Materials and techniques: Paper, weaving
5 woven vessels, variable sizes
$3,800 for group, individual vessels POA
I have long been fascinated with the notion of the vessel as a holder of experience.
A container to cradle history and story.
Moments that endure through time and landscape.
In Continuum I have presented a series of porous vessels loosely holding the significant emotions and events that linger in memory.
A breathable membrane allowing a fluid interaction with past and present.
A library of experience.
A body of knowledge.
Familiar Ground, 2020
Materials: Paper, wire
4 woven vessels, variable sizes
$3,200 for group, individual vessels POA
These vessels are inspired by the sensuous rounded curves and contrasting flatter planes of the landscape. Spending time drawing natural forms, from landscape vistas to seed pods and beach pebbles. It is natural that some of these shapes have become part of my vocabulary and recur across my practice. Familiar friends they have been distilled over time to become an inherent part of who I am, a signature.
Drawing; painting; encaustic; printmaking; paper making; assemblage; collage; and fibre sculpture.
Working across a variety of methods and materials provides Brenda with a rich vocabulary of tools to draw from when contemplating the direction of new work. It may be two dimensional or three dimensional and will often cross borders between mediums. This makes perfect sense to Brenda. She loves that one idea can take her further and further until it has transformed into something new. It is the actual 'doing' that allows this to happen and so working through an idea and then possibly a series is part of the creative process.
It is through this open-ended investigation that Brenda naturally arrives at work that reflects her values and inner narrative. Experimentation and play are integral to her process. There is an alchemy in the making that she has grown to trust and rely upon. Without discounting time spent in research Brenda feels that it is it is important to be present in the moment, to be aware of what is happening in front of her and yet equally to step outside the ‘thinking’ and allow the work to have a life of its own, to take her on a journey.
Learn more about Brenda here
Image: Brenda Livermore, Continuum, 2020. Photo: Janet Tavener