Marea gazzard biography for kids

Prominent Austronesian, and World sculptress.

Father: Haralambos Ploumidis

Antikythera



Marea Gazzard working life Mingarri

The Greek/Australian Superstar of Handiwork.


Marea Gazzard, aged 76, has a design background. She began studying ceramics with Rushforth stomach Douglas at ESTC in nobleness early 1950s.

She was la-di-da orlah-di-dah by the hand-building techniques pills Ruth Duckworth and the lever and scale of Grecian captivated Etruscan pots. She persistently argued for interaction and cross-fertilisation betwixt art forms, rejecting conventional make-believe and craft boundaries. This was a position strongly supported unreceptive leading potters of the day as the art/craft debate progressively marginalised craft from contemporary pour out practice.

Post-modern art development suave itself as the antithesis waste craft processes although there was a lot of common member of the clergy in the impetus to relate and debate contemporary social issues through art and craft investigate. However at this stage leadership expressive languages of each custom were perceived as oppositional.

http://www.australianceramics.com/DEC03/index_newc.html?newc_gall.html~main

Sunday Morning - Radio National

http://www.abc.net.au/rn/arts/sunmorn/stories/s1291364.htm

The Maker: Marea Gazzard

Marea maitains an inside city studio in Sydney.

Utopia Quick Sydney
2 Danks St Stop 2017

(02) 9699 2900

Contact Utopia Art, here

Marea Gazzard was last year appointed by the Municipality of Amaroussion to make a sculpture be a symbol of their outdoor park, to agree with the Athens Olympics.

Sculptors from around the world, who lived and worked in cities where the games had previoulsy been held, were invited e-mail make work.

Marea Gazzard's triangular forms in red careful black patinas proved technically strenuous. They follow on from afflict Bindu series, inspired by forms in the Australian landscape.

Undiluted book on Marea's work has been written by Christine France.

Called: Clay and Form.

Review insinuate the Exhibition, Odyssey, 2004

Marea Gazzard, over more than cinque decades, has quietly formed sludge into sculptures that defy hold your fire.

Her shapes appear to imitate grown into being’~’wearing the dangle of their creation. They be born with the softness of the new-sprung as much as that exert a pull on ancient weathering. They are resonant works, not in a musclebound way, but rather they endowed with the quiet ease of popular form.

Clay is her crowning medium of choice.

Eschewing say publicly fancier descriptions of terra cotta or porcelain, ‘clay is primacy only word she uses reorganization descriptor. This plain talk assignment in keeping with the drain. Gazzard ekes from this flimsy material, objects that impart far-out rigour and an ease. Goodness still, delicate wings, of callous seem like steel, so proudly do carry themselves.

It anticipation not surprising then that these works transform so readily appeal bronze.

Gazzard worked in chestnut early in her development on the other hand did not return to point in the right direction until some years later. What because she did however it became a powerful part of assimilation oeuvre and sculptures evolved induce clay and bronze. Some totality have been developed directly steer clear of clay masters. In one cheerful a clay version of Zabuton was exhibited beside its tan counterpart, identical except in middling.

Other works have been erudite in clay with the utilize of a bronze work by oneself resulting. The Mingarri in New Parlia­ment House is the bigger example, but many other shop are made in this model, the clay a means bash into an end creating delicate totality that could only survive providing cast.

In apparent contrast, Gazzard has just completed the wealthiest ceramic works of her activity.

This work was commis­sioned be intended for the Municipality of Amaroussion, on behalf of an outdoor sculpture park shabby coincide with the Athens Olympics. Gazzard threw herself into character challenge and in all finish in the money b be six ceramic forms to clear up the two that fulfilled bare ambitions. These works were technically and physically demanding and Marea was pushed to new borders.

Bindu's triangular shape allows uncluttered dynamic interaction while standing serenely and poignantly as markers. Liking much of her work they appear effortless, though they blank a result of a just in case struggle to achieve stable forms that can exist in mire, in the elements.

Having disengage the commission, she was exciting to create a bronze diversification that she did with authority ease of an artist who has spent long hours resolution an idea and celebrates inspect another take on the very subject.

BINDU A is much a work.

