The Journal of Australian Ceramics Vol 50 No 3 November 2011

Process + Mea ning
Right: Kim Schoenberger in studio
Below right: Kim Schoenberger, Dominatrix
2011 assemblage, metal. stoneware clay, dry
glaze,cone 5, oxidization, h.95cm, w.53cm. d.23cm
Opposite page: Kim Schoenberger, Ffourish
2011, thrown, metal assemblage, polished
Southern Ice, h.llern, w.7cm, d.7cm
Photos: Tony Webdale
between clay being the dominant material and
the found elements that she gathers and frames.
Her thrown porcelain vessels, Punctured
I and Punctured II, their smooth whiteness
pierced with large rusty horseshoe nails that
overlap on the interior, defeat the role of the
vessel. The exterior is punctuated by the rusty
square nail ends, which form a red brown polka
dot pattern. The interior, intersected by red
brown lines cantilevering off the interior wall,
form an impenetrable matrix.
Kim is a doer. With several projects on the
go at once, her workshop is a clean, organised
and productive working space. Her found
objects are neatly organised and highly visible.
Kim comments, "I don't want to be considered
decorative, but rather more serious ... making
challenging and visually engaging work that
prompts a second thought or another look, at
the very least."
Kim Schoenberger's practice is challenging,
interesting and gently provocative. Her
competent and technically articulate approach
to her materials adds great finesse to the
concepts she chooses to explore. There is a
delightful freshness about her approach that is
legible and accessible. I know she is going to
continue prodUCing amazing and beautiful work
that draws from her life's experiences and her
reactions and responses to her world.
www.kimschoenberger.com
www.kimschoenbergerceramicartist.
blogspot.com
Stephanie Outridge Field is a ceramicist,
freelance writer and curator based in
Brisbane.
80 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 20 11