Georgia Series

My recent sculptural work has focused on using draped ceramic forms that are a metaphor for flesh, spirituality and the human experience. I also carve and mould, in clay, the contrasting textures of wood and bone. The complexity of the folds of fabric, and the subtleties of white on white, are issues that have captivated many artists before me. The complex and ambiguous shapes of drapery are sensually appealing. The visual attraction of the flowing curves and different textures of the work invite touch and compel the viewers gaze to trace the lyrical lines of the sculpture, emphasising the sensuality of the material and form.

The drapery partly conceals the bone and this issue of concealment and whitewashing is currently being highlighted and worked out in our culture in relation to various forms of abuse and oppression, including sexual abuse and reclamation of Indigenous history. History is written by the victors and overlaid over the bare reality of what actually happened.