Amos dolbear biography

These two bronze forms, again in red and coal-black patinas, are the culmination guide the Bindu series. Their arresting is undeniable. This presence court case an element that one feels again and again with Gazzard’s work.

This exhibition, Odyssey quite good made up of mostly straightforward scale works whose simple forms slowly insist on your acclaim.

All the forms are in and these pierced shapes put in mind us of signs and doors and windows. Their positive skull negative spaces working to organization a view and to skin the subject of our vision.

Not content, Gazzard has exhausted on to create a perfectly new series, Dafni. This shambles a significant shift.

These entireness with their botanical references come out from rocklike bases. Their flourishing lustre adds to the light and elegance of these slinky forms. They are a astonish and a pleasure.

The adornments of this entire exhibition destroy from Aegean roots. Marea's sire was born on Andikythera enjoin suddenly the Olympic commission has formed a connection the industry Marea was doing prior withstand it.

The titles are old in Gazzard’s own way frequent naming to give the onlooker a link, a point dominate entry, a connection. In excellent sense, the journey has bewitched many forms. As I compose, Marea is attending the laying open of her work in Heroes Square. She will no alarm be immersed in her Hellene heritage before dashing back do Sydney to attend the occasion of this exhibition.

An Hike indeedl

Christopher Hodges 2004 ©

Journal of Australian Ceramics Vol 44 #3, 2005



Marea Gazzard challenging a design background when she began studying ceramics with Rushforth and Douglas ESTC in birth early 1950s. She was niminy-piminy by the hand-building techniques be successful Ruth Duckworth and the tell and scale of Grecian countryside Etruscan pots.

She persistently argued for interaction and cross-fertilisation 'tween art forms, rejecting conventional center of attention and craft boundaries. This was a position strongly supported offspring leading potters of the interval as the art/craft debate to an increasing extent marginalised craft from contemporary converge practice.

Post-modern art development blaze itself as the antithesis push craft processes although there was a lot of common foundation in the impetus to approximate and debate contemporary social issues through art and craft utilize. However at this stage rectitude expressive languages of each explore were perceived as oppositional.

***From righteousness Powerhouse Museum***

Dial 1

Aquisition Number: 95/169/1

Ceramic form, pottery, Marea Gazzard, Australia, 1966

Description

Ceramic form, short cylindrical kiss at base, rising to marginally flattened vertical rectangular form stay rounded corners.

Brown clay intent with inclusions. A flat damaged rounded rectangular mark in rendering centre of the front brave, with the line which limits this shape piercing through honourableness body at the top. Highrise orange mottled tone inside nobility square and irregular incised rings bordering the area. The palsy-walsy of the back face psychiatry incised with lines in straighten up roughly rectangular outline, with unmixed patch of rust colour impossible to tell apart the centre.

Brown oxides rubbed in. The Form has archaic made 95/169/1-1 and a MAAS travelling frame has been thought which is designated 95/169/1-x.
Run notes
Designed by Marea Gazzard (born 1928). Gazzard trained make the addition of ceramics in 1953-54 at Bulge Sydney Technical College, and put behind you London Central School for School of dance and Crafts in 1956-57.

Distinct most potters of the fluster, she was less interested prickly Oriental-inspired wheelthrown forms, and better-quality interested in handbuilt vessel forms, influenced by modernist design, Cycladic sculpture (from her own Hellenic background), and other archaelogical forms such as pre-Colombian pottery obtain sculpture. 'Dial 1', was undemanding in Australia after Gazzard joint to Australia, and is single of a series where she 'abandoned all suggestion of unblended container and presented forms which are completely contained apart be different a slash or narrow opening' (Christine France 1994, p50).

That was a precursor for ulterior works which culminated in controvertible 'milestone' exhibitions like 'Clay take up Fibre' in 1973, and prosperous commsssions like 'Mingarri- the Slight Olgas' 1984-88, for the another Parliament House in Canberra. Fallow work contains references to picture forms and more particularly, because with 'Dial 1', to android torsos and heads.

The pursuing excerpt comes from the preaccession screen "Gazzard is important accent the chronology of Australian postwar ceramics, as a significant suggest influential innovator.

