Richard Spoehr

The seed for this exhibition came to me whilst engrossed in discovering the life and works of Agnes Martin, thus the title for this show. The idea was to create a reverberation on the basis of selecting ceramic artists to look outside of their medium to those working in other fields and select an artist.

For many years I’d seen the work of David Rosetsky. The first image I saw was “Living Together is Easy”. I was immediately drawn to the powerful imagery. Some years later I saw the video at the National Portrait Gallery in Canberra of Kate Blanchett and was mesmerised. I’ve followed his trajectory ever since. Some of the key qualities of David’s highly disciplined work is his ability to capture beauty, mystery and optimism in humanity.

Christine McCormack

The works I have created to show together with those of Bruce Nuske have been selected both for their affinity with the natural world - a sense of which as artists, we both share - along with their symbolic representations of human interactions within and beyond that world.

I seek to look beyond the immediate scene for clues as to how I can visually describe the meaning of the world in which I find myself.

Sometimes the clue lies within the written word, a fragment of a poem, or in the recollection of a conversation in which a story has been shared. The image rises to the surface, parting remnants of other memories still floating there, allowing a brief revelation - a glimpse ahead of the meandering pathway before it’s obscured again from view by the deceptive reflections of another illusionary world.

Stephen Bird

I first came across Michael Bell's works when we both exhibited at the Ray Hughes Gallery in Sydney at the start of the new millennium. Since then I have seen exhibitions of his work in a variety of media including paintings, sculptures, constructions, drawings and ceramics. There is always a raw and unpretentious joy in his work. His works look deceptively simple as he effortlessly employs several conflicting visual languages in one work with the skill of a master magician. One has to leave behind stereotypical and formulaic views about picture making when you view his work in order to fully appreciate his unique vision. 

Michael and I both work figuratively with imagery drawn from aspects of our everyday lives. The idiom of our work explores the crossroads where painting and sculpture collide together to form a new and hybrid language which I hope can connect and communicate with a broad range of people.

Michael Bell

Stephen and I have worked independently of each other for this show, but know each other’s work very well. We trust our work will complement each other.

Kirsten Coehlo

Helen Fuller is an artist of distinctive vision. She sees beauty in the small, incidental and overlooked and reimagines the world with arresting eloquence. Her works in this exhibition are like abstracted codes borne from the natural world - simultaneously familiar and unfamiliar.

Ulrica Trulsson

I am drawn to Chris’ rich re-imagination of what she finds washed up on along the coastline, bringing beach relics back to (larger than) life.

Chris de Rosa

The work I have made for the show makes somewhat oblique references to Ulrica’s often subtle colour palette.

The grouping of prints acts as a two-dimensional still life mirroring the way she often arranges her pots.

Gerry Wedd

Having admired John Foubister’s paintings for a while, he was an obvious choice for me. It is the differences in the way we work that I was interested in. His work is quite slippery… Things come in and out of focus. Things in the paintings are animated in a way that I can’t decipher. I’m not sure that I ‘understand’ them but, like some songs, parts of them insinuate themselves somewhere in the recesses.

Samone Turnbull

Margie Sheppard has been in my orbit from very early days with a six degree separation many times over. But we didn't meet until 2010 when we were paired in an exhibition in Sydney as two Adelaide figurative artists.

Margie's printmaking practice had increasingly shifted towards painting but her emblematic dreamlike images, which had always moved me, remained. Whereas my direction in art was soon to change from the narrative into the making of decorative ceramics, and then later on, Margie's to abstraction.

Now we have happily found ourselves together again, both given over to the love of colour and the play of interlocking shapes.