Art classes, Artists, Kids, workshops

Making with kids

I’ve been tutoring my primary kids again this year and thought I’d share some of the work they’ve been up to. They’re a buoyant and happy bunch who always come up with some clever stuff.

Soft sculptureOur soft sculpture workshop covered two lessons and was a complete hit. They were so absorbed in the job at hand and were thrilled at the personalities they gave their creations. No sewing was involved in this exercise – just driftwood, fabric remnants, buttons and string (yarn & other stringy-type stuff) and a little wire. We just wound everything together, tucked bits in and tied knots.

The following two images are from a drawing excursion to our local gallery to see and draw the work at the soft sculpture exhibition The Charged Object. It was an excellent show – I don’t think the kids had seen anything like it. Very imaginative work with textiles, stitching and some left-of-field materials.Exhibit drawing 1

Exhibit drawing 2We’ve also been playing with mark making, imaginative drawing, and watercolour (among other things). It’s always a delight to review their efforts at the end of a session.Coloured drawing

Drawing

Watercolour 2

Watercolour 1A few young artists in the making……

 

 

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Artists, Exhibitions

Jane Theau: Sunbaking in Oslo

I had the pleasure of meeting the very talented Jane Theau at her exhibition at Incinerator Art Space  last week. A staggering amount of beautiful stitching (that must have taken an even more staggering amount of time to execute) as well as a decent quantity of wit thrown in. Well worth a visit if you’re in the Willoughby vicinity.

Sunbaking in Oslo – Incinerator Art Space, 2 Small St Willoughby, NSW – until November 8.

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Exhibitions, Residencies

Process to Placemarking: a peek at the evolution of my current exhibition

I’ve just completed a residency with Willoughby Historical Society at the invitation of Willoughby Council as part of their Visual Arts Biennial (a new initiative incorporated within their Emerge spring festival). The biennial’s theme is Imagining Place, and I was asked to look at their collection with a particular emphasis on their lace and embroidery. After several month’s work the exhibition Placemarking is now in full swing (so please drop by before Sunday 27th September and have a look if you’re in the area – details are at the end of this post).

I’d like to show you some of my process and describe how I approached the residency as I’m always interested in the working methods of other artists, and I thought you might be too.

The museum is tiny, in a 1912-built cottage, and I was allocated one room to exhibit in. My practice often focuses on personal attachment to objects and clothing, and the influences of time on them, so this criteria seemed a good match for my work.

Most of the garments are beautiful of course, but some are stained and torn (my personal favourites as I love the mending and the fact that the clothes were important or otherwise valued by their wearers). I felt incredibly privileged to be allowed to handle these precious things. I photographed some of the collection in close-up, focusing on beautiful details while allowing other parts of the image to fade away. Some garments were photographed underwater and some piled up with sunlight filtering through. These images were then cropped to square format with additional focusing on particular details.

Vintage lace and embroidered blouses, bodices and children's dresses drying after being photographed under water

Vintage lace and embroidered blouses, bodices and children’s dresses drying

I photographed documents and early 20th century local subdivision maps, further exploring links to place, with the intention of making ‘wordlace’ by manipulating the images. Wanting to activate the space more I had silk georgette digitally printed with these images to make a vintage gown that would be lit from underneath, illuminating the overlapping images in a lace-like way. But first I had to make up a toile of the dress (after getting my hands on a gorgeous reproduction 1930s gown pattern form the UK) as georgette is notoriously slippery and difficult to handle. I’m so glad I did……

The toile for the vintage dress

The toile for the vintage dress

Checking the drape of the finished fabric

Checking the drape of the finished fabric

Cutting the georgette was extremely tricky and slow as matching the print at the seams wherever possible was important. The assembly took about eight times as long as the toile because of the pattern matching and slipperiness of the fabric. But once on the stand I was really pleased with it – all flowy and light and transparent.

Cutting the digitally printed silk georgette

Cutting the digitally printed silk georgette

The almost completed 1930s evening dress

The almost completed 1930s evening dress

Installation in the museum went smoothly although the lighting was pretty tricky as the museum’s lights were unsuitable, and permanent attachment of equipment wasn’t allowed, so numerous other alternatives had to be tried out before settling on a satisfactory source.

Installing the photographs

Installing the photographs

Installing the dress

Installing the dress

One of the old mangles was moved to the museum’s front verandah and set up with sheets overflowing into the trees in its front yard: a bit of fun to attract attention to the museum and the biennial generally (although the configuration of sheets has since changed, draping down the large tree at the front rather than over the pathway).

The old mangle on the front verandah

The old mangle on the front verandah

The front of the museum

The museum entry

Professional photographs of the installation and a selection of final photographic images will be coming soon, as will photos of my workshops associated with the exhibition. I’d love to know what you think. Are you a bit textile-intoxicated like me?

Placemarking invitation

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A few photos of my work Dispersed Accounts installed on site for HarbourSculpture. The exhibition runs until July 27 and is lit in the evenings until 10 pm.

The community launch is on Saturday 19th from 4 until 9 and will include fireworks from 5 pm, food stalls and a licensed bar. You can even bring a picnic!

If you’re able to drop in it would be great to see you!

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Exhibitions

HarbourSculpture has opened

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Competition selection

Competition selection – harboursculpture 2014

My proposed work Dispersed accounts has been selected for inclusion in HarbourSculpture 2014, to be held at Clarke’s Point Reserve on Sydney Harbour in July. http://www.harboursculpture.com.au/ https://www.facebook.com/HarbourSculpture

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Exhibitions, Prize wins

International Women’s Day Art Prize win

I found out yesterday I’ve been awarded the International Women’s Day Art Prize! Thank you judges Janet Parker Smith and Katrina Cashman. What a thrill!

http://www.ryde.nsw.gov.au/Whats+On/International+Womens+Day

The Weeping Letter

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Competition selection

Competition selection

I’ve been selected as a finalist in the 2014 International Women’s Day Art Prize for my work The Weeping Letter. The exhibition runs from Friday 7th until Saturday 22nd March (opening Thursday 6th from 6-8) at See Street Gallery, Meadowbank, Sydney.

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