Drift, Emily Siddell’s first solo exhibition at milford galleries queenstown, sees the artist revisiting the original inspiration of her practice – the New Zealand coastline. Borrowing symbols and elements from this Siddell expertly combines (the yielding and delicate qualities of) porcelain and glass to assemble intricate sculptural works.

These works are informed by what the tide reveals and delivers - a sand-worn shell, a skeletal leaf, sun bleached driftwood, a discarded feather, salt crystals, a pebble worn smooth. “I am attracted to the matt white shells and bones that have been tumbled into drifts by the tide. The random patterns they create against the glistening black sand appear as gifts from the glasslike waves. The tiny, intricate jewels of life nestled in rock pools have held my fascination since childhood. I have always been inspired by the majestic beauty in the tiny details rather than the grand landscape and this influence is reflected in the objects I create.” (1)

Fundamental to Siddell’s practice is repetition and pattern, sourced in and from nature. She assembles objects together and in so doing establishes a larger unity, a greater whole. Added to this, when displayed, is contrast, the rhythms of repeated pattern and the pivotal role shadow comes to perform.

There is a remarkable sense of spontaneous movement - as light shifts shadows twist and merge, glass glistens like captured liquid hinting at its very material qualities. Articulated forms appear as if organic (alive) and resonate in response to a gentle touch.

Cultural dynamics also deeply inform her work – the finely crocheted wire kete explicitly reference function and use whilst also elaborating this with the addition of embellishment and motif: graduating tiers of porcelain shells and feathers. The lei form so recognizably Polynesian in character has become central to Siddell’s artistic language and transmuted to elaborate necklaces of tightly gathered porcelain shells, each cupping the next.

Dialogues of growth and abundance emerge in the Anemone works. In these glass fronds reach up as if being moved about.

Forms innocent in manner belie the strong character of Siddell’s work. The contrast of juxtaposed materials – smooth and textured, opaque and clear, hard and fragile – generates tension and elicits a tactile response. Familiar constructs and motifs evoke analogy and recollections - “the stories they tell about our lives, the memento of a time or place or person.” (2)

Siddell’s ability to simplify and thus emphasise is evident and wonderfully delivered in this significant exhibition. Using the traditional domestic disciplines of crochet, weaving and appliqué she delivers works that have a wonderful sense of balance and tone, and which are also joyous and triumphant. Her artistic dexterity is undeniable and her unique language fully formed.

1. Emily Siddell, Artist statement, 2011.
2. Emily Siddell, Artist statement, 2008.