Upcoming

This year our Spring feels different. Although we are preparing the soil the same as every other Spring and getting ready to sow our veggie seeds, there is an element of doubt as to what will shoot. The blossoms are promising on the almond tree and I am hoping to see the first asparagus spearing through the mulch any minute, but so far this year has been unpredictable enough to torpedo my faith in even the most reliable of my expectations. The work that has come from this period may seem like another small step in the continuing evolution of my “shoots” and “fruits” series but it has come from a very different period of time and a very different place.

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Ninuku was founded in 2006 by a small group of Pitjantjatjara and Ngaanyatjarra artists in a small mud-brick building in Kalka, located in the far northwest corner of South Australia. Currently, the art centre supports a rotating roster of close to forty artists and makers living in both Kalka and Pipalyatjara, which are the most remote communities of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Over the course of the last decade the art centre has exhibited work nationally and internationally, becoming known for its powerful colour palettes as well as the diversity of styles, techniques, and mediums of each artist. Whilst the origins of Ninuku’s creative output lay in the traditions of Western Desert dot painting, artists have grown over time to incorporate loose brush techniques as well as tjanpi (grass) and punu (wood) sculpture into their practices, as well as most recently enamelling for hot blown glass.

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In making this new body of work I focus on the remarkable plants and landscape of Wollemi National Park, a remote wilderness area west of Sydney and sadly last summer, the centre of Australia’s largest ever bushfire. The aim through the exploration of ceramic materials, surface and form is to express my innate affinity and connection to the natural world. Cathy Franzi, 2020

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Earlier this year as my housemates and I searched for a new rental property, I found myself captivated by the front gardens and façades of houses - our prospective new homes but others too. Furtive glances and blurry photos returned to the studio with me. I realised that my looking at these spaces amounted more to reading: reading these private street-facing spaces as the inscriptions of history they are. FAÇADE, a series of sculptural ceramic vessels and objects, records an angular language of fences and screens, columns and brickwork, doors and windows glimpsed through the outward and upward thrust of plants busily growing. The ceramic vessel hold this tension between what is revealed and concealed. My aim with this series of works is to creatively express the layers of past and present written into the home façade acknowledging it as an important document of diversity and resilience and of community for the future.

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