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Works
  • Joshua Yeldham, Cloud Owl, 2021
    Joshua Yeldham
    Cloud Owl, 2021
    ceramic & cane
    40 x 22 x 22 cm
  • Joshua Yeldham, Cosmos Owl (box), 2021
    Joshua Yeldham
    Cosmos Owl (box), 2021
    ceramic, wood & stone
    68 x 31 x 8 cm
  • Joshua Yeldham, Diviner Owl, 2021
    Joshua Yeldham
    Diviner Owl, 2021
    acrylic, shell & cane on hand-carved board
    122 x 91 cm
  • Joshua Yeldham, Eclipse Owl, 2021
    Joshua Yeldham
    Eclipse Owl, 2021
    ceramic & stone
    40 x 20 x 20 cm
  • Joshua Yeldham, Fan Girl, 2017
    Joshua Yeldham
    Fan Girl, 2017
    acrylic, cane, antique fans & instrument on hand-carved board
    182 x 122 cm
  • Joshua Yeldham, Ghost Owl, 2021
    Joshua Yeldham
    Ghost Owl, 2021
    acrylic & stone
    64 cm
  • Joshua Yeldham, Healing Bay Smiths Creek, 2021
    Joshua Yeldham
    Healing Bay Smiths Creek, 2021
    acrylic and can on hand - carved board
    152 x 203 cm, 154.5 x 205.5 cm (framed)
  • Joshua Yeldham, Hearthstone I, 2021
    Joshua Yeldham
    Hearthstone I, 2021
    ceramic, wood & stone
    70 x 22 x 15 cm
    Sold
  • Joshua Yeldham, Hearthstone Owl Spirit II, 2021
    Joshua Yeldham
    Hearthstone Owl Spirit II, 2021
    ceramic
    50 x 148 x 18 cm
  • Joshua Yeldham, Hearthstone Owl Spirit III, 2021
    Joshua Yeldham
    Hearthstone Owl Spirit III, 2021
    ceramic & cane
    48 x 11 x 11 cm
    Sold
  • Joshua Yeldham, Hearthstone VI, 2021
    Joshua Yeldham
    Hearthstone VI, 2021
    ceramic
    34 x 13 x 13 cm
  • Joshua Yeldham, Infinity Owl, 2021
    Joshua Yeldham
    Infinity Owl, 2021
    acrylic, stone & cane
    47 cm
  • Joshua Yeldham, Little Lion Owl, 2021
    Joshua Yeldham
    Little Lion Owl, 2021
    ceramic & cane
    28 x 23 x 23 cm
  • Joshua Yeldham, Little Owl of Pleasure, 2021
    Joshua Yeldham
    Little Owl of Pleasure, 2021
    ceramic & cane
    32 x 30 x 30 cm
  • Joshua Yeldham, Mangrove Owl, 2021
    Joshua Yeldham
    Mangrove Owl, 2021
    acrylic, ceramic, wood & cane
    51 cm
  • Joshua Yeldham, Mangrove Web, 2021
    Joshua Yeldham
    Mangrove Web, 2021
    acrylic on unique hand-carved pigment print on cotton paper
    130 x 192 cm
  • Joshua Yeldham, Mother Owl – Smiths Creek, 2021
    Joshua Yeldham
    Mother Owl – Smiths Creek, 2021
    acrylic & cane on hand-carved board
    199 x 244 cm
  • Joshua Yeldham, Owl Dwelling, 2021
    Joshua Yeldham
    Owl Dwelling, 2021
    ceramic & cane
    30 x 9 x 9 cm
  • Joshua Yeldham, Owl of Blue Waterhole, 2021
    Joshua Yeldham
    Owl of Blue Waterhole, 2021
    unique hand-carved pigment print
    160 x 120 cm, 180 x 139 cm (framed)
    Edition of 35 plus 2 artist's proofs
