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Gerhard Emmerichs, Résumé |
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| Personal Details: |
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| Address |
13 Hornby Street |
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Windsor 3181 |
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Victoria, Australia |
| Telephone |
(03) 95302507 |
| Facsimile |
(03)95302507 |
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| Year of Birth: |
1956, Germany |
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| Education: |
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| 1981 - 1984 |
Chisholm Institute of Technology, Melbourne; Graduation
as a Bachelor of Arts (Fine Art). |
| 1978 - 1980 |
State College for the Glass Professions (Staatliche
Glasfachschule), Hadamar, Germany; Graduation as a Master Glass Painter. |
| 1974 - 1978 |
Glass Painting apprenticeship at the firm of Hein Derix,
Papal Court Glass Painters, Kevelaer, Germany. |
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| Professioanl Development: |
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| 2000 - 2001 |
Studio residency in Kamp-Lintfort, Germany |
| 1999 |
Establishment of ceramic art gallery and espresso bar
'Platform M.B.' Brighton, Victoria. |
| 1990 - 1996 |
Restoration of historic homestead and farm 'Bergamo
House' at Yandoit, Victoria. |
| 1995/96 |
Australia Council Fellowship Grant. |
| 1988 - Now |
Freelance artistic career working on commissions and
exhibition pieces. |
| 1988 |
Austalia Council Artist Development Grant. |
| 1987 |
Founding Member of the Collective Workshop for Applied
Arts, 'Whitehall Enterprises', in Melbourne. |
| 1981 - 1988 |
Tutor position for glasspainting / design at Chisholm
Institute of Technology, Melbourne. |
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| Exhibitions (selected): |
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| 2003 |
'Sofa Chicago '03' Chicago, USA |
| 2002 |
'Baroque Exhibition' Despard Gallery, Hobart |
| 2001 |
'Zwischenstation Heimat' Ordensmuseum Abtei Kamp, Germany |
| 2001 |
'Transfornacion / Verwandlung' Galeria L'Unico, Palma
De Mallorca,Spain |
| 1999 |
'Drawn in Form' Brisbane City Gallery, Brisbane |
| 1998 |
'Then and Now' Metro Craft Centre, Nth. Melbourne |
| 1996 - 1997 |
'Visions of Australia' National Tour of 48 Works from
the National Art Glass Collection |
| 1996 |
SOFA CHICAGO '96, Chicago, USA |
| 1995 |
International Exhibition of Glass Kanazawa ' 95, Design
Centre Ishikawa, Japan |
| 1995 - 1996 |
`Bern and Gerhard Emmerichs -Glass, Ceramics & Design',
CraftVictoria, Melbourne; Geelong Art Gallery; Ballarat Fine Art Gallery;Bendigo
Art Gallery; Benalla Art Gallery; Shepparton Art GalleryCraftspace
Gallery, Sydney, (Crafts Council of N.S.W.) |
| 1994 - 1996 |
'Mock Baroque', Plimsol Gallery, HobartTour of Tasmanian
Regional Galleries / Victorian Reg. Galleries |
| 1992 |
'Home Is Where The Art Is', Adelaide Festival Centre |
| 1992 |
'Design Visions', Art Gallery of Western Australia,
Perth |
| 1991 |
'The Alternative Home Show', Blaxland Gallery, Melbourne |
| 1991 |
'World Glass Now '91', Hokkaido Museum of Modern Art,
Japan |
| 1990 |
'Labcutique Fantastique', Adelaide Festival Centre |
| 1989 |
International Craft Triannual, Art Gallery of Western
Australia |
| 1988 |
`Whitehall Enterprises', Linden Gallery, Melbourne |
| 1988 |
'World Glass Now '88', Hokkaido Museum of Modern Art,
Japan |
| 1987 |
Bicentennial Art/Craft Award, Melbourne Show Grounds |
| 1987 |
'Glass in Public Places', WestPac Gallery, Victorian
Arts Centre Melbourne |
| 1986 - 1987 |
'View Points', Meat Market Craft Centre, Melbourne |
| 1986 |
'Survey Two', Devise Gallery, Melbourne |
| 1985 |
'World Glass Now '85', Hokkaido Museum of Modern Art,
Japan |
| 1984 - 1986 |
Glass from New Zealand and Australia, Hessisches Landesmuseum,
Darmstadt, Germany; Chartres (France), Romont (Switzerland) |
| 1983 |
'Cut and Run', Victorian Craft People in Glass, Meat
Market |
| 1983 - 1985 |
Second/Third National Glass Biennial, Wagga City Art
Gallery |
| 1982 |
'Directions', Glass and Other Media at Victoria House,
London UK |
| 1981 |
Contemporary German and Australian Glass, Meat Market |
| 1981 - 1988 |
Australian Crafts, Meat Market Craft Centre, Melbourne |
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| Commissions (selected): |
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| 2005 |
New Window, Deppeler Residence, Prahran |
| 1998 |
New Window, Peach/Fethers Residence, St. Kilda |
| 1996/97 |
New Windows, Castlemaine Steiner School, Castlemaine
Victoria |
| 1995 |
Lightfittings, The George - Seaview, St. Kilda |
| 1995 |
New Window, Shepparton Art Gallery, Shepparton, Victoria |
| 1993/94 |
New Windows, St. George's Cathedral, Perth |
| 1991 |
Steel and Glass Gates, Simply French, Toorak Road, South
Yarra |
| 1990 |
Steel and Mosaic Crucifix, Holy Trinity, East Melbourne |
| 1990 |
Painted Skylight, Menton Hotel, Victoria |
| 1989 |
Painted Skylight, Mariana Hardwick, Bourke Street, Melbourne |
| 1988 |
New Windows, Scanlon & Theodore, Chapel Street,
Prahran |
| 1988 |
New Windows, Counsel Residence, East Melbourne |
| 1987 |
New Window, Anglican Church, Wonthaggi, Victoria |
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| Featured in: |
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INSIDE Australian Interiors, Janne Faulkner 1997, page
8 |
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Catbuster/Art 1995-1999, Macmillan VCE Study Guides,
pages 85-88. |
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Nat. Art Glass Collection, City Art Gallery Wagga 1995,
pages 11, 17, 44, 83. |
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Craft Victoria Magazine, Winter 1995, pages 21, 22.
