Swamp Cartography The Movie!

I'm pretty excited to present our movie!

...the final countdown

The Swamp Cartography collaboration is entering a white hot, nerve-wracking, exciting phase as the travelling exhibition begins on the 26th of February at the Gympie Regional Gallery.Exhibition design has never been my strong point and mostly I just opt for white plinths deluding myself that they somehow appear "Classic". We had a very fruitful visit last weekend from Australian ceramicist and teacher Janet de Boos (this doesn't really describe her fabulousness as a supporter and encourager and inspirer of literally hundreds of students, artists and teachers over the past decades) who gently but insistently prodded us into the uncomfortable process of examining our assumptions. This is a process that is totally absent from the everyday studio practice. Compared to my own very gentle examining of my aesthetic motivations Janet's was positively brutal! It was worth enduring the discomfort as Janet's questions forced me to think carefully about every aspect of the exhibition space, how to make it dynamic and how to pare down the ideas until every aspect of the space is resolved so the exhibition becomes an experience drawing the audience into the beauty and isolation of the wallum. This process is so valuable it is worth enduring the discomfort and the exhibition will be a cracker with not a white plinth in sight!

The exhibition commences in Gympie and will trundle on it's way over the next two years encompassing a film launch in Brisbane at the Botanical Gardens in September, an exhibition at the Museum of Brisbane in October , Noosa and Canberra, and Melbourne in 2012....with more to come.

making tracks

When I did these I was thinking about walking through the wallum with my children.
Last time I did this Sweet P. got tired and I had to piggyback her. I lost my new sunglasses.
The wallum swallowed them up and in the glittering, sparkling, scratchy, wallum with the bright hot sun bearing down I looked and looked for my sunnies as the little girls sat under a banksia wilting and sucking their thumbs.

We didn't find the sunnies ...but the shy wallum did reveal her treasures as we saw many many of the elusive vanilla orchids with their pale,unphotographable mauve spots.

Mapping -wallum, creativity and collaboration

Swamp Cartography-
Cartography (in Greek chartis = map and graphein = write) is the study and practice of making maps (also can be called mapping). Combining science, aesthetics, and technique, cartography builds on the premise that reality can be modeled in ways that communicate spatial information effectively.
The process of making new work is harder than I usually like to reveal for fear of sounding a little too highly strung and artistic. It starts a long time before a single mark has been made and swirls and gestates for anything up to a few years. The collabotaive process adds another element that hasn't come into my working process before. Rebecca's brooches got me thinking about the ferns in the wallum, the way she connects two disparate materials with silver, the threads that connect all the wallum flora and all the ideas we continually revisit, merging and submerging. Sometimes an idea that one of us has bought up many times seems like a breakthrough when we are finally at a stage of being able to appreciate it.

These pots are maps. The marks are intended to draw the viewer over the surface, they map the volume and exterior of the vessel, the journeys I've taken through the wallum and the creative process.

Arthur H Robinson states that a map that is not properly designed will be a "cartographic failure". "The intent of the map should be illustrated in a manner in which the percipient acknowledges its purpose in a timely fashion. The term percipient refers to the person receiving information and was coined by Robinson. "(from wikipedia cartography entry)
I wanted the percipient of these bowls to feel their way over the surface and through the wallum. I also wanted the pots to contain a secondary map of the collaboration which doesn't sound so dry and boring when I refer to it as the inspiration and alchemy that occurs when two like -minded and wildly different artists get together.
Mapmakers claim that maps should contain a wealth of information and be multivariate. The richness of information in a map generates hypothesis, stimulates ideas and further research. Perhaps the purpose of art and the purpose of mapping intersect.

Collaboration- Swamp Cartography

Written by Rebecca Ward...........


Shannon is correct in saying that art like Wallum takes a long time to grow. Of course there is some that obligingly pops up like mushrooms overnight, but this is definitely not of the fungi variety. Maybe I am using the wrong fertiliser. I won't go into what makes mushrooms grow so well under commercial conditions but I'm sure you are all familiar with the substance.

I guess if these were any kind of fungi, these would be the tiny wild ones that may or may not pop up under decaying leaves and branches by their own unfathomable whim. Which leads me to suspect I have been inadvertently clever in not tidying up the rich litter layer that is my bench as it has finally produced some results.

Shannon' hands scratching back the resist to reveal beautiful leptospermum flowers drawn from photos.

These delicate little leptospermum flowers scratched into ashphaltum coated silver plate by Shannon have been sitting on my bench mocking me for months, too precious to commit to. Visitors say 'what are you going to do with those?' I mutter expletives under my breath. But now I have a much more polite answer.
I think patience is a great virtue and one that is good to have when dealing with acid. Like gloves. They were etched very slowly over days in a very weak brew of nitric acid so the detail is superb even though the etch is shallow. I'm thinking of starting the slow etch movement. I'm sure it will make my practice even more lucrative and in this age of conservation it is probably time to start dissolving precious metals alot more slowly.

