Bogdan Teodorescu: The Portrait of Maxim Vengerov, 2009, painted porcelain, c. 18 h
Kimberly Cook: Divided Kingdom, detail
Kimberly Cook: Trophy, detail
Kimberly Cook: Rabbit Test PSI=120, detail
Kimberly Cook: Last Straw, That’s All, That’s It, detail
Kimberly Cook: Harbinger, 17” x 10” x 4”, ceramic, mason stain, underglaze, gold luster, 2010
anim(us) exhibition / Stella Downer Fine Art, Sydney, Australia
21 February – 17 March 2012
Opening recepetion on Saturday 25 February, 3-5 pm
Curated by Sarah Vandepeer.
Tanya Chaitow, Lynda Draper & Jacqui Hudson explore the relationship between emotion and creativity, producing uncanny works that teeter between the beautiful and the strange. Animal references found in the artists’ work made might be interpreted as manifestations of the animus ego, as defined by Carl Jung. The anima or animus is an anthropomorphic archetype that we only experience fleeting glimpses of in dreams and it is a powerful source of creative ability.
Ambiguity and whimsy are important elements in Tanya Chaitow’s work and her fanciful paintings and drawings blur past and present, fact and fiction, internal and external reality. By adopting a naïve style, she is able to work intuitively and her works are emotionally charged. In her work the deer appears as an archetype of the self. This susceptible figure floats through the tangled branches of Chaitow’s surreal dreamscapes, leaving us with a poignant sense of vulnerability. Born in Johannesburg, South Africa, Tanya Chaitow immigrated to Australia in 1978. She completed her Masters of Fine Art at the College of Fine Arts, University of New South Wales at the end of 2007. She is regularly selected for the Dobell Prize for Drawing and her work is represented in both public and private collections in Australia, South Africa and the USA.
Lynda Draper fashions ethereal sculptures from stoneware, using opaque white surfaces to evoke a sense of faded memories and nostalgia. Draper’s work is based on a belief that our interpretation of the world is drawn from a well of personal memories and experiences. Christian iconography, infantile animal shapes and strange organic growths all appear across her oeuvre, blended into quirky configurations that beguile or repel.
“All my life I have been fascinated with form and color. During my youth I watched my mother dabble in various art media; eventually she settled on ceramics. Inspired by her explorations I struck out on my own. I focused on the two-dimensional plane first with photography, then painting, and finally printmaking. Recently I began attending a community Raku night where I discovered my true joy is interacting with clay and creating three-dimensional forms. The spontaneity and plasticity of the medium makes handbuilding a process of discovery - full of surprises. My approach is a collaboration where the clay and I work together to discover hidden shapes and reveal emotions and personalities through animal forms.
Just as friends and acquaintances have their own distinctive traits and behaviors, each of my sculpted animals has personality and expresses a unique character. When people step into my world (via studio or gallery), they often smile and chuckle as they recognize a bit of themselves, their pets, friends or family members in the postures and expressions of my sculptures. In this work, my intention is to present the best of humanity through our animal friends and to help us laugh and love our differences and ourselves.” Paula Bellacera
Paula Bellacera: BullDog, 14” x 15” x 12”, 2011, handbuilt, low-fire clay, glaze, underglaze
Paula Bellacera: Black and Tan, 9” x 16” x 9”, 2011, handbuilt, low-fire clay, glaze, underglaze
Paula Bellacera: Dalmation, 9” x 7” x 13”, 2012, handbuilt, low-fire clay, glaze, underglaze
Paula Bellacera: Owls, 2012, handbuilt, low-fire clay, glaze, underglaze