Jenni Ward: Sprout Series V, 2009, ceramic & high temperature, wire, 15” x 4” x 3”
Jenni Ward: Nest Series IV, 2010, ceramic & high temperature, wire, 12” x 10” 8”
Jenni Ward: Hive Series IV, 2011, ceramic & wire, 26” x 10” x 10”
Liliana Folta: Freedom on Wheels, 2010, ceramic, oxides, glazes, found objects, high temp wire, 15x8x5.5in.
Liliana Folta: Inhale-Exhale-Explode, 2009/10, ceramic installation, oxides, glazes, wood, high temp wire, 14x12x4in (each)
Liliana Folta: An Abstract Poem of Freedom, detail, 2009
Liliana Folta: Waiting for You in White, 2008, ceramic, oxides, glazes, fresh water pearls, crystal beads, high temp wire, 10x3.5x3.5in.
“My work has a sculptural yet functional element to it and encompasses a sense of traditional ceramic techniques. Within this tradition is the art of storytelling and symbols which evoke certain sentiments and nostalgia but also a sense of the present environment. This environment is psychological and therefore each piece points to emotions within the narrative.
My present work is currently narrated by the symbol of the chair.
How does one define a simple thing like the chair? What makes the chair, a chair? As James Joyce says in A Portrait of a young man, “Is a chair conceived as a work of tragic or comic art?”
No other object forcefully shapes the physical, social and emotional dimensions of our lives. On the chair seats only one person at a time and responds to the body through comfort. It has a communicative function and offers a glimpse into our collective ideas about that sense of comfort and order.
One can imagine the world from a persons’ perspective as it communicates compassion. Just as its absence communicates disrespect, lack of empathy and loss, whether this loss is a physical or emotional one.” Kira O’Brien
Kira O’Brien: The Attic, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 40x8x8cm
Kira O’Brien: Blue Lady, 2011, Sgraffito, white earthenware, black and colored slips, 1150 transparent glaze, 40cm
Intrigued by the tenuous connection between past, present and future and the shadowy, illusive meaning of time, Annie Woodford makes work that is both haunting and enigmatic. Shifting boundaries between science and metaphysics and an enduring interest in parallel universe theory instill the pieces with a heightened intensity, whilst an obsession with hidden worlds has prompted her investigations into microscopy and the nano universe - making the unseen seen.
Captivated by the natural world and our mysterious, infinite universe - whether seen at macroscopic or microscopic levels - she finds them the source of endless fascination and wonder. Mankind’s place within that universe and the dichotomy between our wish for progress and our proclivity for self-destruction, has become a central theme.
A passion for frozen environments and the message they embrace, not only from the past but also for the future of our planet has resulted in research trips to the Arctic and Iceland and a detailed study of the coldest place on Earth – Antarctica.
The work exhibits qualities that reflect the natural world, elements that highlight its beauty and transience. Fragile, frangible, complex and esoteric, delicately balanced between risk and control, her pieces float and oscillate between absence and presence, hovering silently in a place between.
‘Nature is an infinite sphere of which the center is everywhere and the circumference nowhere’ Blaise Pascal, mathematician, poet, philosopher.
Annie Woodford: Piercing Rim, detail, 2007
Annie Woodford: Silent Constrainer, 2008, Porcelain, copper, stainless steel, 38x24x18cm.
“The concept of my recent work is about form, and it grows from my curiosity about space; it investigates the relationship between two objects and it questions how we should make the landscape to react to man-made object. In my work I aim to explore that joyful, interesting, and mysterious relationship between objects and to create compositions with complex configurations though simple and unexpected components.
It is my intention to trigger the viewer to look closer and rediscover the ordinary, yet unfamiliar relationships that exists everywhere within all objects and human beings. Through sensations, communication and exploration, both objects and humans are able to obtain appropriate space and attention. I hope my work is able to look into this perception of the relationships, but more importantly - to enrich this relationship and establish a sense of place.” Kwok-Pong Tso
Kwok-Pong ‘Bobby’ Tso: The View From Above Series No.2, Industrial landscape, 2012, White earthenware, cone 04 oxidation, sanded surface, plastic, metal, and wood, H 8, W 24, D 16