artist

Limited edition giclee print by Madeleine Stamer

Three incredibly talented Melbourne girls have joined forces to bring us the upcoming "Three of a Kind" exhibition. We are thrilled to be supporting this show, and will be bringing you artist interviews as well as pics from the opening night, which will be at
Lab X Gallery on Friday 20th November 2009, from 6-8pm.

Madeleine Stamer (of Little Circus Design), Irene Grishin-Selzer (of Iggy & Lou Lou) and Beci Orpin (of Beci Orpin & Tiny Mammoth) are the 'artists three' and they've launched a pop-up blog at http://threeofakind09.blogspot.com to cover the exhibition!

We've asked each artist a series of questions about the show, and first up is Madeleine! Her artworks are just beautiful, with fluid graphic and illustrative elements. I think people feel a strong connection to her work as it seems very personal. Each image tells a story, with inspiration drawn from the characters & creatures from her childhood, natural history, Mexicana, folk art, vintage prints & patterns.

Madeleine has taken a little time off from exhibition preparations to tell us about the show, and working with Irene & Beci...

MS I will proudly boast that I am Irene's biggest and most loyal fan and I've been smitten with Beci's work ever since I laid eyes on her iconic Sad Tooth image. As it happens, we are all quite fond of each other’s art and we have a stack in common both personally and professionally. Beci and I are both proud mothers of two children and Irene is expecting her first bubba early next year! It was only a matter of time before the three of us made contact and decided to exhibit together. Beci and I belong to the same illustration agency (The Jacky Winter Group) and Irene and I had an already established friendship. Irene and I have been pals for nearly 10 years. We met while we were both doing our Masters at Monash University. We shared an idyllic studio space with an amazing view of the city. Irene and I happily chatted away the days as we worked on our ceramics. Our friendship grew and grew and our respective partners also became buddies. Our hubbys share similar interests such as their love of old Mini cars and other boy stuff. Irene and I have been planning to exhibit together for many years. 2009 was the year to get our bums into action. We decided to invite Beci on a whim. Luckily for us she willingly accepted and the two of us became 'three of a kind' over night!

Limited edition giclee print by Madeleine Stamer

I What makes you 'three of a kind'? The motivations behind your works, your techniques & approach or the themes that run through the artworks, or a little of each?

MS Our three of a kind theme is multi-faceted. Broadly speaking it covers our fond admiration for each other's personal style and shared interests. The three of us have a similar work aesthetic and we are motivated by similar medium choices and inspiration. Our work often possesses folk traditions and like-minded ideas injected with a humorous yet dark edge. Building up to the show we have maintained tight communication with one another via email and we have been privy to digital images of each other's work that we are including in the show. Obviously we haven't seen absolutely every piece of work but we trust each other completely. I personally can't wait to see how it will all come together.

"Bird on a Cross" Limited edition giclee print by Madeleine Stamer (AU $150 A3 size or $330 56x76cm)

I What led you down this career path?

MS I chose to pursue illustration because I simply adore the drawing process. I have two small children and limited studio space plus I sold my kiln so illustrating became a very appealing career choice. I’m also a part time art teacher so luckily I have access to a kiln. I still love working with clay and I regularly get the students involved with clay-based projects.

The Blackeyed Susans "Reveal Yourself" Album cover by Madeleine Stamer

I What do you love most about being an artist/designer?

MS Luckily for me I have the regularity of a good part time teaching job but I also love the thrill of being involved in freelance opportunities and agency work. You never know what is around the corner and there are so many wonderful opportunities to become involved in. Obviously my illustration work is sporadic but somehow it all comes together. I push myself to be ultra organized and communicative otherwise opportunities fall by the wayside. I also have a very loving and supportive husband who encourages me to keep moving! When I’m not teaching and if I don’t have any deadlines I squeeze in my personal art such as the work that I have compiled specifically for the three of a kind show. Being able to combine so much of what I love makes me a happy person, but it takes hard work and determination particularly when you have kids.

Illustration by Madeleine Stamer

I Does living in Melbourne influence your artwork?

