowls and cylindrical forms, Mollie’s new work takes full advantage of the vessel forms to explore the interaction between internal and external surfaces. Imagery crawls around, over and in the pieces and appears in silhouette through fine walls.

A lovely balance exists between the natural world and technology in Mollie’s work. Her imagery is inspired by a love of gardening and the tropical environment of her home in Kuranda, far north Queensland. Flora, insects and butterfly images are positioned alongside tropical flowers and pieces of text, akin to a gardener’s journal.

To craft this botanical imagery on the ceramic surface ironically requires an exploration of new technologies.  Mollie enhances images in Photoshop, often from her own photos and scans, and uses laser print decals and occasionally custom made colour decals to apply the image to the porcelain surface.

Further exploration and play with layering has led Mollie down a path to water soluble ceramic colorants. Although unpredictable with results often elusive, Mollie has found colorants worth pursuing for their range of mono or multi coloured patterns and designs and their suitability as background colours to the laser decals.

Mollie Bosworth has been a practising Australian ceramic artist for over twenty years and Pan Gallery is pleased to present her new works in porcelain, a culmination of her explorations in this dramatic medium to date.

Dig your own clay, make something, build a kiln, fire your work. Use only the tools and materials you have on hand and complete it from beginning to end in 48 hours!

Four ceramic artists take on the challenge from their respective properties in western Victoria: different concepts, different clays, different firing methods, different results. All cast light on the ceramic process, our relationship with the environment and our usage of resources. 

Elise Bishop    Kim Haughie    Kath Wratten    Sue Mitchell

Visit blog for more images and artists statements.

Ceramic art requires patience, considered decisions and attention to detail. This emphasis on technique raises an important question: Is ceramic art capable of embodying sentiment? BOTTLED seeks to explore the ability of the ceramic object, in this case in the form of the bottle, to express emotion.

The bottle is a practical object: its primary purpose is to function as a vessel that contains the tangible. What happens then, when this tangibility is replaced with the impalpable – such as emotion?  Is the bottle able to contain the fleeting intensity of anger, the all-encompassing feeling of euphoria or the continuous simmering of long term grief? Can a ceramic artist bottle emotion?

Exhibiting artists: Zoe Baker, Catherine Reid, Peter Pilven, Ingrid Tufts, Petra Svoboda, Katie Jacobs, Sue Sanderson, Lisa Gair, Claire Blake, Sue Cotton, Terry Marston, Robyn Phelan, Leah Jackson, Pauline Meade, Christopher Plumridge, JaneWalton, Heather May, Hilary Dobson.

Download the catalogue essay by curator Kim Brockett here.

The Pan Gallery Award is presented in association with

2009 Pan Gallery Ceramic Art Award 

Katie Jacobs Weeping Willows

"I lied on a rental application. I said I was an avid gardener because my dream house had a massive and superbly overgrown garden and I wanted to live in it.

These bottles are cast from the remains of two silver birch trees. During the summer

“The roots of education are bitter, but the fruit is sweet.” Aristotle

There are those that would happily stay ensconced in the education system for as long as the department will let them.  When the subject matter entails experimentation, exploration, creative expression and clay, who can blame them?

Twelve students undertaking the Diploma of Ceramics at Holmesglen bring to the course a wealth of life experience. Collectively their accumulated years of study exemplify passion and commitment to working with clay and undeniable dedication to the craft.

Showcasing a variety of highly personal one off pieces Anticipation celebrates the culmination of this student life, resulting in fresh, innovative and conceptual ceramic artworks with strong evidence of experimentation.

It has been a long time in the making, the anticipation is killing, but there is no doubt the fruit is sweet.

Brett Bennett, Samantha Gale, Briony Molloy, Nandita Nadkarni, Melanie Shuval,  David H. Staneck, Gaye Sumsion, Yvonne Torrico, Bernadette Wood, Michele Berenger,  Yuso Lee and Karen Steenbergen

Michele Berenger, Su Laird,Lynette Rose, Irris Szoeke, Lorraine Taylor, Jean Wilby.

Creating a false or misleading impression of reality is a device often used for entertainment and social comment.  In many cases, like optical illusions, trompe l’oiel paintings or the art of prestidigitation, illusion is knowingly deployed and enjoyed. In other situations, be they deliberate or unintentional, illusion is a deception with detrimental effects. 

Six ceramic artists have chosen to investigate the concept of illusion. The resulting body of work conveys six deeply personal responses to the many and varied ‘facets of illusion’.

This exhibition explores the boundaries that exist between image and reality in political, social and environmental realms. It questions that which is often taken for granted, challenging perceived notions of reality while at the same time playing with the diversion of visual illusion.

Pure and unadorned clay is clay, but in the hands of six experienced ceramic artists it becomes something else entirely.

http://www.onesuchdesigns.com/SeiDonneCeramiste/

Rejoicing in the domestic and honoring the skills in her family, Martin creates pure wool knitted objects saturated in a Shino glaze and transformed through the heat of the kiln into textile-like ceramic pieces.

