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<\/a>Amy\u00a0Bowles,\u00a0Floria,\u00a02015, \u00a0handcrafted glazed earthenware, fabric 7 x 7 x 4 1\/4\u00a0inches\u00a0(Detail). Courtesy of Paul Petro\u00a0Contemporary Art Gallery<\/p>\nIn Echoing Wood<\/em> Bowles calls on memories from her rural upbringing in England to establish a realm wherein earthly elements take on a new sort of consciousness. The fifteen miniature works of painted terracotta and white earthenware clay, portray organic renderings of imaginary beings. Beady eyes beckon as writhing fingers stretch outward and long tongues coil, signalling a taunting invitation to approach. Here, bodies and faces are integrated seamlessly with textures found occurring in nature. Each work possesses a unique individuality and the viewer is made to feel as though they have never quite looked closely enough at the bark of a tree or the grooves of a rock. Bowles\u2019 exhibition suggests that there is much to be seen if one can look through an alternative lens\u2014one which is innate, unbiased, childlike.\u00a0<\/span><\/p>\n The overarching feeling one gets is that these woodland creatures are not intended to be noticed. They are not free-moving entities which willingly interact with the spectator, rather they appear static, frozen in their often quirky positions not unlike a petrified rabbit who has caught the attention of a predator. There is an awareness on the part of the sculptures that they are being looked at, and there is a sense of giddy delight which arises in the spectator that they have become privy to their existence. The trivial size of the sculptures against the vast white walls of the gallery inspire wonder\u2014is it possible there are other creatures which will become visible if looked for hard enough?<\/p>\n The arrangement of the small space effectively works to encourage intimacy and curiosity. Bowles\u2019 sculptures cannot be adequately viewed from a distance, but require getting close to ensure no detail goes unnoticed. Tucked into the corner opposite the entrance is a pedestal upon which a sculpture sits. On the walls behind hang several other tiny, intricate works. The viewer must harbour a certain willingness to explore their surroundings, to weave between objects, in order to catch a glimpse of that which is otherwise imperceptible. In this sense, it could be said that the exhibition layout echoes that of a wood in that it is unsystematic, organic, and at times requires straying from the path of least resistance.<\/p>\n There is an interesting exchange in this exhibition between the seen and the unseen, the real and the unreal. While the forest dwellers which Bowles depicts in her sculptures are not perceivable in a real wood, that which is perceivable in reality is largely absent from the gallery space.\u00a0 The 2015 sculpture “Untitled” constructed of handcrafted glazed earthenware depicts a peculiar, wide-eyed creature enveloped by three found twigs. The sculpture manages to combine elements of imagination and reality well. This, and others like it in the collection, challenges the spectator to perceive the world with innocence and to be receptive to the possibility of the unimaginable.<\/p>\n<\/a>Amy Bowles, Untitled, 2015, handcrafted glazed earthenware, 3 3\/4 x 4 x 1 3\/4 inches.\u00a0Courtesy of Paul Petro\u00a0Contemporary Art Gallery<\/p>\n<\/a>Amy Bowles, Called To Dream,\u00a02015, \u00a0handcrafted glazed earthenware 5 x 5 1\/2 x 3 inches. Photo: Vanessa Zeoli<\/p>\n<\/a>Amy\u00a0Bowles,\u00a0Glorious Dawn,\u00a02015, \u00a0handcrafted glazed red earthenware, enamel 7 x 5 1\/2 x 4\u00a0inches. Photo: Vanessa Zeoli<\/p>\n<\/a>Installation view. Courtesy of Paul Petro\u00a0Contemporary Art Gallery<\/p>\n