MS Unknowingly I think it has an intrinsic connection to my work. My environment and experiences influence my work a great deal. My art often references fond childhood experiences and interesting encounters. I lived near Dampier Creek in Mount Waverley. In the 70's, Mount Waverley was semi-rural! Milk was delivered by horse and cart (now I'm really showing my age!) Most geographical areas have a personality, Melbourne certainly has great characteristics and I love it very much!

I What is the focus of your work for the Three Of A Kind exhibition?

MS 2D work, large-scale giclee prints and I have designed some limited edition birdie mobiles made of laser-cut acrylic. The themes vary, but as usual most images include a bird and a little touch of Australiana.

Limited edition giclee print by Madeleine Stamer

I What do you love most about the work of the other two girls?

MS Their originality and the personality that shines through their work.

Thanks so much, Madeleine for sharing a piece of the Little Circus world with us, and best wishes to all three artists for the show! It will be a special one...

You can see more of Madeleine's work at Little Circus Design, or revisit our previous posts about her work: 20.12.2007 "feature artist: madeleine stamer" and 15.4.2007 "run away with little circus". If you're in Melbourne, make sure to visit the Three Of A Kind blog and of course, the show!

The exhibition opens at Lab X on Friday 20th November 2009, from 6-8pm, and continues until November 29.

Lab X
40 Pakington St, St Kilda, 3182.
ph. 03 9534 8838
Gallery hours are 8.30am to 6pm Monday to Friday.

"Hello Owl" by Kareena Zerefos.

Kareena Zerefos is an incredibly talented artist & illustrator from Sydney. She has exhibited in a number of group shows this year, and her work has been appearing all over the place! She is responsible for the stunning artwork on the Sparkadia album covers, and many of you would have seen her work featured throughout Yen Magazine's Issue 31. (We also mentioned Kareena's work when we posted about the Grrrls exhibition at aMBUSH Gallery in February.) Kareena's first solo show opens next week, and she has taken a little time out from drawing to answer some of our questions, so read on!

MTV Gallery flyer - an exhibition of illustrative works by Kareena Zerefos.

I 1. Firstly, congratulations on your first solo exhibition! How are you feeling about the show?

KZ Thank you! Very excited and extremely nervous, I’m just not sure what to expect. I kind of feel like a teenager putting on a party, I’m like 'will anyone show up?' and 'how do I get enough drinks?'. More seriously, I'm pretty happy with my new pieces and its going to be great seeing peoples responses to them.

Sparkadia Animals album cover by Kareena Zerefos.

I 2. I'm sure many of our readers would absolutely love to earn a living as an artist/illustrator. What path did you follow to get to this point your career?

KZ I always wanted to be an artist, but never thought I'd be able to make a living from it, so I took design at the College of Fine Arts – I thought being a designer seemed more viable. Then I worked as a graphic designer, and dabbled in web design, while I continued to draw and develop my style on the side. It's only been the last few months that I've been lucky enough to be able to drop the job, with enough freelance and commission work to keep me fed and the bills paid.

"His Name Was Sebastien" by Kareena Zerefos.

I 3. Do you think it's a difficult industry in which to carve your own niche, or do you find that agents/galleries/publications are receptive to new talent & ideas?

KZ It is a difficult industry, but I think if you just go with your own ideas and style and really put it out there, you then find that people are always looking for someone fresh.

"Hot Air Balloon" by Kareena Zerefos.

I 4. You have a drawing style that I personally adore, and it is quite recognisable. Have you always used this approach, or did you develop this style through experimentation over time?

KZ My style has very much evolved, and it still is evolving. I originally worked in a way that was based on graphic design techniques and was often finishing my pieces off digitally... but I then found that I wanted my pieces to stay away from the computer, so I started working with different media – particularly letraset, ink and even tea, as well as my favourite pencils, gouache and felt tips.

"Bumblebee Girl" by Kareena Zerefos for the Jeremyville Sketchel project.

I 5. How did you find exhibiting earlier this year in the Grrrls group exhibition (aMBUSH Gallery, Waterloo)?

