gom_maker (thannie)

Each sculpture begins with a fragment of text, guiding the slow accumulation of ceramic form and surface. Built gradually over days, the works draw on traditional coiling techniques, rendered contemporary through the use of exceptionally thin, pinched coils, each measuring approximately 0.5 cm at the moment of construction. At this scale, the coils are more acutely responsive to moisture, gravity, and heat, allowing the structure to register all environmental conditions through to the finished form. Prior to the mechanisation of craft, traditional coiling technique tended to preserve the coil's presence. The compulsory erasure of the coil emerged in response to the new ideals of speed and uniformity. Today, where mass production dominates, these standards are magnified even more intensely: all surfaces are levelled and flat to the eye, all traces of manual labour are scratched out prior to the final firing. Having learned how to fluently dissolve the process (to smooth the lips with a chamois, to remove my fingerprints with a metal rib, and to say nothing of the labour that came before), I choose instead to make visible the work underneath. The micro-decisions of the hands in motion, the raw pinched edges, the base bearing the banding wheel markings, every join, compression, and shift in pressure are recorded and remain legible on the clay. It is in these interruptions and irregularities that the work finds its shape.

I NOW HAVE A FUNCTIONING WEBSITE YAYY Hi friends, The website is now live at -~~~~. You can now read about the process behind the making, view an archive of work I've made in the past few years, and maybe also take some of the vessels home with you? I’ve been dragging this out forever. The relief, now that it’s finished, is knowing I can return to the studio and spend my hours making terrible glaze choices, undistracted. There shall be no more running between the laptop and the wheel, and no more blaming the website when my red glaze inevitably comes out brown. So please, have a browse, enjoy yourself. And if something doesn't load properly, please blame the Internet overlord and not me. ( No actually, please do tell me if something doesn't work as it should). Could not have happened without the most beautiful group of friends. So so grateful for them 🤎🤎🤎 @dngr_goods : my amazingly talented designer for knowing what I wanted before I ever did, and for the never ending revisions I put you through. @spicyfruitwizard : the love of my life for your free labour in all things @andyking899 : for your drunken attempt in purchasing the work before the website was even ready @sheadewinter & @sophiejanemoran : for the pep talk that force me to get this done. @huy____ : for being willing to take home a piece in random cardboard box since I had no proper packaging materials at the time.

mặt phẳng is a series of ceramic sculptures made in response to potsherds displayed at Bảo tàng Lịch sử Quốc gia in Hà Nội. The fragments, recovered from shipwreck salvage, are broken bodies in which time is condensed, imprinted on the surface.  Each work begins with a single, very thin base coil. From that first ring, the form rises gradually through the stacking of further coils, each one pinched into the next until a shallow upright plane is formed. It is a precarious structure, with exposed edges and little support beyond the tension of its own construction. The surface is then stained with thin layers of glaze, broken by incised lines that echo the abraded skin of the fragments.  In both process and form, the sculptures gravitate toward the condition of the sherd, a material trace of time lodged, where temporality is sedimented in matter. Coming to @relics.remains . Open 14th May at @nord_modern . Curated by @curtis._________ Featuring works by: Alyssa Nuttall, Curtis Bloxsidge, Thannie Phan, Julian Leigh May, Madeline Cardone, Nicholas Burridge, Park Minjeong, Saturday Yard Work, Studio Dokola, Sundance Studio, 2am close. Photography by @nabil_asakly

@relics.remains brings together works that sit at the threshold between destruction and persistence, loss and survival, speculation and archeology. Pieces stripped of original function yet charged with new meaning. They are worn, fractured, altered by time and circumstance. Yet it is precisely through this that they speak. The exhibition highlights the liminal space of material meaning; the reconstruction after deterioration, the uncovering of new material properties, and how objects hold an energy that transcends the systems that produced them. Relics & Remains offers an immersive walk-through of a material landscape, inviting quiet, speculative propositions, that exist in a space of timelessness. The works presented imagine a time in which objects and materials become evidence, provoking questions about the fragility of earth. What are we leaving behind now, and how might our work in this moment become fragments of a lost world? Curated by @curtis._________ Featuring works by: Alyssa Nuttall, Curtis Bloxsidge, Thannie Phan, Julian Leigh May, Madeline Cardone, Nicholas Burridge, Park Minjeong, Saturday Yard Work, Studio Dokola, Sundance Studio, 2am close. Photography by @nabil_asakly

