Issuu

The poetry of material things

BYJANICEKEEN,PAULINEMEADE,THANNIEPHAN,GOOSULLAEKIM.

Exhibition Statement

In this exhibition, we consider the poetry of everyday material objects vessels that cultivate the fabric of our being, carrying the quiet heaviness of our daily lives Each collection within the installation is constructed around the functions these vessels traditionally engage in: that of containment, of libation, and of adornment.

Containment is the subtle act of holding, the enduring forms of bowls and jars, and the notion of keeping something within bounds. In between their perimeters, they first hold onto space and air then the things we gather, and the things we keep, defining our material weight

Libration carries fluidity in its intent, like the ritual of pouring, the act of offering and release. Our pourers and cups are objects of repetition, with the motion of lifting, the arc of pouring, and the density of liquid transferring from one space to another all written into their form. In their existence, they hold motion in suspension, an endless cycle of fullness and emptiness.

Adornment is a quieter pulse, a sense of standing still, standing in contrast to the other two. These vases and platters are not for holding or giving, not for movement or release. They are made to frame, to offer a moment of respite to the eyes and hands Their surfaces are without distraction, without extravagance. A sense of balance is here, of something perfect in its stillness, something punctuated against time.

These “material things” are not just forms but a reflection of the quiet choreography of our life. Crafted with meticulous focus, the work communicates through both sight and touch, producing a range of emotional terrain

In the making of this exhibition, we had paused, we had listened to the small rhythms of the many “material things” surrounding our everyday lives, and we hope you too can find their poetry in this space

Artist: Thannie Phan

gốm maker is the ceramic practice of Thannie Phan, a Vietnamese artist potter born in Kien Giang, grew up in Sai Gon & Singapore, lived in Auckland, Gadigal Country (Sydney) and now based in Naarm (Melbourne, Australia)

The practice is a physical interpretation of the stories she writes about where she is, where she was, and the people surrounding her life

The works are hand-built by pinching and stacking very thin coils, using layers of slips, oxides, and glazed by brushing or stamping The vessels are light, the edges are raw and the palette is restrained

ỐNG ĐỰNG ĐŨA 1 (2024)

20 x 8 5 x 8 5 cm

$600

porcelain, coiled & pinched, glazed

ỐNG ĐỰNG ĐŨA 2 (2024)

20 x 10 x 10 cm

porcelain, coiled & pinched, glazed. 1 2 3 4 5

$550

porcelain, coiled & pinched, glazed.

LY (2024)

9 x 9 x 8 5 cm

$200

stoneware, coiled & pinched, glazed outside, slip inside.

ĐĨA (2024)

7.5 x 20 x 20 cm

$600

porcelain, coiled & pinched, glazed

CHÉN ĂN CƠM 1 (2024)

9 x 11 x 11 cm

$250

CHÉN ĂN CƠM 2 (2024)

12 x 10 x 10 cm

porcelain, coiled & pinched, glazed

CHÉN ĂN CƠM 3 (2024)

13 x 14 x 14 cm

stoneware, coiled & pinched, glazed.

BÌNH HOA (2024)

23 x 21 x 20 cm

$300 $300 $800

porcelain, coiled & pinched, glazed

Artist: Pauline Meade

Pauline has been using clay as her chosen medium since completing a Diploma of Ceramics in 2007 and continued to extend her practise at School of Clay and Art (SOCA) She has exhibited widely in Melbourne and Regional Victoria

She predominantly hand builds her sculptural and functional pieces layering glazes, oxides and engobes that reflects on her landscape in the Pyrenees region of Victoria Pauline is skilled on the pottery wheel and continues to use this as a way of modifying and enhancing her work Her textural gestures are there so you are able to see and sense the colours of her childhood

She is influenced by the artist John Wolseley, who lives and draws in this same dry sclerophyll bush, whose work intimately connects him to his environment

CUP (2024)

8 x 9 x 9 cm

$120

porcelain, oxides, glazes, reduction firing 9 10 11 12 13

porcelain, oxides, glazes, reduction firing

SINGLE DISH (2024)

4 x 15 x 15 cm

$180

porcelain, oxides, glazes, reduction firing

TWO DISHES (2024)

$280

6 x 10 x 10 cm & 4 x 16 x 16 cm

porcelain, oxides, glazes, reduction firing

TRIPLE BOWL (2024)

8 x 17 x 17 cm

$410

porcelain, oxides, glazes, reduction firing

OVAL PLATTER AND DISH 1 (2024)

3 x 22 x 22 cm & 5 x 9 x 9 cm

$320

RECTANGLE PLATE & DISH (2024)

$320

2 x 23 x 14 cm & 6 x 10 x 10 cm

porcelain, oxides, glazes, reduction firing

OVAL PLATTER & DISH 2 (2004) $320

3 x 22 x 22 cm & 6 x 9 x 9 cm

porcelain, oxides, glazes, reduction firing

porcelain, oxides, glazes, reduction firing 14 15

CUBE (2024)

8 x 8 x 8 cm

$350

Artist: Goosullae Kim

Goosullae Kim is a Korean-Australian ceramic artist based in Melbourne. Goosullae’s practice reflects her Korean cultural heritage and speaks of her time and upbringing in Australia.

For Goosullae, making work using clay is an act that lasts a fleeting moment and is also everpresent. The moment of making leaves loose traces on the form then going through the process of firing the form contains the moment of gesture

Vessels evoke emotions and speak of places and times relevant to her, paying close attention to the material she’s working with

HOLD (2024)

15 x 13 x 7 cm

porcelain, reduction firing

POUR (2024)

15 x 12 x 10 cm

porcelain, reduction firing

$220

CORNER OF TIME (2024)

13 x 12 x 8 cm

stoneware, oxide, glaze

$220

$270

PASSAGE OF TIME (2024)

12 x 9 x 9 cm

stoneware, oxide, glaze

CUP YOUR 1-7 (2024)

7 x 7 x 10 cm variable

$230

$135

porcelain, reduction firing and oxidation firing EACH

(2024)

18 x 18 x 12 cm

diptych, porcelain reduction firing & stoneware

Artist: Janice Keen

II am a studio potter who was first attracted to the Potter’s Wheel over 30 years ago My engagement with clay has been a part of my life ever since I still get great joy from making on the Potter’s wheel and now I extend my practice to incorporate hand building techniques to explore functional ceramics as special everyday objects

Over the years I have I have attended a variety of courses, workshops and ceramic schools in Melbourne and abroad including SOCA Brunswick for two years and Slow Clay in Collingwood.

My influences come from objects used throughout history and across cultures Objects that have been cherished with surfaces inspired by anything from a painting or drawing to the urban environment With a background in Chemistry, I am drawn to the Alchemy that happens in the Kiln

I have been a finalist in the Klytie Pate award in Mansfield Victoria and my tableware has been selected and photographed for publication in several cookbooks including ‘Just George’ by George Colombaris and ‘Islas’ by Emma Warren.