KZ It was great to exhibit along side so many fabulous female artists. Our styles, materials and techniques were all so varied, but it came together really well.

"Girl with Mouse" by Kareena Zerefos.

I 6. Have you been to any recent exhibitions that you've just loved?

KZ To be honest, I feel like I haven't left my studio for a long time now. So the last show I went to that I loved was Kids Today at MTV.

"Portrait" and "Little Boy Daydreaming" by Kareena Zerefos.

I 7. From what I've seen, your artworks seem to be based on very personal themes. Your approach seems subtle & emotional. What inspires you to create these works?

KZ I work with themes of isolation and escapism – I guess essentially this is inspired by living in my own little dream world, and that feeling of loneliness and the desire to be somewhere else, that a lot of people relate to. I mostly use images of children and their imaginations to depict this, and look at old photographs, film and children’s books to draw inspiration.

"Across the Board" and "Element Bluebird" by Kareena Zerefos.

I 8. Do you have any favourites, or new works you’re particularly excited about?

KZ I'm excited about quite a few of my new pieces, I've been drawing quite a few pictures of children with their animal friends and have also done a series of bumblebee children, which have a really nice bittersweet feeling about them.

Sparkadia Postcards album cover by Kareena Zerefos.

I 9. Do you like to collaborate with visual artists & other creatives? (I love the new Sparkadia album cover – how did this come about?)

KZ I do! I've recently collaborated with fashion designers, eve and sera from sewn, creating a delicate repeat pattern for their next spring/summer range; as well as sparkadia, with their album, singles and ep artwork; and I just finished up some pieces yesterday working with the mambo goddess designers.

... and thank you! I met Alex years ago at a BBQ and have worked with the band ever since; the Lion illustration came about after Alex and I discussed 'Sparkadia' as being a place or another fantasy world and the lion is the king of the jungle. It is also a reference to the last track on the album, Sleeping Lion, which is one of my favourites.

Kareena Zerefos web site screenshot.

I 10. Do people discover your artworks through your web site (www.kareenazerefos.com) & online "Corner Store", or do you see the site as a resource for people who already know & love your work?

KZ I'd like to think that its for both, I try to keep my site updated with new work and a bit of a news blog so people can come back and see what has been happening.

"They Defeat The Mean Giants" by Kareena Zerefos.

I 11. What are some of your career highlights so far?

KZ This year has been quite exciting in terms of 'highlights' - I quit my job to be an artist full time; I've exhibited work amongst amazing local and international artists at Curvy, Kids Today and Grrrls; and I have just over a week left until my first solo show!

Exhibition of artwork by Kareena Zerefos.

I 12. Where are you headed artistically in the future?

KZ Doing more of what I'm doing now, continuing to develop my style and hopefully have solo shows in other cities later in the year.

Kareena Zerefos.

I Thank you so much Kareena, and all the best for the exhibition next week - I'm really looking forward to the opening night! For those of you in Sydney, get along to MTV Gallery in East Sydney (4-16 Yurong St) on Tuesday night, 3.6.2008! The opening is from 6pm - 9pm, and there will be an acoustic performance by Alex Burnett from Sparkadia. If you can't make it to the opening, the exhibition continues until 10.6.2008.

"birds are both beautiful and fascinating" by Madeleine Stamer of Little Circus Design

indie art & design first featured the work of Madeleine Stamer back in February 2007 - almost a year ago now! Since that time, Madeleine has created many gorgeous new works and has also joined The Jacky Winter Group. With the Group exhibition on in Melbourne tonight, we wanted to revisit the work of this inspiring artist & delve a little deeper into her motivations and creative process.

Madeleine's work is strikingly beautiful. Her line work is bold & fluid. The shape of her subjects has been simplified, yet within the lines, the characters are richly adorned with symbolic designs. To learn more about her unique style, we asked a few questions...

I For many of your works, you use either black & white, or a limited colour palette consisting of reds, pinks & yellows. These colours create a beautiful aesthetic... How do you choose your colours & what do they signify in the artworks?

