SUE PEDLEY
  • Home
  • Bio
  • Installations 1990-2000
    • Quarrying Memory 2000
    • The Convict and the Jew 1999
    • Spinifex 1999
    • Drawing on Rock 1998
    • Listening to Clara, Ethel and Ada 1997
    • Under the Pier 1996
    • Humidity 1995
    • The Intertidal Zone 1991
    • Combing 1990
    • The Element Orange 1990
  • Installations 2001-2020
    • Manly Dam Project, Manly Art Gallery and Museum 2019
    • Patches of Light - Tasmania 2019
    • Tracing Water - Echigo Tsumari Art Triennial 2018
    • Rolling Musical Screech - Bankstown Art Centre - 2017
    • Orange-Net-Work 2017
    • Patches of Light - SCA Gallery 2015
    • Birch Bridge - Norway - 2014
    • Home Garden 2012
    • Copper Ships - Tin Sheds Gallery 2011
    • Harmonica - Setouchi Art Triennial - Japan 2010
    • Blue Jay Way 2007
    • Spare Room 2007
    • Haze - Echigo Tsumari Triennial - Japan - 2006
    • In Tray 2006
    • Sound of Bamboo 2003
    • Sound of Bamboo 2002
    • Sound of Lotus 2001
  • Works on paper
    • Sonic Pressure 2020
    • Orange-Net-Work 2017
    • Lacuna 2017
    • Blueprint 2016
    • Patches of Light - water colours - 2015
    • Sound Lines - drawings- 2014
    • Harvest - monoprints - 2012
    • Monoprints - 2012
    • Sounding - collages - 2011
    • cyanotypes - Porifera Portraits - 2005
    • Cyanotypes 2000 - 2007
    • Humidity - drawings - 1995
    • Rolling Musical Screech-cyanotypes
  • Essays
    • Anne Finnegan
    • Jacqueline Millner
  • Contact

Harvest  James Dorahy Project Space  9 October - 4 November 2012

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Harvest: the duty of care

Sue Pedley is an artist whose works are attuned to the wellness of being, to what Heidegger would have called a politics of care.  Within the everyday, so often taken for granted, Pedley notices, and calls to attention.  In HarvestPedley takes her inspiration from the community garden of her studio in Marrickville.  The delicate patterns on the paper works are the direct imprints of paint on the leaves of the plants: sorrel, strawberries, sweet potatoes, morning glory, kale, squash and choko. Care, as such, takes place at the scale of being-there (Dasein), through a contact that connects to place, to the historical here and the now.  To this assemblage of people.  To this particular place. Grace is combined with material vigour as Pedley expands into new techniques and media: printing and folding fine Japanese papers into immaculate ‘grocery sacs’ (sculptural objects which are still unassumingly everyday), or deploying her grandfather’s woodworking tools to gouge into the smooth wooden surfaces of found objects to bring out the abstract patterning of the grain.

This association of tools, and everyday objects, returns to a consideration of making, of working at a human scale of quiet meditation, and to the personal histories associated with such tools.  The strength and vigour reflected in those marks in wood, additionally, are tempered to fit a certain utilitarian scale.  The reworked ‘brown paper grocery bags’, the kind that once existed before ubiquitous plastic supermarket bags, are likewise utilitarian in their origins: bags that had to be strong enough to carry home bottles of sauces and oils, packets of sugar and flour.  There’s nothing saccharine or sweet about Pedley’s reworked utilitarianism. Pedley is a respectful gleaner, respectful of the qualities of what she gleans. Traces of duty, care and work infuse and lend substance.  There’s a sense of work properly done, care taken. You feel good, enlivened by an undertaking that is modest, never overdone.

Anne Finnegan 2012 
  • Home
  • Bio
  • Installations 1990-2000
    • Quarrying Memory 2000
    • The Convict and the Jew 1999
    • Spinifex 1999
    • Drawing on Rock 1998
    • Listening to Clara, Ethel and Ada 1997
    • Under the Pier 1996
    • Humidity 1995
    • The Intertidal Zone 1991
    • Combing 1990
    • The Element Orange 1990
  • Installations 2001-2020
    • Manly Dam Project, Manly Art Gallery and Museum 2019
    • Patches of Light - Tasmania 2019
    • Tracing Water - Echigo Tsumari Art Triennial 2018
    • Rolling Musical Screech - Bankstown Art Centre - 2017
    • Orange-Net-Work 2017
    • Patches of Light - SCA Gallery 2015
    • Birch Bridge - Norway - 2014
    • Home Garden 2012
    • Copper Ships - Tin Sheds Gallery 2011
    • Harmonica - Setouchi Art Triennial - Japan 2010
    • Blue Jay Way 2007
    • Spare Room 2007
    • Haze - Echigo Tsumari Triennial - Japan - 2006
    • In Tray 2006
    • Sound of Bamboo 2003
    • Sound of Bamboo 2002
    • Sound of Lotus 2001
  • Works on paper
    • Sonic Pressure 2020
    • Orange-Net-Work 2017
    • Lacuna 2017
    • Blueprint 2016
    • Patches of Light - water colours - 2015
    • Sound Lines - drawings- 2014
    • Harvest - monoprints - 2012
    • Monoprints - 2012
    • Sounding - collages - 2011
    • cyanotypes - Porifera Portraits - 2005
    • Cyanotypes 2000 - 2007
    • Humidity - drawings - 1995
    • Rolling Musical Screech-cyanotypes
  • Essays
    • Anne Finnegan
    • Jacqueline Millner
  • Contact