A BIG thank you to Lisa and Wayne Heaton, of Curve Gallery in Newcastle NSW for including my work and a second airing of Digging the clays: seeking family, the collaboration made with ceramic artist Helen Dunkerley exhibited in Hidden 2015 into this curated exhibition in July.
This exhibition also included the work of emerging clay artist Holly McDonald and Catherine Hickson as well as the work of Hunter based Helen Dunkerley.
This Pop up house forms series was commenced whilst in residence at Ashfield in 2015. The images were a response to roof lines around the residency and about being an artist, travelling and folding up our lives to develop our practice.
They are created with layers of monoprinting techniques and drawing.
Digging the clays: seeking family is a collaboration that commenced whilst Linda Swinfield was Artist in Residence with Ashfield Council between January and April in 2015.
This site specific work additionally contains layers of Helen Dunkerleys knowledge regarding materiality surrounding clay and brickmaking history; this is referenced within the surface, its layers and inherent site related material.
Born out of a conversation that took place at the residency site with Helen Dunkerley this work investigates the importance of the Ashfield shale clay and its history within this area. Swinfield spent her time in residence at Thirning Villa researching her familial history and brickmaking history connected to this area.
This collaboration utilised both artists’ practices and incorporates both Swinfield’s printmaking skills and Dunkerleys ceramic knowledge.
Swinfield is connected with the Mead family who were local brick makers. They lived and worked along the strip of land now known as The Cadigal Reserve area. They lived near The Iron cove creek that runs through Sydney’s inner western suburbs between Haberfield and Summer Hill.
She came from Floods bush another series that was commenced at the residency in Ashfield. Where Swinfield realised that the Cadigal reserve was originally called Floods Bush as inscribed on her great grandmothers birth certificate in the 19th century.
This newer body of works incorporates an abstract structure is an emblematic reference to the truss bridge, circa 1880 that straddles The Cadigal reserve. Once the home and work site of her family who made bricks to build the domestic dwellings of Sydney’s fledgling suburbs during the 19th century.