Part of the unique quality of art is that its manifestation as a two-dimensional or three-dimensional work is quantifiable, real and fixed while at the same time the meaning of the work is not. The original spark of inspiration for the artist is frequently unconscious and would seem to undergo a process of transformation and evolvement through which the idea then passes from thought to actuality. The piece of art is tangible. However, what the piece says to the viewer is always open to subjective projection and interpretation on many levels. This is exciting, this is flexible, and this is art.
Within a body of work or piece the artist may consciously or unconsciously incorporate symbolism. This can be an important reference point for both the artist and the viewer for the establishment of a dialog about the work. Essentially though the viewer is ultimately left alone to feel and contemplate. Inspired by mythology and the depths of symbolism are two artists Robbie Harmsworth and Kris Coad whose current works have recently been shown in complementary exhibitions at Craft Victoria.
Robbie
Harmsworth installation detail
Robbie Harmsworth has chosen the Persephone Myth as her point of reference and has empowered herself to explore the unquantifiable nature of the story. This body of work reflects a considerable amount of spiritual freedom within the parameters that have been set. The fluidity and adept quality of the figures drawn on the clay surface is strong and engaging. Harmsworth’s choice of vessel-like sculptures, which are the three dimensional canvas for the allegory, are cleverly conducive in the way they appear to follow the forms of the figures, rather than the other way round.
The pieces have captured the essence of the ancient myth together with the myth being shrouded within the pathos of modern humanity. The symbols evident in the work are powerful and serve as a reminder of their ongoing subliminal and conscious presence. Harmsworth has reached a level of maturity in her work that demonstrates her experience as a clay artist and her considerable abilities to render the human figure. By bringing these talents together with mythology the old story has a new edge.
Kris
Coad installation detail
In a gentle and persuasive manner Kris Coad takes a path to re-awaken the viewer to the fundamental principles of symbols without the story of myth. Each of the translucent objects has meaning, which can activate a word, thought or imaginative process in the viewer. Coad takes on the challenging medium of clay with this body of slip cast work to demonstrate the delicacy and fragile nature of fine bone china using a rare technique known as Lithophane.
The combination of light and the symbols that can be seen through the porcelain body produces an ethereal sense of mystery. This goes hand in hand with the elusive properties and language of symbolism. Coad’s groupings of cocoon-like symbols on the walls could be interpreted as a sentence or a story. They provide palpable interest individually and collectively while strongly exuding the feminine element of the almond-shaped mandorla.
The hanging piece entitled 'contemplation' parallels the notion of the spiritual or unconscious plane from where inspiration is born. The light through the suspended lozenge shapes symbolises and gives real life to the hidden symbols within each unit and the pastel colours without. These subtle colours suggest the many facets of meaning and ways in which symbols can be internalised. Coad has succeeded in her endeavours to present symbols through this rare technique that was originally developed in Germany - early 19th Century. By illustrating the symbols using this method of fine porcelain the messages are consciously and sensitively conveyed in a metaphorical package.
Symbols may well be the language of the soul. The language of symbols is clearly an underlying thread that seems to link all cultures in an intricate and diverse way. While archetypes and myths will continue to reveal themselves in new ways they will nevertheless remain transitory subjects in the art works they embody.
See images of Robbie Harmsworth's Underworld and Kris Coad's Translucence
