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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.
Click on the images below to access further information on the individual works, increase the image size and for most works, to find further images.
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Conor Jeory, Shelving #1, 2022
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Conor Jeory, Shelving #2, 2022
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Emelia French, Wall Tile #2, 2022
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Emelia French, Wall Tile #4, 2022
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Alana Wilson, Gestural Diptych (Ghost), 2022
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Alana Wilson, Sculls Diptych, 2022
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Alana Wilson, Gestural Triptych (Black Relief), 2022
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Alana Wilson, Gestural Triptych (Black), 2022
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Daegan Wells, Extract from the research project Local Makers (wall hanging) , 2022
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Daegan Wells, Extract from the research project Local Makers (weaving on pine block), 2022
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Daegan Wells, Component from the research project Bush Coat, 2020
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Daegan Wells, Extract from the research project Local Makers (frame) , 2022
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Emelia French, Wall Tile #3, 2022
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Emelia French, Wall Tile #1, 2022
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Outside In : Emelia French, Daegan Wells, Alana Wilson and Conor Jeory
Past viewing_room