Bena Necklace (2012)
porcelain, American white oak, LED lighting, cabinet: 840 x 665 x 130 mm
Fallen Feathers 1 (2012)
porcelain, American white oak, LED lighting, cabinet: 450 x 850 x 120 mm
Kaya Necklace (2012)
porcelain, American white oak, LED lighting, cabinet: 840 x 665 x 130 mm
Luta Necklace (2012)
porcelain, American white oak, LED lighting, cabinet: 840 x 665 x 130 mm
Maka Necklace (2012)
porcelain, American white oak, LED lighting, cabinet: 840 x 665 x 130 mm
Fallen Feathers 2 (2012)
porcelain, American white oak, LED lighting, cabinet: 450 x 850 x 120 mm
Fallen Feathers 3 (2012)
porcelain, American white oak, LED lighting, cabinet: 450 x 850 x 120 mm
Doba Necklace (2012)
porcelain, American white oak, LED lighting, cabinet: 840 x 665 x 130 mm
Fox and Squirrel (2012) porcelain, fur, wood, feathers, vessel: 540 x 120 x 120 mm, arrows: ca 850 mm long each
Wolf and Bison (2012)
porcelain, fur, wood, feathers, vessel: 530 x 117 x 122 mm , arrows: ca 850 mm long each
Lion and Antelope (2012) porcelain, fur, wood, feathers, vessel: 545 x 120 x 120 mm, arrows: ca 850 mm long each
Owl and Mice (2012) porcelain, fur, wood, feathers, vessel: 532 x 118 x 123 mm, arrows: ca 850 mm long each
Falcon and Rabbit (2012) porcelain, fur, wood, feathers, vessel: 510 x 120 x 122 mm, arrows: ca 850 mm long each
Since her success in last year’s Portage Ceramic Awards, where she became the youngest artist to receive the top prize, Bridie Henderson has continued to develop the narrative of her ‘Feather’ works. Henderson’s translucent, delicately carved porcelain works display meticulous attention to detail and an innate understanding of the foibles of her medium. When lit, the porcelain comes alive with a diffuse glow; the artist’s use of illumination is subtle and is in keeping with her fine carving and patterning.
Referencing the use of feathers in Native American cultures, Henderson also examines the mark-making used in these diverse and complex pottery traditions. While alluding specifically to this (south-western) Native American patterning in the first instance, the symbols she uses are seen in ceramic practices throughout history and across cultures. Universal forms such as the spiral, zig-zag, arrow and circle are combined to create a symbolic language for her totemic objects.
Pairs of oversized porcelain feathers display black and white designs that spill through and over the feathery background; whorls, circles and triangles play with negative and positive space and morph in size and shape. Evocative of anthropological curiosities and fetish items, Henderson does not provide a back story to her pieces.
The feather necklets suggest the ghosts of the wearers and memories of ceremony but like curiosities in a Wunderkammer they are shown dislocated from their histories and narratives, and viewers are left to fill in the gaps with imagined stories. Mounted and framed, the origins of the works are concealed and the hand of the collector as well as that of the creator is evidenced.
Fletched with real feathers and featuring delicately carved porcelain arrowheads and wooden shafts, sets of arrows with matching quivers accompany the vitrineencased feather works. The quiver vessels are engraved with detailed images of both hunter and prey, extending the idea of totem items and linking back to Henderson’s research into the aboriginal cultures of North America.
BRIDIE HENDERSON
b. 1986, lives Nelson
A Necklace of Feathers 1, 2 & 3 (2012)
In 2011, aged 25 and still a ceramics student, Bridie Henderson became the youngest ever entrant to be awarded the supreme prize at the national Portage Ceramic Awards. Her winning entry, ‘Feathers’ was described by international judge Janet Mansfield as exceptional: "Many ceramic artists are inspired by the flora and fauna around them, but [Feathers] takes it one step further. It's a stunning work".
Henderson shows an innate understanding of the foibles of her chosen medium. Meticulous in their execution, her back-lit works exploit the qualities of translucence and fragility of the delicate porcelain; done by hand, surface carving and carefully applied colour further enhance this effect and give each feather its individual character. Henderson’s attention to detail extends to the hand-woven cords, purpose-built American oak display cases and individual keys adorned with their own ceramic feathers.
Suggestive of historical museum displays, Henderson’s feather necklets evoke images of gentlemen explorers collecting anthropological curiosities on their travels. The rituals of peering through glass and unlocking the cabinets for closer inspection reinforce the image of an 18th century Wunderkammer, a chamber of curiosities filled with items rare and precious, gathered from all corners of the world.
When lit, this sense of wonder is heightened as the glowing works take on an altogether different appearance, hinting at the hidden stories behind the trophy on display. Were they worn as fetish items, ritual adornments or signifiers of status? Henderson presents the necklaces and leaves it to the viewer to supply those who wore them.
Henderson continues to produce works in the ‘Feathers’ series and is also working on large vessels for her upcoming solo show in November 2012.
