Friday, March 24, 2017

Last day of Poetics of Identity...

                                                        
Jungha Park: Me, Myself and I  (detail:multi colour screen-print)  2017

Poetics of Identity will be open for one remaining day Saturday 25th March at the Griffith University, Queensland College of Art Project Gallery. The exhibition has been well received by many of the artists fellow students, friends and the wider arts community. The artists' talks provided a valuable opportunity for each of the participants to articulate more succinctly the threads of relationships and interpretations that although  embedded in the' material thinking' of the works, are often not fully realised until one engages in a process of reflection and verbal articulation. Thank you for all who attended the opening night event and for showing such invaluable support for each of the exhibiting artists. Personally the experience of exhibiting with the students I teach has reinforced my belief that within a truly creative environment regardless of experience any notion of hierarchy is dissolved and I am grateful of the opportunity to have exhibited with each them.

Poetics of Identity...small collisions of self-narrative and historical consciousness.

Griffith University Queensland Collage of Art 
Project Gallery
March 14-25th. Gallery Hours: 10am-4pm.
     























Thursday, March 16, 2017

Opening Night:Poetics of Identity...



  Poetics of Identitysmall collisions of self-narrative and historical consciousness...
   michelle wild + robyn pell + jungha park + emmalyn hawthorne + glen skien

Opening Night: Queensland College of Arts: 
Project Gallery Friday March 17th. 6pm.
 Grey Street, South Bank



Michelle Wild: Emergency Thermal Blanket: 2017

Saturday, March 11, 2017

Identity and the Poetic Response.

Michelle Wild: untitled lithograph 2016

Opening at the Queensland College of Arts Project Gallery next Tuesday is the group exhibition Poetics of Identity. The exhibition features the collective efforts of four final year graduate students from various studio practices. The disciplines of printmaking, artists' books, jewellery and small objects and interdisciplinary drawing are each represented.The show evolved from the initiative of one of the exhibiting students Michelle Wild  and my guidance in gathering student/artists working in different studio practices who I recognised as having a strong commitment and belief in the process of making and its capacity to evoke a strength of narrative or meaning that evolved from personal stories.

The brief for Poetics of  Identity was deliberately ambiguous and related to little more than a description of how mytho-poetics or self-narratives can often collide to varying degrees with the collective societal, cultural or historical perception of identity. 
For Michelle Wild the process has evolved through a mix of covert political responses relating to the plight of refugees and a cross cultural journey disclosed through her children's connection to their birth place of Taiwan. Michelle's print practice has developed  as a dialogue between traditional lithographic process and the inclusion of the found or fabricated object. Poetics of Identity provides Michelle with the opportunity to extend this dialogue and recognise the capacity of personal stories to embrace a more collective consciousness.
                                          
                                
                                                        Emmalyn Hawthorne: untitled collage: 2017

Emmalyn Hawthorne's work  provides the most overt poetic response to the fluid concept of identity. Through a collection of fragmented collage, painting and drawing responses that retain echos of the early Surrealist object-poems, Emmalyn uses her engagement with everyday experiences as a means of quietly reflecting and I imagine at times escaping from the din of contemporary life. Through a juxtaposition of hand written poetic verse on the gallery wall and fragments of visual responses these works grasp at the impossibility of containing the  transitional nature of our everyday experiences. In effect Emmalyn's dialogue relates to quiet collisions between the materiality of surfaces and the materiality of words.
                                                                         
Jungha Park: untitled lithograph 2017
The prints of Korean student Jungha Park reference the photographic image and its indexical gesture towards the nature of memory and the filtering sway of the past within the present. Jungha's high level of technical skill and succinct connection to a number of printmaking methods allows her to fully explore and exhaust the relationship between meaning and medium. Jungha takes the viewer through an understated and covert unfolding of the existential self that evokes John Locke's notion of the shifting self.
"and I myself am never in one moment what I was in another"

Jeweller Robyn Pell provides a collection of bricolage artifacts and wearable pieces that blend elements of historical narrative and personal experience. Robyn's work affirms her commitment to the thought that to comprehend the present requires an imaginative response directed towards the historical past. Embedded in these gleaned and assembled artifacts is perhaps the response of the fictional history writer. As an author of objects Robyn blends self-narrative with historical accounts to emphasise the capacity for remnants of the past to disclose meaningful associations in the present.

Poetics of Identity...small collisions of self-narrative and historical consciousness.

