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a (con)temporary site for testing, research and emerging practice
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a (con)temporary site for testing, research and emerging practice
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PROVIDE SPACE:
CERAMICS TRIENNALE
Opening night: Wednesdaty 1st of October 6-9pm
Open Thursday 02nd - Sunday 05th 9am - 5pm.
‘MttCoG’ by Dan Elborne
MttCoG is a participatory memorial project comprising a currently indefinite amount of handmade ceramic pieces: one for each child that has been killed in Gaza since the atrocious attacks of October 7, 2023. The number of pieces being made follows the underestimated statistics of Al Jazeera’s Israel-Gaza war live data tracker, collated by journalists, medical professionals and humanitarian aid workers on the ground.
The artwork invites anyone to create pieces, each referencing a small body wrapped in a white shroud; a devastating and terribly familiar visual symbol of the enormous, ongoing loss of innocent Palestinian people. Through live making sessions, MttCoG enables a great diversity of people to engage in slow and considered, yet active solidarity, contributing to a permanent memorial and forevermore being credited as a ‘maker’ of the work.
This work does not and cannot encompass the scale of devastation. It does not account for the killing of innocent men and women; the tens of thousands that are missing or buried under rubble of homes and essential infrastructure; the tens of thousands that are permanently maimed; the sheer scale of displacement, starvation and sickness, as well as the psychological trauma that will pass through countless generations. _____________________________________
This project is independently facilitated and funded.
Full statement and project webpage found here.
Following detail photographs of work in progress by Dan Elborne.
ABOUT THE PROJECT
Over the past 12 years, my practice has been focussed on ceramic installations that utilise handmade multiples; often translating violent and incomprehensible statistics into tactile objects. 7 of those years were spent in formal study, funnelling toward research in genocide studies, philosophy, and a doctoral project examining the role, relevance and responsibility of contemporary art in referencing atrocities. A pillar of that research, as it is for me moving forward, is engaging with meditative modes of long-term and large-scale making, processing the things that I can’t stop thinking about through the labour of art practice itself.
The history and poetics that are inherent to clay is why it remains my primary working material. It has been fundamental to human survival, is completely ubiquitous to daily life, while also being utilised for millennia to honour, memorialise and remember both people and place. As raw clay, it is infinitely malleable and receptive to fine gestures. Once fired it becomes ceramic, likeable to stone; a permanent record of maker, material and meaning. The ability for ceramic material to last thousands of years bares a responsibility to its use, but also positions it in powerful ways to reference events that we should never forget.
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Over the past 12 years, my practice has been focussed on ceramic installations that utilise handmade multiples; often translating violent and incomprehensible statistics into tactile objects. 7 of those years were spent in formal study, funnelling toward research in genocide studies, philosophy, and a doctoral project examining the role, relevance and responsibility of contemporary art in referencing atrocities. A pillar of that research, as it is for me moving forward, is engaging with meditative modes of long-term and large-scale making, processing the things that I can’t stop thinking about through the labour of art practice itself.
The history and poetics that are inherent to clay is why it remains my primary working material. It has been fundamental to human survival, is completely ubiquitous to daily life, while also being utilised for millennia to honour, memorialise and remember both people and place. As raw clay, it is infinitely malleable and receptive to fine gestures. Once fired it becomes ceramic, likeable to stone; a permanent record of maker, material and meaning. The ability for ceramic material to last thousands of years bares a responsibility to its use, but also positions it in powerful ways to reference events that we should never forget.
This project is a satellite event presented as part of the WEDGE, the Australian Ceramics Triennial 2025.
WEDGE 2025 is Australia’s premier ceramics event, bringing together artists, curators, educators, and enthusiasts to explore the dynamic world of ceramics. Over four inspiring days, attendees will enjoy keynote lectures, panel discussions, exhibitions, workshops, and demonstrations from leading voices in the field. From the cultural insights of historian Paul Greenhalgh to the emotive sculptures of Beth Cavener, the global perspectives of curator Wendy Gers, and the glaze expertise of Matt Katz, WEDGE 2025 offers a unique opportunity to connect, create, and celebrate ceramics.
WEDGE 2025 is Australia’s premier ceramics event, bringing together artists, curators, educators, and enthusiasts to explore the dynamic world of ceramics. Over four inspiring days, attendees will enjoy keynote lectures, panel discussions, exhibitions, workshops, and demonstrations from leading voices in the field. From the cultural insights of historian Paul Greenhalgh to the emotive sculptures of Beth Cavener, the global perspectives of curator Wendy Gers, and the glaze expertise of Matt Katz, WEDGE 2025 offers a unique opportunity to connect, create, and celebrate ceramics.