|| SYNTHESIS ||  An immersive interior installation curated by Ruby Shields @_studio.shields featuring over 40 artists, designers & makers.  Set within the Bishop’s Parlour at Abbotsford Convent, Synthesis explores how we live with design. Colour, material, light and scent held together, not in isolation, but in relationship. At its core, Synthesis is about collective authorship. This isn’t about objects on plinths. It’s about what happens when everything comes together. Many voices, one interior language. Opening Night ~ 16th May 6pm Featuring works by: Amy Vidler, Anne U, Angela Hayes, Astrid Salomon, Bel Williams, Bolaji Teniola, Cameron Green, Carl Broesen Studio, Craig Shanahan / Mood Workshop, Curtis Bloxsidge & 2am Close, Culture Cush, Dean Norton, Em Frank, Femme Brutale, Fools Glass, Georgia Harvey, Hannah Nowlan, Indigo Tolhurst, Jenny Jones, Jordan Fleming, Kelly Brown, KOEH Studio, Locki Humphrey, Marlo Lydia, Martyn Thompson, Max Copolou, Melvin Josy, Nicole Lawrence, Objects for Thought, Patrick Scott, Patrick Shields, Ro Noonan, Saturday Yard Work, Studio Dokola, Studio Kaytar, Studio Tops, Subject Matters, Sundance Studio, Tantri Mustika, Thannie Phan, Theodosius Ng, Thomas Maxam, Zoe Diacolabianos. Photography by the amazing @nabil_asakly

SAVE THE DATE ~ 16th May 6pm I'm so excited to be a part of @synthesis.mdw . Set within the Bishop's Parlor at Abbotsford Convent, this is an interior installation that explores how we live with design. Colour, material, light and scent held together, not in isolation, but in relationship. At its core, Synthesis is about collective authorship. This isn't about objects on plinths. It's about what happens when everything comes together. Many voices, one interior language. Curated by wonderful @_studio.shields Featuring works by my favourite artists: Amy Vidler, Anne U, Angela Hayes, Astrid Salomon, Bel Williams, Bolaji Teniola, Cameron Green, Carl Broesen Studio, Craig Shanahan / Mood Workshop, Curtis Bloxsidge & 2am Close, Culture Cush, Dean Norton, Em Frank, Femme Brutale, Fools Glass, Georgia Harvey, Hannah Nowlan, Indigo Tolhurst, Jenny Jones, Jordan Fleming, Kelly Brown, KOEH Studio, Locki Humphrey, Marlo Lydia, Martyn Thompson, Max Copolou, Melvin Josy, Nicole Lawrence, Objects for Thought, Patrick Scott, Patrick Shields, Ro Noonan, Saturday Yard Work, Studio Dokola, Studio Kaytar, Studio Tops, Subject Matters, Sundance Studio, Tantri Mustika, Thannie Phan, Theodosius Ng, Thomas Maxam, Zoe Diacolabianos. Photography by the amazing @nabil_asakly

BACK ON SUBSTACK. A brief intermission from making.

Just me and @_sundance_studio_ in the studio laying out our pieces. Final days to view 'Tether' at the beautiful @landerse.au this Sat-Sun 11-4PM 585 Dunns Creek Road, Red Hill VIC

Final days to view 'Tether' this Thurs-Sun @landerse.au 11-4PM 585 Dunns Creek Road, Red Hill VIC

‘Old City’ Materials: Porcelain
Dimensions: 320 × 245 × 245mm
$700 Available at @landerse.au au. Catalogue link in bio. Open until 26 January
11–4 PM
585 Dunns Creek Road, Red Hill VIC

A few moments from the opening with family and close friends who live nearby. I’ve been doing these little exhibitions for a while, but this is the first one @ssngillies and @angi3sinc could come to, which felt really special. Thank you to @michaelabarcaphotography for capturing it all 💛 Tether - with @_sundance_studio_ at @landerse.au Open until 26 January 11–4 PM 585 Dunns Creek Road, Red Hill VIC

‘Pooling In One Corner’ Materials: Porcelain
Dimensions: 200 × 220 × 220mm Available at @landerse.au . Catalogue link in bio. Open until 26 January
11–4 PM
585 Dunns Creek Road, Red Hill VIC At the intersection of craft and narrative, gốm maker is the material extension of my writing practice. Each sculpture begins with a fragment of text, guiding the slow accumulation of ceramic form and surface. Built gradually over days, the works draw on traditional coiling techniques, rendered contemporary through the use of exceptionally thin, pinched coils, each measuring approximately 0.5 cm at the moment of construction. At this scale, the coils are more acutely responsive to moisture, gravity, and heat, allowing the structure to register all environmental conditions through to the finished form. Prior to the mechanisation of craft, traditional coiling technique tended to preserve the coil's presence. The compulsory erasure of the coil emerged in response to the new ideals of speed and uniformity. Today, where mass production dominates, these standards are magnified even more intensely: all surfaces are levelled and flat to the eye, all traces of manual labour are scratched out prior to the final firing. Having learned how to fluently dissolve the process (to smooth the lips with a chamois, to remove my fingerprints with a metal rib, and to say nothing of the labour that came before), I choose instead to make visible the work underneath. The micro-decisions of the hands in motion, the raw pinched edges, the base bearing the banding wheel markings, every join, compression, and shift in pressure are recorded and remain legible on the clay. It is in these interruptions and irregularities that the work finds its shape.