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Photograph - Cam Matheson, 'Flow. Stories of River, Earth and Sky in the SAM Collection', 2021, Shepparton Art Museum
Courtesy of Shepparton Art Museum
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Contemporary Art & Ceramics at Shepparton Art Museum
Shepparton Art Museum (SAM) holds one of Australia’s most significant collections of Australian ceramics.
Begun in 1965 with the acquisition of a simple coil pot, the museum’s collection is rich and idiosyncratic; including convict-era pottery, an archive of commercially produced domestic ware, studio ceramics from the 1920s onward and contemporary art.
Along with the ceramics collection, SAM holds a historically significant collection of Australian painting, works on paper and sculpture, and a growing collection of contemporary art.
Artwork - Katie Lee (artist), 'Collected Objects, Varied Materials', 2013, Shepparton Art Museum
Courtesy of Katie Lee
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Katie Lee’s sculptural installation is based on her investigation into utilitarian ware in the collection.
It includes historic water filters, bed warmers and urns that combine ceramic with other materials such as wood, rubber and brass to fulfil functional purposes.
Her installation includes Kirsten Coelho's 2007 piece Iron and the Air, which uses glazing techniques to mimic metal and rust.
lead, glazed earthenware, rubber, timber, brass
various objects from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Katie Lee (artist), 'Collected Objects, Varied Materials', 2013, Shepparton Art Museum
Courtesy of Katie Lee
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various objects from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Katie Lee (artist), 'Collected Objects, Varied Materials', 2013, Shepparton Art Museum
Courtesy of Katie Lee
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various objects from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Christopher Hanrahan (Artist, Museum Suite (pentimento) and Darbyshire Pottery (WA) (maker, 'Squirrel Block'), 'Museum Suite (pentimento) 1–1', 2013, with 'Squirrel Block', 1950
'Museum Suite (pentimento) 1–1' courtesy of the artist and Sarah Cottier Gallery, Sydney. 'Squirrel Block' courtesy of Shepparton Art Gallery, gift of the descendants of Jean Darbyshire, 2000
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'Museum Suite (pentimento) 1–1' courtesy of the artist and Sarah Cottier Gallery, Sydney. 'Squirrel Block' courtesy of Shepparton Art Gallery, gift of the descendants of Jean Darbyshire, 2000
Photograph: Andrew Curtis
Christopher Hanrahan's suite of digital photographs are manipulated black and white images of historic Darbyshire Pottery moulds drawn from the museum’s collection database.
Reflecting upon the attribution of meaning and worth through the act of collecting, as well as museum procedures and archiving, the works are displayed alongside an example of a Darbyshire mould in the SAM collection.
Christopher Hanrahan
Museum Suite (pentimento) 1–1 2013
digital print on rag paper
8.5 x 12 cm (image)
60 x 43 cm (frame)
Darbyshire Pottery (WA)
Squirrel Block 1950
plaster mould, rubber
13 x 9 x 9.5 cm
Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
Artwork - Christopher Hanrahan (artist), 'Museum Suite (pentimento) 1–1', 2013
Courtesy of the artist and Sarah Cottier Gallery, Sydney
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Courtesy of the artist and Sarah Cottier Gallery, Sydney
Photograph: Andrew Curtis
Christopher Hanrahan
Museum Suite (pentimento) 1–1 2013
digital print on rag paper
8.5 x 12 cm (image)
60 x 43 cm (frame)
Artwork - Darbyshire Pottery (WA) (maker), 'Squirrel Block', 1950, Shepparton Art Museum
Courtesy of Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
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Courtesy of Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
Photograph: Andrew Curtis
Darbyshire Pottery (WA)
Squirrel Block 1950
plaster mould, rubber
13 x 9 x 9.5 cm
Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
Artwork - Darbyshire Pottery (WA) (maker), 'Squirrel Block', 1950, Shepparton Art Museum
Courtesy of Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
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Courtesy of Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
Photograph: Andrew Curtis
Darbyshire Pottery (WA)
Squirrel Block 1950
plaster mould, rubber
13 x 9 x 9.5 cm
Shepparton Art Museum, gift of the descendants of Jean Darbyshire, 2000
Artwork - Jacob Ogden Smith (artist), 'Ginger Beer Bottles with Assorted Accessories', 2013, Shepparton Art Museum
Courtesy of the artist and OK Gallery, Northbridge, WA
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Courtesy of the artist and OK Gallery, Northbridge, WA
Photograph: Andrew Curtis
Jacob Ogden Smith completed a residency in SAM’s state-of-the-art workshop room to produce a body of work inspired by an unusual convict-era flask moulded from potatoes in the museum’s collection.
