Deborah Oakley, Miriam Gardiner, Jillian Ciemitis and Delrene Hemingway
6 July to 11 August 2013
Alitura (Latin): feeding, nourishing, rearing. It is also a word for nature.
Our work is an expression of our ideas and beliefs about the link between nurture and nature, and the tension that exists between them. We have investigated this tension, and our connection with the natural world, through exploration of the environment, folklore, domesticity and the use of metaphor.
The thread of domesticity has always run through my work. It is an important part of life, which is often overlooked and undervalued; therefore the intention is for my work to transform the domestic and mundane.
Furthermore, my work is an expression of my concerns and ideas about the link between the domestic and the wild, nature and nurture, and through it I explore my connection with the natural world, via the context of domesticity.
John Barleycorn. A metaphor for the spirit of grain, grown healthy and hale during the summer, chopped down and slaughtered in his prime, to be processed into beer and whiskey so he can live once more. With its anthropomorphic theme of barley as a person, mistreated by his fellow man, to ‘families’ of drink and the social facilitation of alcohol, this analogy appears to turn full circle when we witness the devastating effects that alcohol has on humans’ development in utero; the only time we are nurtured without influence of cultural norms.
With over one thousand metres of thread used in this project, each baby has been hand stitched and crafted individually.
Small enough to hold in the palm of your hand we are reminded we are the nurturers of future generations. The cyclic aspect of life and death and the cycle of social dysfunction surrounding the issues of alcohol formed an integral part of the Artist’s decision to use the newborn baby.
The cultivation of grain for beer, as much as for bread has developed with civilisation. Representative of barley in all its stages of manufacture and use, John Barleycorn the figure is quietly unnerving; his presence does not make us feel at ease with the preciousness of new life. He now reaps what has been sown.
Biophilia Hypothesis suggests there is a bond between human beings and other living systems. The term "biophilia" literally means "love of life or living systems." Philias are the attractions and positive feelings that people have toward certain habitats, activities, and objects in their natural surroundings.
My work refers to the relationship of nature to the idea of intelligent thinking being represented by metaphors for neural pathways. The repetition of quadrants within each image is symbolic of the four lobes of the cerebral cortex. These images attempt to bring together the polar dimensions of enveloping nature with the internal comprehension and love of nature by the use of metaphoric devices.
I am a Perth based artist, who, as a child lived in the South West of Western Australia and then, in my adult life lived the Pilbara region. My life experiences have instilled in me a deep affinity for the diverse landscape of Western Australia.
In wildness of the country things become clearer, freer, there is a sense of simplicity. As the seasons change the landscape records its secrets. The more it is loved and nurtured the more it reveals its secrets such as energy, power, fragility and beauty. I endeavour to create the colour and feeling of this in my sculptures which can stand alone or as a group.
I have chosen to use the medium of glass for my current project as I believe it, like our landscape reflects energy, power, fragility and beauty therefore making it the ideal material.