Maddisen McLay
Willoughby Girls High School
THE AFTERMATH
Ceramics
Clay, engobe, copper oxide
My body of work represents eucalyptus trees that have faced the consequences of the brutality of Australia's deadly fires. I made tall ceramic abstracted tree-like forms to convey the shapes of Australian eucalyptus tree trunks and their distinctive colours. I examined the aftermath of a bush fire and its effects on Australian native trees through intricate detail in the imprinted surface textures, engobe and copper oxide. These hand-built structures illustrate the deadly nature of the bushfires and the ruthless effects that Australian fires can have on nature: taking away wildlife homes, one by one.
My artmaking practice has been influenced by the study and interpretation of the following artists: Kerryn Levy, Alice Ballard, Jonathan Yamakami.
Marker's Commentary
The Aftermath consists of a series of ceramic hand-built forms. The dominant vertical direction of this piece incorporates naturalistic compositional twists and turns that engage the audience immediately. The artwork is enhanced by an array of dry ceramic surfaces, with rubbed back patina. This treatment is informed by careful observation of organic decomposing surfaces. Connections to peeling bark, knotted branches and blackened scarified forms are evoked by ‘The Aftermath’. Using a highly assured coiling method, soft slab work and applied texture skins, the structural qualities of this piece are reminiscent of lifeless, destroyed landscapes. An array of oxide washes, perhaps manganese and copper plus naturalistically coloured engobes have been applied. Some pieces are more charred than others.
The body of work demonstrates a consistent and intentional approach to the forms within this artmaking practice. Sophisticated, confident sculptural forms are curated to nestle and dance with one another as a group, the smaller pieces framing the overall arrangement. The subtle title of the artwork allows concepts and connections to be unpacked by the audience, without being direct. An informed point of view is evident within this body of work, as links to the contemporary ceramic practice of Australian artist Kerryn Levy are evident. The influence of Arthur Boyd's landscape series can be noted in the dominant verticals and limited colour palette as well as Russell Drysdale’s stark blackened and apocalyptic compositions.