Along with a collection of slip-cast drinking flasks, the artist produced a batch of freshly brewed, non-alcoholic ginger beer.
The ginger beer was created using wild yeast harvested with help from local Shepparton residents, who hosted ginger beer plants in their homes in the lead up to the exhibition opening, when the ginger beer was served and enjoyed!
ceramics, bees wax, copper wire, plaster, rubber, casting slip, bubble wrap, cardboard box, plastic bottles, airlock, corks, tables, Perspex, ginger beer plant, Potato Flask, Beer Bottles and Demijohns from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Jacob Ogden Smith (artist), 'Ginger Beer Bottles with Assorted Accessories', 2013, Shepparton Art Museum
Courtesy of the artist and OK Gallery, Northbridge, WA
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Courtesy of the artist and OK Gallery, Northbridge, WA
Photograph: Andrew Curtis
ceramics, bees wax, copper wire, plaster, rubber, casting slip, bubble wrap, cardboard box, plastic bottles, airlock, corks, tables, Perspex, ginger beer plant, Potato Flask, Beer Bottles and Demijohns from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Jacob Ogden Smith (artist), 'Ginger Beer Bottles with Assorted Accessories', 2013, Shepparton Art Museum
Courtesy of the artist and OK Gallery, Northbridge, WA
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Courtesy of the artist and OK Gallery, Northbridge, WA
Photograph: Andrew Curtis
ceramics, bees wax, copper wire, plaster, rubber, casting slip, bubble wrap, cardboard box, plastic bottles, airlock, corks, tables, Perspex, ginger beer plant, Potato Flask, Beer Bottles and Demijohns from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Rebecca Baumann (artist), 'Untitled Field View', 2013, Shepparton Art Museum
Courtesy of the artist
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Rebecca Baumann’s site specific installation invites audiences to view coloured ceramic objects against a palette of monochrome wall paintings.
Her work provides audiences with the opportunity to create their own experience of collection objects through various colour combinations and become the author of their own experience.
plinths, 9 Monochromes in Dulux (Dandelion Yellow, Lickety Lick, Charcoal, Cousteau, Funk, Scampi, Hot Lips, Paris Nights, and Tang) with Green Vase, Orange and Blue Vase, Boat-shaped dish and Art Deco Vase from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Rebecca Baumann (artist), 'Untitled Field View', 2013, Shepparton Art Museum
Courtesy of the artist
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plinths, 9 Monochromes in Dulux (Dandelion Yellow, Lickety Lick, Charcoal, Cousteau, Funk, Scampi, Hot Lips, Paris Nights, and Tang) with Green Vase, Orange and Blue Vase, Boat-shaped dish and Art Deco Vase from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Rebecca Baumann (artist), 'Untitled Field View', 2013, Shepparton Art Museum
Courtesy of the artist
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plinths, 9 Monochromes in Dulux (Dandelion Yellow, Lickety Lick, Charcoal, Cousteau, Funk, Scampi, Hot Lips, Paris Nights, and Tang) with Green Vase, Orange and Blue Vase, Boat-shaped dish and Art Deco Vase from the Shepparton Art Museum ceramics collection
dimensions variable
Artwork - Gwyn Hanssen Pigott (artist, 'Sand still life') and Emma White (artist, 'Still life (painted vessel)'), 'Sand still life', 1994, and 'Still life (painted vessel)', 2011, Shepparton Art Museum
'Sand still life', Sidney Myer Fund Australia Day Invitation Ceramic Award, and 'Still life (painted vessel)' courtesy of the artist and BREENSPACE, Sydney
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'Sand still life', Sidney Myer Fund Australia Day Invitation Ceramic Award, and 'Still life (painted vessel)' courtesy of the artist and BREENSPACE, Sydney
Photograph: Andrew Curtis
Emma White’s installation of highly colourful photographs of Fimo (polymer clay) objects play with still life traditions.
