• Little Treasures
• Morgan Allender
• Robyn Burgess
• Deidre But-Husaim
• Marcel Cousins
• Tony Cran
• Carly Fischer
• Chris Humphries
• Cassandra Laing
• Nicola Loder
• Gretchen Mercedes
• Abbey McCulloch
• Laith McGregor
• Stormie Mills
• Tim Moore
• Shannon Peel
• Amelda Read - Forsythe
• Toby Richardson
• Peter Robertson
• Britt Salt
• Jacqui Stockdale
• Jennifer Tyers

Alan Constable

Alan Constable Clay Cameras August 20 - September 5, 2009 Alan Constable's sculptural practice holds within it a sense of curiosity, desire and re - invention. From the box brownie to disposables, VHS to SLR, telephoto to Twin Lens reflex, much of Alan's motivation to re-create these wonderful objects is his desire to explore the mechanics and internal workings of cameras. Working from advertisements in National Geographic's dated from the 1960's onwards, Alan's imagination allows him to explore what he knows exists but often cannot see, often re-inventing where necessary various hidden chambers for film and spools. Alan's process of constructing involves close inspection of the image and then the rolling of slabs which are cut and eventually pieced together - sometimes quite loosely - with the help of cross hatching and wet clay and could be equated with the making and assembly of a garment. Working with the materiality of the wet clay Alan's working method brings about a sense of weight, gravity and softness to the finished pieces. - Simone Ewenson 2007 As a child, Alan Constable constructed intricate models of cameras from scraps of cardboard and glue. In his recent work he re-visits and re-invents the camera using images from 1960's and more recent National Geographic magazines. These internally structured cameras are made from glazed ceramic. This suggests a sense of weight and tactility which is consistent with Constable's working methods, which primarily involve touch. "Alan's imagination allows him to explore what he knows exists but cannot see, often re-inventing where necessary various hidden chambers for film and spools."[1] Constable's finger marks clearly remain within the work as traces of humanity, enabling them to be seen as lyrical interpretations of what are very technical instruments. In this way, an Alan Constable camera can be viewed as an extension of the human body, rather than a direct replica. [1] Simone Ewenson 2007

Exhibitions

Clay Cameras - 2009

                                 

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