Louise Saxton Wild

Louise Saxton’s November exhibition at Gould Galleries titled Wild is a cornucopia of reclaimed domesticity and a celebration of the natural and domestic worlds, as deciphered through thread, porcelain and paper.

Art Exhibition previously on at Gould Galleries in Victoria, Australia.
From Thursday 12 November 2015 to Sunday 06 December 2015

Louise Saxton
Wild image Louise Saxton
Wild image Louise Saxton
Wild image

Published by Gould Galleries on Wednesday 09 September 2015.
Contact the publisher.

By amassing domestic materials and liberating them from their original form and function, Wild embodies ideas of abundance and freedom. Saxton’s signature reclaimed needlework colonizes three-dimensional objects and amasses into larger than life forms, which float ever so slightly, in relief. She also introduces us to new reclamations – of ceramic flowers and wildflower book

For Saxton’s 2013 exhibition Sanctuary Too, birds and insects were the central motif and for this
new body of work, developed over the past two years, the artist has turned her attention, and ours,
to flora. Her upcoming exhibition Wild once again sees the artist assembling countless fragments
of discarded needlework and pins, this time to reinterpret historical paintings. These include an
exquisite Magnolia flower by Georg Dionysius Ehret from 1743 and a magnificent, single stem of Sturt’s desert pea by Marrianne Collinson Campbell from the 1800’s. Saxton has also drawn inspiration for two Vanitas works, from paintings by 17th Century Dutch artist Herman Henstenburgh.

A Rock-lily loosely based on a 19th Century painting by Ellis Rowan, but dedicated to Adam Forster
(1848–1922) creates an exciting addition to Saxton’s assemblage oeuvre. For this work, the artist
has excised the complete collection of 250 reproductions of Australian native flowers, drawn by
Forster in the 1920’s (for the once popular “Wildflowers of Australia” by Thistle Y Harris). Saxton
tackled this painstaking task, in order to ‘stockpile’ Australian wildflowers – something not possible
with needlework, as they simply do not exist on a mass scale. She also sees a striking parallel
between the decorative nature of wildflower illustrations of the era and embroidered flora.

Extending her art of reclamation even further is Porcelain Garden, an installation of discarded
ceramic flowers and birds. Also gleaned from opportunity shops and flea markets this domestic
ware, like embroidery and lace is now culturally obsolete, but in Saxton’s hands becomes an
evocative archive of memory.

Saxton’s ‘love affair’ with disappearing domestic materials and traditions continues to thrive in Wild,
her second solo exhibition with Gould Galleries, and continues to reflect upon and celebrate, the
beauty and variety, strength and fragility, of the natural world.