So after procrastinating for ages, I cut them out, soldered posts on the back, drilled some holes and made this necklace. It is very simple. Why I couldn't do that earlier I will never understand.


Written by Rebecca Ward from the Swamp Cartography blog

The wallum is wild and secretive

The process of making new art takes almost as long as the process of growing a flower. This is the second generation of the leptopspermums. The surface is very intriguing as the scratchy drawing is inlaid into the surface of the form and the veil of shiny glaze raindrops overlays the form. I'm playing with the idea of the surface of a ceramic piece being so absolute. The glaze drops reflect the light drawing the surrounding environment into the form and the most satisfying interaction of all is picking up these vessels the smoothroughshinysmoothscratchy-ness.

The wallum is a wild, secretive environment, full of detail and wonder I think pieces of work that capture the wallum should try to capture this.

Thirst

I'm working on the scribbly gum for the wallum project. Rebecca made me some metal plates etched with impressions taken from out photos of the wallum. After the yunomi were thrown I re-dampened them by the highly technical process of putting them in a plastic box with a wet plaster slab in the bottom of it overnight and then used the rounded end of a rolling pin to press the bases of the yunomi onto the etchings from the inside.
These are the second incarnation of this design and the third incarnation will be pared back further. I'll keep going until the pure essence of the bush is distilled into the drawing. Until picking up these yunomi captures first the smoky rays of sun touching the tops of the eucalyptus, the cool damp smell of the dew and the "wheeeeeeee- CRACK" of the whip bird's call.
As tea drinking vessels these pots will be handled a lot. From the setting of the table through to the washing up a drinking vessel constantly interacts with the body and brain of the user. It needs to be stimulating yet calming. Sometimes I feel like having a cup of tea is a tiny island of calm in the midst of a chaotic world. It is really important to me that the drinking vessel is the focus of this expanding circle of calm, yet leads the mind to wander in a creative direction. Having a cup of tea is not just for quenching physical thirst.

leptospermums in silver

First we clean the silver and coat the surface with bitumen paint.
Then I draw leptospernums, Scratching in the silver, the scratchy, twiggy, sticky bushes covered in tiny white blossoms.
Then Rebecca goes to work with her jeweller's saw and ...........
The lovely tiny blossoms appear, magical, and softly gleaming silver.

From Swamp Cartography Rebecca Ward jewellery and Shannon Garson porcelain collaboration we are doing in preparation for a nationally touring exhibition 2011-12

Wallum porcelain- leptospermum

Leptospernum blossoms are familiar to all lovers of the wallum. Tiny and white these five petalled flowers completely cover the small scratchy bushes that produce them. I made these porcelain works with an scraffitto/inlay technique which in itself is a rather scratchy dry process. The interiors are pure, translucent Southern Ice porcelain covered in a clear glaze. The exterior captures the light with a spotted pattern of clear glaze over the dry drawing.

The final exhibition for Rebecca and my collaboration will include some groups of 10-15 pieces of this leptspernum work ranging form large bowls through to tiny teabowls all covered in the sepia drawings and softly capturing and reflecting light from their spotted surfaces.

Silver and Clay

I've been visiting Rebecca's studio. We are into the creation phase of our wallum project and are spending time in each other's studios,learning "cross discipline" skills.

We painted silver and copper with brown, road tar goo and when it was dry, I scratched leptospernum blossoms and leaf silhouettes exposing the metal. The plates were then dipped into and acid bath.
We are working on a couple of ranges of jewellery incorporating metal, porcelain and thread. Here are the porcelain pendants in the background with silver cuttle fish castings of twigs in the foreground.

Brass etched plates ready for some work in the ceramic studio.

After the rain......

Crummunda Park, Currumundi. The girls and I went down the other day to see the wallum after all this rain. The paths were flooded with shallow sepia coloured ti-tree lakes. I took photos and thought about the form of the banksia tree, the children looked at things through their magnifying glass. I think they are getting the hang of the wallum project which has become through necessity a family affair. Of course bribery in the form of a swim and various delicious snacks is essential!

Working with children isn't as easy as it may sound when I write about it. Your thoughts are constantly cut short, it is like cutting all the spaghetti into tiny short segments instead of long, luscious strands dripping with sauce. You have to try and save these tiny fragments of coherent creativity for later then, in a moment of peace recapture the initial thrill. You have to trust your abilities as an artist, that you'll be able to reconstruct the beautiful idea and bridge all the gaps and somehow your subconcious and learned skills will provide substance to the finished piece. It is a frustrating process compared to the luxury of thinking a whole thought through from beginning to end and making a work from it.

