The Journal of Australian Ceramics Vol 50 no 1 April 2011

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Pro cess + Mea ning From One Place to Another: Lugging Molecules Fiona Fell reveals practice, collaborations, and throwing babies out with bath waters. It's flooding in Queensland ... I awake from an unprotected sleep .. mozzie bites from my elbows to my knees. Even in our sleep our bodies are grappling with unfamiliar surfaces: sheets that create strange formations from their original settings, not to mention the internal landscapes of our bodies where organs such as the brain or liver refuse to co-operate in order to rest. Making figurative sculpture for me is a lot like this: a constant negotiation of a changeable terrain, sometimes under a deluge of unpredictable forces and natural disasters. Fiona Fell, Discarding the Break, 2009 stoneware paperclay, h.4Scm, w.22cm, d.8cm Photo: courtesy artist Within each work, following material processes of manipulating clay through to vitrification and the various surface treatments employed, I attempt to capture a particular poetic moment; often not a pleasurable moment but an uncomfortable strangeness that forms a voice of it's own and has an urgency to be told. The rendering of a surface and the manipulation of the physical property of material attempts to expose deeper perspectives via a narrative that is often a murky reminder of our own faults, our own humility, weaknesses that transcribe into the importance of measuring our own scars of passage. I often describe my work as stylised representations of the body adhering to basic sculptural concerns of base, figure and extension. When I speak of the body as a subject, I talk of embodiment and substance, memory and sensation, feelings that extend beyond our usual senses. These bodies adhere to memory and are a source of agency and empowerment. They also harbour discontent, regret and retribution; both the corporeal and the metaphysical are in dialogue. The older I become, the more awareness I have around my own body and my fitness and strength when engaged with the making of my work. In collaboration with Raimond De Weerdt (a video and photography artist with whom I have carried out five previous trans-disciplinary projects), I am taking on another project in the form of a clay noir film. This work will attempt to capture the underbelly of a ceramics practice using cinematic devices. Of cou rse there will be the femme fatale character that makes and destroys the clay and everything around her. The initial gathering of the material, the constant lugging and lifting and all the dogged processes will be recorded . My clay supplier, Bill Bolton on the North Coast of NSW where I had my fi rst studio twenty years ago, told me that "life was simply about lugging molecules from one place to the other", which did not satisfy the romantic vision I held of working with clay at the time, Many years later I think I understand 72 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011
Process + Meaning 1 Fiona Fell and Lyndall Adams, Peek, 2010, mixed media, h.200cm, w.80cm, d.4Ocm 2 Fiona Fell and Lyndall Adams, One Night Stack detail 3 Fiona Fell and Lyndall Adams, One Night Stack, 2010, mixed media h.200cm, w.135cm, d.55cm Photos: courtesy artist THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011 73
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Australian Ceramics Directory Austr
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Tribute Vale Paul Soldner 1921 - 20
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Terence Bogue, On the Wings of a Di
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1 Michael Doolan, For now and forev
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Perspective 1 Greg Payee, Passion s
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----- -- 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
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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
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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,
Page 68 and 69: View The Enigma of the Humble Teapo
Page 70 and 71: Workshop Getting a Handle on Findin
Page 72 and 73: Worksho p When makers engage produc
Page 76 and 77: Fiona Fell and lyndall Adam" Call,
Page 78 and 79: Process + Meaning Concept and Compe
Page 80 and 81: Process + Meaning Nutz Luk Mel Fel.
Page 82: Inside My Studio Klaus Gutowski at
Page 85 and 86: Inside My Studio VG: What do you do
Page 87 and 88: Cera mic Spaces Right: Christopher
Page 89 and 90: Ceramic Spaces Alan Constable, Unti
Page 91 and 92: Events 1 Inside the Dome Hall, FPAV
Page 93 and 94: Events Chen lu pottery village: pho
Page 95 and 96: Events 1 John Tuckwell demonstratin
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Page 99 and 100: Potters Marks Potters Marks Klaus G
Page 101 and 102: Archive: Pottery in Australi a, Vo
Page 103 and 104: Well Read The leach Pottery 1952 -
Page 105 and 106: Au st ralia Wide act Form, Fire & F
Page 107 and 108: Australia Wide Committee is working
Page 109 and 110: Become a subscriber aJuNg'tralian c
Page 111 and 112: Stockists ACT canberra potters soci
Page 113 and 114: Books & DVDs Onthe Shelf NEW! , NEW
Page 115 and 116: Classifieds GREG PIPER IMAGING SOLU
Page 117 and 118: To work creatively with clay is to
Page 119 and 120: Studio-based courses Full and part-
Page 122 and 123: 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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The Journal of Australian Ceramics Vol 50 no 1 April 2011

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