MS Over the years, I have modified and refined the use of colour. This has been a challenge for me, as I love going berserk with it! I would use colour indiscriminately, kind of like when a child draws an outline and picks the 'right' colour to fill the space, it was always a random choice and my reasoning would be 'what ever felt right at the time' sort of mentality. Now I put more thought and effort into my colour choice, which I guess, isn't as spontaneous.

I love using a monochromatic palette and creating basic black & white images. The two techniques are quite separate. When I use colour I tend to be more unplanned and unscripted. The result is often more painterly, decorative and busy. The colour choice is often symbolic to the subject matter; the two go hand in hand. My black and white images allow me to have more control over my work. I like the primitive and simplistic nature of bold organic line. When I limit myself to a black and white palette, the process appears simple and less decorative yet it is very time consuming because I aim to be neat and thorough. I am dead keen to start a series of drawings limiting myself to blues and a yellow series too. Finding the time is the biggest challenge!

"i*heart*you" by Madeleine Stamer of Little Circus Design

I What have been your biggest influences over the years & how have you developed your unique style of painting?

MS There are so many influences which fall into many categories. Nature, natural history, mythology, graffiti, Aboriginal art, European folk art, vintage toys and the decorative arts all play a big role. I love a bit of kitsch too, I guess the most significant artistic influences for my colour and line choice would be Picasso and Chagall. Culturally I am a sucker for folk art, particularly Mexican ceramics and traditional Mexican decoration and religious iconography. The Mexican culture has an instinctive way of including vibrant colour and mixing surreal elements in everyday life, it is a sensory delight!

It's not all sweet and saccharine, my influences are wide and varied and I love badass, lowbrow art too. Artists such as Mark Ryden depict the mysterious darker side of life, his work is amazing.

Painting/drawing has always been second nature to me and has developed instinctively. I have never considered myself a particularly strong drawer, however, I love every aspect of the painting/drawing process. Compared to ceramics, you are guaranteed a relatively risk free outcome. Working with clay you are up against so many odds. A lecturer once insultingly compared my style to that of 'cake decoration' which I thought was a laugh and probably an accurate description! My background is in ceramics, so when I would design a piece I'd always draw a detailed image representing the 3D form. My ceramic pieces were at times more of a sculptural palette for my drawings, heavily decorative and patterned hence the cake decoration comment...

I draw the way I do because I'm inspired to create from the heart with a little injection of humor (as trite as it sounds) but that's how it happens for me. This attitude gets me in trouble sometimes as I wear my heart on my sleeve!

"the second month" by Madeleine Stamer of Little Circus Design

I Are the skeleton shapes within your living forms about the physicality of being alive (& how it feels to interact with nature), or the inevitability of death & how the body will continue in the cycle of the natural world..., or something else again?

MS All of the above and more! The skeleton characters are inspired by my fascination with mythology, natural history and interest in Dia de los Muertos (The Day of the Dead). The Mexican culture has an irreverent way of dealing with life, death and grieving. The attitude towards such inevitable events are dealt with in a deeply spiritual, joyful and playful manner, something Western culture should adopt more often. Calaveras (skulls) and skeletons represent passed loved ones and commemorate the souls of the dead.
I have always had an affiliation with Mexican art and craft. As a child, my Mother decorated the home with hand made Mexican ornaments which I loved. When my Father passed away, I began using skeleton imagery increasingly in my work to celebrate his posthumous journey and to represent his spiritual presence. My skeleton characters always signify someone special, be it person, bird or beast.

"29200" by Madeleine Stamer of Little Circus Design

I You obviously have an affinity with the nature - the people you depict are very much a part of it too. Is this a reflection of the way in which you view the world, or are your images more from a dream world?

