Oh dear readers, it has been a marvellously convoluted life that I’ve been living over the last month or more … so much so that it was only possible to visit ‘5×7: early career Australian makers‘ at Gallery Funaki on its last day.
For that I most sincerely beg forgiveness … though I anticipate that many of you have visited yourself, and if not I hope you’ve been watching the online pictures.
photograph taken with explicit gallery permission ; Lindy
Makers invited to exhibit are:
photograph taken with explicit gallery permission ; Marcos (left) and Zoe (right)
I’ve been a long-time sincere admirer of Inari’s work – you may never, or perhaps only rarely, see work with such genuine spirit; or an artist with such a bright internal fire and need to create. The earrings and brooch in this collection were standouts for me; their darkness and surface finish is incredibly ethereal, though somehow broodingly standoffish at the same time. The little aluminium pin was a delight too. And while I admit to being troubled by not being able to hear what the larger scale sculptures were saying, I cannot help but be impressed by their scale and confidence.
I’ve also been a long-time supporter of, and interlocutor with, Zoe – her work is full of words and I freakin’ love words. I’m brutally self-critical and open about my struggle with humour and irreverence in jewellery, as I am far too much of a rigid traditionalist regarding the preciousness of adornment … though I like to think that I’m lightening up a little through exposure to work like Zoe’s (the earrings she’s making for the current Bilk exhibition are fantastic fun – see!). I have such respect for her work, her ethic, her enthusiasm in encouraging other makers, and truly wish I had her approach to making. I actually had a bit of a senior moment, when I initially misread the ‘GO ON’ pendant as ‘GOON’ … ah, showing my Queensland university days there.
photograph taken with explicit gallery permission ; Inari (left) and Annie (right)
In all her previous graduate exhibitions (that I’ve been able to visit) I’ve called out Lindy’s work as exceptional – I do really respond to her vessels’ shapes, and the black is the blackest black I’ve seen in a very long time (it must take her so much preparation and intense care to create). If I hadn’t blown my budget on my recent Norwegian adventures, I may have brought one home with me – though the ones I responded to most had already been bought (which is so super for them and Lindy, not so much for me).
Annie’s work felt a little different to the other makers, though I couldn’t quite put my finger on why … perhaps it was due to the colours, with these pieces being pale blue and pinks, and the other work in the show being quite monochromatic and/or low/subdued colouring. Sadly I have quite an aversion to pastels – completely not the fault of the maker of course, all my own fault!
The collection of pendants by Marcos was a revelation. It shouldn’t have been of course, as I’ve seen his work in many graduate and other shows … but it seems this particular group really called out to my attentions. I was speaking with another maker recently, and they made a great observation that I agree with (but cannot claim as my own) : he makes perspex look like it’s not perspex. It can really be a tricky material, though in his hands it’s transformed and given a delicious matt finish. How he put the colours into the holes in the material is beyond me! I spent ages, along with today’s most excellent gallery attendant, trying to figure how how he did it … part of me really really seriously wants to know, but I rather enjoy the mystery of not knowing too.
Warmest congratulations to the makers for being invited … by the best contemporary jewellery gallery in the universe no less(!) … to exhibit in this group show. I look forward to seeing how their work develops over the coming years.
‘5×7: early career Australian makers‘ was at Gallery Funaki until 14th May 2016.
ps. a note on photography: there was a sign asking for no photographs; this is the first time I’ve seen this at Funaki though it is of course understandable; the above photographs were taken with explicit gallery permission