Speaking with Naomi Hunter

I was introduced to Naomi Hunter's work by her solo exhibition, Skin: an imperfect coat November last year at The Oats Factory. What I saw was sensuously visceral glass forms and vessels that used the naturally fluid nature of the medium to convey various states of being. I was lucky enough to catch up with Naomi for an interview before she heads over to Adelaide to complete her PhD.

Specimen Table, Naomi Hunter.
Photographer: Paul Godfrey  

Your installation of glass vessels and organ-like forms spread across the stainless steel medical/kitchen benches had quite a strong emotional effect on me. It made me think of the vulnerability of the body and submission to procedure or examination. Am I on the right track? Can you talk further about this installation and the other works in the show? 

I have always been interested in the dualistic nature of the relationship between the immaterial mind and the material body. How thoughts affect the physical body and the body molds thoughts. Is the body a mere vessel for consciousness and how can I reveal the normally unseen internal collaborations?

My work is an ongoing exploration of the space between the immaterial and material self –– mind/body, and the space between the mind/body and the world. Making visible the constant negotiation of perceptions around the body in the world and the idealised self. My installation works are experiential which means it is based on the knowledge gained or idea imparted through the experience the viewer has when entering the exhibition space.

Specimen #14 (detail), Naomi Hunter. Blown and hot sculpted glass.
Photographer: Paul Godfrey 

In entering the space the viewer becomes immersed within the work not merely viewing from the outside. To that end the use of the stainless steel benches allowed tension between the organic glass and the seemingly ‘perfect’ shining steel, to be revealed whilst including the reflection of the viewer within the work. In using components within the installation that range from the abstract to the figurative and the play on the notion of ‘the vessel’ encourages the viewer to explore their own ideas around the work.

Specimen # 15, Naomi Hunter.
Blown vessels, hot cast and steam-sticked.
Photographer: Paul Godfrey 

The image here shows two objects made of the same components, made one after the other following the same process. Yet they both have reacted to the process in different ways. Glass can be suspended between states of liquidity and solidity, its symbolism oscillating between endurance and fragility – traits often related to the human condition.

Have you always worked in glass? And what first attracted you to this medium?

I have always had a creative streak and worked with a variety of mediums mostly textiles and found objects but it wasn’t until I went back to Uni to do an Arts Management degree that I saw the possibility of being the artist. Whilst doing an elective in visual art I wandered in to the glass studio to see David Hay and Jasper Dowding making glass pieces for Kevin Gordon and I was hooked...couldn’t drag myself away. The constant movement of the liquid and the ongoing interaction between the artist and the medium held me fascinated. Also the contrast between its robust malleable liquid form and the fragility of the final piece resonated with me.

I transferred over to the Visual Arts course and the rest is as they say history.

Who are some of your creative influences? 

Australian Glass artist Gabriella Bisetto has a number of processes and themes that resonate with me – her often seemingly simplistic forms are technically challenging to perfect, whilst capturing the notions of recording the bodies process such as Little breaths.

I would have to say that my influences are almost as eclectic as my work. I am drawn to the paintings and drawings of Gustav Klimt. His representation of the body, show it in not only its beauty but at the same time awkward. As well as sculptor and installation artist Anish Kapoor with his highly reflective polished surfaces and grand scale.

I saw from your FB profile you studied at Alberta College of Art and Design in Canada and are currently living in Perth, WA. It sounds like you have done some moving. Can you tell me about that and how these places have shaped your outlook? 

Once I had decided to study visual arts I realised that my fascination with glass was getting stronger. I felt to be able to use the medium in an cohesive way I needed to have hands on experience of the different processes. So in 2007 I did a 12-month student exchange at Alberta College of Art and Design, which had a hands-on training degree in glass blowing. Living in a cold climate after growing up in Perth was a shock. I had seen and experienced cold and snow in short bursts whilst on holiday but to negotiate on a daily basis was a new experience.

And you are moving East soon? I think I remember you telling me when we first met that this was for further arts study? Can you tell us a little about this and what you will be working on? 

Specimen # 1. Spill, Naomi Hunter. Blown and sculpted glass, Murrini and resin.
Photographer: Paul Godfrey

I am moving to Adelaide to complete my PhD in Visual Arts. Adelaide has a strong glass movement with an Undergraduate degree in Glass at University of South Australia and the glass workshops at the Jam factory.

