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Object and the Australia Council for the Arts commissioned an article representing Clay STATEments at Verge, article by Patsy Hely, July 2006.

Ceramics Art and Perception, September, 2005. (Text and Pictorial)

Object Magazine, September, 2005. (Text and Pictorial)

Ceramics Art and Perception, May, 2005. (Text and Pictorial)

Australian ceramics: Pottery in Australia, Vol.43 no.2, July, 2004 (Text and Pictorial)

Alice Springs News, Vol.10, issue 11, April, 2003

Pottery in Australia, Vol. 41, no.1, March, 2002

Village Voice, October, 2001

The Glebe and The Inner Western Weekly, October, 2001

The Sydney Morning Herald, October, 2001

Domain, The Sydney Morning Herald, 19th October, 2000

Pottery in Australia, Vol 39, no 3, September 2000

The Sydney Morning Herald, May, 1998.

Glebe and The Inner Western Weekly, May, 1998.

Village Voice, May, 1998.

Craft Arts International, no 34. August, 1995 (pictorial)

Sydney News, April, 1995.

Imagine, SBS, March 1995

Pottery in Australia, January, 1994, Vol 32 no4 summer.

The Sydney Morning Herald, June, 1993.

Pottery in Australia, January, 1992, Vol 31 no1 Autumn.

 

Light, space and texture has been an ongoing inspiration for Kirsty Walker, who only relatively recently became seduced by working with porcelain clay bodies. Her recent work is made up of translucent table lamps, along with delicate porcelain tile light boxes attached to the wall. The process of constructing the light boxes is one that Walker has been perfecting for over a year and is now satisfied with the result. In a trial and error process Walker relentlessly experimented with different methods of producing a porcelain tiles and constructing the box to produce a seamless effect. Each tile is hand rolled in order to create an uneven surface creating subtle contrasts in the tiles’ translucent quality. Walker carves each tile using wax resist, sponging the reverse side with trepidation as she goes in order to push the unevenness. She draws inspiration from domestic items such as wallpaper and fabric patterns as diverse as Persian carpets and Indian mandalas,. to 1960’s stripes and circles. Like her favourite artist Rosalie Gasgoigne, she is also inspired by nature. “Like beautiful fabric flowing in the wind, I’m interested in capturing the essence of this kind of movement with clay”, she says.

“Clay infuriates me to no end, I think I’m a frustrated jeweller or seamstress, although I can’t sew”. Although clay provides a source of infuriation Walker is drawn to its tactile qualities. Surface quality is a re-occurring theme in her work; instead of decorating with glaze, she stitches, pierces and carves they clay and incorporates mixed media. “Plant matter is layered over the top of the work, wire threaded through the clay and feathers create patterns when light falls across them – for me they act as a glaze,” she says. “My passion revolves around the sheer joy of cracking that bag of clay, kneading my fingers through it, the sensuality of the feel of the clay and the satisfaction of the making process – not the glaze and glazing.”

 

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