Simone Fraser has been a practicing potter since graduating from the Canberra School of Art in the Australian Capitol Territory in 1981. Since completing her post-graduate studies at Monash University in 2000, she has taught extensively in many tertiary institutions and is currently lecturing in ceramics at the National Art School, Sydney, Australia.
Her work is represented in the National Gallery of Australia and in many regional galleries, including Western Australia, South Australia, Wollongong, Bathurst and Campbelltown. She’s found in many private international collections, the most recent acquisition being the International Modern Pot Art Museum, Yixing, China. Fraser has participated in over 80 solo and group exhibitions.
Simone Fraser has always worked with the vessel, which she sees as “a time capsule that carries antiquity within it – a thumbprint of our civilization.” Her search is for new rhythms in ancient forms via disordered patterning and pierced surfaces, permitting texture to instruct and partly define the form, while at the same time deconstructing the “container.”
“Over these textured fingered surfaces I layer porcelain and terracotta slips and finally a water colour thin wash of dry glaze. This layering further invokes a sense of time and is a response to my own environment. The work is mid fired up to three times in an oxidized atmosphere,” Fraser states.
Tradition is the foundation for her unapologetic quest for beauty. She quotes her favorite line from John Armstrong’s The Secret Power of Beauty (2004) as her raison d’être, “The beautiful object creates in the mind of those who attend to it the spiritual home that reality does not provide.” The result is a time-eroded pot that is at once, and contradictorily, concrete and ephemeral.
Garth Clark is the Chief Editor of CFile and the Creative Director of CFile Foundation.
Above image: Simone Fraser, ceramic forms, 2013. Porcelain. Tallest 29 cm. Courtesy of the artist. Photograph by Greg Piper.