Pottery In Australia Vol 38 No 3 September 1999

Above and right:
Helen Manson
'Landing' 1999,
installation detail.
Porcelain ,
earthenware, paper
clay. 2 x 1 .5m
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and rise of the intellect drives us further and further from
the source and aligns us with the worship of fonn and
the spectacle. The search for an equilibrium between the
demands of emotion and the work of the logical mind
wanting to structure imagination. The power of theory
over practice is an ogre as is the propaganda associated
with the cult of technology.
Q Could you draw some direct analogies between the
works in the show and your influences and ideas?
A: Bev's work is like a Stravinsky composition, earthy,
resonant and angular - edge as a counterpoint to surface.
Bernard's work reminds me of a De Chirico painting,
architectural, revisionary, as still as a glacier. Gill's pieces
are concrete but airy like Brian Eno's wispy music -
equally concerned with atmosphere and form. Robyn's
figures pose like the coquettish Rose Selavy of Duchamp,
Helen improvises form like the Miles Davis version of
jazz and my installation is the emphatic grid of
modernism, thoroughly entrenched within itself, like
Barnett Newman on coco pops.
Q Will you continue to exhibit as a group?
A: Yes oo
38/3 SEPTEMBER 1999 + POTTERY IN AUSTRALIA 37