Lives in Jingdezhen China and Australia
Juz Kitson is currently based in Jingdezhen China the Ancient Porcelain city and Australia. She graduated from The National Art School in 2009 and has exhibited regularly both nationally and internationally since 2005 in solo and group exhibitions. Most notable, solo shows at Australia Platform ArtStage Singapore, London Art Fair project space, GAGPROJECTS/ Greenaway Art Gallery, Jan Murphy Gallery Brisbane and Zero Art Centre in 798 Art district, Beijing and in 2013 she was included in Primevara at the Museum of Contemporary Art and the 2016 Adelaide Biennial of Contemporary Australian Art. In 2011 she participated in a National Art School Residency for Emerging Artists from NSW, supported by Arts NSW, at the Tshingua University Academy of Art and Design, Beijing along with being awarded the Bundanon Residency, Arthur Boyd Trust and Bathurst Regional Art Gallery Hill End Residencies. Numerous articles have been published about her practice in Australian Art Collector, Australian Art Review, The Australian newspaper, The Journal of Australian Ceramics, China Ceramic Artist magazine and Vogue Living.
While completing Honours in ceramics at the National Art School, Kitson’s Formations of Silence was acquired by David Walsh for his Museum of Old and New (MONA) in Tasmania. Kitson’s work is held in public collections, including the Art Gallery of South Australia, Artbank, RMIT University collection, Shepparton Gallery, Bathurst Regional Art Gallery, as well as in private collections in Australia, China, Japan, France, Germany and the UK.
Juz Kitson’s installations represent the all-encompassing taxonomic display of both human and animal condition, through the push and pull of ambiguity and abjection and motivated heavily on the writing’s of Julia Kristivas ‘Power of Horror’ and Sogyal Rinpoche’s The ‘Tibetan book of Living and Dying’, through collections of absurd materiality that incorporate inanimate objects and reclaimed animal pelts, husks and tusks sourced through the rugged terrain of the Australian landscape and full of boundless, inimitable desire through the morphing of hand formed pure porcelaneous objects made while in Jingdezhen China, the Ancient Porcelain city, endlessly celebrating the vital importance of both life and death, eros and thanatos and the constant reminder of our own materiality. These corporeal installations full and imbued with hidden meaning are raw and absurdly familiar; yet so unfamiliar. Objects no longer represent parts of body, but rather embody literally being ‘cast off’ and now represent human emotion and condition. They are soft, tender and inviting, luscious and satisfying, warm and comforting yet possibly dangerously threatening, they are something monstrous, abnormal and obscene yet oddly beautiful, they intend to hold their presence in any given space, classical in symmetry and strength and powerful without words, these sublimated ‘beings’ will be able to exist on their own terms. The objects found; through foraging over land or salvaging through Antique markets become re-contextualised, they refer to a human reaction, a feeling, a moment in time.
PROJECT NOTES -
Juz Kitson lures the viewer through her use of exquisitely crafted objects made from porcelain, glass, textiles, and fur. These seductive materials depict visceral and abject elements of life, sex, and death.
Kitson graduated from The National Art School, Sydney, in 2009. She has exhibited regularly both nationally and internationally. Since 2011 she has been based between Jingdezhen China the Ancient Porcelain city and regional New South Wales. Solo exhibitions include Art Stage Singapore (Platform with GAGPROJECTS); London Art Fair Project Space; GAGPROJECTS; Jan Murphy Gallery, Brisbane; and Zero Art Centre in 798 Art district, Beijing. In 2013 she was included in Primavera, MCA, Sydney and Magic Object: Adelaide Biennial of Australian Art 2016, Art Gallery of South Australia. Since 2011, she has undertaken residencies at the Tshingua University Academy of Art and Design, Beijing; the Bundanon Residency, Arthur Boyd Trust; and Bathurst Regional Art Gallery Hill End Residencies.
Collections include Museum of Old and New (MONA), Art Gallery of South Australia, Artbank, The Western Plains Cultural Centre, RMIT University collection, Shepparton Art Museum, Gold Coast City Gallery, and Bathurst Regional Art Gallery
ADELAIDE BIENNIAL OF AUSTRALIAN ART
EXHIBITION TEXT -
Juz Kitson spends her time between Sydney and Jingdezhen, the latter a place known as the heart of porcelain production in China. Kitson also regularly visits Hill End in New South Wales and its surrounding bush areas to collect various road kill and bones that inform the ceramic objects she creates in porcelain. Incorporating bones, fur, and various organic matter with her ceramics, Kitson has created for Magic Object a wondrous installation that is opulent, delicate, and sensual. Cascading from the walls onto the floor at the Anne & Gordon Samstag Museum of Art, her works recall imaginary creatures not from this realm, with pendulous forms and softness that suggest a strong feminine manifestation. The talismanic parts of the installations are reminiscent of objects that would fit naturally into the ‘Wunderkammer’, where real and imagined intermingled as fact. The combinations of organic and synthetic material highlight the transience and permanence of life.
Juz Kitson’s installation is on display at the Anne & Gordon Samstag Museum of Art.
2015 REDLANDS KONICA MINOLTA PRIZE -
Juz Kitson features in an exhibition at the National Art School Gallery as part of the annual Redlands Konica Minolta Art Prize.
Twenty two leading Australian artists were selected for the show by artist and curator Tim Johnson. An article by The Daily Telegraph discusses Kitson’s inclusion in the 2015 prize as well the eclectic composition of her sculptural installation works made from a vast array of hand-made and found materials.
SLEEP OF NON-BEING
ARTIST NOTES -
Juz Kitson’ s Still Life: sleep of non-being at GAGPROJECTS Greenaway Art Gallery explores the notion of ‘Omnia mors aequat’ Death makes all equal. The vastness of mediums come together to create a potent mix of taxonomic collections that explore the transience and impermanence of life, through disconnection and re-examination of the fragmented body and objectification, these perverse pathologies become independent entities- that attain their own identity.
Her work deals with abject subjects and themes through meticulously formed installations that allow the audience to speculate on the budding life forms and hidden deeper meanings and in contrast the friction and dichotomy of brutality in nature.
Juz Kitson currently practices between rural NSW and Jingdezhen China. In 2013 she was included in Primavera at The Museum of Contemporary Art and her work is held in the permanent collection of MONA The Museum of Old and New Art.