POWERHOUSE COLLECTION

'Black Group' by Prue Venables

Object No. 2005/138/1

This group is a fine example of the porcelain groups, or 'still lives', of vessels based on familiar domestic utensils, made in recent years by Prue Venables (Australian, born 1954 England). Her ceramic work from the early 1980s was thrown earthenware domestic ware, strongly decorated in painted layers. From the early 1990s she moved to using porcelain, especially translucent white Limoges porcelain. The decoration became minimal, with often simple washes of blue cobalt oxide and a clear calcium glaze. By the 2000s she was consistently making objects based on domestic utensils such as teapots, jugs and beakers, but also strainers, sieves and colanders, and grouping these in specific arrangements. Her glazes have become monochromatic, white, pale blue, green or yellow, and often a distinctive matt black. Some of Venables' work is characterised by removing the circular base of a thrown form, and reattaching the form to an oval base, sometimes further altering the body shape while the clay is malleable. 'In my work, an apparent simplicity conceals the laborious making process. Using thrown clay as a building material rather than a finishing point, the pots are initially formed on the wheel, then altered when wet. New bases are added at the leatherhard stage.' (Prue Venables, catalogue, Craft Victoria 2002) She says: 'A search for simplicity and quietness, an essential stillness, motivates my work. The making of functional pots, the exploration of objects to be held and used, alongside a search for new and innovative forms, provides a lifetime of challenge and excitement. A beautiful cup seems simple and yet is capable of gently holding and reflecting so much ceremony and personal connection. The finished objects stands innocently - as if oblivious to the complexities of its history, of making and firing processes. The translucency of porcelain, the light dancing on the sprung tension of a rim, the softly melting body inviting touch, even the frustration of failure - all this and more continues to invite me. I enjoy the contradictory nature of these pieces where the sprung tension of the throwing remains clear, but the origins of the forms are uncertain. I have a particular interest in the making of functional objects and the work contains references to 18th and 19th century English industrial pottery as well as to more contemporary and familiar metal and plastic vessels. (Prue Venables, catalogues: Craft Victoria 2002; and Rex Irwin Art Dealer, 2005).

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Summary

Object Statement

Ceramic group, 'Black group', Limoges porcelain, Prue Venables, Melbourne, Victoria, Australia, 2005

Physical Description

Group of black-glazed ceramic vessels, arranged in shallow curved line in a specific order and orientation, i.e. scoop, jug, bottle, dish, spoon. Scoop, pierced, oval shape with pouring lip on short side, and handle on vertical tall side; jug of beaker-shape without handle; bottle with flat base rising to narrow neck opening to wide mouth; dish of oval shape with sides of uneven height; spoon of tear-shape well, with long straight handle with hole at end.

PRODUCTION

Notes

The group was made in Melbourne in 2005 by Prue Venables (Australian, born 1954 England). Her ceramic work from the early 1980s was thrown earthenware domestic ware, strongly decorated in painted layers. From the early 1990s she moved to using porcelain, especially translucent white Limoges porcelain. The decoration became minimal, with often simple washes of blue cobalt oxide and a clear calcium glaze. By the 2000s she was consistently making objects based on domestic utensils such as teapots, jugs and beakers, but also strainers, sieves and colanders, and grouping these in specific arrangements. Her glazes have become monochromatic, white, pale blue, green or yellow, and often a distinctive matt black. Some of Venables' work is characterised by removing the circular base of a thrown form, and reattaching the form to an oval base, sometimes further altering the body shape while the clay is malleable. 'In my work, an apparent simplicity conceals the laborious making process. Using thrown clay as a building material rather than a finishing point, the pots are initially formed on the wheel, then altered when wet. New bases are added at the leatherhard stage.' (Prue Venables, catalogue, Craft Victoria 2002)

HISTORY

Notes

Exhibited at a solo exhibition of work by Prue Venables at Rex Irwin Art Dealer, February 1-26, 2005. Prue Venables (born 1954 England) graduated in zoological science in Melbourne (1971-1974) and in ceramics in England (1981-1983) working with Alison Britton, after returning there at first to study music. She completed her masters degree at RMIT in 1995. She has exhibited in Australia and overseas consistently since the early 1980s and has had 18 solo exhibitions. She has been a lecturer in ceramics at RMIT, Melbourne since 1993, as well as being a lecturer, guest lecturer or workshop teacher in a number of institutions in Australia and UK, and also Sweden. In 2003 she won third prize in the 2nd Jan Ken Pon World Design Competition, at Gifu City, Japan, and in 2004 was invited as artist-designer in residence to the Oribe Design Centre in Gifu City, Japan, to work on designs for the possible production of a dinner set by one of the local porcelain manufacturers. 'The generosity of the people here is astounding...I have accommodation in the centre and a studio to work in as well as three 'mentors' who take me to meetings with the company, manufacturers and a research institute that is developing the clay body and glaze for the project. The mentors work as interpreters as well as taking a very active role in the discussions about the details of the samples that I have made. It is just amazing.' (Prue Venables, correspondence, 2004.)

SOURCE

Credit Line

Purchased with the assistance of funds donated by Rex Irwin Art Dealer, 2005

Acquisition Date

9 June 2005

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