MARY GORTANI

Derived from the earth, clay has been intimately intertwined with human history from its inception. It is a material with transformative qualities, that inspires spiritual reverence and poetic contemplation. It is central to creativity, as civilisations, ancient and modern, have given their cultures form and image through vessels, dwellings, statuary and sculpture, hand thrown and moulded, or manufactured from clay. It is also mud, a layer of land, a substrate, and characteristic of regional geographies.

The material histories of clay as earth are also political histories, connected to labour, land extraction, colonialism and displacement. Not only do I want to showcase the beauty and diversity of clay as a material but also explore the political significance of geological materials. From diasporic relationships to land and sovereignty, agriculture to indigenous relationships to earth and rock, this body of work seeks to bring different perspectives to how we might think about what exists beneath our feet.

In my work, I try to capture material manifestations of humanity's instincts for spiritual freedom through the exploration of the properties of natural elements.

In this case, I aim to show the diversity and range of clay beyond the context of sculptures and ceramics by exploring the painting properties of the material, from bringing an airy dynamics to an earthy substance to building more 3-dimensional textures.

The four classical elements of nature—earth, water, fire, and air—are always and exclusively involved in the creation of these works. This is to ensure the integrity of the humble yet powerful media used in the creation of these works, which aim to inspire poetic contemplation and reflection on the political and philosophical significance of clay.

Ultimately, by creating a dynamic relationship between the artist and the material, I seek to let the material speak for itself in a process that celebrates the emerging and evolving textures and imperfections.