3 March - 28 MarchMERRAN ESSON's investigation into ceramic vessels began with the container not just as a practical device but also as a structure. Catchment refers to both the vessel and perforated forms of ESSON's ceramics and naturally occurring catchments such as basin shaped areas and drainage networks of the land that rely on earth and mineral content and quality to determine their form. The emerging works are a result of this exploration with the interiors evoking a mixture of ideas about containment and implied function.
For ESSON, ceramics is defined by process. Firing clay is the end process and requires an understanding of geology, heat and time. While clay is common, the process of firing and an understanding of the quality and origin of the clay create differences. Creased and cracked surfaces expose where the clay fought against ESSON's will to bend and mould each slab. Her fingers made lined impressions as she has dragged them across the clay. Other works are glazed in ESSON's distinct copper greens, blues and yellows. Sculpted angular surfaces and pierced tactile planes suggest aged and corroded metal of water tanks exposed to the weather and the distinct colour of copper found in treasures buried beneath the sea. These clay vessels invite an exploration of ESSON's affinity with the land. They are suggestive of her rural past in NSW and refer to rural landmarks in the Mannus Valley and the Upper Murray where she spent her childhood as well as her visits to the arid zones of North West New South Wales.
ESSON's buckets are probably more industrial than organic although there is a strong rural element to this work through references to water tanks, silos and corrugated steel, particularly the way they sit isolated in the landscape with a strong presence.