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	<title>NONONO</title>
	<link>https://natalieoloughlin.com</link>
	<description>NONONO</description>
	<pubDate>Sat, 03 May 2025 02:10:02 +0000</pubDate>
	<generator>https://natalieoloughlin.com</generator>
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	<item>
		<title>Front Page</title>
				
		<link>https://natalieoloughlin.com/Front-Page</link>

		<pubDate>Thu, 12 Jan 2023 10:12:38 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

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		<title>Strange Altars</title>
				
		<link>https://natalieoloughlin.com/Strange-Altars</link>

		<pubDate>Wed, 08 May 2024 07:01:04 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

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		<description>
	Strange AltarsEdwina Corlette, Brisbane
	

Exhibition text here by Mason Kimber
Please contact gallery@edwinacorlette.com if you would like to see a catalogue.


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Studio photography by Jessica Maurer.Exhibition photos by Lee Wilkes.</description>
		
	</item>
		
		
	<item>
		<title>Simmer</title>
				
		<link>https://natalieoloughlin.com/Simmer</link>

		<pubDate>Sat, 03 May 2025 02:10:02 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

		<guid isPermaLink="true">https://natalieoloughlin.com/Simmer</guid>

		<description>
	SimmerWoollahra Gallery, Redleaf
	

Exhibition text here by Mikhaela Rodwell
Please click here for catalogue of available works.


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Document photography by Saskia Wilson.Exhibition photos by Jessica Maurer.</description>
		
	</item>
		
		
	<item>
		<title>Carrying Holding</title>
				
		<link>https://natalieoloughlin.com/Carrying-Holding</link>

		<pubDate>Sat, 08 Feb 2025 02:32:28 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

		<guid isPermaLink="true">https://natalieoloughlin.com/Carrying-Holding</guid>

		<description>
	Carrying, Holding12- 22 Rothschild Avenue, Rosebery
	



	
		
		
	
	
		
			
				
					

‘Carrying, Holding’ is situated within 12- 22 Rothschild Avenue, along the northern site through-link
connecting Rothschild Avenue to Mentmore Avenue in Rosebery, Gadigal/ Sydney. This public artwork
is integrated into the façade of The Rothschild, a 176-unit residential complex built by Deicorp and
designed by architects Candalepas &#38;amp; Associates. The work consists of 34 non-structural pillars span-
ning two levels and split between two neighbouring buildings.

	
		
		
	
	
		
			
				
					

‘Carrying, Holding’ speaks to the idea of home in its multitude of forms. The works peer over the public
thoroughfare which provides safe passage or alternatively a meeting place for residents, neighbours
and commuters alike. The artwork references the ceramic vessel, and through the interplay of scale
and form, the pillars appear handmade, with the maker’s marks embedded within the material’s surface.
These containers preserve the past—memories, culture, and stories—while supporting the community’s
future—safety, nourishment, and growth.

					
The artwork draws upon Ursula K. Le Guin’s seminal text The Carrier Bag Theory of Fiction. Le Guin
‘famously wrote about the carrier bag—a net, sling, sack, bottle, container, or vessel—as humanity’s
greatest early invention because it allows us to collect, bear, and hold.’(1) Makers, designers, and artists
often reflect on the histories that shape who we are, and the clay vessel provides a tangible compari-
son for the human condition.

					
Similarly, Carrying, Holding presents the bottle, container, body, or house as the central hero of its story, echoing Le Guin’s assertion: “before the tools that force energy outward, we made a tool that brings
energy home.”(2)

				
			
		
	



	
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Photography by Oscar Read

	
		
		
	
	
		
			
				
					
(1) Audrey Pfister, Exhibtion Text, 2020(2) Ursula K. Le Guin. The Carrier Bag Theory of Fiction. Ignota Books, 2019

				
			
		
	

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	<item>
		<title>Open Living Room</title>
				
		<link>https://natalieoloughlin.com/Open-Living-Room</link>

		<pubDate>Sun, 05 Mar 2023 06:59:34 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

		<guid isPermaLink="true">https://natalieoloughlin.com/Open-Living-Room</guid>

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	Open Living Room
Private residence, Bondi, December 2019



Group show presented alongside artists Chanel Tobler and Poppy Kural, exhibited in Chanel’s living room.




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Film


	
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Photography by Saskia Wilson.


</description>
		
	</item>
		
		
	<item>
		<title>Audrey Pfister exhib text</title>
				
		<link>https://natalieoloughlin.com/Audrey-Pfister-exhib-text</link>

		<pubDate>Sat, 18 Mar 2023 06:32:26 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

		<guid isPermaLink="true">https://natalieoloughlin.com/Audrey-Pfister-exhib-text</guid>

		<description>
	
	

	Exhibition text by Audrey Pfister

– 

Ursla K. Le Guin famously wrote about the carrier bag – a net, a sling, a sack, a bottle, a container, a vessel – as the greatest early human invention, that is, it allows us to collect, to bear, and to hold. Against the common narrative of the hero and ‘his’ tool – the spear, the stick, the bone, the weapon –&#38;nbsp; Le Guin positions the carrier bag as the vital human instrument which has allowed us to bring energy home (a basket of wild oats), or to collect stories, and then to share, to store, to study, or to worship. “I now propose the bottle as hero”, she states. Just as Natalie O’Loughlin’s Holding Voids also proposes the bottle/vessel, as the central hero of the story. 

