The Journal of Australian Ceramics Vol 50 no 1 April 2011
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Fiona Fell and lyndall Adam" Call, 2010<br />
mixed media, h.19OCm, w.4OCm, d.30cm<br />
Photo: (ounesy artist<br />
where he was coming from. <strong>The</strong> clay <strong>no</strong>ir<br />
collaboration will attempt to emphasise the<br />
physicality <strong>of</strong> clay and the body through all<br />
the steps employed in the making <strong>of</strong> ceramic<br />
work.<br />
<strong>The</strong> figure in the landscape, whether it<br />
is internal or external, has held my interest<br />
and continues to present me with endless<br />
possibilities. <strong>The</strong> hard cover publication <strong>of</strong><br />
Euan Macleod's <strong>The</strong> Painter in the Painting<br />
by Ge<strong>of</strong>frey O'Brien is an accompanying text<br />
to Euan 's travelling twenty-year survey show<br />
that I have recently visited at the Tweed River<br />
Regional Gallery in NSW. I have admired<br />
Macleod 's work as long as I can remember<br />
- the way the ghostly figure forges its way<br />
through the landscape <strong>of</strong> paint, space and<br />
tone. Many works remind me <strong>of</strong> Cormac<br />
McCarthy's <strong>no</strong>vel, <strong>The</strong> Road, while others<br />
<strong>of</strong>fer an insight into the world we only<br />
witness in a glimpse out <strong>of</strong> the corner <strong>of</strong> our<br />
eyes when we are emotionally charged with<br />
heightened sensibilities.<br />
"Do I dwell in my body? <strong>The</strong>n my body and its flesh, this house and the land become metaphors <strong>of</strong><br />
and for each other." 1<br />
As well as making auto<strong>no</strong>mous work, I have more recently been enjoying the challenge <strong>of</strong><br />
collaboration. In 2009 I presented a paper at the <strong>Australian</strong> <strong>Ceramics</strong> Triennale in Sydney titled,<br />
Collaboration as a design tool for ceramic sculpture. This presentation mapped seven collaborations<br />
venturing into the expanding field <strong>of</strong> trans-disciplinary practices involving performance, video,<br />
photography, digital art and drawing.<br />
select and save was the title <strong>of</strong> my most recent collaboration with painter and digital artist Lyndall<br />
Adams shown in 2010 at the Tweed Regional Gallery. This manifestation explored mark-making in<br />
various media as well as investigating domestic and industrial materials that mimicked the architectural<br />
spaces <strong>of</strong> the gallery.<br />
During the period <strong>of</strong> the collaboration, debates surrounding both self-portraiture and representation<br />
were unwrapped. We intended to investigate the idea <strong>of</strong> collaboration between artists being somehow<br />
74 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL <strong>2011</strong>
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