MA A combination of both. I had an idealistic childhood; my parents worked hard yet prioritized family life. I am the youngest of five and I am very close to my siblings and adore my parents. We were never spoilt but we were privileged in the sense that my parents invested so much time and love with all of us. My Father instilled a love and respect for nature in me and both parents always encouraged my love of art. I have always had a vivid imagination and a yearning to daydream which is something my parents also encouraged. Such imagination and naivety led me to believe that Father Christmas, the Easter Bunny, Gnomes and other phantasmagoric creatures were real even as a (early) teenager! My images contain anecdotes from life, often spiced up with a dream snippet or two. In a perfect world I’d be surrounded by animals and family living harmoniously in a magical realm. This is easier to make happen with art.

"worth the wait" by Madeleine Stamer of Little Circus Design

I One recurrent theme in your artworks seems to be family relationships - has becoming a mother influenced your choice of subject matter or the way in which you depict relationships?

MS Becoming a mother and being married to a very supportive husband has certainly cemented and validated the use of such imagery. Being brought up Catholic I have always had a fascination with the symbolism of Madonna and child, angels and devils and a healthy balance of good versus bad. When I create a mother and child scenario, it represents various relationships such as me with my daughter, or my mother or an ode to motherhood/parenthood in general.

Many of my drawings make strong reference to an experience or contain sentimental significance. 'The Second Month' and '29200' are dedicated to my Father. He passed away on February 29 2000, a very unusual and tricky date to commemorate being a leap year. Although my art is very personal, I welcome people to interpret their own special meaning. It is not exclusively intended for my eyes only. The physical making of the work is a cathartic process which is very rewarding. I am not sentimental to the extent that I don't want to share the true meaning and symbolic gesture of the work with outsiders. So many people share similar experiences in life. My work is intended to be joyful and enjoyed by many.

"the happy warbler" by Madeleine Stamer of Little Circus Design

'The Happy Warbler' is another work that depicts fond childhood memories infused with anecdotal reference. The image is of a canary in skeleton form. We always had canaries growing up and one of my favorite movies was 'Birdy'. Such beautiful looking creatures with the song of an angel. The title is also inspired by something an old gentleman said who lives around the corner from us. He explained that the local wild rabbit that has survived on its own for several years, was left behind by a family when they sold their home. He refers to the rabbit as 'the happy wanderer'. This is a true story! It has befriended neighborhood cats and they sit side by side in alliance on the driveways (I've seen this with my own eyes!) It lives under houses and is fed by the locals who throw carrots to it. I haven't seen the rabbit for a couple of months but apparently it is doing fine…

"fierce protectors" by Madeleine Stamer of Little Circus Design

I I love the new works you've added to your web site! Is there a particular focus you're working on at the moment?

MS 'fierce protectors' and 'wake up sleepy' are the first in an ongoing series of work dedicated to my imaginative little characters affectionately called bird buddy worms. Birds are an important aspect of my work and they are a reoccurring theme, birds symbolise and represent many facets of my personal life. I have introduced the fierce looking worm buddys who guard and protect the birds against oncoming harm. Unlikely guardian angels perhaps...

In a nutshell: These chubby, slow floating and loyal creatures with sharp teeth blow vaporous bubbles in the direction of nasty beasts which threaten the idealistic existence of birds. The attackers are met with a cocktail of gaseous wafts which inflict short term paralysis. They are often caught in their own back fire thus falling prey to their assault. Fortunately the experience is short, sweet and strangely pleasant with no documented side effects if it entails a soft landing.

"wake up sleepy" by Madeleine Stamer of Little Circus Design

There is an unwritten law within the bird world that no worm shall ever be pecked, scratched or harassed and nest sharing is encouraged. Empty and used egg shells may be given as treats. Sounds strange but I enjoy working on these kooky little chums!

I How did you come to be a part of the Jacky Winter Group, and which of your works will be on show at the Group exhibition?

MS In 2007, I was privileged to become part of The Jacky Winter Group. The agency was established by Jeremy Wortsman, a truly lovely person dedicated and passionate about contemporary Australian illustration. He currently represents 24 amazing Australian artists all with unique and varied styles. I feel very humbled to graze in such pastures and pinch myself every so often to remind myself of my good fortune. I think all my planets were aligned the day I emailed Jeremy my portfolio. He had come across some of my images along the way and he was keen to meet up and view my work in the flesh. The moment I met Jeremy I sensed his genuine interest and enthusiasm. He refers to the other artists in the agency with such respect, passion and pride.

