Developing on the theme of his 2012 exhibition, Martin Browne Contemporary presents new sculptures by Peter Cooley in his exhibition ‘Through the Archipelago II’. The work in the exhibition depicts Australian wildlife as varied as the cassowaries and tree kangaroos of Far North Queensland and the sugar gliders that frequent the bush around the artist’s home in the Blue Mountains.
In his Kites, Gang Gangs, Sugar Gliders, Tree Kangaroos, Swans and Cassowaries, Cooley simplifies and abstracts his subjects to create gestural works of power and beauty – the clay hollowed out, flattened and expressively rippled to suggest the essence of these Australian animals.
Cooley has worked with ceramics for many years, forging a much lauded career working with the medium. His works are less about their sculptural form and focus more on the ethereal qualities of the object – often achieved through his use of glazes. There are glazes so bold you cannot take your eyes off the work, while others are so soft you feel yourself sinking into them. The song of some of the works exactly mimics the raucous call of the native birds.
In the lead up to his exhibition with Martin Browne Contemporary, Art Almanac spoke with Cooley about his practice and what inspirations lie behind these delicate objects.
The works in your last couple of exhibitions – including this one with Martin Browne Contemporary – depict native Australian wildlife, from cassowaries to tree kangaroos. Do you have a strong connection to nature?
Referencing nature is a reflection of living in Australia and its uniqueness, compared to other cultures overseas with their huge museum infrastructure (something I envy!).
I try to take advantage of what’s around me, which in turn has sense of place, identity and aesthetic.
Do you use any reference material like photographs or taxidermy objects when making a work?
When possible, I try to view live animals. The Tree Kangaroo’s are at Melbourne zoo; the Cassowaries are next to the train line at Featherdale Park; and the parrots are local to me here in the Blue Mountains. Sometimes I take photographs but I mostly just look, trying to get the feel of their movement and their idiosyncrasies.
Looking more broadly at your practice, what triggered your passion for ceramics?
I first started making pots at 12 years of age in a Saturday afternoon pottery classes in Tweed Heads but it wasn’t anything serious. I had a revelation in the year 2000 while in New York at the Greene Street Studio that this should start to happen again…
I like the idea of and quality of painting on ‘dirt’ and modeling something that is essentially mud. I also like the hands-on aspects, the direct and physical qualities of ceramics. It’s also a basic reaction against technology and corporate nature of much contemporary art practices.
Your works are often heavily decorated with paint and glazes – how important to the work is this application?
The decoration is as integral as the composition itself. I changed over to a majolica glaze which is an on surface decoration rather than an under glaze decoration as before and I like the results. I do feel fortunate that my earlier years as a painter have become something of an asset when it comes to ‘painting up’ the sculptures.
Martin Browne Contemporary
Until 23 June, 2013
Sydney
Cassowary 3, 2013, earthenware, 60 x 63 x 40cm
Lumholtz Tree Kangaroos, a pair, 2012-13, earthenware, 51 x 31 x 32cm (each)
Courtesy the artist and Martin Browne Contemporary
