You're Invited to Solastalgia @ Murray Bridge Regional Gallery

It’s not long now before our exhibition, Solastalgia, opens over at the Murray Bridge Regional Gallery and we would love for you to join us. Running until the 15th of October, 2017, the show will be opened by Leah Grace on Sunday the 3rd of September and features a range of very different responses to the pertinent issue of climate change.

Solastalgia Exhibition Invitation Front
Solastalgia Exhibition Invite Back

You can read all about the tour on my news feed and we hope to see you there.
 

Our Show is on the Move

After the success of Solastalgia, the exhibition we held at Gray Street Workshop earlier this year, our small group of environmentally inspired artists have decided to take our show on the road. Up next the exhibition will tour to the beautiful Murray Bridge Regional Gallery, South Australia, where it will run from Friday the 1st of September, 2017, to Sunday the 15th of October 2017.

To keep the show fresh, each artist will be adding to their initial collection and we will also be encouraging a select group of regional artists to respond to their experience of climate change. For this leg of the tour, Lesa Farrant has made a collection of plant specimens from debris found along her local coastline, Jo Wilmot has developed some photographic works to contextualise her porcelain installation and I have added a range of Plastic Soup wearables to accompany my sculptures.

Lesa Farrant's beautiful porcelain 'Lycium Ferocissimum' recently shown at our Gray Street Workshop Show.

Lesa Farrant's beautiful porcelain 'Lycium Ferocissimum' recently shown at our Gray Street Workshop Show.

One of Lesa's new pieces, 'Brown Algae 1,' made from plastics and other detritus found along the coastline. Photograph courtesy of Heidi Wolff.

One of Lesa's new pieces, 'Brown Algae 1,' made from plastics and other detritus found along the coastline. Photograph courtesy of Heidi Wolff.

Jo Wilmot's wall installation, 'Last Chance to See,' from our last show. Photograph courtesy of the artist.

Jo Wilmot's wall installation, 'Last Chance to See,' from our last show. Photograph courtesy of the artist.

One of Jo's beautiful photographic works which will be displayed alongside her original collection.

One of Jo's beautiful photographic works which will be displayed alongside her original collection.

A close up of my 'Plastic Soup' Sculpture from the original show. Photograph courtesy of Jo Wilmot.

A close up of my 'Plastic Soup' Sculpture from the original show. Photograph courtesy of Jo Wilmot.

Some 'Plastic Soup' jewels will be accompanying my sculptures at the Murray Bridge Regional Gallery Show. Photograph courtesy of  Perth Product Photography .

Some 'Plastic Soup' jewels will be accompanying my sculptures at the Murray Bridge Regional Gallery Show. Photograph courtesy of Perth Product Photography.

For more information about the show and the tour, you can head over to the Murray Bridge Regional Gallery's website or keep an eye on my news feed.

Plastic Soup Sculptures in the Making

Exhibiting at Gray Street Workshop has definitely been a highlight of my year so far and after receiving some wonderful feedback and selling a few pieces, the show wrapped up last week. In celebration, we had an artist get together to see where the show might go next and it looks like we might take it on tour, adding new pieces to the collection, which is really exciting.

Making works for exhibition is one of my favourite pastimes as there are fewer limitations on time and money compared to production work. This means I can go nuts on detail! It is also a much more creative way of working and I feel more freedom to address concepts that I care about such as the environment.

For Solastalgia, I really wanted to use the opportunity to develop my work further. I have been making wearable Plastic Soup pieces for some time now to explore and engage people with the issue of excess plastics circulating our oceans. The response has been really positive, however, I have observed people struggling with the tiny scale of the work. Given their intimate location on the body, some people have been too shy to approach the pieces whilst others miss them altogether. In response to this, I wanted to experiment by removing the pieces from the body and increasing their size to see whether larger sculptural works would be more successful in engaging my audience.

The increase in scale I wanted to achieve meant that silver was no longer a viable material as is too soft and tricky to work with at that size. I needed to find a metal which would stay rigid and was also able to be coloured black to give the pieces that seaweedy feel. I began experimenting with mild steel which can be blackened with white vinegar, a product which is good for the environment and can be reused as a cleaning product. It sounded like a win-win to me! Working with steel was an enjoyable challenge and a welcomed variation from my regular work with precious materials.

Experimenting.... My first attempt at welding mild steel.  

To construct the sculptures, I began cutting various lengths of steel and finished each end to a blunt point which gave them a geometric feel.

Many sticks to cut = very dirty hands.

I then welded steel sticks together in pairs, intersecting them with other pairs to let the pieces take shape. I added more and more sticks until the shapes were completed then began working on steel boxes which were to contain the plastic fragments. I decided to make them using a range of different shaped and sized steel tubes and discovered a real difference in the quality of welded steel tube compared to the usual silver products I have grown accustomed to. I cut each tube to size and spent days grinding down the messy seams to give them the finer finish I required.

A whole bunch of steel tube slices fresh off the Brobo. They are really sharp and messy looking.

So many hours work to clean these guys up, but the end product was definitely worth it.

So many hours work to clean these guys up, but the end product was definitely worth it.

I then hand cut the acrylic ‘windows’ and gently filed them down to fit perfectly within the tubes.

Each piece of acrylic is covered in tape to protect the surface and numbered so that I know which box they fit into. The acrylic has to fit the inside of the boxes perfectly so that they stay in place without glue.

Many sleepless nights and an injured shoulder later, the tubes were welded in place and finally, construction was complete.

All done! Yay!

When making jewellery and sculpture, finish is as important as construction. A beautifully constructed piece can be completely ruined if it is not finished well. I wanted to avoid this by giving my sculptures an even sandblasted finish which was then blackened and waxed.

A beautifully sandblasted surface. After this stage I make sure that the sculptures are handled with cotton gloves to avoid contamination before I blacken them.

Dipping the sculptures into boiling hot vinegar. Though I thought I measured enough before I began, unfortunately this one didn't quite fit and luckily I had some spare vinegar to top it up!

With only a day to spare I prepared a variety of plastic fragments I had collected earlier, and set them in place. Phew!

My favorite part of the process is choosing the plastic fragments to go inside each box. These plastic jewels were collected at West Beach and Aldinga Beach in South Australia.

The final piece all blackened and set with plastic jewels.

The response to the sculptural pieces was encouraging and my audience were much more inclined to approach the works to have a good look around at the colourful plastic treasure they contained. Even more interesting was their response to the related jewellery I wore after seeing the sculptures. They could see the relationship between the two and It really helped to open up a dialogue about the ‘Plastic Soup’ phenomenon which was my ultimate goal.

I wore one of my brooches to the opening night of Solastalgia and it lead to some great conversations about climate change. My audience seemed to have much more of an appreciation for the tiny brooch once they had seen the sculptures.