  • Joshua Yeldham, Owl of the Sea, 2021
    Joshua Yeldham
    Owl of the Sea, 2021
    ceramic
    21 x 7 x 7 cm
  • Joshua Yeldham, Protection From White Noise (no. 1 in a series of 9), 2021
    Joshua Yeldham
    Protection From White Noise (no. 1 in a series of 9), 2021
    unique hand-carved pigment print with copper wire & cane on Dibond
    124 x 249 cm
  • Joshua Yeldham, Protector of Arrows, 2021
    Joshua Yeldham
    Protector of Arrows, 2021
    acrylic on hand-carved linen paper
    200 x 202 cm
  • Joshua Yeldham, Red Taro Owl, 2021
    Joshua Yeldham
    Red Taro Owl, 2021
    acrylic, cane & instrument on hand-carved board
    203 x 152 cm
  • Joshua Yeldham, River Diviners, 2021
    Joshua Yeldham
    River Diviners, 2021
    acrylic, cane & instrument on hand-carved board
    214 x 122 cm
  • Joshua Yeldham, River Owls, 2021
    Joshua Yeldham
    River Owls, 2021
    stone & wood
    180 x 52 x 26 cm
  • Joshua Yeldham, Sea Eagle of Protection, 2021
    Joshua Yeldham
    Sea Eagle of Protection, 2021
    unique hand-carved pigment print
    121 x 105 cm, 141 x 124 cm (framed)
    Edition of 35
  • Joshua Yeldham, Silver Owl XI, 2021
    Joshua Yeldham
    Silver Owl XI, 2021
    resin & cane on hand-carved aluminium
    56 x 40 x 40 cm
  • Joshua Yeldham, Smiths Creek, 2021
    Joshua Yeldham
    Smiths Creek, 2021
    acrylic & cane on hand-carved board
    199 x 366 cm
  • Joshua Yeldham, Snake Charmer, 2021
    Joshua Yeldham
    Snake Charmer, 2021
    acrylic on hand-carved linen paper
    200 x 202 cm
  • Joshua Yeldham, Snow Owl Offering, 2021
    Joshua Yeldham
    Snow Owl Offering, 2021
    brass, wood, stone & acrylic on carved board
    89 x 34 x 33 cm
  • Joshua Yeldham, Sway Owl, 2021
    Joshua Yeldham
    Sway Owl, 2021
    acrylic on hand-carved linen paper
    202 x 200 cm
  • Joshua Yeldham, The Stillness – Smiths Creek (no.1 in a series of 9), 2021
    Joshua Yeldham
    The Stillness – Smiths Creek (no.1 in a series of 9), 2021
    unique hand-carved pigment print on cotton paper
    180 x 120 cm
  • Joshua Yeldham, Tree Offering – Morning Bay, 2021
    Joshua Yeldham
    Tree Offering – Morning Bay, 2021
    collage & acrylic on unique hand-carved pigment print on cotton paper
    130 x 192 cm
  • Joshua Yeldham, Waterhole at Yeomans Bay, 2021
    Joshua Yeldham
    Waterhole at Yeomans Bay, 2021
    acrylic & cane on hand-carved board
    203 x 152 cm
  • Joshua Yeldham, White Horse of Smiths Creek, 2021
    Joshua Yeldham
    White Horse of Smiths Creek, 2021
    ceramic & hand-carved wood
    68 x 50 x 8 cm
  • Joshua Yeldham, White Owl of Smiths Creek, 2021
    Joshua Yeldham
    White Owl of Smiths Creek, 2021
    ceramic
    48 x 22 x 22 cm
Exhibition Text

