The Journal of Australian Ceramics Vol 50 no 1 April 2011

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Perspective Another example of work on this scale that has made a more conspicuous appearance is his piece entitled Once Upon a Time. In this work, a giant inflatable train collides with an equally giant puffy inflatable teddy bear. like so much of his art, this wild and fanciful piece incorporates Michael's signature combination of menace and magic. Michael likens his work to the stories of the Brothers Grimm, adapted by Disney, where the characters are cute and likeable, but what happens in the plot is really quite sinister. Once Upon a Time was commissioned by Craft Victoria and was suspended in Federation Square in Melbourne. The monumental scale and position causes us to reflect on this theme and understand the concepts of harmony, horror and hilarity in a big way. This is the pure power that a shift in scale can have: hatched in the mind of Michael Doolan, translated in clay, and broadcast full scale. Greg Payce Greg Payce is a Canadian artist and academic at the Alberta College of Art and Design (ACAD) who is well known for his research into the Rubin vase, the cognitive optical illusion used in psychology to illustrate visual perception. The psychologist Rubin used images of vases to create this phenomenon, however Payce uses actual beautiful hand-formed vases in his works. He often uses the space between the works to convey his ideas. In other works there is a more reductive approach, using the vessels to create a visual rhythm that as the eye moves between the background and foreground, gives the strange illusion of movement, like watching a flick-book animation. The scale of Payce's work, which is primarily exhibited in galleries, has shifted back and forth from conventional table-friendly vases to larger scale ceramic works. like Doolan, the challenge of push ing possibilities and making work to endure weather and public interaction has inspired innovation. I recently visited ACAD and had a conversation with Greg about his practice and his approaches to public art from the standpoint of his practice as a ceramic artist. Greg explained that Alberta has a temperature range of minus 50 through to plus 40 degrees making ceramic sculpture not viable for outdoor public work. As with Doolan, Payee begins with models in clay and then transforms and enlarges them in different ways. The piece 555555555555555, a permanent work at Calgary Airport, is made of turned bronze while Healing Garden, installed at Lois Hole Hospital in Edmonton, is fabricated in turned aluminium. More recently, Greg has been working in mediums such as video and a process called Lenticular photography and printing. This technology uses a lens to produce images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. Payce believes these virtual re-mediations of his ceramic forms provide unique possibilities for both dissemination and scale with the works. An example of this is the piece Pantheon, an assemblage of 45 ceramic forms, which has recently been re-mediated as a large-scale lenticular image called Pantheon VerisimiJu5. Donna Marcus This slippage:,between scale, material and audience is a concept explored by Queensland artist Donna Marcus. Here w~ watch ceramics evolve in the other direction where clay is not at the beginning of the work, but rather an evolution of other works. Marcus recently completed a public sculpture commission with Urban Art Projects (UAP) called Delphinus for the King Abdullah University of Science & Technology in Saudi Arabia. Delphinus has its origins in the humble lemon squeezer, a common domestic item, the first of which were ceramic and made in Turkey in the18th century. Marcus has taken the squeezer apart and using the ribbed dome and the perforated rim, repeated the form, and increased the scale dramatically until the work resembles a giant spherical seedpod. This trajectory of practice is consistent with Marcus' long-held fascination with small domestic items of the everyday. She takes these everyday items and drawing on the mathematics of architecture and the geodeSiC domes of Buckminster Fuller, elevates them to the status of high art through a shift in scale, context and volume. This project went on to incorporate ceramics in interesting ways. A spin-off series of the large-scale 16 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011
Perspective 1 Greg Payee, Passion sur Raison ou Raison sur Passion , 2008, porcelain, h.38cm, w.50cm 2 Greg Payee, 555555555555555, 2003, turned bronze with paint. each element h.92cm, whole work w.458cm Calgary airport 3 Greg Payee, Pantheon Verisimilus , 2007. five panels. lenticular image. w.548cm THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2011 17
Page 1 and 2: HE JOURNAL OF ustr • nceramlcs 50
Page 3 and 4: --. ------------------ Contents Vol
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Page 7: Australian Ceramics Directory Austr
Page 13 and 14: Tribute Vale Paul Soldner 1921 - 20
Page 15 and 16: Terence Bogue, On the Wings of a Di
Page 17: 1 Michael Doolan, For now and forev
Page 21 and 22: ----- -- Perspective Westfield Donc
Page 23 and 24: Focus: Ce ra mics + Body ;";' (..,-
Page 25 and 26: Juz Kitson, What did you expect? 20
Page 28 and 29: Focus: Ceramics + Body Left and opp
Page 30 and 31: Focus: Ce rami cs + Body ------- De
Page 32 and 33: Focus: Ceramics + Body ------------
Page 34 and 35: Focus: Ceramics + Body Stephen Benw
Page 36 and 37: Focus: Ceramics + Body Technical no
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Page 40 and 41: Focus: Ceramics + Body hangs in (of
Page 42 and 43: Focus: Ceram ics + Body Kris Coad.
Page 44 and 45: left: Kris (oad. ten thous.md thing
Page 46 and 47: Focus: Ceramics + Body Photos: Rach
Page 48 and 49: Focus: Ceramics + Body ------- Make
Page 50 and 51: I ~ Arrernte widow covered with pip
Page 52 and 53: Focus: Ceramics + Body Q & A: Think
Page 54 and 55: Focus: Ceramics + Body Prue Venable
Page 56 and 57: Focus: Ceramics + Body .:....-.---
Page 58 and 59: In October and November 2010, I tra
Page 60 and 61: Promotion Visit by Unident;fied Lad
Page 62 and 63: , Jane Wa lton, Honours, 2010 Beetl
Page 64 and 65: View Helen Fuller, Three Pots, terr
Page 66 and 67: View Francisca Tyssen, Ochre Point,
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View The Enigma of the Humble Teapo
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Workshop Getting a Handle on Findin
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Worksho p When makers engage produc
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Pro cess + Mea ning From One Place
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Fiona Fell and lyndall Adam" Call,
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Process + Meaning Concept and Compe
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Process + Meaning Nutz Luk Mel Fel.
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Inside My Studio Klaus Gutowski at
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Inside My Studio VG: What do you do
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Cera mic Spaces Right: Christopher
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Ceramic Spaces Alan Constable, Unti
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Events 1 Inside the Dome Hall, FPAV
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Events Chen lu pottery village: pho
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Events 1 John Tuckwell demonstratin
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Potters Marks Potters Marks Klaus G
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Archive: Pottery in Australi a, Vo
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Well Read The leach Pottery 1952 -
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Au st ralia Wide act Form, Fire & F
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Australia Wide Committee is working
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Become a subscriber aJuNg'tralian c
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Stockists ACT canberra potters soci
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Books & DVDs Onthe Shelf NEW! , NEW
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Classifieds GREG PIPER IMAGING SOLU
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To work creatively with clay is to
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Studio-based courses Full and part-
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www.gregpiper.com .au ceramic fine
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loo/($ differenF ? clever design pr
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Ceramics Photograph'y all Images to
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woodrow kilns Australian Made Woodr
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Trudie Alfred (1922 - 2010)" was a
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