Holly O'Meehan
Holly O'Meehan (@pollygeorgebyholly) works with two distinctive, apparently unrelated mediums: crochet and ceramic. A dexterous handler of both, Holly brings these two materials into harmony. The objects she creates are yarn-and-clay hybrids: hard, fired clay is pierced and shaped to allow the weaving-in of natural fibres, which in turn drape, hang, suspend or wrap the ceramic.
Working in her Fremantle studio, Holly appropriates natural forms like teeth, quills, spines and thorns, nestling them among gentler, softer textures and voluptuously rounded surfaces. These are crafted by hand in great numbers, a labour of long duration and meditative repetitiveness, the evidence of which can be traced in subtly-impressed fingerprints captured on the ceramic surface. The resulting sculptural objects have a whimsical, creature-like presence; their playful and defensive structures seem to repel and beguile us in equal measure.
Holly O'Meehan (@pollygeorgebyholly) works with two distinctive, apparently unrelated mediums: crochet and ceramic. A dexterous handler of both, Holly brings these two materials into harmony. The objects she creates are yarn-and-clay hybrids: hard, fired clay is pierced and shaped to allow the weaving-in of natural fibres, which in turn drape, hang, suspend or wrap the ceramic.
Working in her Fremantle studio, Holly appropriates natural forms like teeth, quills, spines and thorns, nestling them among gentler, softer textures and voluptuously rounded surfaces. These are crafted by hand in great numbers, a labour of long duration and meditative repetitiveness, the evidence of which can be traced in subtly-impressed fingerprints captured on the ceramic surface. The resulting sculptural objects have a whimsical, creature-like presence; their playful and defensive structures seem to repel and beguile us in equal measure.
Holly O'Meehan (@pollygeorgebyholly) works with two distinctive, apparently unrelated mediums: crochet and ceramic. A dexterous handler of both, Holly brings these two materials into harmony. The objects she creates are yarn-and-clay hybrids: hard, fired clay is pierced and shaped to allow the weaving-in of natural fibres, which in turn drape, hang, suspend or wrap the ceramic.
Working in her Fremantle studio, Holly appropriates natural forms like teeth, quills, spines and thorns, nestling them among gentler, softer textures and voluptuously rounded surfaces. These are crafted by hand in great numbers, a labour of long duration and meditative repetitiveness, the evidence of which can be traced in subtly-impressed fingerprints captured on the ceramic surface. The resulting sculptural objects have a whimsical, creature-like presence; their playful and defensive structures seem to repel and beguile us in equal measure.