We’re very excited to announce that the HYPERCLAY: Contemporary Ceramics app developed as part of the touring exhibition is now available for everyone to download from the App Store in iTunes, exclusively for iPad. Divided into nine sections, the app has a profile, process, expert and student video for each of the eight artists, as well as a look at international ceramics, a word from the producer, and a look at material technology.

Designed to take the place of a traditional catalogue, the HYPERCLAY app contains over two hours of video content, some of which were included in the profiles of the HYPERCLAY artists on Object Eye over recent months. The app is free, and a great insight into the works and the artists. If you have seen the show already, you can catch up on any videos you may have missed, and if you plan on catching it over the course of the tour you can get acquainted with the exhibition before it arrives. And if it isn’t touring near you, it means you don’t miss out on all of the great information complementing the works!

Welcome to the final instalment of the HYPERCLAY: Contemporary Ceramics artist profile series. Every week for the last eight weeks we have looked at one of the artists involved in the exhibition currently on show at Object Gallery in Sydney. Click here to catch up on the rest of the series.

This week: Paul Wood.

Paul Wood graduated from the Victorian College of the Arts in 1998 with a Bachelor of Fine Arts, before going on to attain in 2003 a Graduate Diploma from VCA also. As part of his Graduate Diploma, Wood decided that, rather than create functional objects, he would distort them, transforming them into non-functional objects in the process. You can watch a video of Wood discussing the creation of his work for HYPERCLAY in our Video & Audio Gallery here.

Welcome to the penultimate instalment in the HYPERCLAY: Contemporary Ceramics artist profile series. Every week for the last seven weeks we have been profiling the artists involved in HYPERCLAY — you can catch up on the rest of the series here.

This week: Pip McManus.

McManus was raised in Perth, where she studied French at the University of Western Australia, before she spent some years travelling through Europe and Africa. She then returned to Australia, studying ceramics full time in Adelaide in the late 1970s before relocating to Alice Springs in 1981, where she has been based ever since.

Welcome to installment six in the HYPERCLAY: Contemporary Ceramics artist profile series. Every week we have been profiling one of the eight artists involved in HYPERCLAY — you can catch up on the series here.

This week: Addison Marshall.

You may remember Marshall from his profile in Object magazine Issue 60, with a focus on International Ceramics. If you don’t have an iPad and can’t download the issue, you can watch the video, narrated by Marshall, here or download it through iTunes U.

Marshall spent twelve years working in the fashion industry before a short course ten years ago reignited a latent passion stewing since a night course he enrolled in when he was eight or nine — joining a class where he was the only kid in a room full of adults. Now, he has been practicing ceramics for five years, drawing inspiration from the universe and the unknown — reflected generally in his work, and quite literally here.

Welcome to the fifth instalment of our 8-part series, profiling the artists featured in our current exhibition, HYPERCLAY: Contemporary Ceramics. You can catch up on all of the previous entries here.

This week: Andrea Hylands.

Hylands grew up initially in Iran, where her parents were based, before relocating to the UK, where she went to art college. European artists then became her influence, prior to her moving to Australia in the early 1980s. Here, she set up her studio in central Victoria, beginning her ceramics practice in earnest.

Hylands work for HYPERCLAY, New Warriors, is a collection of 55 slipcast bone china figures on a found wooden base. Each figure is unique, the result of hand manoeuvred slip within a mould, lined up in rows on the base. They are beautiful, fragile-looking pieces, simple and complex at the same time.