The carrier bag is always relational. For Le Guin, the carrier bag is the perfect theory to understand storytelling. The carrier bag encloses and holds (tales, culture, memories) and it opens outwards (sharing, narrating, performing). In this way, we could read Natalie’s Holding Voids vessels as one kind of display of Le Guin’s idea. So then what stories do Natalie’s ceramic vessels tell us?

Handbuilt from coil techniques, Natalie’s ceramics are shaped in varying conical, totemic forms, some of the pieces bloat outwards, bending to one side, and others stretch tall and&#38;nbsp; upwards. Natalie has purposefully exaggerated the lopsidedness of her ceramic objects, aiming to accentuate the warping that will often occur at high temperatures. She tells me that she wants to express and explore how much of the process of ceramics is completely out of the maker's control. She says that almost half of the maker’s items don’t survive through the different stages of clay building, to drying, to firing, and glaze firing. 

Over the years, Natalie has been grappling with this arduous ceramic process and how at times it feels like a futile exercise bound to produce disappointment. After searching for a reason to continue in the face of such setbacks, Natalie decided to embrace the process and potentials of failure and improvisation. In our contemporary capitalist moment the pressures of productivity and commodification of our time and labour make such a goal a difficult choice. If we can push against this pleasure we can find a place where we can recognise and feel the joy of just making — ceramics and stories. As Jack Halberstam described the Queer Art of Failure – “it quietly loses, and in losing it imagines other goals for life, for love, for art, and for being.” 

What we, the audience, sees in Natalie’s work is not the failure that she describes she encounters in the making process, but instead we see beautiful, intriguging ceramic objects textured and fingerprinted with subtle memories of such labour. Despite embracing failure and pushing against productivity the ceramic vessels (and also the carrier bag) is undeniably utilitarian as well as relational. We can imagine these ceramic vessels functioning as containers of water to collect, or for flowers to display and share with others, or as vessels to propogate plants and grow new life. They may sit as a table centrepiece, and be part of collecting, gathering, and passing on new stories. And for a little while now, they sit in the gallery space which could also be considered “another, larger kind kind of pouch or bag, a container of people.”
	
	


 


</description>
		
	</item>
		
		
	<item>
		<title>Emma Finneran Exhibition text</title>
				
		<link>https://natalieoloughlin.com/Emma-Finneran-Exhibition-text</link>

		<pubDate>Wed, 24 May 2023 01:35:06 +0000</pubDate>

		<dc:creator>NONONO</dc:creator>

		<guid isPermaLink="true">https://natalieoloughlin.com/Emma-Finneran-Exhibition-text</guid>

		<description>
	Exhibition text by Emma Finneran

–
&#38;nbsp;

	
		
		
	
	
		
			
				
					
						
A show of hands

						
Hands are things we notice in others, on which we place great reliance as an indicator of character: like
the face, they are prime areas for the expression of individuality. The human hand acts as an information
superhighway to our fifth sense, touch. And with the eye in tow, the hand is our main source of contact
with our physical environment–they can see around corners, and in the dark–they can function at a
distance from our bodies; so ubiquitous with the involvement of human affairs. They are a huge part of
our communication system; and in the extent to which they are used to communicate, not only words but
emotions and ideas, our hands are so unique to each of us. Reach within.

						
Sitting in Natalie’s studio, discussing the material and immaterial, we talked a lot about things left unsaid.
While we were talking about unsaid things, I noticed the wordless things Natalie was saying through the
presence of her hands. With each word she spoke, a gesture from the hand accompanied it–her translator.
The word ‘leaning’ was relieved by her finger touching her thumb in a loop; the word ‘collecting’, by
percussive pats on her palm; and the word ‘puzzle’, a mellow fist: A secret sign language of Natalies
insides, wordlessly sculpting the air before me. No activity demands more of the hands than to reveal how
it mirrors our internal worlds. Being in the presence of Natalies vessels I realised the ineffable capabilities
of the unlimited ways she handles her busy mind in the flow of action. Her hand on clay is a comradery
born out of her need to knead; a companionship of languages in simpatico.

						
What I like about Natalie's work is not only how we can see the hand exhuming the mind–dimpled
gestures grasped in action by way of contemplation– but how we can see the whole body too. The height
of the vessels profiling the lengths of her arms; the oblique curvature echoing her posture at work; the
moods she weathers in the lusty yet earthy, sheeny yet matte glazes and the visceral convolutions of
colour in teamwork with her inner thoughts and feelings. All portraying a person whose lively hands are a
product of a lively mind. Because of this, Natalie’s vessels remind me that all our bodies serve as arenas
for our nerves and feelings; like them, we don't blend into carpentry, or hang on walls, we’re upright and
present– living vessels–all handling our raucous insides one gesture at a time.

						
Opposite each other, Natalie pulled a glaze test pebble from her pocket. Sitting in her palm she said, want
to see it? But the words she didn't say, hands cupping mine, want to feel it? I was in her hands.

					
				
			
		
	

	
	


 


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