. The softground with a la poupée backing has a gentle floral motif reminiscent of wallpaper from the era when the modern concept of childhood first evolved, intertwined with imagery of Toddlers and Tiaras-style beauty pageants. Transforming their kitsch, glitzy costumes into something reminiscent of the beautiful plumage of the birds of paradise, but clothing them in the feathers traditionally seen as a commodity, questions the objectification of our daughters and reflects societal pressure to prioritise physical beauty.
It's been great to have finished my Masters and have that opportunity to push the plates from that project into new and innovative directions. Towards the end I'd started to get excited by the physicality of cut-outs; an undertaking that I realised was not going to work with my larger masters work.
Runs with Scissors 11 opened at the Sidespace Gallery at SAC on Friday night at 6pm and goes through until the 31st of January. It is made up of 5 Tasmanian female printmakers focussing on the beautiful medium of print: Leonie Oakes, Ros Meeker, Rebekah Francis, Kate Piekutowski and Natasha Rowell.
Throughout the year I have had the pleasure of being able to facilitate a few projects with my girls' classes and Cub group. In my daughter's grade 3/4 class they were looking at repetitive patterns, so I did some polystyrene drypoints. They experimented with rainbow prints using two colour plates as well a single plate with a rainbow roll. To watch their brain understand the mirroring of a print and complexity of design in a print that repeats was so rewarding!
Orogeny is a three-day Tasmanian Print Symposium coordinated by the Tasmanian College of the Arts and The Henry Jones Art Hotel. It is included in the Print Council’s Year Of Print 2016 calendar of events, a nationwide celebration of the PCA’s 50th anniversary.
Orogeny is the process where the Earth’s crust is folded and reformed to create mountain ranges. These orogenic folds force old grounds to the surface in massive creative movements.
With this iconography in mind Antonia Aitken and I facilitated a drypoint workshop using the template of the 'exquisite corpse' as part of the symposium workshop afternoon. There was even a zine ('The Goat') processed in that short period. The Symposium was also attended by most of my TasTAFE printmaking students.
Today I'm posting you some photos and links to the Neo:printprize 2016 in Bolton, UK. I decided to submit my work for this prize because Gill Saunders (the Senior Curator of the V&A Museum) was one of the judges. Saunder's essay 'How wallpaper left home and made an exhibition of itself' (In The walls are talking: wallpaper, art and culture) was a fantastic reference point for my Masters, and opened up a world of wonderful artists to me. So I was so excited when I found out Birds of Paradise was one of 113 works selected for the show from 640 artworks from 30 countries. Photos of the exhibition can be seen here.
Nancy Campbell Artist/writer, Editor of Printmaking Today.
Rachel Gladfelter, Director, Pace prints New York,
Gill Saunders, Senior Curator, Victoria & Albert Museum.
Jo Stockham, Artist, Professor and Head of the Print Programme, Royal College of Art.
This work forms part of an ongoing exploration of the intersections and boundaries between the artist as mother, the domestic sphere, and evolving representations of childhood in the media.
The softground with a la poupee backing has a gentle floral motif reminiscent of wallpaper from the era when the modern concept of childhood first evolved, intertwined with imagery of Toddlers and Tiaras-style beauty pageants. Transforming their kitsch, glitzy costumes into something reminiscent of the beautiful plumage of the birds of paradise, but clothing them in the feathers traditionally seen as a commodity questions the objectification of our daughters and reflects societal pressure to prioritise physical beauty.
The wood-grained texture of the silhouette (the flattened grain itself participating in an ongoing dialogue between conservation and consumption), encapsulates my children playing in a self-built fort, carefree and unconstrained by commercialized constructions of gender or sexuality
It's lovely to see people appreciating "Wallflowers" in photos from the opening of InkMasters. It would have been wonderful to have made it to Cairns for the opening, and it's on my bucket list to get up for the next Inkfest in 2018. Here's a brief description of this years judges and participants, as well as an online link to the catalogue.
"Inkmasters Print Exhibition 2016 is the third biennial InkFest international print show. Launched by Craig Crawford MLA Cairns and Akky van Ogtrop President of the PCA delivered a public lecture prior to the launch and also awarded the prizes. Prints from 86 artists from 25 countries were selected including local and regional printmakers both indigenous and non indigenous. A total of 330 prints were submitted and 100 selected. Also on display are two complementary exhibitions - prints from the InkFest Artists-in-Residence and New Prints from InkFest workshops. Thanks to all the artists who participated and warm congratulations to the prize winners:
Laura Widmer, "Cirrus", Canada
Sarah Hulsey, "In the Words of Mendeleev", USA
Carolyn McKenzie-Craig, "Index Cards for Normalcy", Sydney Australia
Laura Castell, "Suburban Treasures", Townsville Australia"
See the InkMasters Facebook page for more images.
Congratulations to the overall winner of the 2016 Open Art Exhibition, Martin Rek with Melaleuca. The categories winners were also announced on Sunday 24 July in a wonderful, well-attended afternoon opening. It's great to see so much support for this wonderful venue, and for more details of the winners visit the Clarence exhibition page.
Since "the Masters" is finished, I've had some time to spend setting up the studio with new shelving. I've painted them white to counteract the rather dominant orange brick. Now it's time to turn the focus of the space onto the editioning element of Dark Matter Press.