But you have the benefit of children in your life, a whole different existence. I try not to hold onto the past long hours of thinking, and when I really contemplate being a single entity again I know I just wouldn't like it. It's different now, even without children around, that previous way of thinking and working is no longer possible or even desirable.

Peel Island- Park Rangers Rock!

On our recent trip to Stradbroke Island we met Rebecca's good friend Rowley Dowling the Park Ranger who took us across to the deserted Peel Island in the middle of Moreton Bay. Peel Island used to be a leper colony and due the to the care and hard work of the Rangers the compound comprising of the hall, official residences and the leper huts is still standing. We drove along a rutted track through wild looking cypress and gum forest. It was very dry and the trees had dead branches ripped off by storms or drought hanging from the the canopy, many trees were covered in veils of dusty green "Old Man's Beard"
Suddenly the forest opened out into the lazaret, a mown, green lawn dotted with little wooden huts.Two of the leper's huts. The Rangers have repaired some of them and left others in various stages to show the history of the site.

This is one of the official residences where we stayed the night.

The best thing that we did on Peel Island was go for a real bushwalk. Rowley took us right into the wallum. It was hot. The wallum is extremely dense vegetation and we had to push our way through scratchy, prickly branches and grasses with sharp razor like points (I've learnt my lesson about wearing shorts when bushwalking!) To get back to the road we walked through head height ferns n a dry peat swamp, every so often our feet would plunge to through the dry crust to the knee and as you grabbed a paperbark stump to get your balance that too, would just come away in your hand. I loved it! When I was a kid we used to go "exploring" all the time time, my mother was surprisingly blase about this and would just call "Take the dogs in case of snakes!"
Artistically it was great to really get in amongst the wallum vegetation. Your eyes, nose and all the senses are taking in information and filing it away for later. We took heaps of photos but they really couldn't convey the excessive heat, prickly scratchy, fecund vegetation, the colours of the leaf litter, the cicadas shrilling, the smell of the dust as a dry papery stump crumbled in your hand.

Wallum Vessels- deeper water

"It took me four years to paint like Raphael, but a lifetime to paint like a child. "
Pablo Picasso

The "vessel" is a form of enormous significance in ceramics. What distinguishes a vessel is its ability to contain something. These vessels are embryonic, they are carriers for an idea about the wallum. Prototypes, fragile, ugly, often contain a germ of an idea that continues, untouched through the creative process.

Picasso said we should all learn to draw like children, by this he meant let go of learned, technical skill and capture the joy of sensation, colour, form and wild imagination. It is really hard to do, I take refuge in skill, feeling that if something doesn't quite capture the fleeting, glimpse I had in the original inspiration then at least it will be beautiful because of the skill. I keep letting go "just a little bit" - which is an oxymoron. I have to trust that these funny little vessels will be able to carry me beyond the safety of technical skill and into the wild blue sea.



You can read more about me and Rebecca Ward's collaboration at our blog "Swamp Cartography"

Wallum Kit

Currimundi, originally uploaded by rebeccathewrecker.

This is a photo of what Rebecca Ward and I get up to when we enter the wallum. What you can see here is our "Wallum Kit" contained in it's super- duper heavy duty 4WD toolbox.

This contains a couple of reference books on the wallum, some plastic containers for holding our "impressions" and samples, a lump of porcelain, two containers with "silpression" (a two- pack jewellery moulding silicon rubber), brushes, video and normal cameras, and water.
"Silpression" impression from the wallum.
Currumundi was the first big outing for the Wallum Kit and it worked great.....but I have to say that dragging it up another really steep sandhill when we thought it was just a short walk to the beach was hard work.

positive and negative impressions

People of the Pearl Shell

Rebecca Ward and I spent the weekend at Stradbroke Island working on the Swamp Cartography collaboration.
Words cannot encompass how beautiful and inspiring this was. We did a cultural/archeological/botanical tour with Shane Coghill of the Goenpul tribe- the People of the Pearl Shell. Shane took us right into the wallum on the narrow tracks made by wallabies. All around us was the stiff tangle of leucopogon, leptospernums, sedges and Dianella. As we looked into the heart of a clump of reeds for lizard eggs I noticed a Forked Sundew on it's long spindly stalk reaching through the blades towards the sun.
Shane took us along an old road shaded by the huge Bloodwood trees, there was an eagles nest , big enough to house human children balanced high up.
We took a lot of impressions in clay and our weird resin products. We took a lot of impressions in our impressionable brains, ancient stories, vegetation, dried leaves stippled shadows , in that strange, filtering, creative, process.

Originally published in Rebeccca Ward and my blog about the collaborative project Swamp Cartography.