NEWSLETTER  
(Number 2 - October 2010)

Featuring 'Occupational Hazard'
The Peoples Choice winner

THE PORTAGE CERAMIC AWARDS 2010

I was delighted to be a finalist in the Portage Ceramic Awards this year, particularly because it is New Zealand’s most prestigious ceramic competition and notoriously difficult to get into.
Typically most entrants stem from a potting background; the point of difference in my work is that I do not. It is the discipline of Patisserie that is embedded in my process. In ceramics this is akin to being from another culture, core values differ, affecting how the work is perceived and ultimately regarded. For this reason on opening night I was prepared to be treated as a foreigner; however it was quite the opposite. I witnessed and became part of the NZ ceramic community and its valued supporters, relishing and celebrating the multifarious methodology of all the contestants.

The exhibition of finalists and award winners is on now until 5 December at Lopdell House Gallery, Titirangi, Auckland, www.lopdell.org.nz
My entry Occupational Hazard is very proudly amongst great company, and is hopefully behaving himself.

‘OCCUPATIONAL HAZARD’

The inspiration behind this work is Lewis Carroll’s Hatter. Research revealed the madness of Hatters was due to mercury poisoning from the ‘carroting’ of the cheaper furs.
I allude to the madness in other occupations as well, particularly artists by referencing Duchamp in the signing of a readymade, and Van Gogh by eliminating an ear, replacing it with brushes and a loose screw.
The Patisserie adorning my Hatter offers a suggestion of a tea party, but more importantly acknowledges my past occupation as a Pastry Chef, the major influence within my process.
Currently I am particularly interested in developing the exposure of process itself. It adds interest, whilst creating a paradoxical blend of naivety and sophistication.
I also delight in the use of unconventional methods for effect. I grind back glaze and rub in china paint before re-firing; choose a sculptural clay because it crazes; and gain much amusement from additions such as the Mongolian horsehair.
Some will consider this madness, but my belief is that as an Artist the only limitations that exist are those we put on ourselves.
This work ultimately invites the viewer to consider the liberation of madness.

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ART CARDS BY REBECCA SHAWYER – BUY NOW