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Glass a cut above the cloth

Denise Pepper, detail of Piano Shawl at Emerge Art Space.

VISUAL ARTS
Denise Pepper: Cut From the Same Cloth
Emerge Art Space
REVIEW LAETITIA WILSON

Artist Denise Pepper creates works that tease the viewer into thinking they are something they are not. What initially appear to be elaborate textile pieces carefully framed and displayed on the wall are actually dexterously crafted glass works. Lace and embroidery traditions are translated into this distinct medium to result in pieces that are unique, bold and unapologetically decorative.

Pepper is skilled in the technique of pate de verre glass casting, which harks back to ancient Egyptian times and was revived by the French. It involves making a paste of glass and placing it in a mold to set. It can be an elaborate technique, with diverse colours and other materials added to the mix. Prone to numerous accidents, it is a fickle medium demanding supreme patience and persistence.

In Pepper's exhibition, Cut From the Same Cloth, the pieces are opaque, sculptural in their form and even crusty in their texture. The seeming delicacy of glass is foregone for a tougher, thicker appearance. The smooth surface that characterises glass is evident in some works but graininess is predominant and this has the effect of making the designs appear to be a little blurry.

It also brings them closer to the fabric they reference. In Piano Shawl, for example, the illusion of fabric rather than glass is especially deceptive. The glass hangs as fabric would, bending and folding as though un-ironed and freshly strung up after being in storage.

Pepper's wall works all turn to the floral for inspiration. Many of them are reminiscent of decorative architectural detailing, or florid carved picture frames.

In the Wall Flower series, classic flower forms extend from patterned velour backgrounds, the colour scheme passes through icy turquoise, reds and black and the flower petals are heavily extruded. These works make for attractive commodities, like a cutting of designer wallpaper only with a greater, literal, three- dimensional presence.

Other, more intricate works line the wall in a series titled Remnants. Again, florid detailing is the subject and, like pieces of old Belgium lace framed for their historical uniqueness, these fragments have a certain preciousness about them. The works also play with ambiguities, with perceptions of strength and fragility, softness and hardness.

Many of the works are also both rough and refined. This is highlighted in a series of historical female costume collars that are the strength of the show. The crystallised quality of glass is emphasised here as clusters of minute bubbles are encrusted in the ornate designs and given the textural quality of salt crystal caves. Some are quite simple, others more audacious.

One of the larger collar works is the Van Dyke Collar, coloured in blues, mauves and black resembling the Genoese lace that was popular in the 17th century. The lace/glass is deeply indented to form scalloped points in a semi-circle; it makes for a striking piece, framed as it is against a dark background.

The collar pieces are objects anchored in history, the history of European nobility and garments of refinement. In their materiality they reconsider this history and immortalise it in a much less wearable medium. They take on the quality of the exquisite ornament, rather than the highly crafted accessory, but both demand specialised skills of their creators.

Pepper has been refining the pate de verre technique for a number of years now and has developed a reputation as a leading exponent of the craft in WA. This exhibition is a snapshot of both her practice and the enormous potential of the ancient craft in contemporary times.

Cut From the Same Cloth is at Emerge Art Space until November 8. emerge-art.com.au.