For the past four years Martin has developed and explored this innovative technique and has recently returned to its origin in the sampler. Commonly used in the textile crafts as a method of learning, recording and demonstrating skill, Martin uses the sampler as a research device to test glaze and firing methods, as well as knitting and crochet patterns.

Correct Tension constitutes three series of works that are variations on the sampler theme. The pieces range from delicate, fragile pieces to heavy chunky works, all encapsulating a domestic connection.

The exhibition explores work, relaxation, domesticity and tradition.  Recently Martin stated that she had “relinquished control to the kiln and learned to love its slightly distorted output. It seems no amount of correct tension and careful blocking of the piece will guarantee that the precise shape is retained through the firing process.” Perhaps the same could be said about the challenge to find the perfect balance of work and relaxation in daily life.

“The show is intended to lead down curious paths of colour and connection…”

Lene Kuhl Jakobsen recently spent seven weeks at the Erik Nyholm Ceramic Studio situated in the lake and forest area in Denmark, not far from where she grew up. In ‘edaphic north’we are invited to take part in her experience, recognizing the effects of the natural environment and the posthumous presence of the studio’s namesake.

 “Nyholm showed an unconventional approach to materials, texture and colour; always using nature as a starting point"

Working at the Nyholm studio, in propinquity to Denmark’s seasonal environmental changes, brought back memories of her childhood and youth and found expression in her craft, utilizing the materials at hand and the ceramic vocabulary of Nyholm.

"I was inspired to use textural effects on my work and found it interesting to test and use the glazes and other materials in the studio."

No exploration of environment is complete without focusing some attention on the concerns of climate change. Lene does this conceptually within her works but also practically by the purchase of carbon credits to offset the emissions created during the firing of pieces for this exhibition.

*(Bot.) of the soil; (Ecol.) produced or influence

Mabelle Marra’s approach to ceramics is greatly influenced by her Argentinean background. Using pre-Columbian firing methods, she creates vessels that reinterpret wares from the Condorhuasi period, 650BC to 700AD, of North Western Argentina.

Traditional coca pipes and matrimonial drinking vessels assume animal and human forms undertaking everyday activities that connect to the artist’s life experiences - working, meditating, playing instruments, pregnancy and birth.

In this series of work Mabelle introduces us to the shaman Pisco Runa (Birdman). A loved and respected member of his community Pisco Runa came back as a bird after his death to watch over his village.

Each terracotta piece is burnished using a quartz stone, beeswax and animal fats, sometimes even oils from her own skin, “giving some self, some soul, to the pots”. Wood fired in a kiln built in Pisco Runa’s likeness and fuelled with scrap and salvaged timber, the surface of each piece is endowed with gray and black flashes from the ensuing ash and smoke.

Mabelle’s passion and enthusiasm for her cultural heritage breathes life into this ancient craft and enables a new audience to experience her history in a tangible way.

Current artists-in-residence at Northcote Pottery Supplies are taking part in the first annual resident show.

Zoe Churchill, Ray Laurens, Sophie Milne and Wendy Reeve, in various states of readiness, will exhibit work for sale and work that demonstrates creative endeavors taking place within their studios. 

A random selection of people was asked to exhibit the ceramic items they consider most valuable in their home. The definition of value, be it sentimental, material, functional or aesthetic, was entirely left to the interpretation of each individual.

The result is a fascinating collection of objects made from clay, which provides an historic snapshot of ceramics in Melbourne homes and an interesting and revealing look at the importance of ceramics in our daily lives.

Accompanying the exhibition is a recording of personal accounts from the owners of the ceramic objects on display.

Sixteen Victorian artists present new works in ceramics at the launch of Pan Gallery.

The participating artists in 001First Show come from a range of creative backgrounds, are at different points in their careers and undertake their craft practice with variety of structure. They are united in being current practitioners of ceramic art with a passion for their craft.

In this first showing of new works by established artists the door is opened to discussing 'contemporary' ceramic works. Are the works contemporary purely because they have been made in the present day or do they strive to resolve or encapsulate modern conceptual and technical ideas? How important is this to the experience of beholding the work?

001First Show launches pan Gallery and aims to characterize the ethos of the gallery - offering a forum for the presentation of innovative art works and encouraging an exchange of ideas between artists and audience.

PARTICIPATING ARTISTS   

Alistair Whyte, Andrew Widdis, Anne-Maria Plevier, Barbara Van Oost, Chris Plumridge, Claire Blake, Jenny Boyd, Judith Roberts, Katie Jacobs, Kerrie Lightbody, Lene Kuhl-Jacobsen, Lilach Mileikowski, Phil Elson, Sandra Bowkett, Wendy Reeve.