Used the way Joshua Yeldham intended, Healing Heart has light and warmth emanating from both its base and centre: the stomach and the chest of its slightly-more-than-human figure. With a candle placed inside, the ceramic work takes on a quality of deep, settled earthliness. A blue perforation at the heart opens like an impossible peony.

 

This same blue openness – spatial, temporal, and ideational – operates across the hand-carved surface of the painting Smiths Creek. A scene of tidal waft on Gadigal land, the deep field of the creek across the foreground breaks open the durational possibilities of painting. In the mountains pictured behind the water there is narrative time, pressed densely into the open-ended and transcendental forms that we find along the ridges. In the image’s shifting perspective, we experience the duration of the day: water shifts beneath the viewer, allowing our vision a cyclical, tidal foundation. In the rhythm of pattern – in linework, in the belt-sanded vibrations across the sky and the carving through the water – time is energetically charged and laid open.

 

Yeldham and I speak about the body of work in which these pieces appear one afternoon, during the first Spring storm of the season and with the frightening memories of the 2020 fires still close to hand. This storm seems almost too perfect a setting in which to be having our discussion. Storms like these are both a rupture in the fabric of the day and an occasion for retreat into the safety of hearth and home. It’s along this path precisely – from rupture to return – that many of these recent works bring both Yeldham and his audience.

 

Yeldham’s carved photographs, like Protection From White Noise, take this idea of return doubly. There is, on one hand, the affective reprieve that the image offers, with its visible open space through the centre of the carved driftwood form. But the reparative work that the image does is as much in its matter and manner as its form. The regenerative carving work on an image of ‘dead’ wood that Yeldham undertakes makes a case for art as a natural component of the earthly promise of renewal to which we are all subject.

 

Perhaps the most apparent shift that this show represents in the artist's practice though, is a turn towards ceramics, in addition to paintings. In the past two years, Yeldham has added a pottery studio to his home north of Sydney, from which he works, surrounded by Eucalyptus trees and close to Pittwater. In part, this new angle of approach to the natural environment – from below, or even within – was brought about by the disruption to routine that many of us have encountered over the past eighteen months. ‘Many of my works, often, emerge from being on my boat’, says Yeldham, but over the course of Sydney’s sequential lockdowns, ‘I couldn’t get out onto the water. So, I went into the bush and was scaling the sandstone escarpments, fingers in clay’.

 

In a telling turn of phrase, Yeldham refers to the surrounding landscape in the feminine. I ask him why this is. ‘I suppose sensuality is often connected to she’, he says, ‘and I connect sensuality to landscape as well. [In landscape] my hands are touching bark and I’m feeling my senses enliven…I feel beholden to the experiences that nature gives me. I am removed from a sense of personal power and instead find myself making contact without having to control or to adapt my environment’.

 

This trajectory from sensorial involvement in one’s surrounds to a feeling of beholden-ness to them is one Yeldham follows across his work. Several of the pieces in this show bear surfaces thickly woven through with cane. Making thousands of small punctures in the hand-carved bases of these pictures allowed a phenomenological immersion, a sustained focus, and a lightening of the self which Yeldham found. ‘It’s drill, cane, cut. Drill cane, cut’, he explains, ‘this practice allowed me to let go of the white noise that can stifle us from making and allowing ourselves to be vibrant and expressive’.

 

These works are a clear, insistent centre amongst the ‘white noise’ of our public and domestic lives in the twenty-first century, and especially during the dual environmental and public health crises which we’ve weathered here over the past two years. Many of Yeldham’s new works are usable – as vessels for burning candles, or as playable instruments. River Diviners, for example, hold musical instruments in their centres, carved into the board of the painting. The figure on the left side grasps a tree in one hand – a gesture reflecting Yeldham’s experience of ‘weaving [him]self through nature’ to feel centred within the world – and a three-pronged tuning fork in the other. As Yeldham tells me, these three prongs represent a tripartite prayer for protection, guidance and forgiveness. The works across this show, like these three prayers, give us both a place to dwell, amongst all the flotsam of the present, and a means for figuring out how to dwell here, on the hearth that they provide.

 

Erin McFadyen
Arts Writer & Deputy Editor of Artist Profile

Installation Views