 Bed Threads Home Tour, Photo by Alana Landsberry, Styling by Corina Koch + Savanna Cohen Thank you Bed Threads for visiting my home for your 'Makers Home Tour' series. Follow the link here to view the article. In conjunction with the home tour, there is now a new limited series of vases available at Bed Threads here.   'CHROMATIC' at Saint Cloche, photo by Maree Turk 2020 “My house is my refuge, an emotional piece of architecture, not a cold piece of convenience.”
– Luis Barragan Saint Cloche welcomes back Ceramic sculptor Natalie Rosin with ‘Chromatic’ – a play on tones of the chromatic scale relating to colour phenomenon and sensation observed in architecture. For this body of work, Natalie was inspired by the colourful and surreal anomalies of the built world. Three strong influences for this exhibition include Spanish architect Ricardo Bofill, Swiss-French architect Le Corbusier and Mexican architect Luis Barragan. Each, in their own way has embraced the use of bold colour, poetically offering different hues in a thoughtful, considered way and never as an afterthought. Another design trademark offered by these influences is the repetitive use of – the arch, the stair and openings to let the outdoors, inside – anchoring the architecture to its natural surroundings. Each designer enhances the experience of light, shadow, depth and a sense of place and orientation, offering spaces with mindfully placed apertures that succinctly frame views of the encompassing landscape, that when combined together, convey an acute indication of the passing of time. You cannot be within the architectural spaces created by one of these masters and not have an awareness of the day’s passage on an ever-unfolding march forward. The exhibition will run from 14th - 25th October 2020. SAINT CLOCHE 37 MacDonald St, Paddington NSW Australia 2021 For more information visit the Saint Cloche 'CHROMATIC' exhibition page here.  'Structures' Series XI - XVI, 2020 Natalie Rosin, Ceramic Stoneware Clay for Australia 2020 is a global fundraising project aimed at assisting those directly impacted by the Australian bushfires. Conceived by ceramic artist, Vipoo Srivilasa, it follows on from a series of four previous “Clay for….” fundraisers that have provided a platform for clay workers from around the world to support worthwhile philanthropic or charitable causes.
The sculptures in the image above were included in this fundraiser, purchased for $375AUD with 100% of proceeds donated to the 'Australian Red Cross Disaster Relief and Recovery Fund.' It was such an honour to be able to donate my art and give back to the community. For more information about Clay for Australia visit their website here.  The 'Wave' vase is part of the Art Deco series available exclusively through Jardan, inspired by the linear forms and geometric patterns iconic to the modernist Art Deco movement. Each piece embraces the use of colour and features the smooth curved lines typical to Art Deco architecture.
For more information, visit the website of Jardan Furniture here.  Above: the finalist sculpture by Natalie Rosin titled 'sculpture by a woman trying to recall her 6 year old self' (2019) I am pleased to be included as a finalist in the 2019 Woollahra Small Sculpture Prize. Below is the artist statement for my submission titled 'sculpture by a woman trying to recall her 6 year old self.'
"I’ve been thinking about the first house I lived in near the cliffs in Sydney’s east. We lived there until I was 6, mum said it was too hot so we moved a few streets away. Built in the 70’s, with many windows and skylights, my crayons would melt, the markers would dry out and the play-doh would crumble from the harsh direct sunlight drenching each room. I’ve been thinking about how sometimes people still remark “my kid could have made that’ when critiquing contemporary art. Well sure, art is there to conjure emotions, to make you think and question and feel. A 6 year old would have a fresher memory of that traumatic moment when they were snatched from the warm gooey womb. They have all these questions about life and are still unaware there are no answers to some. They are great artists. I’ve been thinking about my childhood recently, I think I miss that mass of waxy melted colour. Years of architecture school’s neutral tones, black and white aesthetic and clean lines made me forget that glob of blue and green and red on the breakfast table. Here is my comeback, my city of colour." The 2019 Woollahra Sculpture Prize finalist artists are: Ali McCann (VIC) Alison McDonald (QLD) Ara Dolatian (VIC) Benjamin