Gabrielle Adamik builds armatures in opaque ceramic on which coloured glass linework is pulled and arranged before hardening. Her works are a balance between chance operations and deliberate intervention. The outcome is an unexpected interaction of two processes with Adamik nudging her materials into delicate yet supportive arrangements. The velvet matte qualities of the ceramic offer a stable armature for her glass linework. The clay echoes architectural forms: the arch, the pedestal, the vertical panel. Soft chalky cerulean blue and a bleached pink deflect any stern suggestion of classicism, offering an unusually harmonic interaction within fractious materials. Adamik embraces the Bauhaus approaches of practice before theory and learning by doing. There is a dissolving of the hierarchies of making, crafting, drawing and physical movement. Using a small kiln in her studio has allowed her to retain a direct connection with material. Adamik was a dancer and her sculptures similarly pivot between choreography and improvised expression. In her current practice, she facilitates the draping of the glass and tests the capacity of these lines to repeatedly overlay in multiple gestural acts.
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.