Griffith University Queensland Collage of Art 
Project Gallery
March 14-25th. Opening event: Friday 17th. March 6pm-8pm.







Wednesday, March 8, 2017

Poetics of Identity...



                                           Poetics of Identity...Jungha Park: Lithograph 2017

Poetics of Identity
small collisions of self-narrative and historical consciousness
Michelle Wild,  Robyn Pell,  Jungha Park,  Emmalyn Hawthorne

In its fundamental form poetic logic provides a strategy for formulating a cradle of understanding of everyday experience that engages associations between the familiar and what often exists within the unfamiliar margins of the everyday. For the individual the poetic response becomes a convergence of the private and the public that begins with an inner grasping of the external world and where in unassuming ways has the capacity to assimilate the individual into the collective experience of society. With the ever-growing rise of right wing conservative voices that bare witness to an intellect immersed in mockery and contradiction and where the emphasis is more aligned with destruction than creative acts, one can often feel a sense of personal estrangement in identifying with a shared cultural consciousness. Within such fractious states the poetic voice; the poetic image becomes evermore decisive and resolute.
The formation of identity at both a societal or personal level is an undertaking that initiates a process of recognizing what it is that makes us unique in the world. An essential part of formulating a sense of personal identity is gained through a reciprocating dialogue between self and the objects within the immediate spaces we occupy. The montage of poetic reasoning and manifestations of personal/cultural identity offers a mode of perception that formulates an acceptance of our unique experience of the world and acknowledges the personal and societal shift made available through the multitude of imagined interpretations of everyday experience.
In Poetics of Identity the mediation between everyday objects and their re-presentation of articulations of identity provides a significant platform for each of the exhibiting student/artists. Whether embodied within the form of a photographic etching, a remnant artefact, an allegorical lithograph or cast off onion-skin as collage, this exhibition windows a discourse of identity sustained by poetic logic that spurns any one fixed reading and chances to embrace an ensemble of open interpretations where the poetic response holds sway.

Poetics of Identity: Griffith University Queensland College of Art: Project Gallery; March13-25th. 2017
Opening event: Friday 17 March from 6pm.


Monday, September 26, 2016

Letter from America 1...


Letter from America 1...detail of archive

'Letter from America 1' is composed of 100 hand-made muslin envelopes whose surfaces and interiors have been embedded with etching, collage and beeswax. The collage images are a random collection of encyclopedic-like illustrations gathered from various sources. Once enclosed within each envelope they attempt to evoke an ensemble of ambiguous narratives and poetic associations. The use of bees wax creates a duality of possible responses...its transparency suggesting a certain fluidity yet the figure, the event remains inaccessible and motionless, All of which have the capacity to reinforce a measured reference of not wanting to relinquish the small pleasures of everyday life. The title of the work relates to the demise of a favourite radio program that I had listened to for almost fifteen years on ABC's Radio National.
Letter from America was a weekly radio critique of contemporary social and political life in the USA presented by London Times foreign correspondent Alistair Cook. He possessed one of the most sublime radio voices. My doctorate thesis made a number of unnecessary and over emphasised connections with Barthes references to notions of punctum and studium...interesting concepts in themselves but the deciphering of these works is in the descriptions made available in the work itself...figures fixed and frozen within a certain moment devoid of any particular space. The envelope form is an overwhelming symbol of correspondence...but in a form (the implied letter) that has almost quietly become obsolete...the transparency heightened by the use of bees wax
creates a sense of things being  accessible...obtainable..but they remain both veiled and if not fixed than adrift within the shallowest of spaces.





Thursday, September 22, 2016

archive of fragments...


I imagine the usual reaction to receiving damaged works having returned from an exhibition tour could be one of disappointment however in the case of this small collection of pieces with torn edges and detached corners they seem to reaffirm their archival/artefact belongings. There is a temptation to repair them but in their fragmented state they seem to have created their own history of mishaps. 

     The pieces are part of a wall installation 'Archive of the Unfamiliar'  that was composed of over one thousand postcards sourced from numerous antique stores throughout Australia and my personal collection. The 'aboutness' of the work related to a deliberate juxtaposition of altered texts and images whose interrelations provide the viewer with a sense of deciphering a palimpsest of historical narratives. The expanse of postcards could be viewed as a threshold of a European re-inscribing of place. Ultimately the archival tableau offers little more than an encounter with a reflective thought-space relating to a gathering of historical awareness within our colonial past that recognises the potent inscriptions that were already set in place.