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Landscapes Ladies & Literature is a solo exhibition that showcases the work created by Kate Ward's experiences participating in the artist-in-residence programs in the historic gold mining town of Hill End, NSW and Halifax, Canada in 2013. During both residencies Ward explored the subtle relationships of domestic interiors as the women’s domain, referencing pioneering history of the two countries.
Ward researches and refers to literature written by women that reflects pioneer life. Inspired by the well-known Australian author, Miles Franklin, who wrote about her life in My Brilliant Career in 1901, Ward sketches imagery of domestic scenes in historic houses which is applied onto ceramics, textiles, and etched into antique silver spoons. Imagery is further explored through printmaking techniques of lino cuts and etchings. Her work focuses on the complex interactions within domestic spaces and our perceptions of the people who live in them, representing everyday objects that are imbued with meaning and hint at their domestic life.
Ward gained considerable experience from her two residencies. Set amongst the hills, an hour and a half outside of Bathurst, the old gold mining town of Hill End is now a small community of artists and residents. Ward was inspired by her environment: the domestic interiors of the Haefliger Cottage previously owned by artists Jean Bellette and Paul Haefliger; as well as the historic buildings in the town. Ward used the opportunity to sketch domestic scenes on a daily basis and she applied these images directly onto ceramic shapes for the exhibition. The residency at Hill End offered Ward valuable time to explore new methods of working.
Kate says “I was 'fossicking' in the area and came across some old beer bottles. They dated back to 1970s, and although not from the gold mining era, still had significant relevance as alcohol played a major factor in the life of the pioneers. Throughout my research I have come across references where champagne flowed freely if gold was found, and beer was consumed to drown the sorrows of those less fortunate. Women were considered to be a good influence and they brought with them a level of respectability to the goldfields which is why I combined imagery of domestic scenes onto the surface of the cast porcelain beer bottles.”
Kate continued her research into pioneering women when she undertook the residency at the Nova Scotia Centre for Craft and Design in Halifax, Canada. She read literature written by pioneering women, observed and sketched local architecture and landscapes, and the resulting imagery was applied to spoons made from ceramic, wood and metal.
Kate says “During my residency in Halifax I was looking for something that connected my artwork with the area but at the same time relating back to my interest in pioneering women. Halifax being the capital city of the Maritimes, seafaring is prominent with many historic shipwrecks lining the shores of Nova Scotia. The humble spoon has been used to date and identify ships, and so I decided to use the spoon as the platform for my work. It has gone on to become a metaphor for pioneering women, a symbol of nurturing as well as referring to the lack of food many of the early settlers faced. The residency in Halifax provided a wonderful opportunity to work in a number of different studios including ceramics, wood, jewellery and textiles. The ability to do so allowed me to explore my ideas in other materials which resulted in a diverse collection of works.”
Further links
Press
Barometer Gallery
Hill End Artist in Residence
Nova Scotia Centre for Craft and Design
Ward researches and refers to literature written by women that reflects pioneer life. Inspired by the well-known Australian author, Miles Franklin, who wrote about her life in My Brilliant Career in 1901, Ward sketches imagery of domestic scenes in historic houses which is applied onto ceramics, textiles, and etched into antique silver spoons. Imagery is further explored through printmaking techniques of lino cuts and etchings. Her work focuses on the complex interactions within domestic spaces and our perceptions of the people who live in them, representing everyday objects that are imbued with meaning and hint at their domestic life.
Ward gained considerable experience from her two residencies. Set amongst the hills, an hour and a half outside of Bathurst, the old gold mining town of Hill End is now a small community of artists and residents. Ward was inspired by her environment: the domestic interiors of the Haefliger Cottage previously owned by artists Jean Bellette and Paul Haefliger; as well as the historic buildings in the town. Ward used the opportunity to sketch domestic scenes on a daily basis and she applied these images directly onto ceramic shapes for the exhibition. The residency at Hill End offered Ward valuable time to explore new methods of working.
Kate says “I was 'fossicking' in the area and came across some old beer bottles. They dated back to 1970s, and although not from the gold mining era, still had significant relevance as alcohol played a major factor in the life of the pioneers. Throughout my research I have come across references where champagne flowed freely if gold was found, and beer was consumed to drown the sorrows of those less fortunate. Women were considered to be a good influence and they brought with them a level of respectability to the goldfields which is why I combined imagery of domestic scenes onto the surface of the cast porcelain beer bottles.”
Kate continued her research into pioneering women when she undertook the residency at the Nova Scotia Centre for Craft and Design in Halifax, Canada. She read literature written by pioneering women, observed and sketched local architecture and landscapes, and the resulting imagery was applied to spoons made from ceramic, wood and metal.
Kate says “During my residency in Halifax I was looking for something that connected my artwork with the area but at the same time relating back to my interest in pioneering women. Halifax being the capital city of the Maritimes, seafaring is prominent with many historic shipwrecks lining the shores of Nova Scotia. The humble spoon has been used to date and identify ships, and so I decided to use the spoon as the platform for my work. It has gone on to become a metaphor for pioneering women, a symbol of nurturing as well as referring to the lack of food many of the early settlers faced. The residency in Halifax provided a wonderful opportunity to work in a number of different studios including ceramics, wood, jewellery and textiles. The ability to do so allowed me to explore my ideas in other materials which resulted in a diverse collection of works.”
Further links
Press
Barometer Gallery
Hill End Artist in Residence
Nova Scotia Centre for Craft and Design
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