Were the flute did that come from?
Curiosity got the better of me.
Interested to see were my current work has it roots, I dug back through the hundreds of images of my previous artwork. I was surprised to see how early and frquently the cone or flute form appeared.
What was surprising was that one of my first commissions ever was a pair of creative drinking cups for a couple of young lovers.
Another was a figurative vessel for communal use, with multiple drinking openings.
An early influence was the Samoan Kava bowl, which like the christian holy communal wine glass which serves a positive ritual function.
Still looking...
Interested to see were my current work has it roots, I dug back through the hundreds of images of my previous artwork. I was surprised to see how early and frquently the cone or flute form appeared.
What was surprising was that one of my first commissions ever was a pair of creative drinking cups for a couple of young lovers.
Another was a figurative vessel for communal use, with multiple drinking openings.
An early influence was the Samoan Kava bowl, which like the christian holy communal wine glass which serves a positive ritual function.
Still looking...
Our beautiful offspring, 2016, Ceramic porcelain paperclay, 2.2 x 0.4 x 0.4m, photo: Victor France. exhibition: 2016 3rd Biennial of Contemporary Art, Argentina. At conclusion of exhibition a dozen artists used the parts of the sculpture to drink champagne.
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Common Beater (SNA Sculpture 1 & 2), 2015, Ceramic porcelain paperclay, paper, bolts, 200 x 200 x 200 cm, Photo: Stephanier Browner. Party taken apart and used by the audience to drink wine during a panel discussion at the 2014 2nd Dublin Biennial, Dublin, Ireland.
Aspirations (group), 2015, Ceramic porcelain paperclay, 44 x 60 x 60 (varies), Photo: Victor France. Exhibition and catalogue: 2015 2nd Cluj Ceramics Biennale, Cluj Art Museum, Romania.
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Blooming Bureaucracy, 1994, Earthenware Paperclay with plaster base, 59 x 46 x 46 cm. Artist: Graham Hay, Photo: Victor France, Private collection: Jenny Morris. Exhibition: The Ways of the Seeing Places (http://www.grahamhay.com.au/1994twotsp.html), Published: ​Gault, R (2005) Paper Clay, 2nd Edition (Ceramics Handbooks), A & C Black, London, U. of Pennsylvania Press Allen and Unwin (Aust )p.10. Ellery, D (1995) Profile: Graham Hay - Sold on Paperclay. Pottery in Australia Journal, 34, (1), p.21,
The Ways of the Seeing Places, Kiwi News, July/Aug 1994, 6, 8. The West Australian Newspaper, "Visions in Brief" August 10 1994, Today section P. 4.
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Tribal Revolt, Ceramic earthenware paperclay with plaster base, 54 x 47 x 46 cm. Photo: Peter Northcott. Exhibition: The Ways of the Seeing Places. Published:
Lightwood, A, Paperclay and other clay additives, Crowood Press, UK, frontcover. Hay, G. (1996), More on Paperclay, CeramicsTECHNICAL, No.3, 22-28, p22.
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Eros Logos 6 (1993). Bronze, ceramic paperclay, 27 x 40 x 29 cm. Exhibited in First off the Ranks in 2003. This was the first student exhibition in the new SEA Gallery, Edith Cowan University. Private Collection: Adia De Leeuw
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Perpetual Contradictions, 1994, Ceramic earthenware paperclay, 30 x 32 x 19 cm. Artist: Graham Hay, Photo: Victor France.
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Hum and Rattle (Cup of Love), 1993, Ceramic earthenware, 43 x 28 x 28 cm. Artist: Graham Hay, Photo: Victor France
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Hum and Rattle #2, 1993, Ceramic Paperclay, 40 x 30 x30 cm. Artist/Photo: Graham Hay, Estate: Bill Jeffrey
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1992 Commission: Love, Sex, intelligence. Ceramic arthenware. Artist: Graham Hay, Private collection: Yoshiko Fujisawa
Detail: 1992 Commission: Love, Sex, intelligence.
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Begun build: 7 January 2017
