Impermanence, Art Installation

Art Installation – Art Masters Exhibition 2016


Impermanence by Kerrie Warren, experimental installation which included paintings, wheel thrown ceramics, pen on paper, ready made and inherited items, imitation rats, birds and found objects. 

Art Masters Exhibition 2016, Victorian College of the Arts, University of Melbourne Image Credit – Darryl Whitaker

It seems inconsequential as to the medium, whether it be drawing, painting or ceramics that I make a start with. I push, pull and place various materials without having any preconception of the overall end result. This is how I make an initial connection and construct an organic grid upon which a concept develops. 

I throw the paint, I throw the clay – there is an organic randomness that exhibits a purpose and order in the final product. As I physically work and move around in the space I gain a more acute sense of rhythm which I postulate is my own personal connection to this existential experience of life. Nature is inherently rhythmic; the tide rolls in and the tide rolls out, a cycle that is consistently repeated over time. Like the blood that courses through our veins, it has a tempo and I often wonder if it is an external or an internal rhythm that I have become more physically and visually aware of in the work. 

As a contemporary visual artist I find myself searching for new ways to explore rhythm and the various sensations it inspires when influenced by my own perception and experience of life. Through intuitively based artworks that include paintings, wheel thrown ceramics and ready-made items, I strive to evoke a sense of pause within a visually perceived momentum in order to explore life’s delicate balance, its vulnerable fragility and sublime impermanence. 

By bringing a variety of elements together, both made by my own hand and ready-made, I aim to link and intertwine various systems of existence into poetic assemblages and installations that act as one exuberant and cohesive form of expression. My current explorations pose questions such as: Am I able to create a sense of life’s delicate balance, its vulnerable fragility and sublime impermanence through two and three dimensional compositions? Is it possible to create a sense of pause and trigger a perception of visual motion and life? 

By working intuitively am I tapping into my own sense of truth, and through the work does this personal truth extend itself to the spectator? Question after question continues to arise and I think of the famous dictum once uttered by Socrates during his trial, ‘The unexamined life is not worth living’.

Images by Darryl Whitaker and Kerrie Warren