Helen Fuller
Helen Fuller is published by Wakefield Press and features essays by Ross Wolfe, Sasha Grbich and Glenn Barkley.
ABOUT THE BOOK:
Tarntanya/Adelaide artist Helen Fuller is curious, inventive and willing to follow her compulsion to make, whatever the material. Over a long and extensive career, she has established a multidisciplinary practice encompassing a rich variety of painting, sculpture, installation and, in recent years, ceramics. Driven by intuition and materiality, she approaches ceramics in a manner she likens to painting, concerned with the characteristics of form rather than the function of the vessel. Unfailingly experimental, she describes her instinct as 'off-road'. In Helen Fuller, the first major publication devoted entirely to Fuller's work, the authors explore aspects of her fifty years of practice and a life of art.
Helen Fuller is published by Wakefield Press and features essays by Ross Wolfe, Sasha Grbich and Glenn Barkley.
ABOUT THE BOOK:
Tarntanya/Adelaide artist Helen Fuller is curious, inventive and willing to follow her compulsion to make, whatever the material. Over a long and extensive career, she has established a multidisciplinary practice encompassing a rich variety of painting, sculpture, installation and, in recent years, ceramics. Driven by intuition and materiality, she approaches ceramics in a manner she likens to painting, concerned with the characteristics of form rather than the function of the vessel. Unfailingly experimental, she describes her instinct as 'off-road'. In Helen Fuller, the first major publication devoted entirely to Fuller's work, the authors explore aspects of her fifty years of practice and a life of art.
Description
Helen Fuller is published by Wakefield Press and features essays by Ross Wolfe, Sasha Grbich and Glenn Barkley.
ABOUT THE BOOK:
Tarntanya/Adelaide artist Helen Fuller is curious, inventive and willing to follow her compulsion to make, whatever the material. Over a long and extensive career, she has established a multidisciplinary practice encompassing a rich variety of painting, sculpture, installation and, in recent years, ceramics. Driven by intuition and materiality, she approaches ceramics in a manner she likens to painting, concerned with the characteristics of form rather than the function of the vessel. Unfailingly experimental, she describes her instinct as 'off-road'. In Helen Fuller, the first major publication devoted entirely to Fuller's work, the authors explore aspects of her fifty years of practice and a life of art.
