Interdisciplinary. Community. Advocacy. Humor.
Latest Activity: Apr 3, 2013
2 PIECE FIRE. Fire on organic form. Elegant, wispy and reaching flames.
Sandalwood – H 300mm x W 350mm. Photographer Victor France.
HIDDEN SPIRIT. Harsh winds leaving rippled patterns, revealing what lies beneath undulating dry land.
Sheoak – L 1500mm x H 750mm x W 560mm. Photographer Victor France.
Neil Turner Bunbury WA Australia
Storm Windows. Set of 4 x square format brooches, sterling silver (etched), 22k gold, stainless steel, 45mm x 45mm x 6mm. Photographer R.Ward
Storm Windows were produced during the peak of a rainy deluge as extensive weather systems swept our coastlines dumping record rainfalls. We felt diminished, cowering indoors, peering out the windows in awe. I considered the violent and eroding effects of these storms, both on my own psychological state as well as our built environment where roads and infrastructure disappeared alarmingly. However, the environment rapidly recovered due to it woven matrix of layers and sun was soon to shine. Human scratchings were exposed for what they were, reminding us that we are squatters on the surface of a much greater system and that natural order is our disorder.
Fire Stix Brooches. Fallen twigs, sterling silver, stainless steel. Each approx 52mm x 25mm x 11mm.
Firestix Brooches are a response to living in a tinderbox forest that without proper fire manage will happily facilitate a devastating wildfire or decay into a weedy mess unsuitable for koalas and other native fauna. Where open forest is a both a natural and cultural artifact, a product of 1000s of years indigenous management or Firestick farming as it is sometimes called, it is becoming apparent that it is not enough to simply leave nature be.
Rebecca Ward, Maleny QLD Australia
. Two Wild Rivers is part of a series of 3 works regarding the Gordon and Franklin Dams in Tasmania. The other 2 pieces are The Real Gordon Dam and Lake Peddar.
Adrian Potter Adelaide SA Australia
Summers Past. Porcelain, digital laser decals. 130 mm W x 190 mm Hx 40 m D. Photograph M Bosworth.
Living in a rainforest provides me with endless inspiration and this piece conveys the profusion of tropical growth in the overlay of images while many small details draw the eye in.
Multilayered surfaces are used to convey the narrative of seeds with layers of slips, prints, washes and glazes reflecting images of their place.
Mollie Bosworth Kuranda QLD Australia
detail of bunya cone, 2012, H 200 mm x W 180 mm, earthenware ceramics, oxides. Photographer Cathy Keys.
bunya nut, 2012, stoneware ceramics, oxides, L 400mm x W 240mm. Photographer Gary Mitchell
detail of bunya nut, 2012, earthenware ceramics, oxides. Photographer Cathy Keys
These works are concerned with the cultural significance of Bunya Pine Trees (Araucaria bidwillii) found at the Bunya Mountains, Australia.
Cathy Keys Bardon QLD Australia
To begin to understand the cultural significance of the Bunya, see Ross Annels' previous Crafthaus blog post Cant see the trees for the wood.
Banksia. Brooch, Sterling silver. W 70mm x H 25mm. Photographer Liljana Frey.
Oxidised Banksia. Brooch, Sterling silver. W 70mm x H 20mm. Photographer Liljana Frey.
The intricacy of a banksia pod is portrayed through individually domed, layered sections.
Simona Chytil Cooroy QLD Australia
Winter Fairy Wren bowl & Cuckoo Dove Vase, 2012, Bowl: H 50mm x W 60mm. Vase: H 80 mm x W 150mm. Porcelain, terra sigilata terracotta, glaze.
Shannon Garson's latest work articulates landscape using domestic pots as vessels for drawings about the strange beauty and wonder to be found in the marginalized eco-systems of the littoral zone. Details of shorelines, rock pools and coastal wallum scrub are revealed in the sgraffito and oxide drawings that crawl over the surface of these delicately thrown porcelain vessels.
Shannon Garson. Maleny QLD Australia.
The first European house at Alexandra Headlands, Queensland was occupied by William Pettigrew, sawmiller, surveyor, and shipowner. A second dwelling was occupied by his property manager John Potts, his family and the termites. Potts and family eventually moved into the main house in 1887. Pettigrew’s property was called Coolaluthin and the headland was refered to as Pott’s Point. From 1890 the dwellings were unoccupied and until 1908 were used occassionally as holiday shacks by the first “surfers”.Eventually the termites had the Coololuthin timbers to themselves again.
Looking for Dugong and The Point. Stoneware, 37cm high x 40cm wide. Photography Stephen Roberts.
A surfer can spend a lot of time on a headland. Watching waves and other surfers. Deciding where to go out. At those times I imagine I am there 100 years ago. I would fashion a board from a tree buttress and be the only one out! But then again, if I were there 100 years ago, I would be looking for Dugong with my friends.
Stephen Roberts Palmwoods QLD Australia
About the Curator
Ross Annels is a studio artist/furniture maker based on the Sunshine Coast in Australia. Ross has exhibited, presented and taught in Australia and internationally, and his work is featured in publications including Art Monthly Australia, Australian Wood Review, 500 Chairs and 500 Cabinets. With his partner Dr Tamsin Kerr he has established The Cooroora Institute which brings together artists and artisans with public intellectuals to celebrate, promote and discuss community connectedness to place and environment. Their major project for the next year is The Currency of Birdsong.