Enucleo – contemporary clay was my first curatorial project, which I undertook in partnership with fellow Honours graduate Patrick Sutczak, in 2013.  Enucleo grew from a desire to experiment with presenting ceramic art in the absence of the usual support structure: the white plinth.  It also aimed to present work that demonstrated the potential of clay as an expressive medium without necessarily utilising the high level of technical proficiency often associated with the medium. 

The project took Patrick and I on a steep learning curve, where we learnt many valuable lessons applicable to our practices as artists while also expanding our resumes and lists of industry contacts.  Follow the link to the colour catalogue for further details.

Catalogue

Grown from a prior curatorial project (Enucleo - contemporary clay), Enucleo - subversive clay expanded upon the premise of the presentation of ceramic artworks in the absence of plinths. This time, detached even further from white cubes, immersed in deep in a dark, centuries-old stone barn, light and its absence became a partner in the exploration of ceramics as a contemporary medium.

This exhibition was staged at the Rosny Barn, Hobart, Tasmania, in conjunction with The Australian Ceramics Triennale, 2019.

Images: Chris Crerar

Belonging is the outcome of an out-of-the-blue exhibition project management opportunity which grew very quickly into a curatorial project. Completed in just 10 weeks, this project required that I dive into the Ulverstone History Museum collection and develop an exhibition ready for the opening of new premises. In addition to being Curator I was responsible for designing, commissioning and installing exhibition infrastructure, writing interpretation text and preparing and installing the objects.

One of the joys of this project was working with Co-Curator, Dave Gough, to integrate objects that illuminate stories of Aboriginal presence in the region, which were otherwise absent from the Museum collection.