First stop: Goulburn and the Paragon Cafe.
Jacque and the Gang fanged it out of the car-park at the Hyatt and headed straight up the Federal Highway to Sydders, stopping only for a quick snap of the Big Merino and a burger at the Paragon in Goulburn.
We made the big smoke in good time to dump the luggage, tart ourselves up and wander down Oxford St to Brigitte’s exhibition (Core – ceramics and bronzes) at Sabbia (the raison d’être for the trip.) Fabulous exhibition – her first solo for 20 years, and it’s been in gestation for about half of that. This is seriously considered work – the real deal, darlings. We love it.
A commendable number of people trekked up from both the (Far South) Coast and Canberra to swell the predominantly Sydney crowd, including Nola Anderson who officially launched the show and Judi Elliot who was co-exhibiting in the little side gallery. A grand old time was evidently had by all – particularly those who went on to dinner afterwards…
And then of course the most dedicated amongst us dropped in at the Hollywood for a bitterly-cold on the way home…
For a perusal of the evening go to…(and we’ve also printed Megsie’s short blurb for the show for your edification - just ‘cos we can…!! See below.)
http://www.flickr.com/photos/glasscentralcanberra/sets/72157602572014455/
Core
At the core of Brigitte Enders’ signature aesthetic formality lies a store of life experience, both professional and private, that sustains a resolute creative drive. The influence of her abiding predilection for architecture, and early training in Bauhaus-influenced German industrial design, is evidenced by the beautifully balanced, sophisticated restraint of her work, the strong purity of line and the diligent attention to detail. It is this sense of ‘the outer-shell’ of her ‘observances’ that most occupies, and perhaps defines, Enders’ practice. Her vessels contain, and even fortify, her most intimate thoughts and impressions. They are an exterior manifestation that guards the undisclosed essential. Perceiving her craft as ‘a composition in mood’, Enders’ bold move into the foundry most surely portends the longevity of a strong and intriguingly progressive artistic practice.
Megan Bottari, 2007
