Judges’ comments on the winning piece:
It was a pleasure to encounter a number of thrilling, highly distinctive ceramic statements among the strong selection of works submitted for this Award.
The judges unanimously selected Tāmaki Makaurau Auckland-based Helen Bakker’s Henri as winner. This sophisticated ceramic sculpture demonstrates the maker’s fine sensitivity to the textural and expressive potential of clay. A restrained palette and sparing sensibility unexpectedly meet animated eyes and a cheeky cigarette to irreverent effect. Henri is an exemplar of thoughtfully employed understatement. The judges were impressed by the artist’s contextualisation: She described her approach to working in clay, which had its origins in the Covid pandemic, as having been guided by principles of permaculture and a feeling for simple, economical modes of expression.
An extremely different but equally sophisticated work was judged winner of the Residency award. Ōtepoti Dunedin-based Lucy Hunter’s Duality is an ambiguous expressive vessel that has its tap root in contemporary Dunedin music subculture. Its vibrant colour, attractive texture and intriguing depiction of long-armed aliens attracted attention as soon as it was seen. The work is distinguished by a singular tubular neck emerging from the heads of a striking pair of figures that adorn it. Duality was commended as extremely assured and lively.
All dimensions in millimetres, height x width x depth.
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Judges’ comments:
The award is limited to those makers who have been working with clay for five years or less. The aim of the award is to give the recipient a major financial boost to enable them to progress their journey with clay, and to present talent which has not been identified previously.
We would like to thank all those who submitted an entry to this, the third Emerging Practitioner in Clay Award.
We had vigorous, lengthy discussions and had to make some difficult decisions, selecting 34 of the 76 entries submitted. One of the selected works was not received, due to damage prior to sending, resulting in 33 works on show. Opinions were not always unanimous but we all had our preferences respected.
The exhibition includes work from all around Aotearoa New Zealand, ranging in styles, techniques, aesthetics encompassing all aspects of working with clay, from the humble to the extroverted. It demonstrates that the future of studio ceramics in this country looks lively and positive.
We encourage those not selected to continue working with clay and be part of the resurgence of the medium.
Our hope is you enjoy this exhibition and find work which will excite, inspire, challenge, and stimulate discussion, or simply require your quiet contemplation.
Anna Miles, Rick Rudd, Bronwynne Cornish
Anna Miles graduated with a BFA and a MPhil (English). For almost twenty years she wrote for art publications and catalogues; and has curated exhibitions for Artspace, Objectspace, and Pah Homestead. She has been a tutor at Elam School of Fine Arts, UNITEC, and AUT, and a trustee for Artspace and Objectspace. Anna established her own gallery in 2003 for artists at all stages of their careers working within a broad range of media.
Rick Rudd trained at Great Yarmouth and Wolverhampton Colleges of Art, UK from 1968 – 1972. He came to Aotearoa New Zealand in 1973 and has been president of both the Auckland and New Zealand Potter’s societies. He is the director/curator of Quartz, Museum of Studio Ceramics and in 2020 was awarded an MNZM.
Bronwynne Cornish was introduced to clay in 1965. She has exhibited widely in Aotearoa New Zealand and overseas. Undertaking installations, she took studio ceramics from the craft shop and established it in many of the major art galleries around Aotearoa. Bronwynne’s work often references historic imagery. She has been a tutor at Otago, Waikato, and Carrington (Auckland) polytechnics. She continues to be actively involved in the medium.
We wish to thank Creative NZ for their support.
