In a long feature ('Singing in the grain'), Andrew Stephens reflects on the work of Greer Honeywill and her current exhibition at Craft Victoria.
Like many before her, Honeywill's artistic direction is about orchestrating careful placement and arrangement: the skills of her tradespeople, the specific materials she seeks out, the objects that speak for her but are made by unknown people, even by factories. All these things are under her formidable spell - her skill at assembling objects and imagery to express her psyche.
Stephens writes about the opposition between art and craft and reasons why it has been contested recently. He doesn't come to a strong conclusion about their relationship, but it's a mark of the strength in Greer's show that it evokes broader thinking.
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