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Australian Studio Glass, Noris Ioannou, 1995, pages
36, 54, 66, 72, 76, 139, 142, 144-145, 166. |
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Craft Victoria Magazine, Autumn 1995, front cover. |
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International Crafts, Thames and Hudson, 1993. |
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Melbourne-Australia's International City, Focus Books
1992, page 142. |
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Craft Victoria Magazine, March 1988, page 7.
Craft Victoria Magazine, April 1987, page 14.
Craft Victoria Magazine, April 1986, pages 3, 11.
Craft Victoria Magazine, April 1986, pages 8, 14. |
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Craft Australia Magazine Yearbook, 1986, pages 83-84.
Craft Australia Magazine, Spring 1984, page 90. |
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Craft Arts Magazine, June-August 1987, page 109.
Craft Arts Magazine, May-July 1986, page 91.
Craft Arts Magazine, January-March 1985, page 55.
Craft Arts Magazine, October-December 1984, page 44. |
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Neues Glass/New Glass Magazine, April 1992, pages 12,
17.
Neues Glass/New Glass Magazine, April 1984, pages 213, 239.
Neues Glass/New Glass Magazine, January 1982, pages 27, 30. |
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Arts Magazine, Issue 5, 1993, page 55. |
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The Crafts Movement in Australia, Grace Cochran, 1992,
pages 3I5, 380, 390, 400. |
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Artforce Magazine, No. 53, 1986, page 60. |
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American Craft Magazine, February/March 1986, page 17. |
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Stained Glass in Australia, Jenny Zimmer, 1984, pages
138, 154. |
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| Public Collections: |
Australian National Gallery, Canberra |
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National Gallery of Victoria, Melbourne |
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Museum of Applied Arts & Sciences, Powerhouse Museum,
Sydney |
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Art Gallery of Western Australia, Perth |
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Victoria State Craft Collection, Melbourne |
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Wagga Wagga City Art Gallery |
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Melbourne CAE Art Collection |
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City of Box Hill Art Gallery |
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City of Footscray Art Collection
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Shepparton Art Gallery |
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Queensland Art Gallery, Brisbane
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Museum of Modern Art, Sapporo, Japan |
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Museum of Glass Arts, Garasu No Sato, Hiroshima, Japan
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| GERHARD EMMERICHS - GLASS |
| by Joe Pascoe, Director, Shepparton Art Gallery
(currently: Australia Council, Sydney) |
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The heroic dimensions of glassmaking and decorating
are Gerhard Emmerichs' realm. Whether it is expressed as a rearing
horse on a goblet, or a massive figure of Moses on a church
window, Gerhard Emmerichs strives to present the nobility of
people, animals and places.
Emmerichs imbues the painted subject with his own personality,
to give a clear strong image. His extensive training as a young
man in Germany, coupled with those things Australia has given
him - his gifted wife Bern, the openness of the landscape, and
the challenge of our society's limited appreciation of painted
glass - are suitable explanations of the directions in which
his skills have taken him.
After arriving in Australia in 1981, Gerhard Emmerichs did further
training at Chisholm Institute of Technology. His work acquired
a rich, abstract quality, annexing biblical as well as daily
themes, and established a palette of golden yellows, deep antique
red and emerald greens. Many of the early works function as
freestanding windows designed to be hung in a semi-formal way.
"Portrait in Black and White" celebrates his marriage
to Bern.
Later, Gerhard Emmerichs was a key figure in "Whitehall
Enterprises" a group of about six artists who together
rented an old factory in Whitehall Street, Footscray from 1987
to 1990. Collectively, the works of Whitehall Enterprises shared
a reference to an almost medieval concern for village and manorhouse
traditions of handforged steel, glass and ceramics. Gerhard
Emmerichs made lightfittings for candles, firescreens, beds,
clocks and furniture. That glass and steel can be hard and cold,
opposite twins, led to dramatic tension in his artworks. The
architectural nature of the work also led to commissions and
successful exhibitions that helped redefine Melbourne design
in the 1980's.
Today the power in his artwork is increasingly conveyed by
the management of pictorial symbols rendered with masterful
brushstrokes, and cut and slumped glass of the finest types.
"Hannibal" shows a proud African beast behind a
screen of wooden poles. The round format of the bowl form
echoes the archetypal connotations available by way of the
image. "Meeresstille" (Silence of the Sea) depicts
a boat and a guardian angel with a whale underneath, a theme
inspired by the l9th century poet Heinrich Heine.
Gerhard Emmerichs' explorations enable him to understand
the qualities of refracted light, whether passing through
the volume of a handheld vessel, or penetrating the spiritual
dimensions of a cathedral. His artwork combines superb style
with profound meaning, features essential to great glassworkers,
of whom he is likely to prove to be amongst Australia's greatest.
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