Materiality

First day at Canberra Glassworks I was very nervous. I had to work with glassblower Annette Blair to make the "swamp bubbles" for the Swamp Cartography exhibition. I've never worked with glass before and, as I labored over my sketchbook only to produce some very basic drawings I realize how much I rely on touching my materials to make my work. I make thousands of little decisions when I'm making, from the very moment I cut the bag of clay open right up until deciding how slowly to dry the piece out I'm tweaking and adjusting to what the materials are telling me they can do. Designing a piece in a hands off way is a totally different mindset.
I'm so used to working in contact with the materials that in some ways I can't even tell what the piece is like until I touch it. You see this in crafts of all types from the way bakers touch the dough through to the way mechanics cradle engine parts in their hands. The touch is what's telling them about the object. Entering a process where there is no touch literally felt like being blind, weirdly panicky and uncertain.
But...Annette did a fabulous job. It turned out that we liked the same colours and when I said "Brownish /purple" she really knew what I meant. This was instantly reassuring! Here is what she blew...swamp bubbles
Aren't they beautiful?

Early showings...

I have some early swamp cartography pieces in a Redlands group jewellery/metal show coming up soon and also a piece selected for the Waterhouse Natural History Art prize in South Australia.

I am currently taking some time to concentrate on new work for the project. It is proving to be a difficult labour but I'm hoping for a breakthrough this week!

Growing things

Shannon is correct in saying that art like Wallum takes a long time to grow. Of course there is some that obligingly pops up like mushrooms overnight, but this is definitely not of the fungi variety. Maybe I am using the wrong fertiliser. I won't go into what makes mushrooms grow so well under commercial conditions but I'm sure you are all familiar with the substance.

I guess if these were any kind of fungi, these would be the tiny wild ones that may or may not pop up under decaying leaves and branches by their own unfathomable whim. Which leads me to suspect I have been inadvertently clever in not tidying up the rich litter layer that is my bench as it has finally produced some results.

Shannon' hands scratching back the resist to reveal beautiful leptospermum flowers drawn from photos.

These delicate little leptospermum flowers scratched into ashphaltum coated silver plate by Shannon have been sitting on my bench mocking me for months, too precious to commit to. Visitors say 'what are you going to do with those?' I mutter expletives under my breath. But now I have a much more polite answer.
I think patience is a great virtue and one that is good to have when dealing with acid. Like gloves. They were etched very slowly over days in a very weak brew of nitric acid so the detail is superb even though the etch is shallow. I'm thinking of starting the slow etch movement. I'm sure it will make my practice even more lucrative and in this age of conservation it is probably time to start dissolving precious metals alot more slowly.

So after procrastinating for ages, I cut them out, soldered posts on the back, drilled some holes and made this necklace. It is very simple. Why I couldn't do that earlier I will never understand.

Wild and Secretive

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Originally uploaded by shannongarson

The process of making new art takes almost as long as the process of growing a flower. This is the second generation of the leptopspermums. The surface is very intriguing as the scratchy drawing is inlaid into the surface of the form and the veil of shiny glaze raindrops overlays the form. I'm playing with the idea of the surface of a ceramic piece being so absolute. The glaze drops reflect the light drawing the surrounding environment into the form and the most satisfying interaction of all is picking up these vessels the smoothroughshinysmoothscratchy-ness.

The wallum is a wild, secretive environment, full of detail and wonder I think pieces of work that capture the wallum should try to capture this.

Tips for fungi hunting.........

Tips for fungi hunting.........
Start in Autumn, after rain

Keep your knees bent and centre of gravity low (this is also a good tip for hip-hop dancing should you ever want to rap about fungi with the guys in da 'hood)
Get your "fungi eyes" on. Once you start seeing them you'll see them everywhere.
Look around the roots of trees, on rotting stumps and under ferns..fungi pop up in the strangest places.
Expect weird and unusual shapes and beautiful colours.
These fungi are all from Stradbroke Island and the process of fungi hunting became totally addictive, the variety of these wonderful organisms is fascinating. The fungi we see aboveground is often only 10% of the entire organism. Fungi have no chlorophyll and feed by producing enzymes underground that break down complex molecules found in organic matter. As they exhaust the food supply the underground mycelium move further out. The actual fungi is the fruiting body of the organism known as the sporocarp, it's purpose is to disperse the microscopic spores which get carried by the wind far and wide to produce a new web of mycelium that will erupt with a sporocarp when the conditions are right. There are so many interesting fungi facts for instance :"All fungi need existing organic matter for their food. A fungus that feeds on dead organic matter is called a saprotroph and one that feeds on living organisms is a parasite. While there are species that are always parasitic and others that are always saprotrophic there are also those which may feed on either live or dead organic matter and so change from parasitic to saprotrophic behaviour (or vice versa), depending on what food sources are available. " Read more about fungi here.

3 Brooches

Fresh from the jewellers bench: 3 etched silver and gold brooches. These are the forerunners of a larger series for Swamp Cartography.

Each has a portal of sorts to take you under the surface or deeper into the landscape.

Storm Brooch - front and back

Brushbox Brooch

Hakea Brooch

Thirst

I'm working on the scribbly gum for the wallum project. Rebecca made me some metal plates etched with impressions taken from out photos of the wallum. After the yunomi were thrown I re-dampened them by the highly technical process of putting them in a plastic box with a wet plaster slab in the bottom of it overnight and then used the rounded end of a rolling pin to press the bases of the yunomi onto the etchings from the inside.
These are the second incarnation of this design and the third incarnation will be pared back further. I'll keep going until the pure essence of the bush is distilled into the drawing. Until picking up these yunomi captures first the smoky rays of sun touching the tops of the eucalyptus, the cool damp smell of the dew and the "wheeeeeeee- CRACK" of the whip bird's call.
As tea drinking vessels these pots will be handled a lot. From the setting of the table through to the washing up a drinking vessel constantly interacts with the body and brain of the user. It needs to be stimulating yet calming. Sometimes I feel like having a cup of tea is a tiny island of calm in the midst of a chaotic world. It is really important to me that the drinking vessel is the focus of this expanding circle of calm, yet leads the mind to wander in a creative direction. Having a cup of tea is not just for quenching physical thirst.