The Journal of Australian Ceramics Vol 49 No 3 November 2010

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Profile Irianna Kanellopoulou Vicki Grima: What is your current focus 7 lrianna Kanellopoulou: The general focus of my work is narratives that investigate issues of our emotional associations with everyday objects and memories. I am particularly drawn to using figures and animals as cultural objects, and creating a narrative to explore identity, displacement and movement by creating a surreal reality - a super reality. The dialogues and dioramas that are created are loaded with symbolism where figures and animals are interchangeable and deliberately shift relationships between human and animal qualities. VG: Why is ceramics your material of choice? IK: It is so pliable and tactile - the physical interaction is immediate and can be quite raw. No tools are necessary to work with this material if you so choose. I also admit that I enjoy its messy nature as well! I also enjoy working with its dual states - solid and liquid. Slip is very fascinating to me, not only for its ability for immense detail, but also in terms that as a material you first have to contain it before you form it. VG: What is your favourite tool? IK: I have a very normal, very average knife that, for some reason, I cannot work without. I think it has something to do with the way the tip has been shaped and worn through the years. I have tried to wean myself off it by purchasing a couple of new knives but I still keep coming back to my favourite. Another 'tool' that I am very reliant upon are the moulds I create, which in turn help me shape the work. I generally slip-cast different components and then manipulate these to create the forms that I am after. It's a very long process of creating a piece. First the mould needs to be made before the individual components can be slip-cast and then the final composition is hand-built and assembled. I think of it as creating artwork by deconstructing it first; and of course a heavy dose of obsession doesn't go astray. For this new body of work I made more than fifty new moulds. VG: What do you listen to whilst working? IK: Classical music is great for when I am working on something tricky or complicated. My favourite composer is Mozart and in particular I love listening to arias and duets from the Magic Flute, Cosi I I I '4 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010
lrianna Kanellopoulou, Frederik, 2010, mid~fire clay, multi-fired glazes, h.13cm, w.12cm, d.7cm; photo: Jeremy Dillon
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View Vipoo Srivilasa, Scarecrow, Wi
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Workshop Jill Klopfer. bowl Making
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Wo rkshop Photo: courtesy Dominic J
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Process and Meaning leaving faint r
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Bali loves Dragons! Sue Buckle shar
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Inside My Studio Szilvia Gyorgy in
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Inside My Studio Above and right: 5
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Ceramic Spaces Making Sense Ross Lo
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Ceramic Spaces Phil Elson, thrown p
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Ceramic Spaces Right: Ingo Svendsen
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Community Left to right: Deanne Ive
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Co m munity left to right standing:
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Wedge Dee Taylor-Graham Do I have t
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Arch ive: Pottery in Australia. Vo
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Welt Read Alan Peascod: Artist of E
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Well Read Iznik Pottery and Tiles i
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Australia Wide act By the time this
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Australia Wide Leo Nuehoffer and Ki
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Stockists ACT canberra potters soci
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Become a member The Australian Cera
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Classifieds CERAMIC SUPPLIES CUSTOM
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Classifieds NATIONAL ART SCHOOL. SY
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NOW OPEN SYDNEY FACTORY SHOWROOM 21
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www.gregpiper. com . au ceramic fin
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CERAMIC STUDY GROUP Inc. Ceramic St
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CLAYWORKS CLAVWORKS POITERS SUPPLY
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:;Z°1 " ," ~ _ _ Gallery , " '" '
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Contents Volume 49#1 April 2010 S16
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PRO ••••• A special event
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Feeneys Clays WALKER ~ Clays Glazes
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The Journal of Australian Ceramics Vol 49 No 3 November 2010

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