Saturday, March 14, 2015

Artist's Talk: Marginalia

Walking and Falling with Language:hand-made books, copper figures and thread.

Just a reminder that I will be giving an artist's floor talk for Marginalia this morning at
 Bosz Gallery,9 Doggett St. Fortitude Valley...11am start. I look forward to meeting you. 

Wednesday, March 11, 2015

Mnemosyne...collage,resin and tobacco tins.

Mnemosyne 1...polaroid collage in tobacco tin and resin.

Many of the works in Marginalia  attempt to make connections between personal narrative and various manifestations of the past.  At times a single sewing needle and thread floating within a resin surface has the capacity to evoke associations of a childhood era where clothes were hand or machined stitched by mothers or aunts.... a collage cut-out wing pattern  that gestures toward the transition of  things and of almost everything eventually taking flight. Resin as a material presents contradictory associations...allowing for a fluid transparency, heightening the presence of objects and yet capable of capture and embedded stillness. The past as subject matter is inescapably nostalgic yet it provides an index  to something beyond a mere love of safe old things. It  keeps the 'contemporary' desire for everything to be new at a distance  and allows for an incremental unfolding of  a melancholic reflection and a heightened awareness of the need to remain engaged with the past. Marginalia continues until March 22nd. at Bosz Gallery, Fortitude Valley. 
Photographs by Jonathan Tse  




Mnemosyne II...polaroid collage in tobacco tin and resin. 

Tuesday, March 10, 2015

M A R G I N A L I A: Artist talk




Wall detail from 'Marginalia': Print and Assemblage works

A kind note of thanks to all who attended last Friday nights opening of Marginalia. If anyone is curious about methods and possible meanings associated with these disparate collection of works I will be giving a floor talk at the gallery from 11 am this Saturday 14th. March.

Bosz Gallery 9 Doggett Street, Fortitude Valley..

Friday, February 27, 2015

50 Ways...M A R G I N A L I A


This piece is one of the early works that will feature in the show that's opening next week in Brisbane, Marginalia. The title of the work is  Fifty Ways to Leave Your Lover and its defined as an artists' book. It consists of 50 parcel-bound etchings of variations of a heart motif placed within a slim depth box. Somewhat kitsch. On the back of each bound etching is a hand written synonym for the word 'leaving'. Unavoidably its something of a tragic romantic piece with many of its synonyms more brutal than others. In Paul Simon's original song of the same title he only provides a handful of 'ways to leave your lover'...so from the very beginning I was always curious as to what would make up the complete 50 ways. I've only ever made two. One is in the artists' book collection in Artspace Mackay and this edition will form part of the works in 'Marginalia'.

Saturday, February 21, 2015

M A R G I N A L I A




M A R G I N A L I A  is the title of an exhibition of  recent and past works that will open in Brisbane in a couple of weeks at Bosz Gallery. Marginalia relates to  the hand written notations, descriptions and illuminations found within the pages of books. I'm not certain there are too many 'illuminations' in the show but the word itself seem to fit with the thought that many of the earlier works were informed by text in the shape of plays, poems and songs.So in a way the prints and collages form the marginalia of these various texts. More specifically the exhibition includes etching series inspired by Ray Lawler's "Summer of the Seventeenth Doll", Dylan's thirteen verse Surrealist dream-scape "Desolation Row" and a collection of miniature etchings of transitional objects with wings attached that relate to Erica Jong's 1973 autobiographical/feminist novel "Fear of Flying".
The most recent work completed in 2015 is based on fragments of photographs embedded into postcard size box frames. The discarded black and white photographs that I've been collecting since my time in Brisbane seem to evoke associations of loss, memory and transition more affectingly as montage fragments then they do in their complete photographic form. There is something within the photographic fragment, in its surface and depth of field of tone even as a portion belonging to a more complete narrative, that has the capacity to suggest and imply correlations beyond its simplicity. More updates as the opening draws closer.






 

Saturday, January 17, 2015

Navigating Etching's Reverie

Etching and collage (detail)...

From the collective response of print-makers answering the request for descriptions of what it is that connects them to etching and the intaglio print (several responses have been from artists making collagraph prints) it seems that  the personal, cultural and historical filters of the process evoke a dialogue of binding contradictions. The melt of its time, its mood and its process are seemingly never fixed to any singular experience.

S, a Japanese print maker living in Paris creating poetic observations of everyday experience described the liminal space that etching creates in being able to achieve a delicacy of line and tone that remains fluid and balanced between drawing and etching.

M is a print-maker from Philadelphia who is interested in the historical link between etching and photography. He made the analogy between etching and developing black and white photographic prints where the emergence of the image in the developing tray has a similar expectation to lifting the paper from the etching plate. Even when editioning a moderate number of etchings the sense of anticipation and surprise in pulling each print remains in place. He also felt there was a pace and timing to both processes that is very similar, Each process allows you windows of time to day-dream.

R from Brisbane, a print-making under-graduate interested in exploring transitions of the human condition reflected on etchings alchemy in the blending of materials and process where each of the natural elements are engaged. Earth through the melt of a ground on metal. Water in its effecting release of the size in paper, making it receptive to the most delicate of marks and its method of extending or diminishing time when combined with acids. Fire/heat in the etching of metal and the combining elements of Air and Water required to stabilize surfaces. The alchemy extending in the shift between metal, ink and paper.

D, a print-maker from Glasgow described making collagraph prints where the gathering of textures and materials is an integral part of her creative process. There is a sense of quiet expectation in the formal placement of shapes and textures that translates as collage and driven by the intuitive response. D often finds her sense of connection sway in deciding which form provides the strongest mediation, the print or the collagraph plate. She admits there are times when she feels as if the print exists as a subsidiary layer, a mere side-effect.  This duality in the relationship between process and the print is unique to collagraph, so many of my students relate a similar response.
E, also an under-graduate from Brisbane with a photographic background related etchings contradictions and the element of chance that needs to be embraced set against the discipline of mastering a process immersed in control. With the connection to photography E enjoyed the methodical progression of altered states that transpire with each re-etching. The emotional sway is something that she regarded as unavoidable. The swing from the quiet confidence that carries you through the preparation stage, the pleasure of drawing into the dark ground to reveal the shimmer of metal, the moment of frustration when the first proof is too dark or too light and the need to dissolve the disappointment and re-focus on achieving a desirable outcome.