Jay Song

Jay Song is a multidisciplinary artist, whose artworks range from large installations to functional furniture. He graduated from the University of Tasmania in 2018, completing his Batchelor of Fine Arts with Honours in Sculpture under the tutelage of Lucy Bleach and Sarah Stubbs.

Mountain Lamps

Jay has created a range of stoneware lamps for The Henry Jones Art Hotel, which compliment the historic sandstone walls in texture and speak of our beautiful mountainous landscape.

Sometimes in life a pause is needed. As a maker, the lamps are product of needing to pause. In a time of stress, I roll out a sheet of clay and without prior design consideration, start shaping, wrapping, tearing, manipulating and hole-punching the material to become a simple form. The intuitive process of turning the sheets of clay into lights is a way to celebrate the simple materiality of the earth, while also inviting the viewer to share my process, finding warmth, security and serenity in the light’s glow.

 

Suck my Strawberry, Peck my Pear, Kiss my Carrot, Eat my Eggplant

It’s common knowledge that objects are palpable carriers of multiple meaning: metaphors, analogies, double entendre, innuendo. Moreover, many items throughout history have borne sexualised references. For example in the 15-17th centuries, the cock tap, bollock dagger and pipkin’s forms and functions became synonymous with interpretations of masculinity or femininity within their time period, and thus each object was imbued with sexual associations, gestures and power structures.*

Displayed within the historic Henry Jones site of fruit and vegetable preservation, Suck my Strawberry, Peck my Pear, Kiss my Carrot, Eat my Eggplant, 2019 interprets these emoji foods into a set of porcelain objects, complete with a porcelain bowl. Just like us in our contemporary data-enabled social situation, some are easily accessible to hold, fondle and metaphorically consume. Others however are restrained in glass containers, inaccessible and conserved from touch or taste until someone pops the seal.

*Immonen, V (2014), ‘Fondling on the kitchen table – Artefacts, sexualities and performative metaphors from the 15th to the 17th centuries’, Journal of Social Archaeology, 14, 2, p. 177-195