Trevelyan Clay, Oscar Perry

Ich kann nicht mehr

31 Oct – 23 Nov 2019

INSTALLATION VIEW, Ich kann nicht mehr
INSTALLATION VIEW, Ich kann nicht mehr
INSTALLATION VIEW, Ich kann nicht mehr
INSTALLATION VIEW, Ich kann nicht mehr
INSTALLATION VIEW, Ich kann nicht mehr
INSTALLATION VIEW, Ich kann nicht mehr
Trevelyan Clay, Flute, 2019
pigment, stoneware, enamel, 320 × 250 × 20mm
Oscar Perry, Pottery is sex craft, 2019
stoneware, pigment, enamel, 220 × 320 × 20mm
Trevelyan Clay, Naturals, 2019
pigment, stoneware, 225 × 160 × 15mm
Oscar Perry, Embargo, 2019
stoneware, pigment, enamel, 230 × 260 × 20mm
Trevelyan Clay, Problem, 2019
stoneware, pigment, enamel, 230 × 220 × 8mm
Oscar Perry, Green knight, 2019
stoneware, pigment, enamel, 250 × 260 × 25mm
Oscar Perry, The Morris Worm/How to colonise rebellious youth, 2019
stoneware, pigment, enamel, 270 × 370 × 25mm
Trevelyan Clay, Conifer, 2019
stoneware, enamel, pigment, 215 × 250 × 20mm
Oscar Perry, Crooked Pier, 2019
stoneware, pigment, enamel, 200 × 320 × 20mm
Trevelyan Clay, Rappel, 2019
stoneware, enamel, pigment, graphite, 390 × 280 × 20mm
Oscar Perry, Grotto/some of my best friends are pessimists, 2019
stoneware, pigment, enamel, 250 × 360 × 70mm
Trevelyan Clay, Caribiner, 2019
enamel, pigment, stoneware, aluminium, 270 × 230 × 30mm
Oscar Perry, SPF 69+, 2019
stoneware, enamel, pigment, 240 × 400 × 30mm
Oscar Perry, Canary Island, 2019
enamel, pigment, stoneware, 200 × 310 × 20mm

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Trevelyan Clay, Oscar Perry

Ich kann nicht mehr

31 Oct – 23 Nov 2019

Ich kann nicht mehr (I can’t anymore) includes a suite of ceramic relief works by Melbourne-based artists Oscar Perry and Trevelyan Clay. Emerging from Perry's residency at the historic Driving Creek Potteries in Coromandel, this body of work playfully aligns the danger, hubris, and futility of two mythical figures of twentieth-century masculinity: the mountaineer and the abstract painter.

The title of the exhibition refers to the last words of Bavarian mountaineer Toni Kurz, who was famously the last of five mountaineers who lost their lives during the 1936 Eiger climbing disaster. Kurz’ final utterance, translated in English as "I can’t anymore," was spoken immediately before his death, while suspended from a rope within touching distance of a team of climbers attempting to rescue him. The cliche of painting as a mountain to be climbed—a heroic task to be undertaken only by those blessed with the mantle of genius—is undermined by the idea of such a climber failing at the final hurdle, freezing to death and abandoning the ascent. The pine trees that occupy the gallery’s floorspace point towards a similar narrative of intrepid European conquest of nature, but in a New Zealand context become faintly ridiculous. These trees are one element of the performativity with which Perry and Clay present their work, a position that acknowledges and interrogates the narrative implications of the painterly act.