The second annual QCA Printmaking Club fund raising event was another fabulous success with students and lecturers from the Griffith University QCA print department spending 36 hours printing in the studios. All works were displayed in the White Box Gallery together with print works from the Redcliffe based Artel Studio that works specifically with artists with disabilities. Thank you to each of the students who contributed time and their creative efforts to help raise funds. Also thank you to those print lovers who showed their support through their generous purchases.
The QCA 36-HR. PRINT event is a fund raising exhibition held by Griffith University Queensland College of Art Print Club that will assist in raising financial support for artist’s with disabilities and contribute to the ongoing support for QCA printmaking students.
All prints created over the 36 hour 'printathon'will be made available for sale in a fund raising exhibition event on Sunday 23rd.July in the WHITE BOX Studio at QCA Grey Street South Bank.
Any printmakers not currently enrolled at QCA are more than welcome to donate work for the Sunday exhibition and sale of prints. All works will be unframed.
Essentially we are asking participants to donate their work for sale at a very reasonable price with the majority of proceeds going to the Artist’s of Artel studio. The Artist’s of Artel is a community based printmaking studio that works with artists with disability and provides an opportunity for artists to create and exhibit their work
The 36 hour event will be held in the QCA print studios and will be supervised by myself
Dr. Glen Skien and other QCA print staff. All donated prints will be fixed at a price range between $15 and $75.
The QCA Print Club: 36-HR.PRINT
12 mid-day on Friday 21st July until 12 o’clock mid-night Saturday 22nd.July.
EXHIBITION FUND RAISING EVENT: SUNDAY JULY 23rd: 9am - 2pm.
Within the post-exhibition moments that one needs to spend in packing away works and putting the past in order I often think of Walter Benjamin's short essay "Unpacking My Library" that acts as a trigger for reflecting upon the life of a collector, the kind of collector who seeks strange things often considered valueless. I have never been an avid collector but in packing away 'the waste books' I realise that for sometime now I have in fact, been collecting myself. sp.
'Urban Poetic: the waste books' currently showing at the Wooloongabba Art Gallerywill close tomorrow Saturday 24 June. Thank you to all who have visited and to the many conversations shared over the course of the exhibition dates. I'm not certain if visitors realise how invaluable your support is for any exhibiting artist particularly within the current visual arts environment that reflects the constant fragmentation of skill based studio practice being set in place by art institutions Australia wide. So even the most seemingly humble of questions regarding the way something was created opens up conversations that allows the artist to translate the significant of certain material elements or the tactile act of making and how it inevitably informs the meaning of the work. I'm convinced that the image, the meaningfully intended image, is embedded with a self-contained capacity to translate a form of knowledge that is at its most potent when it leaves the viewer feeling as opposed to thinking.sp
Album Pages: collage and found photographs (detail)
I spoke of the 'Album Pages' from Urban-Poetic: the waste books as part of my artist talk recently. Understandably several viewers made associations with house plans or some form of architectural design, as if these aerial views of houses pieced together by found photographs and textual notations were a metaphor for attempting to reassemble/recover a sense of a lost past. Some of which has a layer of truth but the deliberate or conscious construction of architectural forms was never my intention.
The use of the found photograph as an object is already embedded with references to memory, the past and the transitional nature of life. For myself it felt as though I was simply reconstructing a fragment of some undecipherable historical narrative...nothing more than a moment taken from the past placed within the marginal edges of the pages of an album. Their placement always within the edges was a deliberate link to the notion of history forever being an experience of fragmented narratives situated within the peripheries of our everyday lives.
Now that I have had some time and distance from these works I think that essentially they gesture towards the nature of history, something re-constructed and pieced back together, either through a collective or individual re-telling of a constructed narrative. Then there are the layers of meaning that history imports, both consciously and unintentionally. Often the recording of history conflates the particulars of personal stories within a broader narrative or a single individual narrative is held up as the collective experience of a community or nation. As Gadamer describe it..'the past is foreign and historical understanding is not so much a recovery of the past as a mediation between our sense of ourselves and our sense of the past'.
These unassuming responses are little more than gestures to such 'big ideas' but there is something in the dissected landscapes, fractious interiors and inverted figures that at least holds sway, even momentarily, within what history or the past inescapably delivers...loss.
URBAN-POETIC: the waste books...print, collage and book assemblage works by glen skien
is showing at the Wooloongabba Art Gallery until June 25. .
Album Pages: collage and found photographs (detail)