Although very different by way of practice, training and medium, the work from each of these creatives complements the other through the exploration of the tension of the push-and-pull of desire.
Ahead of the exhibition opening in our Fitzroy gallery on Thursday 15 September, we asked the artists to share their interpretation of theme and how it influenced their subsequent works. Dive in below!
And download the catalogue here to view all the artworks in this graceful and tactile collection, or step into the artist studios with curated playlists by Cribbin here, Maconachie here and Raglus here.
Desire explores minimalist aesthetics and the tension of desire. How did you approach the creation of your work for the exhibition with this in mind?
Bree: I began by listening to music and drew upon the emotions I was experiencing from a love affair. I read poetry by John O’Donoghue, wrote letters, sang and translated my dreams. All of this helped me to understand desire and channel it into the clay. I trusted that the pieces would arrive with a minimalist aesthetic as I was seeking balance and clarity.
Clementine: The principal behind my art practice is to turn something cold and flat by drawing from it softness and light. To achieve this is my ultimate desire.
Kasper: I like to think that my work is always evolving and I love finding ways to improve my technique but I also think working on an exhibition is a great way of making a group of paintings that are in some way connected to one theme.
Bree, you describe your practice as a spiritual experience, connected with your soul and the energies in and around you. Can you tell us a bit more about that?
Making these forms is one area of my practice that allows me to feel rather than think. I’ve always been sensitive to energy and clay has become a medium for me to process what I’m experiencing. I don’t make these forms often as it requires me to enter a trance-like state and forget about other life responsibilities. I think of it like playing a musical instrument or dancing freely, it’s not pre-meditated, it’s a sacred space that allows me to connect to my soul and spirit.
My art practice is actually quite varied and I only make these forms when I feel the calling or have been asked to by someone.
Kasper, you describe this collection as exploring romantic themes, and letting them dictate the structure and colour choices of the works. Can you tell us a bit more about that process, and how the themes manifest in your work?
My favourite thing about painting abstractly is that the meaning of the works can change for each individual person. I have always tried to capture certain romantic feelings that i think are ageless and will be apart of the human experience no matter what state the world is in, people will always fall in love with each other.
I really enjoy the challenge of bringing these thoughts and feelings into my work in the most minimal way i can.
When it comes to the process, these days I like to get painting on an idea as soon as possible so sometimes I will scribble down a sketch that is really rough but I will usually write down the colours I am thinking about. The sooner I can get started on the actual painting the more I think it’s connected to the initial thoughts I had. To me, these paintings always come out the best.
Clementine, your practice spans a broad range of sculptural mediums and aesthetics. What inspires this diversity?
I can’t help but be inspired by different materials and I love to try new things. I admire those artists who can focus on one series at a time, but that is not me. There is sometimes a plan but even with this it will often evolve and change as I make the piece!