Her work is displayed alongside a Gwyn Hanssen Pigott still life installation of pottery, highlighting both artist’s interest in processes of making and the passing of time.
Gwyn Hanssen Pigott
Sand still life 1994
wood fired porcelain
dimensions variable
Shepparton Art Museum, Sidney Myer Fund Australia Day Invitation Ceramic Award
Emma White
Still life (painted vessel) 2011
archival inkjet print on Eterna Elite paper
48 x 35 x 6 cm framed
Edition 4 of 5
Courtesy of the artist and BREENSPACE, Sydney
Artwork - Gwyn Hanssen Pigott (artist, 'Sand still life') and Emma White (artist, 'Still life (painted vessel)'), 'Sand still life', 1994, and 'Still life (painted vessel)', 2011, Shepparton Art Museum
'Sand still life', Sidney Myer Fund Australia Day Invitation Ceramic Award, and 'Still life (painted vessel)' courtesy of the artist and BREENSPACE, Sydney
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'Sand still life', Sidney Myer Fund Australia Day Invitation Ceramic Award, and 'Still life (painted vessel)' courtesy of the artist and BREENSPACE, Sydney
Photograph: Andrew Curtis
Gwyn Hanssen Pigott
Sand still life 1994 wood fired porcelain dimensions variable Shepparton Art Museum, Sidney Myer Fund Australia Day Invitation Ceramic Award
Emma White
Still life (painted vessel) 2011 archival inkjet print on Eterna Elite paper 48 x 35 x 6 cm framed Edition 4 of 5 Courtesy of the artist and BREENSPACE, Sydney
Artwork - Kirsten Coelho (artist), 'Toward the end of the day', 2012, Shepparton Art Museum
Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
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Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Photograph: Matthew Stanton
Kirsten Coelho was the Australian winner of the 2012 Sidney Myer Fund Australian Ceramic Award. Her installation of domestic interiors memorialises the experience of 19th century migrants and settlers arriving in Australia.
Kirsten Coelho’s installation of domestic interiors memorialises the experience of 19th century migrants and settlers arriving in Australia.
The artist has reproduced archetypal household items of the time in porcelain, which through their solid, almost ghostly white appearance and rusted, decaying edges, speak of the extraordinary dreams, ambitions, failings and violence of this period.
Drawn from scenarios depicted in colonial-era paintings by Australian artists Sir John Longstaff and Frederick McCubbin, and the atmospheric interiors of Danish painter Vilhelm Hammershøi, Coelho’s gin bottles, medicine jars, oilcans and bowls reflect on how objects and art shape history and cultural memory.
porcelain, pale-grey-white and iron oxide glazes
dimensions variable
Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Artwork - Kirsten Coelho (artist), 'Toward the end of the day', 2012, Shepparton Art Museum
Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
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Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Photograph: Matthew Stanton
porcelain, pale-grey-white and iron oxide glazes
dimensions variable
Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Artwork - Kirsten Coelho (artist), 'Toward the end of the day', 2012, Shepparton Art Museum
Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
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Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Photograph: Matthew Stanton
porcelain, pale-grey-white and iron oxide glazes
dimensions variable
Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Artwork - Kirsten Coelho (artist), 'Toward the end of the day', 2012, Shepparton Art Museum
Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
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Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Photograph: Matthew Stanton
porcelain, pale-grey-white and iron oxide glazes
dimensions variable
Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Artwork - Kirsten Coelho (artist), 'Toward the end of the day', 2012, Shepparton Art Museum
Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
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Courtesy of Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Photograph: Matthew Stanton
porcelain, pale-grey-white and iron oxide glazes
dimensions variable
Shepparton Art Museum, Sidney Myer Fund Australian Ceramic Award, Australian prize, 2012
Artwork - Andrew McQualter (artist), 'The realised gesture', 2013, Shepparton Art Museum, The Drawing Wall commission
Courtesy the artist and Daine Singer, Melbourne
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Andrew McQualter presents the 10th Drawing Wall project at SAM as part of the Occasional Miracles exhibition.
