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D awn Whitehand the Garden Path Equilibrium Stoneware clay with volcanic glaze, 2007 44 x 33 x 20cm T hrough using visually tactile surfaces and suggesting movement through manipulation of form, I attempt to stimulate the viewers senses. The use of organic contours and tactile surfaces that reflect landscape elements offers a natural experience, heightening this sensory encounter, thus providing an escape from the superficialities of modern life and providing a moment of contemplation, reinvoking a sense of ourselves and our place upon the earth. Dawn completed Honours with High Distinctions for her Bachelor of Visual <strong>Arts</strong> in ceramics in 2004 and is currently undertaking her PhD at the University of Ballarat in regional Victoria. The title of her PhD project is Sacred Space in Contemporary Society and specifically asks: Can the artist, through ceramic installation, act as a conduit linking humanity’s secular and spiritual existence Dawn is interested in exploring the organic references within the medium of clay, organic textured surfaces and undulating forms combining to conjure reactions within the viewer that trigger lost and forgotten responses toward community and the land. A recent winner of the Pat Emery Award for Emerging Artists, Dawn has artwork recently acquired in the Ballarat Fine Art Gallery collection and has recently been published in The Journal of Australian Ceramics. 58
the Garden Path L ih-Qun Wong ‘When there was time to dream’ is a piece that explores creation in its most simplistic yet complex form. The battle for each human being begins here, yet the most miraculous battle is so easily forgotten. Is it here that vivid dreaming and imagination begins And how quickly do we lose our memory of a softer and more compassionate time This work was inspired from teaching creative writing to students from the ages of 8 through to 17. What has become startlingly apparent is that while some children are able to vividly imagine and visualise images in narrative as well as conceptually, others are completely unable to form these pictures. So where has the ability to visualise gone Or was the capacity never formed in the first place, the imagination replaced by synthesised, ‘ready made,’ screen images. My work explores the degeneration of creative and imaging functions in our children (and adults) today that are a symptom of how technological advancement and wealth are not a sign of human progression, but a regression. That the inability to imagine, leads to a splintering of the view of self, and others, as it can only be gleaned, or imitated, through produced images – entertainment or the media. When there was time to dream Silk, resin & electronics, 2007 20 x 50 x 60cm Lih-Qun has a background in costume and wearable art, bringing together skills and a love of textile work, art finishing, prop making and thematic or conceptual designing. Treating fabrics in new and interesting ways, whilst still calling on technical construction skills is a particular interest, as is finding new ways to share her view of the world. This year sees Lih-Qun breaking out of from purely using textiles, in order to create ‘wearable’ art that is sculptural and able to be appreciated detached from the human form. These works seek to explore how we link with the internal and external influences in our lives, and the ever increasing need to be aware of how entrenched or dangerous this can become. 59
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Page 34 and 35: W illiam Holt the Garden Path Royal
Page 36 and 37: G aby Jung the Garden Path My work
Page 38 and 39: S tone Lee the Garden Path Trivialn
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Page 42 and 43: Marianne Midelburg the Garden Path
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Page 46 and 47: L oretta Quinn the Garden Path Memo
Page 48 and 49: F iona Ruttelle the Garden Path Fio
Page 50 and 51: Roh Singh REPRESENTED BY DIANNE TAN
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Page 54 and 55: A shley Turner the Garden Path Moon
Page 56 and 57: Robert Waghorn the Garden Path Powe
Page 58 and 59: M ichael Walsh the Garden Path Dive
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