The Journal of Australian Ceramics Vol 50 no 1 April 2011

Process + Meaning
Nutz Luk Mel Fel. Cheers. 2010
Winner of the Pan Gallery Ceramic Art
Award 2010; photo: courtesy artist
produce the work. But in the end. it always comes down to the actual object. It is disappointing when
you don't get a strong artist statement or the work and the statement don't match uP. but we are
aware that these are two very different mediums. written and visual.
K: Of course it is nice when you can just look at the object and appreciate it for what it is without
having to go further.
S: I agree. In this circumstance though. we have asked artists to address a particular subject. A clear
artist statement directly about the submitted work is of great value. not just to the selection committee
but also to the audience, many of whom may not be familiar with the language of ceramics.
Another issue we face is the representation of artworks in images. It is often quite different seeing the
work when it arrives! How do you respond to this, as curators?
K: You just kind of roll with it!
A : It really needs to be a fluid process. We don't come to the shows with a set idea, rather we respond
to the collection of works once they have arrived . The work and ideas on how to exhibit it need to work
in conjunction with each other.
S: And in regard to installation requirements, what are your thoughts?
K: There is a very fine line here. It is the artist's work and they have every right to be specific, but there
also needs to be understanding that this is not just their show and their work will be seen in relation to
everyone else's.
A: This is where understanding the curator's role is important and artists need to have trust in the
curator's ability to best represent their work.
S: So when entering a show of this nature it is important artists are aware that some 'handing over' will
be required?
A: That's right. A large part of the cu ratorial process is in arranging the work and being given the
opportunity to present works in a way the artists may not have thought of themselves . Of COULSe you
want the artists to be happy and you have their best interests at heart.
s: Would you say then, in this situation, providing installation requirements is only important when it
impacts on the meaning of the work?
A: Yes, and this is something that hopefully is addressed in the artist statement.
Discussion, critique and emotional response are major components of any art competition. Annual
incarnations of the Pan Gallery Ceramic Art Award promise to be varied, with different themes, forms,
curators and exhibitors. What will remain consistent is the drive to provide a unique opportunity for
curatorial exploration and to present and promote conceptual, contemporary, ceramic art of the highest
quality.
Pan Gallery accepts curatorial proposals on an ongoing basis.
For more information:
www.northcotepottery.com.au; http://pangallery.blogspot.com
78 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011