Pottery In Australia Vol 35 No 1 Autumn 1996

Tamasin Pepper
Being privy to the latest works of Tamasin Pepper, graduate in residence at
the Crafts Council of the Northern Territory, provided me with a greater insight into
her work for the exhibition 'Locus, a place of locality'.
Article by ANDREA RADDATZ
"Turning Inward". Stoneware/engobes 1280°C, 1994. 60h, 40w, 122d (cm).
Tamasin's works are inspired by her travels, the sea
and it's life forms. This is reflected in pieces that have
a distinctly Mediterranean feel. The sweeping arc of
boats and marine creatures is frequently drawn upon.
These pieces also refer to phases of the moon as a
metaphor for constant change.
Earlier work completed by Tamasin refers to molluscs
and shells and the textures that are found within their
environments. Tamasin's pieces of that time reflected her
own growth with many pieces depicting a form emerging
from another which embodied Tamasin's own change and
transformation, as Tamasin reflected. 'rites of passage
represented by the image of 'shedding skin'.
Tamasin continues the process of transformation from the
old to the new, with the new pieces being created for her
upcoming exhibition. Using the slab technique, the pieces
are large and some feature interesting shaped key holes that
involve the viewer by arousing curiosity. The line and
curve definition of the pieces are so fine that one cannot
resist reaching out to touch. Tamasin explained to me that
these pieces reflected a process of self discovery and
awareness while residing in Darwin during the past year.
'Aspects that are clearly visible and those that are hidden or
slightly obscured, represented by a blind or louvres.
The purely visual quality of a form within a space and its
intriguing internal structures are also of importance. I like
my pieces to have a natural elegance that shows a refined
and a considered, use of line and form.'
Tamasin's unique style has been nurtured through her
studies at the Canberra Institute of the Arts (ANU) and her
travel, most recently to Spain as an exchange student.
Tamasin was fortunate to spend a great deal of time studying
with Enrique Mestre, whose work she was familiar with. "I
produced a series of sculptural pieces looking at the crescent,
arc and spiral forms, sourcing both shells and ancient knives.
These pieces ref erred to a sense of perpetual change and
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40 POTTERY IN AUSTRALIA+ ISSUE 35/ I AUTUMN 1996