Jacqueline Spedding, Transcend, 2014. Photography by Ona Janzen.
Jacqueline Spedding, Transcend, 2014. Photography by Keith Maxwell.
Jacqueline Spedding, Transcend, 2014. Photography by Keith Maxwell.
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Jacqueline Spedding, Transcend, 2014. Photography by Keith Maxwell.
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SCULPTURE AT SCENIC WORLD, 2014
Jacqueline Spedding, Transcend, 2014. Ceramic, metal plant hooks. 80 pieces.
2014 JUDGING PANEL:
Anthony Bond OAM (freelance writer and curator and former Director Curatorial at the Art Gallery of NSW from 1984-2012), Dr Richard Goodwin (artist and architect with a prolific and award-winning practice provoking boundaries between art and architecture) and Binghui Huangfu (one of the world’s leading curators of contemporary Asian art, Senior Visiting Fellow at the College of Fine Arts and co-curator for both the Gwangju Biennale 2006 and Busan Biennale 2010, both in Korea).
JUDGES COMMENTS:
"This installation of ceramic pots fits beautifully into the environment. The clay has been fired with embedded plant material and looks as if it could eventually be re-consumed into the earth. The scale is substantial yet the work has a modesty appropriate to the site."
You can read more about the exhibition, judges and artists here.
You can listen to my interview with Caitlin Gibon from 2SER here.
You can read a review of the exhibition by Gina Fairly from ArtsHub here.
You can read another review of the exhibition by Katarina Sakkas for RealTime, issue 121, here.
2014 JUDGING PANEL:
Anthony Bond OAM (freelance writer and curator and former Director Curatorial at the Art Gallery of NSW from 1984-2012), Dr Richard Goodwin (artist and architect with a prolific and award-winning practice provoking boundaries between art and architecture) and Binghui Huangfu (one of the world’s leading curators of contemporary Asian art, Senior Visiting Fellow at the College of Fine Arts and co-curator for both the Gwangju Biennale 2006 and Busan Biennale 2010, both in Korea).
JUDGES COMMENTS:
"This installation of ceramic pots fits beautifully into the environment. The clay has been fired with embedded plant material and looks as if it could eventually be re-consumed into the earth. The scale is substantial yet the work has a modesty appropriate to the site."
You can read more about the exhibition, judges and artists here.
You can listen to my interview with Caitlin Gibon from 2SER here.
You can read a review of the exhibition by Gina Fairly from ArtsHub here.
You can read another review of the exhibition by Katarina Sakkas for RealTime, issue 121, here.
