Jacqueline Spedding, Green Dreams, 2013. Photography by silversalt
Jacqueline Spedding, Passing Time, 2013. Photography by silversalt
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Jacqueline Spedding, Passing Time, 2013. Photography by silversalt
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MAKING GROUD, BMCC, 2013
Jacqueline Spedding, Green Dreams, 2013. Ceramic, house bricks, dried plants.
Jacqueline Spedding, Passing Time, 2013. Ceramic, found tools, dried plants, wax and gauze.
Jacqueline Spedding, Graft, 2013. Found tools, dried plants, wax and gauze.
Making Ground, Blue Mountains City Art Gallery, 23 Aug – 6 Oct, 2013
For Making Ground I combined dried plants gathered from my immediate environment – roadside weeds and domestic plants - with found tools and ceramic objects created in my studio. Using a mould of a simple domestic pot with organic material mixed into the clay, each pot is unique. The organic material breaks down the form during firing leaving traces of the plants embedded in the clay. For 'Green Dreams' the pots were overlaid with prints taken from colonial surveys of the area, showing streets and plots of land. By layering the maps onto the textured surfaces, the pots become abstract landscapes. The forms embody presence and absence; as objects they hold traces of plant life yet as forms they are ‘empty’.
Review by Caterina Leone for the Australian Ceramics Association here.
Jacqueline Spedding, Passing Time, 2013. Ceramic, found tools, dried plants, wax and gauze.
Jacqueline Spedding, Graft, 2013. Found tools, dried plants, wax and gauze.
Making Ground, Blue Mountains City Art Gallery, 23 Aug – 6 Oct, 2013
For Making Ground I combined dried plants gathered from my immediate environment – roadside weeds and domestic plants - with found tools and ceramic objects created in my studio. Using a mould of a simple domestic pot with organic material mixed into the clay, each pot is unique. The organic material breaks down the form during firing leaving traces of the plants embedded in the clay. For 'Green Dreams' the pots were overlaid with prints taken from colonial surveys of the area, showing streets and plots of land. By layering the maps onto the textured surfaces, the pots become abstract landscapes. The forms embody presence and absence; as objects they hold traces of plant life yet as forms they are ‘empty’.
Review by Caterina Leone for the Australian Ceramics Association here.