Crumbling Ecologies

Craft

27 April - 9 June 2012

Curator - Debbie Pryor

Artist - Jasmine Morgan Ryan

The Crumbling Ecologies Project interrogates the impact of the economic climate on both environmental conservation and arts education in Melbourne. In times of economic crisis both art and conservation funding is cut, raising questions on their value to culture and society. A response to the ongoing threatened closure of many media specific courses across Victoria, the works examine the relevancy of these materials within contemporary arts practice and the impact the loss of educators will have on Melbourne's artistic culture.The installation features thousands of handmade geranium leaves that on closer inspection appear on the brink of crumbling. embodying the story of their makers- the artists directly impacted. Viewers are invited to take a leaf for free or pay what they think it is worth. 


Why Geraniums - In many parts of the world there are species of geranium that are critically endangered or extinct. In Australia the garden geranium is on the Australian National Heritage Trust Alert List for Environmental Weeds that threaten biodiversity and cause environmental damage. Soon to become a pest to Victoria's native flora and fauna, they are one of the most popular commercially sold garden plants. In Melbourne, geraniums sit ambiguously between a plant and a weed deriving connotations of being out-dated and old fashioned. One of the key arguments used to justify the closure of the craft studios is that these materials and practices have become out-dated and no longer relevant to contemporary arts practice and research. Geraniums symbolise the economic impact on the ecological equilibrium and the importance of preserving craft as a diverse form of contemporary arts practice. 

Image - Jasmine Morgan Ryan, Crumbling Ecologies, 2012. Installation view Craft Victoria.

Artwork Presented -

Crumbling Ecology, 2012.

Porcelain

The last work to emerge from the ‘devolved’ Monash Ceramic Studio, Crumbling Ecology is a large ephemeral installation made from over 35,000 hand made porcelain geraniums.

On the brink of crumbling, the porcelain geraniums embody the story of their makers- the artists, teachers and students directly impacted. Porcelain is a material known for its strength; using the material in this way comments on the loss of educators and the knowledge their hands pass on. Commenting on the beauty and integrity of craft that is soon to be lost, the ecology unable to regenerate, sits within a tenuous space. The outcome of the work and its value will be determined by the audience’s response...

When installed at CRAFT in 2012, viewers were invited to take a leaf and pay what you think it is worth.

Image - Jasmine Morgan Ryan, The Beauty of Weeds, 2012 (detail). Regenerated plant waste, hand blown glass and studio table. Installed veiw Craft Victoria

The Beauty of Weeds, 2012.

Regenerated plant waste, hand blown glass and salvaged furniture from ‘devolved’ studio space.

L 1300 W 900 H 1200mm

The Beauty of Weeds explores the indefinite boundaries between artwork and artefact, waste and new growth. In the installation salvaged furniture from 'devolving' studios have overnight become a relic of crafts no practiced within the institution. Somewhere between art school dumpster, gallery and museum, these relics echo the ambiguity facing the displaced materials.

Traditional museum bell jars house regenerated plant waste cultivated from the casting process in the exhibition’s central work Crumbling Ecology. Our industries future history will reveal what has grown from the education that was passed onto us while working at these desks.

The Beauty of Weeds is that “a weed is a plant that has mastered every survival skill” [1]... they just keep growing.

Image - Jasmine Morgan Ryan, Weather Barometer, 2012 (detail). Neon & vinyl wall text. Installed view Craft Victoria

Weather Barometer, 2012.

L 6000 W 100 H1240mm

Neon & vinyl wall text

The IUCN Red List of endangered species uses the chart depicted in Weather Barometer to categorise the rate of a species’ decline from Least Concern to Extinct. It can be suggested that by these classifications Craft is a Critically Endangered form of arts practice in Victoria. This is the highest risk category and indicates a species’ numbers will decrease by 80% within three generations.

The closure of craft based studios from Higher Educational Intuitions across Victoria will mean that the next generation of artists working in Melbourne will no longer have the resources to learn the technical skills necessary to practice craft professionally, dramatically altering the diverse landscape of Australian visual art.

Weather Barometer charts the current state of Craft as CR, perhaps ironically CR is also the abbreviation for Craft used by state and national funding bodies. The flickering light of EW explores the sense of urgency around the future of craft. Traditionally weather barometers have been used to alert the public to extreme weather conditions or in fundraising, to chart the level of funds raised. This conceptually links the instability of the current financial to the closure of Victoria’s Craft Studios.

CR – Critically Endangered
EW – Extinct in the Wild

Exhibition Catalogue