Hot Dirt: Alchemy Surfaces, 2022-2023

Wilde continues to explore the ontology of holes and material sustainability within her art practice. Her current works push the boundaries of glaze alchemy and multi-layered configurations to create contemporary art objects with conceptual tensions, frequently described by viewers as simultaneously pleasant and uncomfortable to view. Founded on ecological studies of Aotearoa coastlines, flora and fauna – a hidden world of cause and effect emerges. A self-proclaimed “messy maker”, Wilde is candid about the heavy experimental nature of her work and her obsession with varied surface treatments to produce unique, unpredictable results. Exhibition dates TBC

“I develop my mediums and objects through continuous play. Habitually observing the many textures in nature combined with a growing interest in organic chemistry in art and re-inventing to reduce waste. My latest sculptures possess a dual relationship of conscious ecological observations and an unconscious portrayal of personal life events. Perhaps I’ve always made art this way but have only recently reflected on this combined cognitive aesthetic.”

The Trusts 35th Arts Exhibition, 2022

Title: Puia Nui, ceramic, stains, site-specific slip and raku glaze, 2022. Winner of The Ceramics Merit Award. Available for purchase by email enquiry.

The Hole Ontology, 2021

Using methodical experimental processes Karen Wilde’s work engages with object materiality, space and its surroundings.  Wilde occasionally incorporates digital materials such as projected images and audio into her sculptural installations to create an immersive viewer experience.

The Hole Ontology, examines holes in relation to object, body, sound and space.

My sculptural artwork is an ontological study of holes and their symbiotic negative and positive relationship with space.  The artworks distort the figurative form and pictorial language of holes into non-objective sculptures.  Through repetitive methods—pushing materials with blunt objects and creating unified tension through increased proximity—objects come to resemble unidentifiable cells, fossils and organic forms.  I am the puppeteer of these objects; an architect of the scale and the space they occupy.  Attempting to find a balanced critical distance by presenting both analogue and digital operations: processes that should not fight for attention but instead, work in unison to mimic a fantasized state of immersion.”  Karen Wilde, The Hole Ontology 2021.

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