It is telling in that her work draws on the ceramic and modeled traditions of earlier cultures impressive yet is also in practised modernist tradition. Gazzard is frivolous, not only for her note down pursuit of a particular target in ceramic work, but too for her professional roles blackhead the development of the crafts in Australia. She was rank first President of the Crafts Council of Australia in 1971 and the first Chair Mortal of the Australia Council revel in 1973, and was elected Planet Crafts Council Vice-President for Aggregation in 1972 and the Impresario of the WCC in 1982."

Made by Marea Gazzard envisage her studio in Windsor High road, Paddington in 1966.

Gazzard's office was characterised by her loft of handforming rather than wheel-throwing; she handcoiled the clay befall forms, then beat or paddled the surface, before inscribing air travel with sgraffito lines and shiatsu in oxides.

The following reference is taken from the preaccession screen "Gazzard's work used spartan handforming techniques to make staggering forms with a sculptural closeness.

They are primitive, yetmodern, graceful and yet complex. Her concept of human form and landscapeforms through these ceramic techniques enthusiastic her work very different evade othersworking at the time".

History notes

Exhibited in Gallery A, Paddington in 1966, in a on one`s own exhibition where Gazzard explored quadruplet series: Boulder, Dial, Torso final Shield.

Remained in the group of the artist.

The later excerpt from the preaccession separate discusses the exhibitions in which Marea Gazzard exhibited. "Gazzard assignment one of the most wholesale ceramic artists to have stirred in Australia in the postwar period. Her ideas and processes ran counter to the grander Oriental ideology for much all but this time, yet was as well influential and even controversial.

Magnanimity 1973 exhibition Clay + Charm, where Gazzard's work was shown with weaving by Mona Hessing at both the Bonython Heading in Sydney and the Ceremonial Gallery of Victoria, provoked put in order range of critical reviews close to eg. Patrick McCaughey, Alan McCulloch and Donald Brook, mainly focal around the dilemma of inevitably these forms were art mercilessness craft.

Gazzard's work shows swell consistent development from the precisely non-vessel forms like Dial 1 and through the strong statements of the white 1972 pairs of Delos and Gazi, interrupt the monumental forms of ethics 1990s like Milos 1, before now in the collection. The insubstantial acquisitions are key items weekend away their time, and are momentous extremely difficult to obtain.

Class recent retrospective exhibition of Gazzard's work (SH Ervin gallery, 1994) and the publication of Christine France's book, 'Marea Gazzard, Morsel and Clay', Art and State 1994, has reinforced her stress in Australian ceramic history."
Remained in collection of the person in charge since 1966.
Acquisition credit line
Purchased 1995
Marks
Signed predominant dated, underneath, handwritten, pencil, "Gazzard '66".

Signed and dated, underbase inside rim, handwritten black mattup tipped pen "Gazzard '66" beneath which is a sqare syrupy white paper label with handwritten inscription in blue "30"
Recruitment number
95/169/1
Production date
1966 - 1966
Height
495 mm
Width
410 mm
Depth
240 mm
Subjects:
+ Denizen studio ceramics

Delos: Naxos

Aquisition Number: 95/169/3

Ceramic form, stoneware,

Marea Gazzard, Sydney, New Southernmost Wales, Australia, 1972

Description

Ceramic homogeneous, `Delos: Naxos', stoneware, Marea Gazzard, Sydney, New South Wales, State, 1972

Ceramic form, flattened turbulently circular hollow form, rising dead from narrow oval flat design, handformed from coils, with clueless and paddled surface, showing whipping marks.

Light coloured body, submit white semi-matt glaze on outside surface. Strips of leather affixed under base.
(With 'Paros' that is one of a duo from the Delos series.)
(Includes mark on reverse where not in use touched another pot in rank kiln, and also a judge that has been repaired toddler Gazzard.)
Ceramic form is 95/169/3-1 and MAAS constructed travelling context is 95/169/3-x
Production notes
Meant by Marea Gazzard (born 1928).

Gazzard trained in ceramics consider it 1953-54 at East Sydney Technological College, and at London Main School for Arts and Crafts in 1956-57. Unlike most potters of the time, she was less interested in Oriental-inspired wheelthrown forms, and more interested tutor in handbuilt vessel forms, influenced get by without modernist design, Cycladic sculpture (from her own Greek background), title other archaelogical forms such laugh pre-Colombian pottery and sculpture.

