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With a map in hand, visitors explore the gallery... Gallery floor map
VIEWS at the work from the work
Andrea Hyland's Hard, Soft, Black, White contains squares of bone china that have been cast to appear like crumbled sheets of paper. Letters have been impressed into their surface. Though paper was once considered an ephemeral medium, by contrast with streaming electronic media it had been granted a monumental heaviness. Andrea Hylands' Hard, Soft, Black, White From Hard, Soft, Black, White
Pilar Rojas' Other Memories is a series of crocheted forms on a thin table. At first glance, these look like glass or glazed ceramic. At much closer inspection, you can discern the knitted patterns. They are fragile, useless forms that whisper intimate secrets from the vocabulary of shapes. Other Memories From Other Memories
Robin Best's Blackcliff and Sugarloaf are cast plaster works that reflect geological formations of the Hallet Cove, in South Australia. They share the archaic process of sedimentation, as alluvial clay was deposited over hard rocks. In the gallery space, these works assert a confident silence. Their oiled exteriors absorb harsh gallery lights and return a dull glow. Blackcliff and Sugarloaf from Blackcliff and Sugarloaf
Mary Scott's Vanitas is a series of five oil paintings on sandblasted glass. They began as scanned image of a Dutch still life turnip, then manipulated in PhotoShop and printed out. The results were used as drawings for the paintings. Unsatisfied with the quality of inkjet printers, Scott returns to the medium of oil, translated onto glass made porous like a canvas. Vanitas From Vanitas
Kathy Elliot and Ben Edols' Square Peg, Aqua Spiral and Groove are privileged as the only works in the red spectrum on the south wall. Their translucent surface, engraved to appear like skin, allows the deep colours within to absorb the light reflecting off the wall. Square Peg, Aqua Spiral and Groove from Square Peg, Aqua Spiral and Groove
Steven Goldate's Ceramic User Interface translates the contours of three different countries (New Zealand north island, Vietnam and Arab peninsula) into hollowware. These paper clay forms barely touch the surface of the plinths, taking a license with gravity. They are what happens to a ceramist's imagination once exposed to the possibilities of CAD designing. Ceramic User Interface from Ceramic User Interface
Nelia Justo's Pursuing Paradise can be heard faintly from the other end of the gallery. A voice recounting some adventurous tale, an oriental trill, all suggest some distant landscape. Chinoiserie landscapes have been woven into a loom - all made from copper wire. This wire forms the circuit which operates the speakers that emit the sound. There is a gentle association between weaving and microcircuitry. Strange to 'hear' a landscape. Pursuing Paradise from Pursuing Paradise
Karl Millard's ensemble Seafood Teapot, Anthony Smooth Meets Don Prickle, Kung Fu Pepper Grinder and Wrestle offer an unfamiliar surface dimension to metal. Surfaces are sleek, prickly, mottled and even furry. Encased in the cabinets at the end of the small gallery, these works appear like wild creatures. Seafood Teapot from Seafood Teapot
Susan Ostling's morello (a bitter kind of cherry) is a assortment of porcelain forms that hug the west wall, crawling around the corner. They include negative spaces, like the inside of cups. The visitor gazes upon a curious range of surfaces, from a salty crackle to royal icing. A little like a cheese shop, these forms glory in the rich surface language of clay.  morello (a bitter kind of cherry) from  morello (a bitter kind of cherry)
Damon Moon's Untitled tempts the visitor into a salacious interest in unglazed ceramics. The lightbox emits an image of his work taken for Belle Magazine. The real works are more difficult. There is a triangle of mugs bearing the work 'MOUTH' and a coffee table of plates with scientific drawings and handprints. Untitled from Untitled
Gwendolyn Zierdt's Unabomber Manifesto is a translation of the first few paragraphs of this notorious text into a code read by a computerised dobby handloom. The work is a neat ironic reflection on the close association of computing with the history of weaving (through the Jacquard loom). In the space, there are more sinister overtones. A security alarm in close proximity emits a beep every several minutes, hinting at the danger of going 'offline'. Unabomber Manifesto from Unabomber Manifesto
Back to Kathy Elliot and Ben Edols' Sunset Column, Pelt and Batutto Dome which return us to the rich colour of glass, and reward our eyes now taking pleasure in the subtle variations of surface texture. Their work is commonly found in the craft shop as you exit the gallery, along with the glass boiled sweets... Sunset Column, Pelt and Batutto Dome from Sunset Column, Pelt and Batutto Dome
Finally, you return the floor map and take an envelope from the lucky dip bowl. The envelope is marked 'NOT NEGOTIABLE' and contained a boiled sweet (unavailable online) and a prophesy. lollies.JPG (11282 bytes) notnegot.JPG (7913 bytes)

Page last edited 27/04/03