By Cyril Aldred
240 pp. with 358 illus. (8 in colour) octavo.
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Additional resources for Akhenaten and Nefertiti
But it was Elizabeth Fritsch, who since the 1970s, really pioneered the practice, although unlike Hanssen-Piggot, her works are not necessarily sold as groups. Fritsch’s relationship with the material is one of great intimacy. Each vessel is carefully hand-built, coiling and pinching the form, teasing it out of its natural roundness into unexpected asymmetries, by flattening, leaning, squaring off or cutting steps in the sides. The un-ceramic colouring and illusionistic patterns are integrated to maintain that sense of ‘naked clay’, to borrow from Jane Perryman.
In common with Annie Turner, Drysdale’s work is about a sense of place and flows from a relationship with a particular North West Australian landscape. Unlike Turner, it was not a landscape that she actually grew up with but one that first impressed her on a visit as a teenager, and which has continued to inspire through regular visits. Bush landscape has strong associations with an Australian national identity. The dramatic colours and distinctive rock formations of the Australian outback have long been the subject matter of Australian art both for European settlers and, more significantly, for indigenous peoples.
5 x 3 photo: Michael Harvey 29 Raised in a family who have lived for generations in East Suffolk around the mouth of the River Deben, the estuarine landscape haunts Annie Turner’s work. The ceaseless rhythm of the tides shapes and re-shapes the mud flats, revealing an archaeology of human endeavour: decaying jetty posts, the detritus of fishing where nets, ropes and wires are thrown up alongside the archaeology of nature: fossilised shark teeth, petrified dung, bleached bones and stray feathers.
Akhenaten and Nefertiti by Cyril Aldred