Where can people find out more about your work? 

One of my projects once I’m settled in Adelaide is to work on a web page. At the moment people can contact me directly via naomihunter[at]iinet.net.au

Paper Chain Update

This is the first collage for 2012 on the Paper Chain! It is from Ali Drake, Australia to Francesca van der Walt, South Africa on Chain 4. To see more Paper Chain images visit thepaperchain.tumblr.com

Last night I dreamed I was dreaming of you...

Last Wednesday I made a Facebook status update, "Last night I dreamed I was dreaming of you...".

The line is from a Tom Waits song, "Watch Her Disappear". That single line has been whirling about my mind, in that way that songs occasionally haunt you with some past truth you couldn't properly articulate.

On Friday, my friend and brilliant artist behind Doublethink Design, Chiara Adams posted on my Facebook wall that she had created an artwork (below) based on my status update. I don't know whether she was familiar with the origin of the line but I was blown away by how eloquently she had expressed it. Like that strange uncanny feeling I was having had just been given it's full voice. Thankyou so much Chiara.

Last night I dreamed I was dreaming of you, Chiara Adams. Graphite and watercolour. 2011.

Go find out more and follow Chiara Adam's fantastic work at these links:
Doublethink Design
on Facebook
on Twitter
on Tumblr

Tom Waits - Watch Her Disappear

Another chain complete on the Paper Chain!

William Wernham to Holly Pepper (Chain 11)

This assemblage by William Wernham completes chain number 11 on our Paper Chain. To see more or find out how to join in visit: http://thepaperchain.tumblr.com

At Yokine Reserve

Newspaper Christmas Wreath

Every year I feel more and more conflicted about Christmas. It's a wonderful time for catching up with loved ones and letting people around you know that you appreciate them with gifts, cards and fantastic food. Yet, it is also so filled with stressy consumerism and disposability that goes against everything I (and many people close to me) believe in. So, how pleased I was when I discovered Eco Empire and saw the wonderful DIY Christmas craft projects that they are currently featuring.

All the projects are centered around recyclable and reusable materials - reusable bon-bons anyone! That's so simple, yet so genius. Does anybody ever really like those cheap plastic trinkets and bad jokes anyway?

Below is my version of the Recyclable Paper Christmas Wreath, now hanging proudly on my front door. I realised part way through making this that it is mostly the births, deaths and marriage notice pages from the West Australian newspaper. I quite liked the irony and symbolism of endings and beginnings that this unplanned feature brings to it.

Thanks so much Eco Empire for lifting my Christmas spirit!

Carpets for Communities

Carpets for Communities Promotional Video from cassarnorton on Vimeo.

Creative Space

This week I added two new blocks to my 200 Crochet blocks project. They are Old Vienna in green and Blocks & Shells in pink. After blocking them in my studio I took them out & about to Point Heathcote, where we enjoyed the afternoon sun together.

To see what other people have been up to in their creative spaces click HERE

Speaking with Cherish Marrington

Intraspecific Competition, Cherish Marrington,
ink on paper, 2011.

Can you tell us a bit about the kind of work you make?

Most of all I like to draw, and specifically make drawings of characters that oftentimes alarm or puzzle even myself. I tend to invent the personality first, and afterwards, the character. Sometimes they are reflections on people that I have seen or met before, otherwise they are totally imaginary. All the while I question their existence, and as I am drawing, I think about their lives. They are definitely real people—only, I have corrupted them in my own manner.  

Who are the characters in your work?

Some of them are not my friends, and are the kind of people that are only nice when they want something. The way I form a character is similar to the methods of traditional animation. I am willing to redraw the same character many times until it has been moulded to my specifications, until I understand this character’s way of thinking, or simply until I have the line work just so. Concerning lines and textures, I can be quite pedantic and in this manner I can also relate to Chinese painting: the importance of mark making and how each manner of mark has its definitive place in an image. A certain line can be a specific expression all on its own—that sort of thing.  

I really like the photographs of your people out and about among the grass. Do you leave them for people to discover, or do they come home with you after a photo shoot?

