The Journal of Australian Ceramics Vol 49 No 2 July 2010

Profile
Maiju Altpere-Woodhead,
Soul's Garden #6,2010,
porcelain, monoprint. erosion,
1300"(, h. l00cm, w. l Oacm
Photo: Derek Ross
Drawing on this metaphor, Altpere-Woodhead carves impressions into her plaster moulds so that, in
a process of translation, a relief print is transferred to her ceramic surfaces. She is satisfied only when
the concept, the process and visual outcome are in accord. Visual memories like photographs capture a
single fleeting moment and lose their sharpness and intensity with the passage of time. Like text in an
aged and crumbling document, memories also seem to lose integrity, to fragment. Altpere-Woodhead's
technical process simulates the physical effects of fading and fragmentation to visually express these
qualities and ideas about memory.
Using the monoprint process, she paints layers of liquid porcelain into tile moulds to build up
tonal surfaces in a restricted, faded palette. By then dissolving and fragmenting the surface, Altpere­
Woodhead's process is a metaphor for both the accumulation and erosion of human memory. The build
up of porcelain layers records her actions, like the layers of detritus, discarded artefacts and treasures
that build up in the soil w ith the passage of time and remain as evidence of human activity and
occupation.
After the mono print and casting is complete and the tiles are dry, Altpere-Woodhead masks the
surfaces with latex, shellac or wax. She washes away the exposed layers, like an archaeologist looking
back through time. The process of making is meaningful for her and the technique is informed by
conceptual considerations:
When I erode the surface post-printing, I tap into my intuitive memory of layers of colour and imagery
that is hidden.
16 THE 10URNAL OF AUSTRALIAN CERAMICS IULY 2010