Jay Shand (NSW) Brenda Page (VIC) Carol Cooke (ACT) Carol Lehrer Crawford (NSW) Donna Marcus (QLD) Erica Izard (NSW) Jane McKenzie (NSW) Jane Price (SA) Jeffrey Wood (NSW) Jessica Leitmanis (VIC) Johannes van Nunen (NLD/NSW) Julie Monro-Allison (ACT) Julie Pennington (ACT) Kate Ellis (VIC) Kenny Pittock (VIC) Kieta Jackson (UK) Lisa Giles (NSW) Louis Pratt (NSW) Louiseann King (VIC) Luke Storrier (NSW) Mandy Quadrio (TAS/QLD) Mehwish Iqbal (NSW) Merran Esson (ACT) Natalie Rosin (NSW) Nathan Keogh (NSW) Neil Laredo (NSW) Nicole de Mestre (NSW) NOT (NSW) Oliver Ashworth-Martin (UK/VIC) Patricia Smart (NSW) Paula Dunlop (QLD) Peter Zappa (WA) Stuart Rex McLachlan (NSW) Tai Snaith (VIC) Tina Fox (NSW) Toni Morrison (NSW) Tracey Deep (NSW) Ulan Murray (NSW) Veronica Andrus-Blaskievics (NSW) Wanda Gillespie (NZ). Exhibition Opening Times 12 October - 3 November 2019 Weekdays: 9am - 5pm Weekends: 10am - 4pm Exhibition Location Woollahra Council 536 New South Head Road, Double Bay, NSW For more information, please visit the Woollahra Small Sculpture Prize website here  This February Saint Cloche presents ‘MCM’ – an exhibition held in conjunction with the Palm Springs signature event – Modernism week, celebrating Palm Springs’ rich history of mid-century modern design, architecture, art and culture.
In the spirit of collaboration, the modernist inspired bold & simplified sculptural works of a Ceramic sculptor Natalie Rosin juxtaposed against the bright contrasted paintings of Emma Lipscombe will transform the gallery space. Taking their cue from Mid-century modern design, known for its ability to take complex concepts and distill them into simple visual forms, these artists will explore the elements of Modern architecture based on abstraction, which is created by clean lines, basic shapes, and forms. For more information, visit the 'MCM' exhibition page here. Dates Wednesday 20th February - Sunday 3rd March 2019 Opening night Wednesday 20th February 2019, 6pm – 8pm Special guest speaker Sam Marshall, director at Architect Marshall and best known for being the architects of the recently completed Museum of Contemporary Art Australia.  Natalie has been doing ceramics full-time since late 2017. Photo – Jacqui Turk for The Design Files.  Ceramics by Natalie Rosin (left to right) ‘Sirius,’ ‘House in a Plum Grove,’ and ‘SOH’. Each sculpture is made from White Stoneware Paper Clay. Photo – Jacqui Turk for The Design Files. Thanks The Design Files for the beautiful feature article about my current practice in Sydney as a ceramicist.
Follow the link here to read the full article "The Sydney Opera House, Sirius + Other Sculptural Ceramics."   This special edition Collage Vase range in Satin White and Shiny Black is now available through Jardan.
Visit in store or online here. 2017 has been an busy year of a new studio location, exhibitions, private commissions and collaborations with amazing stores across Australia. Below are details of highlighted projects during 2017. new studio...
2017 exhibitions...
where to find me...
upcoming...  'Clay Intersections' Exhibition on Tour, Australian Design Centre, various NSW/ACT Galleries  Exhibition title The White Room
Curator Sean Morris Participating artists Natalie Rosin, Avi Amesbury, Tony Bond, Somchai Charoen, Lynda Draper, Merran Esson, Danica Firulovic, Vicki Grima, Shaun Hayes, Ingrid , Ruth Ju-Shih Li, Bronwyn Kemp, Chantal Labbe, Machico Motoi, Cherie Peyton, Simon Reece and Jo Wood. Date 1 - 25 March 2017 Location Stanley Street Gallery, Darlinghurst (Sydney) Artist statement "The simulacrum is never that which conceals the truth - it is the truth which conceals that there is none. The simulacrum is true” - Baudrillard 1988 I’m experiencing an existential crisis. What if our world were a simulation, our creator a far more intelligent human? When technology grows to a point of sophistication where we can perform our own simulated world to observe. Does this new world we’ve birthed develop and reach a stage where an additional simulated environment is created? Generations of simulations, how are we the exception? Maybe a more important question is: does being a simulation matter? Should we rather abandon truth to focus on meaning? ‘Simulacrum in white’ aims to present a ceramic simulation of my own creation, a white ceramic world. At times there are models of buildings we recognise from our own built environment. How do we distinguish between artefact and simulacrum? Is that question a concern anymore? What if the building is the model, while the sculpture is the architectural conclusion? |
