Reproduced from Dennis, F., Profile: Making connections, The Journal of Australian Ceramics, 45, 3, 25-7 with permission from the author. Some modification of layout has been made to improve reading from a screen. Imperial measurements have been added. Read other profiles and reviews click here.
making connections
[ focus western australia ]
author: frances dennis l photography: victor france
author: frances dennis l photography: victor france
Frenzy (2006) Earthenware and Terracotta paperclay h.25cm w.25cm d.6cm (10, 10, 2 inches)
Graham Hay is a West Australian ceramic artist, albeit New Zealand born. His forms are inspired by architecture and local plants and the paperclay sculptures he creates, as well as the way in which he makes them are, he says, “an attempt to illustrate an on-going interest in the organisation of the arts and crafts and society.”
For some years, Graham has been teaching/lecturing and running paperclay workshops Australia wide, in Perth, Queensland and Victoria in particular. As well, he is recognised as an international expert on the technical aspects of working in paperclay. In this capacity, he has been invited overseas as artist in residence/ guest speaker at workshops/seminars/symposiums on paperclay, in Hungary, Lithuania, the United Kingdom, Wales, and Scotland.
Earlier this year, Graham was invited to spend four weeks as artist in residence/lecturer at the National College of Arts, Lahore, in Pakistan and was also invited to give two workshops in Singapore for the Kampong Glam Ceramic Club. Next year, 2007, Graham is to be an artist/guest speaker at the NCECA 2007 annual conference (The National Council on Education for the Ceramic Arts) in Louisville, Kentucky.
For some years, Graham has been teaching/lecturing and running paperclay workshops Australia wide, in Perth, Queensland and Victoria in particular. As well, he is recognised as an international expert on the technical aspects of working in paperclay. In this capacity, he has been invited overseas as artist in residence/ guest speaker at workshops/seminars/symposiums on paperclay, in Hungary, Lithuania, the United Kingdom, Wales, and Scotland.
Earlier this year, Graham was invited to spend four weeks as artist in residence/lecturer at the National College of Arts, Lahore, in Pakistan and was also invited to give two workshops in Singapore for the Kampong Glam Ceramic Club. Next year, 2007, Graham is to be an artist/guest speaker at the NCECA 2007 annual conference (The National Council on Education for the Ceramic Arts) in Louisville, Kentucky.
Net I (2000) Earthenware & Terracotta Paperclay, h.110cm w.120cm d.60cm (43, 47, 24 inches
Sprouting Circles (2000) earthenware and Terracotta paperclay, h.30cm w.45cm d.30cm (12, 18, 12 inches
Mixer (2003) Earthenware and Terracotta paperclay, h.55cm w.55cm d.55cm. (22, 22, 22 inches)
Graham is an intensely inquisitive man, persistently probing all manner of subjects in search of answers. He is equally eager in his seeking out of significant questions, to research, to investigate and penetrate. On thinking about Graham’s innate curiosity and intellectual agility, the need to sort, discern and organise, it has to be said that Graham’s art emerges from the very core of his nature.
And one cannot fail to notice that core. At first, these circular forms were a ring or hoop, the positive and the negative circular shapes emphatically reiterating the cyclic nature of the work and life.
Now, the core is also seen as a disk, sphere, ball which is the literal hub of his ceramic forms. From this core spring all manner of minutiae, single and double ended, sharply pointed, blunt, twisted and piercing. These individual parts pierce, stretch, wind, reach and shoot out from the centre into space. Often they are encircled, or hug the surface.
Sometimes hundreds of tiny parts make up the whole, sometimes not. But always the micro is in full evidence, somehow connected to the hub, fundamental to the whole. The work process of gathering, sorting and organizing reveals Graham’s need to create order. However, in so doing he has no desire whatever to hide, or deny, that a chaotic complexity exists.
And one cannot fail to notice that core. At first, these circular forms were a ring or hoop, the positive and the negative circular shapes emphatically reiterating the cyclic nature of the work and life.
Now, the core is also seen as a disk, sphere, ball which is the literal hub of his ceramic forms. From this core spring all manner of minutiae, single and double ended, sharply pointed, blunt, twisted and piercing. These individual parts pierce, stretch, wind, reach and shoot out from the centre into space. Often they are encircled, or hug the surface.
Sometimes hundreds of tiny parts make up the whole, sometimes not. But always the micro is in full evidence, somehow connected to the hub, fundamental to the whole. The work process of gathering, sorting and organizing reveals Graham’s need to create order. However, in so doing he has no desire whatever to hide, or deny, that a chaotic complexity exists.
Stirred (200234) earthenware paperclay and steel, h.180cm w.110cm d.110cm (71, 43, 43 inches)
Bottlebrush (200120) earthenware and Terracotta paperclay h.25cm w.30cm d.22cm (10, 12, 9 inches).
Indeed, Graham deliberately creates his sculptures out of many parts to suggest the cultural, social, financial and political complexity of our society. Via his way of making, the kind of parts he makes and the material he uses, and then the gathering, sorting and organising, the artist openly adheres to the rigid, cyclic and dynamic nature of society and life during the working process.
The resulting structures intentionally imply social organisation and social cohesion. The overall perception on seeing the finished ceramic works is one of vitality, clarity, unity and refinement.
Moreover, in creating these ceramic forms out of paperclay in particular, Graham embodies his concept into the object itself. The actuality of the material being paper-loaded mimics the paper overload which plagues our contemporary information society.
Graham has said, “I experience this information/paper overload whatever I do - while studying, in an office job, in my art practice and in everyday life. The never ending pile of office work, junk mail, bills, invitations, correspondence, newsletters, “important pieces of paper”. And then there’s the clippings . . ” Most of us can empathise with that.
Graham’s forms do emerge from the very core of his nature and in the working process, as well as in the wider social aspect of his art, he somehow manages to include us all.
Frances Dennis is a West Australian painter and ceramic artist who has taught painting over the last 13 years, in her studio which she shared with Graham Hay for 6 years, and in community classes for local government. She has also been tutor in Cultural Studies at Edith Cowan University. www.francesdennis.com
The resulting structures intentionally imply social organisation and social cohesion. The overall perception on seeing the finished ceramic works is one of vitality, clarity, unity and refinement.
Moreover, in creating these ceramic forms out of paperclay in particular, Graham embodies his concept into the object itself. The actuality of the material being paper-loaded mimics the paper overload which plagues our contemporary information society.
Graham has said, “I experience this information/paper overload whatever I do - while studying, in an office job, in my art practice and in everyday life. The never ending pile of office work, junk mail, bills, invitations, correspondence, newsletters, “important pieces of paper”. And then there’s the clippings . . ” Most of us can empathise with that.
Graham’s forms do emerge from the very core of his nature and in the working process, as well as in the wider social aspect of his art, he somehow manages to include us all.
Frances Dennis is a West Australian painter and ceramic artist who has taught painting over the last 13 years, in her studio which she shared with Graham Hay for 6 years, and in community classes for local government. She has also been tutor in Cultural Studies at Edith Cowan University. www.francesdennis.com
Reproduced from Dennis, F., Profile: Making connections, The Journal of Australian Ceramics, 45, 3, 25-7 with permission from the author at www.grahamhay.com.au/haydennis2006.html. Some modification of layout has been made to improve reading from a screen. Imperial measurements have been added.
Read more profiles and reviews click here.
Read more profiles and reviews click here.
