Gabrielle Adamik's work is a study of material interactions. The current exhibition presents vessels that test gravity and suspension. The shapes slump like a body that would enjoy being pulled and stretched back to upright. Kiln-fired glasswork forms ropey and delicate structures, with Adamik's material research suggesting different paths that could be taken to an outcome.
Gabrielle Adamik embraces the Bauhaus approaches of practice before theory and learning by doing. There is a dissolving of the hierarchies between making, crafting, drawing and physical movement. Explorative drawings reaffirm her work in glass, wire and rope. Ink is dragged across paper and wall plinths with the finger as an echo of the sculptural line described in glass. This is then seen at a larger scale as wire wrapped tightly in rope, a line in space that can be reconfigured, lifted at one end, bouncing and retracting like an uncoiled spring.
In Adamik's studio is a sequence of unfocused photographic stills of a figure in physical movement. The images form a connection between her earlier work as a dancer and her art practice: the process of glass pulling to create long slender rods involves cooperative movement between two people; the ink drawings made directly with the finger are hand gestures unmediated by a brush. Her smaller drawings and relief sculptures could also be seen as choreographed annotation or movement studies.
Gabrielle Adamik studied Object Design in Glass at Sydney College of Arts, and has recently been a finalist in the touring Ranamok Glass Prize and the Meroogal Women's Art Prize. She was an Artist in Residence with Gapuwiyak Community, North East Arnhem Land where she explored basket-making using pandanus. This is her second exhibition at The Egg & Dart.
Threads and Traces opens Friday 26th May, 6-8pm.