Date : 2018

Materials : glass, stainless steel frame

Size : H100mm x W100mm x D100mm (each piece)

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"A Profusion of Blooms" by Jane Cowie

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  • B. Jane Cowie has been working with glass for over 30 years. After gaining a Visual Arts Degree at Sydney College of the Arts, Jane travelled extensively in the 1980s to learn more about art, glass and life. Returning to Australia in the 1990’s she played an important role in the development of contemporary craft in South Australia.
    Completing a Masters Degree in Visual Arts, A Glassmakers Perspective - History and Practice of studio glassmaking in South Australia at the University of South Australia, she moved to Singapore in 2003, to embark on a new adventure to see, learn and experience living and working in South East Asia. Continuing to develop her practice as an individual artist exhibiting in various galleries, Jane has predominately been working within the broader construction industry to design and develop large art installations, purpose-built for private and commercial spaces.

     

    Artist Statement

    "Susan David said : "Life’s beauty is inseparable from its fragility."

    Flowers at the tip of the branch – loud and extraordinary (as art is) blossoms, breaking through, reaching out to announce life, reproduction and new growth. Forging new frontiers, working in new places, exploring new ways of doing things, living a life brilliantly.

    Flowers are often the markers, as signposts for the various stages of a woman’s life, as a symbol of celebration, coming of age, declaring the presence of sexuality entwined with the feminine. White flowers - a symbol of innocence, virginity, chastity - red flowers symbolic of passion and love - an enclosed garden - a lack of female sexuality.

    Normality overlooks the beauty that differences can offer us...

    Susan David says that discomfort is the price of admission to a meaningful life. Emotions being the flashing lights to what we care about, so a pathway to our best selves via our emotions can be created. Noticing what we are feeling is important as time is all too precious and all too brief – yet all so beautiful.

    Within this exhibition I explore the ambiguity of the feminine life, expectations, domestic bliss and the relevance of floral signposts to track traditional expectations of happiness. The works begin to deal with the differences of how a woman’s life is ‘meant’ to be – and how it is.... What is expected of a woman – what is required to create a rewarding and fulfilling life? Certainly this is different for each as things end up differently, and don’t always follow a normally expected path. Variations of lived experience raise questions and time to realise how lives do differ with each individual and the life that is lived. Holding notions of contradiction are considered and defined – questioning the gray areas of unrequited expectations.7

    The complexity of definition of lives described, with a profusion of blooms, as I unpick attitudes and preconceived expectations with process and material – of a life – the life I am living. The fairytale of romance, the happy family of domestic bliss was not a life lived by me.

    The commissioned investigation to develop a suitable idea for a particular place starts as many opportunities, ideas (flowers). As different options are selected I find a focus – one idea - like the stem that holds up all the erratic ideas and creativity, one idea is confirmed and we start making.

    Something like the drawing above, there is a process of refinement as we trace a line to a single concept and the final installation outcome.

    The creative process may seem to be unorganised and irregular. However, part of my practice is to unpack the different elements of the artwork and aspects of making processes, to identify structure and stages of development. Then clinically, I dissect these different elements and lay them out, articulated with clarity. “There are no haphazard, erratic accidents and certainly there is a lot of mathematics in artmaking.”

     

 

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