The Drawing Wall is a series of temporary commissioned wall drawings or artworks that enliven the foyer space directly outside SAM.
McQualter’s work is a reflection upon the nature of patterns, gestures and vessels in the museum’s ceramic collection.
acrylic paint
dimensions variable
Shepparton Art Museum, The Drawing Wall commission
Artwork - Andrew McQualter (artist), 'The realised gesture', 2013, Shepparton Art Museum, The Drawing Wall commission
Courtesy the artist and Daine Singer, Melbourne
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Shepparton Art Museum, The Drawing Wall commission
Film - Benj Binks (film by) and Ned Beckley (music), 'Alexandra Standen', Shepparton Art Museum
Courtesy of Shepparton Art Museum
Film - Benj Binks (film by) and Ned Beckley (music), 'Alexandra Standen', Shepparton Art Museum
[Vision of ladders in studio]
[Alexandra Standen] I got the Sidney Myer Award, and so I've spent the first half of my year making and making and making ladders in the studio, which has been lovely.
[Inside studio]
[Alexandra Standen] It's been really nice to focus on one specific project that I feel passionate about.
[Close-up of ladders]
[Alexandra Standen] The work that I've produced has been based on a short story by an Italian author called Italo Calvino.
[Unwraps a miniature ladder]
[Alexandra Standen] It was loosely based on my experiences rom different environments - growing up in the country, living in the city, and travelling to the outback of Australia.
[Scissors cut through Styrofoam]
[Alexandra Standen] So it was a combination of different moods and emotions in different landscapes and environments.
[She continues unwrapping]
[Alexandra Standen] It was also strongly based on this story, which begins with Darwin proclaiming that the moon is so close to the earth that you could row out into a boat, put a ladder up in the boat and touch the moon when the moon shifts and the gravity pulls you onto the moon.
[Pile of small ladders]
[Alexandra Standen] So it was this lovely story about two different worlds and falling in love with one world and having a connection with another.
[Studio]
[Alexandra Standen] So it was definitely about space, and that's where the idea for a wall installation came because I wanted to get a sense of space. And I love working in multiples, so the small hand-built ladders that I made was a perfect combination for the installation.
[Women watch Alexandra shape clay]
[Alexandra Standen] I hand-build all my work. So I roll out the slab of clay, I score into the clay, and start hand-building using small elements and just... I make hundreds of them.
[Several women shape clay]
[Alexandra Standen] Glazing the ladders at first was really difficult. I had to find out different ways that I could glaze it. The studio that I work at at the moment has quite a large anagama wood-fired kiln, which is a tunnel kiln - you pack from the back, crawl inside, you pack all the way to the front, you brick it up and you fire it over a number of days and then you leave it for a week and you unpack and it's all sort of a surprise because the characteristic of good firing is the fact that the flames sort of hit the surface of the object and react with the clay that you've used and produce these beautiful, sometimes really rich flashing reds from the flame, or beautiful blacks or pinks.
[Smooths inside of little clay pot]
[Alexandra Standen] So I really wanted to experiment with putting a white porcelain beside something that was so rustic and beautiful and earthy.
[Studio, SAM building]
[Alexandra Standen] This is a big award for me, I guess, 'cause I feel like I'm just starting out and I'm just trying to find my feet and what I feel most comfortable doing, and the support I've had from SAM is incredible.
[Sidney Myer Fund Australian Ceramic Award]
[Alexandra Standen] When you're starting out as an artist, to have that reassurance straightaway that you're doing OK and the work that you're making is OK and people like it and there's an audience that appreciates your work is a really, really important thing for artists to have.
[Exhibition]
[Alexandra Standen] I think it will help me to think on a grander scale, as well.
[People standing, holding wine glasses]
[Alexandra Standen] Initially, before getting this award, I was thinking, 'I'll just make small things and keep it safe and I don't want to fail.' Whereas this has helped me to think bigger and the publicity from this has been amazing, as well.
