Over the past twenty years Genevieve Quoyle has worked as a consultant to art critics, art dealers, auction houses, galleries, artists and art organisations including Sculpture by the Sea, the National Art School, the Tom Bass Sculpture Studio School and Michael Reid. Specialising in sculpture, she has advised private and corporate clients on this aspect of their collections and is an advocate for emerging and mid-career artists.
She curated the Tom Bass Retrospective (Sydney Opera House, 2006 & Bathurst Regional Art Gallery 2007-08) and the early years of Sculpture Inside for Sculpture by the Sea (Bondi & Cottesloe).
Genevieve has published articles in Craft Arts International Australia, National Library of Australia News and compiled and edited exhibition catalogues including Lines of Fire (NAS Gallery) and Tom Bass. She has contributed catalogue essays and presented public and private talks for the National Library of Australia, Sculpture by the Sea, Sydney Harbour Federation Trust, Vogue Living and UBS Wealth Management.
As a graduate of ‘East Sydney Tech’ she majored in sculpture and went on to receive degrees in art history and theory and art administration (UNSW). She is particularly passionate about the work of mid-century Australian and immigrant sculptors which led her to start but not finish a PhD at Sydney University. Returning to study a Master of Teaching, is a natural progression in the collaborative and advocacy work she has done, and she looks forward to putting that commitment and energy into helping the next generation of artists, designers, writers and curators.
Childhood memories of exploring the homes of great aunts and grandmothers came flooding back as I surveyed images of the Chifley home. The wireless, silverware, fine bone china, table linen and even the laundry’s cement tub conjured up images of my five-year-old self wandering around those homes in awe and most likely ‘sampling’ a white sugar cube from the silver tea service on my rounds!
There was a sense of the familiar in the Chifley’s assortment of fine bone china tea sets that led me to discover their prized Belleek collection housed in the kitchen’s dresser. While the tea set with its signature four leaf clover and wicker pattern was produced in County Fermanagh (Northern Ireland), it was also the birthplace of Chifley’s mother Mary Anne. It was this connection to Chifley’s past that inspired me to explore my family’s array of fine china tea sets. I eventually settled on my parent’s English set of Shelley ‘White Dainty’ demitasse espresso cups, coffee pot, sugar bowl and milk jug.
With its fluted rim and subtle, signature fan design the Shelley demitasse set is delicate and elegant. It is the sculpted simplicity that inspires me most. To capture those fine lines and the almost translucent surface when placed in the blazing afternoon sun, the pieces work together like a sculptural ensemble. Unlike the more decorative and colourful tea sets in the Chifley collection, these series of images with their varying angles and striking shadows have a deliberate ‘stripped back’ almost austere quality when viewed as black and white compositions.
42 x 59.4cm (set of 7 images)