(fig.iii)
silent parrot press
:works on paper:books:objects:
Monday, April 15, 2019
Sunday, February 10, 2019
Material Opening:NERAMG
Thursday, February 7, 2019
Material Thinking:Glen Skien and The Black Gully Printmakers
Image: Beth O'Loughlin: montage and monotype 2019
Opening at the New England Regional Art Museum: Armidale
Friday 8th February: 6pm.
Material Thinking:The Poetics of Process
Featuring the works of Glen Skien and The Black Gully Printmakers
Artists talks 11.30am Saturday 9th February
Exhibition dates: February 8-April 28th
Monday, January 21, 2019
Ritual of The Garment: Armidale and The Black Gully Printmakers
Monotype and photographic transfer...R.
Returning from a two day workshop at the Armidale Regional Gallery working with the Black Gully Printmakers group. In a workshop that literally used the material surfaces of a range of garments, each participant was asked to bring a garment or fragment of material as a means of exploring notions of ritual through print and collage. Extending upon the use of the photographic image as a form of disturbance, each participant used the most basic monotype methods to create a variety of rich and engaging works.
Thankyou to all who participated. The time and care taken by each participant in not only the making but also in reflecting upon the nuanced associations between material and medium, often so easily passed over within the process of making, made the experience truly satisfying. The outcomes of the workshop will be exhibited at the Armidale Regional Gallery together with my own works in February.
Works in progress... B.
Works in progress...(detail) B.
Friday, January 11, 2019
Material Thinking in Mittagong
Returning from 5days of the first of the Poetics of Process workshops. Studio outcomes were a mix of print editions, hand bound artists' books and experimental works.
The class was a nice balance of beginners, intermediate and experienced prinmakers. The brief was for participants to respond through either a single or combination of processes I demonstrated, to create a series of visual narratives.
They were encouraged to avoid the familar formula of a progressive natrative. Instead intuitively responding to the personal affinity they felt for a particular process or equally an awareness of not connecting with certian things.
Inevitably the book form requires an element of design but essentially each of the book forms created evoked the possibility of open and multiple readings. Material
So thankyou again to each participant for their trust and capacity to forego the familiar desire to always be in control of that deeply subtle relationship that exists between the making, the form and the very thoughts of the material itself.
Saturday, December 29, 2018
Material Thinking: The Poetics of Process
Material Thinking: The Poetics of Process is a series of workshops I have designed for visual art students with the onus on creating meaningful artworks through a poetic interpretation of the relationship between making/process and the use of materials. The following outline provides an overview of concepts and approaches. I am available to present these workshops throughout Queensland together with Material Thinking: Poetics of Process lectures, artists' talks and professional practice workshops.
MATERIAL
THINKING: The
Poetics of Process
A
series of studio-based workshops that explore the poetics of making.
Presented by visual artist Dr. Glen Skien (DVA,MVA)
The Poetic
Concept
Material Thinking: The Poetics of
Process provides the
opportunity for visual art students to engage in a series of creative workshops
underpinned by a form of ‘material thinking’. Through a series of studio-based
strategies that allow for unexpected poetic associations, material thinking provides a platform for the development of
students conceptual thinking. The emphasis of any process driven methodology is
a belief that the ‘making’ informs the conceptual, in contrast to the concept perpetually
informing the process of making.
The motivation of each workshop is for students to embrace a
contemporary application of collage-based disciplines that enables them to
analyse and interpret their initial exploration of materials and process to
help define their conceptual concerns.
The models that support each of the workshops are structured towards printmaking,
collage and drawing-based practices such as the monotype, montage, photographic
transfer technique, the artists’ book, and the box assemblage. The
interdisciplinary nature of each workshop allows for a mix of 2D and 3D
interpretations. The outcomes of each lesson provide students with the
opportunity to create meaningful responses through a better understanding of
the relationship between materials and process.
The strategies that guide each of the material-thinking workshops are as follows:
·
Creating unexpected juxtapositions to form
unfamiliar visual relationships.
·
The merging of self-narrative (personal stories) as
a way of questioning cultural and historical narrative structures.
·
Imaginative play. Students are urged to embrace the
concept of
‘intuitive knowing’.
·
Exploring the nature of the fragment. Students
explore the capacity of ‘the fragment’ to inform narratives relating to
identity and notions of place.
·
The deliberate shattering of progressive narrative
structures.
·
Leaving conceptual gaps that create spaces of doubt.
The notion that not every element or response needs to be bound to a semiotic
intention.
·
Embracing and deliberately extending perceived
contradictions.
·
A rigor of observation and appreciation of the
meanings and contexts often embedded in both materials and processes.
·
Engagement with poetic and metaphoric thinking/making.
Phenomenology Based Descriptions
A significant element to the series of material-thinking based workshops
is the integration of a written component whereby students are encouraged to
document their reflections on processes and use of materials. Essentially these
descriptions present a form of deconstruction and personal decoding of student’s
outcomes. In its most fundamental definition phenomenologically based
descriptions provide a strategy for documenting both objective and intuitively
grounded responses that offer a platform for identifying and articulating the
essential meanings embedded within their studio responses. The basis for
inclusion of phenomenology-based descriptions relates to providing students
with a personal strategy for facilitating independent analysis and evaluation
of their studio outcomes. The documentation of studio responses also provides a
method for students to identify the context of their works in relationship to
professional artists and contemporary arts practice.
For a more detailed outline of each workshop please contact me:
Glen Skien
email: silentparrot1@bigpond.com
mob:0427 850 782
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