A selection of jewellery works by Rebecca Ward from Swamp Cartography are on display at The Brisbane Institute of Art until 11 October.
Gallery 9.30am to 4.00pm, Monday to Saturday, from Saturday 1 to Tuesday 11 October; closed on Sundays
The book of the project is now available to purchase online. I'd like to say that each purchase comes with one of Shannon's gorgeous scribbly gum yunomis (cups) but I'm afraid you will need to purchase these separately!
We asked Tamsin to write an essay for us after the inspiring speech she gave at the opening of Swamp Cartography earlier this year in Gympie which seemed to capture exactly what we were trying to convey. It was rewarding to hear our intentions so clearly articulated in Tamsin's prose and follow the threads of her research. That she has put our work into a broader context of women artists working in the wallum and with environmental themes was most gratifying to us!
Event: Swamp Cartography: notes in sliver and clay.
Exhibition and sale of jewellery and porcelain artworks.
Venue: Richard Randall Art Studio, Brisbane Botanic Gardens, Mount Coot-tha
Date: Saturday 17 September and Sunday 18 September 2011
Time: 10am – 4pm each day
The Botanic Gardens, Mount Coot-tha provides a perfect venue to appreciate Rebecca Ward and Shannon Garson’s Swamp Cartography before it travels to future venues in Queensland and the ACT.

Brisbane
September 17th and 18th 2011
9am-5pm
Richard Randall Studio,
Mt Cootha Botanical Gardens, Brisbane
Redcliffe
1 - 25 February 2012
Redcliffe City Art Gallery
470 - 476 Oxley Ave
Redcliffe
Noosa
10 May-24th June 2012
Noosa Regional Gallery
Pelican St, Level 1 Riverside, Tewantin
Canberra
July- August 2012
Australian National Botanic Gardens,
Clunies Ross St. Acton ACT

and the scribbly gums had just shed their scrolls of writings on the past season of inundations.
The pouched coral fern was thick and scratchy and I was able to get some new photos for etching.
We stopped to take photos of this beautiful barn. The crossroads were deserted, all we could hear was the wind in the grass and we were surrounded by the sweet, spicy smell of the afternoon sun on the fields.

For the exhibition we borrowed an old cedar table from a friend and set up a "collectors table" with all our tools and impressions laid out.



Exhibition design has never been my strong point and mostly I just opt for white plinths deluding myself that they somehow appear "Classic". We had a very fruitful visit last weekend from Australian ceramicist and teacher Janet de Boos (this doesn't really describe her fabulousness as a supporter and encourager and inspirer of literally hundreds of students, artists and teachers over the past decades) who gently but insistently prodded us into the uncomfortable process of examining our assumptions. This is a process that is totally absent from the everyday studio practice. Compared to my own very gentle examining of my aesthetic motivations Janet's was positively brutal! It was worth enduring the discomfort as Janet's questions forced me to think carefully about every aspect of the exhibition space, how to make it dynamic and how to pare down the ideas until every aspect of the space is resolved so the exhibition becomes an experience drawing the audience into the beauty and isolation of the wallum. This process is so valuable it is worth enduring the discomfort and the exhibition will be a cracker with not a white plinth in sight!

Torrential rain and flash flooding. People are advised to take shelter.
Scattered showers.