The Jacky Winter Group is named after a native Australian Robin that shares the same initials with Jeremy. This instantly hit a soft spot with me due to my fondness of all things feathered. The agency is having its launch December 20-21 at The Carlton Hotel Gallery in Melbourne. Each artist from the agency will display a small selection of work spread across nine rooms. I have 2 pieces available as 100 x 120cm limited edition photographic C type prints. One is 'Birds are both beautiful and fascinating' (pictured at top) and a new image titled '3'. It will be a grand celebration to end a momentous year.

"3" by Madeleine Stamer of Little Circus Design

I Thank you Madeleine, for this wonderful insight into your artworks & creative process! To see more of Madeleine's work, visit the Little Circus Design web site - Limited edition giclee prints and selected original paintings are also available to purchase. Best wishes to all the artists exhibiting with The Jacky Winter Group tonight :)

These incredibly beautiful artworks are by Adelaide-based illustrator & designer Fontaine Anderson. The images pictured here will be for sale as prints at The Jacky Winter Group exhibition tonight (20th December 2007)!
If you could bring yourself to part with one of these, it's just in time for Christmas and would make a very special gift... Pictured above is "Pharaoh Sleeves #2", which shows beautifully the intricate & delicate style of Fontaine's recent work.

"Untitled", (pictured above) is the illustration Fontaine created for her chapter in "Common City Birds, The Jacky Winter Group Field Guide". She is one of a handful of talented Australian illustrators represented by the agency.

Fontaine graduated from an honours degree in Visual Communications at the University of South Australia in 2004 and since then has worked as a graphic designer and freelance illustrator. In 2006 she undertook and intensive illustration summer school at Parsons The New School of Design in New York and during this time she developed her illustration style using ink and soft colour washes. I really love the effect she achieves through her limited use of colour. Fontaine's distinctive dashed linework seems to interact with the colour washes creating unique & beautiful textures. One work that you might recognise is "Be-Fri" (pictured below) which was created for a promotion by Adelaide boutique Irving Baby.

Fontaine is inspired by fashion and loves the drama and elegance of elaborate robes and costumes - something that can clearly be seen in the work featured here! She is also a lover of nature and ancient history and uses motifs from ancient Egypt and Africa in her illustrations. The appropriately titled "Aztec Pattern" (pictured below) is one such example.

2007 has been a wonderful year for Fontaine, and she has completed commissions for Anna Sui, PAM, Natalie Wood, Elle Girl Holland and MAP London. She is looking forward to working with more wonderful fashion designers in the new year & I know I'm looking forward to seeing the results!

A week or so ago I retrieved from my post office box an intriguing parcel from Object Gallery. I was delighted to find inside brochures & an invitation to hear the artist Marian Hosking In Conversation with Kevin Murray. This artist's talk and exhibition is part of a series Craft Australia is presenting on "Living Treasures: Masters of Australian Craft".

So on Saturday 10.11.2007, I arrived at 11am (well, a little late if truth be told) equipped with my moleskine notebook, and hoping to discover some of the inspirations, motivations & processes involved in creating the incredibly beautiful jewellery pieces included in this exhibition.

Portrait of Marian Hosking
Image from Craft Australia

"With a career spanning almost 40 years, Hosking is one of Australia's foremost contemporary jewellers and silversmiths... Her work is concerned with rich surface patterns and textures. This reflects her particular concerns for the natural environment, allowing her to echo the forms and motifs found in nature." -Object Gallery

Throughout her career, Marian has always worked with silver. She loves the whiteness & lustre as well as the colours & blacks that occur during the making. Rather than the shiny surface most of us associate with silver, her works have a soft, tactile surface - a quality which seems to give the delicate layers & shapes their own voice. She feels that through working with the one material over period of time, she has developed her own language around silver - a metal which she feels is her own.