[Ladders mounted on wall]
[Alexandra Standen] I've had people who don't know my work before, like, it's really pushed me out into a more public domain.
[Studio]
[Alexandra Standen] So this award's been brilliant.
Reuse this media
Can you reuse this media without permission?No (with exceptions, see below)
Conditions of use
All rights reserved
This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
Attribution
Please acknowledge the item’s source, creator and title (where known)
Alexandra Standen talks about the making of her work, The Other Moon (2011-2012) in the 2012 Sidney Myer Fund Australian Ceramic Award.
A film by Benj Binks
Music by Ned Beckley
Film - Benj Binks (film by) and Ned Beckley (music), 'Michal Fargo', Shepparton Art Museum
Courtesy of Shepparton Art Museum
Film - Benj Binks (film by) and Ned Beckley (music), 'Michal Fargo', Shepparton Art Museum
[Michal] The work I did for the Sidney Myer Award was an extension of my final exhibition from the Bezalel Academy.The idea was to create different surfaces in ceramics and find something interesting and diverse and, in some ways, I think, more authentic for ceramics.
[Michal sculpting]
[Michal] And I was really bored with mould-making and having all these smooth, clear surfaces. Well, I started sculpting in the sponge and then just dipping it and firing it. Afterwards, I started trying to do some other things like casting into sponge blocks, and that's how I got these coral-looking objects.
[Audience watches Michal sculpt]
[Michal] And then I just started having fun, looking for different textures and silhouettes for these objects. I had to vacuum a lot of kilns 'cause I had some crumbly kilns to unload - everything got distorted.
[Woman holds sponge block]
[Michal] But it was, you know, very slow at the beginning, but then when you get the hang of it, it starts to get less and less casualties on the way.
[Audience sitting in chairs]
[Michal] The main focus was dealing with surfaces and ceramics and creating something different.
[Michal dips ceramic object into bucket]
[Michal] It wasn't about copying nature or replacing it. It was also important to me to have really defined colours, really, like... to have them really vibrant.
[Display of Michal's ceramics]
[Michal] The award was crazy. Like, it was crazy getting it. Like, I couldn't believe it.
[Small knife slices a box open]
[Michal] Actually, the call that I got telling me about it just woke me up, like, half an hour after I should have been at my job. So... I thought I was dreaming.
[Michal unwraps a ceramic object]
[Michal] It's huge. And... financially-wise, also getting an exhibition, and getting here to Australia - something that would've never happened if I wasn't invited.
[Michal cradles a piece of artwork]
[Michal] It did change my life 'cause for the first time I had, like, the money to just work on a project, not be really stressed about rent and things like that.
[Michal in art museum]
[Michal] And it was nice to have, like, a beautiful venue like here - the Shepparton Art Gallery - to present it.
[Shepparton Art Museum]
[Michal] It's very exciting being in Australia. My parents, they're psyched. They're, like, really proud and really excited about it.
[Sidney Myer Fund Australian Ceramic Award]
[Michal] All my friends and my friends from the Academy, they're, like... really, really proud of me and happy for me and they've been very, very supportive and helping me out with all the small details - and big details - of the things you need to do before you go off to one of these kind of shows. So... you need to thank them. Yeah, so, thanks.
[Art exhibition]
[Michal] In terms of experience of, you know, exhibiting overseas and meeting different people, different curators, and different attitudes, to me, it's very insightful and I feel like I'm learning a lot on how it's done 'cause it's actually my first big exhibition outside of school.
[Display of Michal's artwork]
[Michal] And I feel like I really learned a lot and I'm feeling really, really lucky on having this opportunity. Yeah, learned a lot.
Reuse this media
Can you reuse this media without permission?No (with exceptions, see below)
Conditions of use
All rights reserved
This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
Attribution
Please acknowledge the item’s source, creator and title (where known)
Michal Fargo talks about installing her work 'Else' (2012) in the 2012 Sidney Myer Fund Australian Ceramic Award.
A film by Benj Binks
Music by Ned Beckley
Victorian Collections acknowledges the Australian Aboriginal and Torres Strait Islander
peoples as the first inhabitants of the nation and the traditional custodians of the lands
where we live, learn and work.
