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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
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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
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Herald, May, 1998. Glebe and The Inner
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1995. Imagine, SBS, March
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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.”