Michele Edinger

Call Me Donald, 2022

24 × 13 × 13 cm
Michele is a ceramic artist who draws upon her own experience of in the world. The method she employs is to be present in the physical process of producing a form, most often out of one block of clay.

Michele process of constructing the figures informs, in part, her sense of activity and emergence. Her responsive approach to subject and material allows for potential, as well as more intended ideas to arise. This approach is evident in her surface works, using mark making to identify the multiple experiences of an object. Her slip casting process in 'Donald' opens up possibilities where the liquid clay is captured in its original state followed by intervention. The perorated mouths is a record of the forms interiority, the physical presence of absence or ‘hidden truths’.

In her current post graduate work she is most influenced by the sculptural works of Anthony Gormley, Henry Moore, Louise Bourgeois and the writings of Rosalind Krauss and Maurice Merleau-Ponty to inform her understanding of the body in space and the meanings of perception.

The sculpture 'Call Me Donald' parodies the ideals of 'Ronald McDonald' and 'Donald Trump' through humour as a space of duality within contemporary societal systems and relationships. It raises questions regarding the perceptual sensibility of a world leader as a clown who might perhaps govern, represent, and be the face of the nation.
Michele Edinger was born in Albury, Victoria. She established an early interest in art making while growing up in countries North America, Northern Europe, Canada and South Africa. While at art college from 2017 – 2020 Michele developed a keen interest in ceramics and is currently completing her Masters Degree majoring in ceramics at the National Art School. Social commentary and the human condition became the base for Michele’s work through the years ranging from studies in social identity and environmental issues. In her Masters project Michele investigates the idea of self-embodiment through the materiality of clay, and intrinsic metaphors of fragmentation. Through the eyes of a child, the figures in ‘In Good Company’ represent family diversity. The ability of the clay to retain imprints from the molding process conveys a sense of past and future forms. In specific ways, these marks show the metaphors of change, progressing from fainter, more subtle marks to more prominent features. Michele was award the Sabbia Ceramic Art Prize, and will exhibit in 2023.
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