Marian Hosking, Round Leaf Gum Brooch, 2006. 925 silver
Dimensions: 10.5 x 8cm
Photographer: Julian Hutchens
Image from Craft Australia

Early in her career, Marian worked in both Scandinavia and Germany. The Scandinavian aesthetic was primarily concerned with form & function. However, in Germany, jewellery was considered a more conceptual practice (more fine art than design). Her time spent in Germany was an enormous influence on her career.

Marian's return to Australia in the early 1970s reconfirmed her love of nature. She appreciates the structure & architecture in nature and likens the layering & description of motif to drawing. I was interested to learn that Marian relates her approach to the two-dimensional fields of photography & drawing. She doesn't construct forms, but "uses existing forms and works in a much more graphic & two-dimensional way". -Marian Hosking   Once created of course, jewellery has the additional aspect of movement on the body itself.

Marian Hosking, Two India vessels, 2007. 925 silver
Dimensions: Left: Round vessel, 2007 - 15 x 9cm;
Right: Oval vessel - 130 x 10.5 x 6.5cm
Photographer: Julian Hutchens
Image from Craft Australia

"As a practitioner and educator, Hosking's influence has been far-reaching." -Object Gallery   She co-founded Workshop 3000 in 1981 with the intention of creating a shared studio space to maintain the comraderie of the university outside of the university walls. At this time, she was making jewellery that challenged the idea of precious and many audience members were surpised to learn that she had made protest badges from silver. Since then, Marian has exhibited her work in many group and solo exhibitions, both in Australia and internationally. She has taught at both RMIT and Monash Univeristy, where she is currently the Head of Metal & Jewellery. Marian considers teaching a very important part of what she does & finds education a little addictive. She is currently undertaking a PhD.

Marian Hosking, Gum Twig Chain, 2007. 925 silver
Dimensions: 68 x 3.5 x 2.5cm (d) approximate
Photographer: Julian Hutchens
Image from Craft Australia

Marian is represented in Australia by Gallery Funaki, which was established by internationally recognised maker, Mari Funaki in 1995. Marian considers that "Gallery Funaki has transformed contemporary jewellery in Australia". It is a venue with an international audience, exhibiting works by international artists. It has shifted the way in which jewellery is seen in this country and people are now much more discerning.

The focus piece of this particular exhibition is the "Tall Tree Project", an epic & sculptural work designed with the unique Object Gallery space in mind. The work commemorates a giant tree recently discovered in the Gippsland area.
In an interesting inversion of the jewellery making process, the tree is not being used as a motif. Instead, the jewellery has been made to fit the tree, in a scale we don't normally associate with this art form. While this work draws our attention to what we've already lost in our natural environment, it demonstrates a sensibility to nature rather than a grand statement - an approach displayed throughout the work on exhibition.

Marian has recently been working with Trinh Vu at Monash University. Trinh's current multimedia projects focus on the use of 3D computer graphic technology to experiment with different methods of generating synthetic images. Marian has begun to experiment with using computer based techniques to create her designs. However, one significant obstacle at this point is that silver can't be laser cut. When asked why she doesn't use aluminium, Marion expresses her environmental concerns regarding the extraction of bauxite. She has been tempted by pure tin & would pursue this idea if she could source it in sheet form. However, tin is such a soft metal that it tends to disappear into the rollers if rolled too thin. It will certainly be interesting to see the work Marian produces next, and if the influence of new media is evident in the final jewellery & object pieces.

If you live in Sydney, make sure you visit this wonderful exhibition! The work is intricate and beautiful & admission is free. I thoroughly enjoyed the artist's talk and was so inspired by the work on display. "Marian Hosking: Jewellery" is on at Object Gallery from 10.11.2007 to 13.1.2008. (St Margarets 417 Bourke Street, Surry Hills NSW 2010. T. 02 9361 4511) The accompanying 120 page monograph is available from the gallery for AUD $49.95. If you won't be able to make it, but would like one of the flyers for your sketchbook/journal, email me your address & I'll send you one by mail. If you do see the exhibition, leave me a comment with your thoughts! I'd love to hear your responses. You can find Marian Hosking's web site at www.marianhosking.com.au