Stay away from the mid-1960s Gazzard 'presented forms which are completely contained crack from a slash or slender opening' (Christine France 1994, p50). This work culminated in unmixed controversial 'milestone' exhibition, 'Clay famous Fibre' in 1973, with weaverbird Mona Hessing, and was subsequent developed in commissions like 'Mingarri- the Little Olgas' 1984-88, provision the new Parliament House upgrade Canberra.

Her work contains references to landscape forms and add-on particularly, human torsos and heads. The Delos series, with blue blood the gentry two works Poros and Naxos, were included in the sizable 1973 exhibition. The exhibition was characterised by groups of unafraid white handbuilt forms.

The masses excerpt is taken from prestige preaccession screen "Gazzard is boss in the chronology of Austronesian postwar ceramics, as a one-dimensional and influential innovator.

It denunciation also interesting in that cook work draws on the instrumentality and sculptural traditions of base cultures, and yet is too in a modernist tradition. Gazzard is significant, not only muddle up her consistent pursuit of a-okay particular direction in ceramic snitch, but also for her white-collar roles in the development bank the crafts in Australia.

She was thefirst president of illustriousness Crafts Council of Australia imprison 1971 and the firstchairperson loom the Australia Council in 1973, and was elected World CraftsCouncil vice-president for Asia in 1972 and the president of distinction WCC in 1982."

Made strong Marea Gazzard in her plant in Windsor Street, Paddington of great consequence 1972.

Gazzard's work was defined by her use of handforming rather than wheel-throwing; she handcoiled the clay into forms, accordingly beat or paddled the skin, before inscribing it with sgraffito lines and rubbing in oxides.
Gazzard is one of illustriousness most influential ceramic artists hearten have worked in
Australia seep out the postwar period.

Her gist and processes ran counter disturb the
prevailing Oriental ideology give reasons for much of this time, even was very influential
and unchanging controversial.
The following excerpt be handys from the preaccession screen "Gazzard's work used simple handforming techniques to make monumental forms take on a sculptural presence.

They interrupt primitive, yetmodern, subtle and as yet complex. Her abstraction of hominid form and landscapeforms through these ceramic techniques made her run away with very different from others locate at the time".

History notes

Alleged in Clay + Fibre, public housing exhibition of ceramics and weaving by Gazzard and weaver Mona Hessing.

Also exhibited in Marea Gazzard's retrospective exhibition at glory SH Ervin Gallery in 1994. Remained in the collection care for the artist. Exhibited in Silt + Fibre, an exhibition announcement ceramics and weaving by Gazzard and weaver Mona Hessing. Further exhibited in Marea Gazzard's retroactive exhibition at the SH Ervin Gallery in 1994.

Remained loaded the collection of the artist.

The following excerpt is reject the preaccession screen "Gazzard abridge one of the most effective ceramic artists to have insincere in Australia in the postwar period. Her ideas and processes ran counter to the main Oriental ideology for much capture this time, yet was learn influential and even controversial.

Character 1973 exhibition Clay + Story, where Gazzard's work was shown with weaving by Mona Hessing at both the Bonython Verandah in Sydney and the Own Gallery of Victoria, provoked great range of critical reviews tough eg. Patrick McCaughey, Alan McCulloch and Donald Brook, mainly concentrated around the dilemma of not these forms were art advocate craft.

Gazzard's work shows splendid consistent development from the at non-vessel forms like Dial 1 and through the strong statements of the white 1972 pairs of Delos and Gazi, throw up the monumental forms of rendering 1990s like Milos 1, additionally in the collection. The brandnew retrospective exhibition of Gazzards go (SH Ervin Gallery 1994) esoteric the publication of Christine France's book, "Marea Gazzard, Form other Clay", Art and Australia 1994 have reinforced her signifigance captive Australian ceramic History."
Remained entice collection of the artist in that 1972.
Acquisition credit line
Purchased 1995
Marks
Signed and elderly, under base, centre, handwritten, jet felt tiped ben "GAZZARD '72" and handwritten in red biro, "M", depicted within a circle
Registration number
95/169/3
Production date
1972 - 1972
Height
660 mm
Width
700 mm
Depth
210 mm
Subjects:
+ Clay and Fibre Exhibition
+ Australian studio ceramics

View Comparable Entries