In conversation with Emelia French surrounding her approach to working with clay (whereby her interventions tend to be direct and relatively quick) it became apparent that she likes to get at the clay before it has time to 'wake up'. The sentiment of this idea is reflected across the presented works; the sleepy face of the raw material is selected and embraced for the natural qualities it brings with it. French presents mid-fired clay, bare-faced with cracks and protruding basalt bubbles, Conor Jeory presents intricately carved Kauri and Jarrah - oiled, Daegan Wells offers walnut husk dyed fibres, hand-loomed and punched around timber blocks and and Alana Wilson reveals etchings of her own finger marks as well as records of the gestures she makes daily in her lived environment.
French has a term for this approach; to co-compose. This very intentional and relational way of interacting with materials is the linchpin of this particular exhibition which brings together domestically scaled works from across the motu, and the Tasman.