Artists' Artists: A&A
Artists A&A discuss works of art from the national collection that inspire, move or intrigue them.
ALEXANDER CALDER
United States of America, 1898–1976
Night and day 1964
ADAM GOODRUM: Night and day exemplifies Calder’s mastery in creating large-scale, interactive artworks that blur the boundaries between sculpture and performance. As its elements sway and spin, this supremely elegant modernist sculpture continuously transforms its appearance, inviting contemplation and creating a tangible focus for pondering the nature of time itself. This produces a dynamic visual experience; as the gaze is directed upward, viewers engage with the artwork from different angles to observe its ever-shifting forms and colours. The interplay of motion, colour, form and meaning within Night and day, expressed through Calder’s pioneering kinetic abstraction approach, breathes spontaneity into the static world of sculpture. This evocation of surprise and wonder is a feeling we strive to capture in our work, and I greatly admire the simplicity and apparent effortlessness with which Calder elicits this.
EMILY KAM KNGWARRAY
Australia, Anmatyerr people, 1910–1996
Yam awely 1995
ARTHUR SEIGNEUR: When I first saw Yam awely, I was immediately struck by its vibrant colours and complex patterns. The painting is awash with shades of ochre, red and yellow and the lines are so densely packed that they seem to vibrate. The overall effect is one of energy and movement that is amplified by its size, making it impossible to resist being drawn into its swirling vortex. The painting has a power and presence that I had never seen before, and I was left feeling both inspired and humbled. I’ve since learned more about the meaning of Yam awely and I now understand that it is a depiction of the Anmatyerr people’s relationship with the yam, a sacred food and symbol of their culture. However, even without this knowledge, I would still be deeply moved by the painting. This work is a masterpiece, and it is a testament to the power of art to connect us with each other and with the deepest parts of ourselves.
MASAMI TERAOKA
born Japan, 1936, lives and works in the United States of America
View From Here to Eternity 1993
ARTHUR SEIGNEUR: I discovered the View From Here to Eternity print through a National Gallery Instagram post. The artwork resonated with me deeply since my father, an engraver artist, instilled in me a profound appreciation for craftsmanship. This work conjures memories of hosting a master ukiyo-e engraver at home and witnessing his skillful artistry and use of vibrant colours, which left me truly stunned. View From Here to Eternity, while referencing the ukiyo-e style of the Japanese Edo period, is a melding of Western etching and woodblock techniques. This fusion of cultures in artmaking and imagery adds a captivating layer and I admire the artist’s skill in blending an old craft with the modern influences of his adoptive country. I see many parallels with our work with straw marquetry as this too emerged in the seventeenth century, but its application using contemporary techniques far from France inspires new expression.
ROBERT FOSTER
Australia, 1962–2016
Emerald odyssey teapot 2005
ADAM GOODRUM: Robert Foster, an iconic designer and silversmith, was not only a master of his craft but also a true mentor and generous supporter of young designers. I consider myself extremely fortunate to have experienced this first-hand after visiting his studio early in my career and, more so, to have gained the privilege of his friendship. Foster’s unparalleled technical skills and ingenuity enabled his development of innovative techniques, such as explosion and water forming. These revolutionised metal shaping and allowed the creation of a wide range of strikingly original yet standardised production objects. One outstanding example of Foster’s creativity is the Emerald odyssey teapot. Its sleek stainless-steel body, resembling a shimmering droplet, evokes the liquidity of the teapot’s contents yet remains intact despite being penetrated by the iridescent green aluminium parabolic tube that serves as both handle and spout. The improbability of this juxtaposition pushes the boundaries of craft, design and making to both reinvent a traditional object and realise it in a non-traditional way.
This story was first published in The Annual 2023.