Aquatherapie

2014

alana wilson, artist, aquatherapie, ceramics, sydney, australia, amphora
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alana wilson, artist, aquatherapie, ceramics, sydney, australia, amphora
Amphora I
Amphora I

Terracotta paperclay with reactive slip and stoneware glaze. 14 x 6 x 6cm

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Amphora I
Amphora I

Terracotta paperclay with reactive slip and stoneware glaze. 14 x 6 x 6cm

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Amphora II
Amphora II

Terracotta paperclay with reactive slip and stoneware glaze. 13 x 8 x 6cm

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Amphora II
Amphora II

Terracotta paperclay with reactive slip and stoneware glaze. 13 x 8 x 6cm

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Dusk Amphora II
Dusk Amphora II

Porcelain paperclay with reactive slip and stoneware glaze. 14 x 9.5 x 9.5cm

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Isle Amphora
Isle Amphora

Buff terracotta paperclay with reactive slip and stoneware glaze. 14 x 7.5 x 7.5cm

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Titanium Amphora
Titanium Amphora

Porcelain paperclay with reactive slip and stoneware Titanium glaze. 18 x 10 x 10cm

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Palm vessel
Palm vessel

Buff terracotta paperclay with sgrafitto through stoneware Tin glaze. 13 x 10 x 10cm

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Dusk Amphora II
Dusk Amphora II

Porcelain paperclay with reactive slip and stoneware glaze. 14 x 9.5 x 9.5cm

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Cerebral Reef IV (detail)
Cerebral Reef IV (detail)

Terracotta paperclay with mixed reactive slips and stoneware glaze. 7 x 8 x 8cm

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alana wilson, aquatherapie, ceramics, sydney, australia
Aquatherapie Amphora
Aquatherapie Amphora

Home@735 Gallery, Redfern

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Aquatherapie (Neolithic vessel II)
Aquatherapie (Neolithic vessel II)

Home@735 Gallery, Redfern

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Aquatherapie

 

The Aquatherapie vessels draw inspiration and allusion from marine archaeology, exploring a sense of historical artefact and ancient decay. The forms reference utilitarian vessels from Greece (the amphora), visible in the full-bodied vessels with narrow necks and lugs or handles. As with all Alana Wilson pieces, the finishing has been carefully considered and the narrow bases and fine edges depict the fragility and lightness of the vessels. Although depicting functional forms, the refined intricacies of the vessels are distinctly non-functional.

 

Experimental glazing and technological trials result in the range of built up hues and textures within the surfaces, whether bold marine blues and teals, or subtle dappled pastels and whites. Surfaces were inspired by textures of coral reefs, sea creatures and built up marine layers of decay and sediment. There is a continuation of an inherent calmness in the works, a recurring thread in Wilson's practice.

 

The Mirage vessels (shallow open bowls with very narrow feet) reference the singularity and simplistic nature of contemporary religious architecture, a type of ceremonial vessel that stands strong on its own. When fired, layers of texture rest differently in the shallow footed bowls to the layers the catch and cascade on the shoulders of the Amphora vessels. 

 

Neolithic bowls (large open vessels, referencing forms from Neolithic Chinese collections) allow large amounts of light to render the textures and surface within the form. The layers of slip and glaze pool and rest in the heat of the kiln differently to the convex shoulders of the Amphora vessels.

 

Amphora (I-IV) are made to sit on small acrylic bases. By placing them on a plinth of sorts they read as if in a museum, originally utilitarian but over time having achieved an objective status in social, anthropological and art history.