I don’t generally litter, although leaving them for people to discover is quite a romantic idea. This was simply one of those explorations that began on a whim—I like to play with scale a lot, and to have the viewer question the time and place of something like this. The imagery captured of these little paper dolls getting lost in the grass led to other things and ultimately I made drawings that related to all of this along the way.  

This Is Ralph, Cherish Marrington
ink on paper, 2010

How did the animated film Sassy Playmates come about? I really enjoyed them dancing about the familiar urban landscapes of Perth, and I was creeped out too… with a smile, great combination!

An important person to mention is an artist named Matthew Moore. Certainly, working with this dynamic personality is an enriching life experience. When I discovered that he knew a thing or two about animation I immediately felt compelled to not let these useful skills go to waste. We share the same sort of sense of humour and planning an animation was as amusing as building it together. This, combined with the music he programmed made a piece that instantly worked for us, and we plan to have more of it this coming year.  

Can you talk about oniemy.org? It seems there has been a few collaborations among the artists, Sassy Playmates being one example and Slave Trade another, also there appears to be a fair bit of exhibiting together. How did oniemy come about, and does being a part of this collective have an influence on your individual work?

Again, I can only speak highly of my cohort, Matthew Moore. Back when we were both studying art simultaneously last year, it came to our attention that our fellow hungry art students needed to get their brilliant work online and we wanted to set up a neat little online space for our favourite Perth-based art minions. As far as collaborations go it is mainly Matthew Moore and I, but there is nothing like doing group shows a few times a year with our friends. I think that there are some good things to come, as we have studios now! Paper Mountain—get excited.  

No One Knows What I am Doing, Cherish Marrington
ink on paper, 2011.

Who or what are your biggest influences?

I’m very attracted to the work of Istvan Banyai, Giovanni Battista—his etchings from Piranesi—and the work of such animators as Sylvain Chomet and René Laloux (especially his Fantastic planet).  

What is your earliest creative memory?

Probably as far back as yesterday, and the day before. Everything else gets outdated and vague quite rapidly.  

What are you working on at the moment?

I’m planning a show with my favourites: Erin Tily-Laurie, Lance Kershaw Ladu and Matthew Moore. I am wild about their work.  

How can people find out more about your work?

I would say do some Googling to find out what’s new—it’s easy to do since there aren’t many other Cherish Marringtons out there. Well, maybe there are but they don’t generally have my name.

Thoughts on Skin: an imperfect coat

Skin, it is that thin line that separates inside from out. Even perhaps, a separation from what is myself from what is not. The functions and processes going on beneath our skin are hidden from view, and rarely thought about day to day. Despite this, the smooth functioning of those organs protected within are what enable us to be. In fact, it is not until we are faced with illness that we become acutely aware of the vulnerability of what's hidden beneath this protective membrane.

Installation view, Skin: an imperfect coat, Naomi Hunter.
Image via The Oats Factory.

 
Last Friday night I went to the opening of Perth based glass artist, Naomi Hunter's exhibition Skin: an imperfect coat at The Oats Factory. Hunter combines glass, steel, installation and film to form a three part exhibition. In the front part of the gallery is an installation which brings to my mind the clinical examination of the body - under bright light vessels spill red droplets like blood onto stainless steel surfaces, glass organ-like forms sit beneath specimen containers, and some seem to teeter dangerously close to the edge emphasising their vulnerability. This acts for me, like a manifestation of the loss of control felt when faced with illness. When we place our trust in medicine and submit to procedures that can be frightening and humiliating. Yet, like the body and all its imperfection these glass forms Hunter has created are intriguingly beautiful.

Sam (detail), Naomi Hunter, glass, steel and light.
Image via The Oats Factory.

The second part of the gallery is like a transition into an earlier stage of life. It contains larger sculptural works in a darkened space which have an ethereal quality to them. These works incorporate perforated steel with glass ovum-like centers. The glass, a membrane protecting the light emanating from within.

In the third part we step back another stage. An up close moving image of glass while Hunter works with it is projected onto the wall. Like promordium this liquid is evolving into form, ever changing and ever in process.

Skin: an imperfect coat runs until the 27th November at The Oats Factory, 69 Oats Street, Carlisle WA, Wed – Sun 12 - 5pm.