James Lemon’s Confections

By Millie McArthur

When initially asked what his least favourite colour is, Lemon deplores the mere notion of despising one, as there is room and necessity for the entire spectrum. He then quickly pivots to admonishing a dark, leeching grey. It mutes and dulls, represses and dilutes. This is not part of Lemon’s ethos, either as a human or within his work. Instead, he uses grey as a way ‘to bite into other colours’. Indeed, Lemon’s works are confections not unlike those my unimpeded childhood brain conjured up when envisioning a Willy Wonka inspired lolly shop or sugary feast. The drool-worthy forms warp in the extreme heat of the kiln, hints of ruby glinting as strawberry jam might ooze out of a hot, sweet doughnut winking with crystallised sugar. Sweet little pearls perched on the lip of a bright yellow pot appear as a dollop of cream might daintily glisten atop a freshly cut scone.

Faced with the hypothetical choice between confectionary sandwiches of either peanut butter and jam, or peanut butter and honey, he decides on PB and jam. Syrupy shades of bold colour win out every time. Gold or silver? Instantaneously he goes for gold. There is something too fascinating, too tantalising, too ethereal about this precious metal. Not only aesthetically captivating, but the history of it as a desired object and the strange properties it possesses. It feels magical, like it is imbued with something other. And so, when Lemon encases his stoneware in the molten gold, there is a shimmering delightfulness and mysteriousness instilled within each piece.

In the same breath, the visual extravagance of gold that evokes sweet indulgence presents a strong juxtaposition with Lemon's work to divulge the decimation of ecologies and insect life across the globe. At the centre of his practice is an entropy in action, a mode of chaotic energy that is revealed in the twists of the bodies and treacly glazes of his fully realised pieces. A saccharine lightness shines through and collides with the rebellious undertone of everything he creates. Although for the moment, we can sit and enjoy his luscious ceramics as we would a sticky peanut butter and jam sandwich in the studio sunshine with Bea by our side.

For his forthcoming exhibition at Sullivan+Strumpf Sydney, Lemon will turn his focus to abundance. Sinking into what he does best, it will be ostentatious. Stirring, perhaps grotesque. Simultaneously purporting the ancient methodology shared by many species, instinctively creating objects, things we need and break, out of clay.

JAMES LEMON 11 MAY - 3 JUNE 2023 S+S SYDNEY

EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW