EXPLORING

 

I have been exhibiting for a while now, but it has only been in the last few years that I have been creating almost exclusively ceramic works.

I love the way that clay is a medium that not only mimics so easily but caries such a weight of history as well.  I am inspired by shapes and forms that have been part of ceramics for centuries and I like to make new shapes not usually associated with clay.

On this page you will find the exhibitions and works that I have created over the past few years.

 

 

Form Gallery . Christchurch . 2014

Form Invite 2014

The Gilded Shadow.
Pivotal to the legacy of the Victorian and Edwardian collection is the taxidermy specimen. Colonies provided new ground during the 19th and 20th century, species plundered to become plucked and stuffed, displayed in cabinets and pinned to walls. Sadly, many did not survive this historical onslaught of collectible consumerism. One such specimen, the Huia, is now relegated to the back shelves of museums and national Taonga. It lives on as a recumbent mythological memory from the distant past. This is a work designed to frame discussion on what historical objects can impart as a forewarning to the ethics of global consumerism. Bird parts constructed from thousands of ceramic feathers pierced into a pliable substrate with industrial plastic garment tags. Bird skins hang supplicant on the wall with bone china huia skulls that are topped with a brass skull caps and fobs and a collection of the seven white tipped Huia feathers. The tail feathers, as the most desirable commodity of the Huia, are tagged and collected as solo specimens as well. The pseudo taxidermy parts are accompanied by small ceramic buckets that collect the remains of the black feathers after the bird’s most desirable assets are stripped.

 

 

The Tin Palace . Lyttleton, Christchurch . 2014

emperor_A4_email_v3

 

Kotuku .  WOW with Bronwyn Knutson .Wellington . 2012

 

Kotuku Large label final 2

 

The Christchurch Art Show . Wigram Airforce Museum . Christchurch . 2014

poster 2

 

Intrigued by the collection of Ornithological specimens of the late Victorian period, I have often wondered if this was the birth of modern consumerism. The creation of the Middle Class with disposable income allowed for the collection of new and exotic items taken indiscriminately from the colonies to adorn Victorian mantle pieces, walls and glass fronted curiosity cabinets. Many birds did not survive this early consumerist hunger, such was the sad fate of the Huia, whose lilting song was last heard echoing over the Tararua Ranges in 1907. All these works for ‘Who killed the Golden Goose’ share the aesthetics of Victorian mourning memorabilia and experiment with the taciturn collectors tools of tagging, labeling and trophies.

 

 

The Tin Palace . Lyttleton, Christchurch . 2014

artinclay_A4_email

 

When I was a child my mother referred to her rambunctious brood as a force of nature and that every thing was ‘broken, busted or maimed!’ Never has the meaning of that phrase seemed more vivid than in the events that Mother Nature has thrown at us over the past year. Each time the earth moves there is another shattered person, workshop, street, ornament and home sinking in the water silt.  These ceramic pieces reflect different types of brokenness and are accentuated by their silver luster damaged edges, because although each event stunned us, often lost for words, through each broken situation acts of selflessness, bravery and goodwill appeared as silent silvered linings.

 

 

The Portage . The Silos . Auckland . 2013

Bye Bye Birdie (II)

Portage 2013 T Meharry Bye, Bye Birdie(II) image 1

 

 

Sculpture on the Peninsula . Laudon Farm . Banks Peninsula . 2013

Bye Bye Birdie

World of Wearable Art . Wellington . 2013

The Exchange

“The Exchange” is an interpretation of a contemporary living picture of The treaty of Waitangi. In the tradition of historical portraiture each party is cloaked in the Vestments of Power. The cloak and the cape carry two different traditions of cultural history. The feathers and coins are interchanged on the garments and become a symbolic shroud shaping each with a new heritage. The paths of new dialogues continue to travel along the fragile chains strung between the Orb and Patu. This portrait explores an act of the assimilation of gifts and promises from one culture to the other.
Tatyanna Meharry & Natasha Meharry . Aotearoa . 2013

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