tag:blogger.com,1999:blog-333752312024-03-12T19:45:05.368-07:00interviewsINTERVIEWS ( Artist Paul Andrew) - Australian Arts & Culture (see also remix.org.au)ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.comBlogger191125tag:blogger.com,1999:blog-33375231.post-45746179081197601852019-02-26T18:58:00.004-08:002021-04-22T18:45:50.593-07:00THE ARI REMIX LIVING ARCHIVES & SOCIAL MEMORY PROJECT - https://remix.org.au - in progress now March 2011 to December 2021<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" trbidi="on">THE ARI REMIX LIVING ARCHIVES</div><div dir="ltr" trbidi="on">& SOCIAL MEMORY PROJECT</div><div dir="ltr" trbidi="on">(2011-2022)</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">“ 'Living' means present, on-going, continuing, unfinished, open-ended.” (Hall, 2001)</div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" trbidi="on">AUSTRALIAN ARTIST-RUN INITIATIVES (ARIs) HERITAGE, REMEMBERING TOGETHER & ARCHIVING AFFECTIVELY</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">“Artist-Run Stories. Archives. Information. Ideas. Inspiration.</div><div dir="ltr" trbidi="on">For everyone”</div>
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<b>Welcome to <a href="https://remix.org.au/" target="_blank"><span style="color: magenta;">https://remix.org.au</span></a></b><br />
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PROJECT ONE - Currently in progress<br />
ARI Remix is a living archive project, study resource and Web 2.0 artwork #ariremix<br />
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Stage One - A QLD Remix<br />
QLD ARIs 1980 to 1990 Nov. 2012<br />
Completed Jun. 30 2017<br />
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Stage Two - A QLD Remix<br />
QLD ARIs 1980 to Now<br />
Currently in development<br />
(Jun. 2017- Dec. 2019)<br />
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Stage Three<br />
Australian ARIs, Collective Memories and Longer-Term Preservation Potential: 1970 to Now<br />Jan 2020 - December 2021<br />
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PROJECT TWO – TBA July 2022<br />
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</div><div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" trbidi="on">The ARI Remix collective acknowledges and respects the traditional and ongoing custodians of the lands where we live, make and work. We pay our respects to elders past, present and emerging, and acknowledge that sovereignty has never been ceded. We support the Uluru statement from the heart.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">ARI Remix is a living archive; LGBTQIA+, cis, non-binary, trans and BIPOC inclusive, and involves active participation and collaborative collecting engagement by artists, art workers, co-creatives, peers and artist groups. It is an enthusiast-led, community-based, non-profit and art ephemera study resource and Web 2.0 art work #ariremix. It is made entirely possible through immense kindness, generosity, volunteerism and collaborative collecting efforts of over 300 Australian artists and significant arts philanthropy;</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">PROJECT ONE - Stages One & Two</div><div dir="ltr" trbidi="on">of this project are supported by the Queensland Government through Arts Queensland and have been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Stage Three of this project is supported by the Queensland Government through Arts Queensland.</div>
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This online archival initiative is approached through social media and word of mouth here:</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://www.facebook.com/groups/451268288264701" target="_blank"><b><span style="color: #ff00fe;">Australian ARI Living Archives - Queensland Artist-Run Heritage 1970 to NOW</span></b></a><br />
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Photo: Artist Ted Riggs (b.1954 d. 1990), Performance Works 1980 </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-72722368109273531192016-08-12T21:41:00.004-07:002018-12-15T19:52:20.005-08:00ARI REMIX LIVING ARCHIVES & SOCIAL MEMORY PROJECT - Clutch Collective - Australian Artist-Runs Now - remix.org.au<div dir="ltr" style="text-align: left;" trbidi="on">
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Q. What, who, when, why and where is Clutch Collective?<br />
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A. CLUTCH Collective is a Brisbane-based ARI that runs one night shows in the back of a three ton truck. We are Holly Bates, Naomi Blacklock, Tayla Haggarty and Annie Macindoe. Our exhibition program runs shows each month. Why? Because we can, because we set out with an ambition to do something exciting, something other than another Brisbane house ARI, and we think it’s working, so why not? Where? Anywhere (kind of). We have no fixed location and each of our shows has been at a different site – from residential backyards, driveways and apartment blocks to public parks…<br />
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Q. Tell me about the fabulous name of your collective, it’s mechanical moniker, and tell me a bit about you too?<br />
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A. CLUTCH Collective was named following extensive synonym searching around concepts of feminism and female anatomy. The idea of the truck came after the establishment of our name and turned out to be a rather serendipitous and perfect match for the term CLUTCH – relating also to the mechanics of a vehicle. And here’s a bit about each of our creative practices;<br />
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Naomi Blacklock is a current PhD candidate who primarily works with sound art and objects as a way to enact the contemporary witch figure through ritualised installations in order to fragment and examine the positive possibilities of the fury, superstitions, knowledge, and agency of wild women archetypes.<br />
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Annie Macindoe is currently undertaking a Master of Fine Arts and is interested in the use of text and moving image in her work. She uses text and video installation to explore themes of personal narrative, loss and trauma, and the inherent difficulty of articulating these experiences.<br />
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Holly Bates uses mediums such as painting, installation, performance and video to challenge pre-conceived notions of female sexuality depicted by patriarchal culture. Holly also works together with Tayla as the collaborative art practice Parallel Park.<br />
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The focus of Parallel Park is concentrated on playfully exploring the external influences that impact lesbian sexuality and the intricacies of the artist’s romantic relationship. The collaboration heavily employs play as process, which takes form through found objects, performance, video and installation.<br />
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Tayla Haggarty’s practice explores the complex question of what constitutes a lesbian feminist artwork, and more specifically, how one can effectively represent the personal lesbian erotic. These investigations take form through installation, sculpture and durational performance.<br />
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Q. Why an artist-run collective?<br />
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A. As well as being practicing artists and regular attendees of and exhibitors at local art events, artist-runs, we started CLUTCH because we saw an opportunity to contribute to the Brisbane ARI scene in a new and innovative way. We wanted to challenge ourselves and our artists to create new works that effectively utilize the space of the truck, which has certain limitations that other spaces don’t have. For example, we can’t screw directly into or attach anything to the body of the truck, which forces artists and ourselves as facilitators to think literally outside of the box, to find creative solutions and new ways of presenting works that respond directly to the limitations and new opportunities that a space like this presents. I guess you could say that CLUTCH is inspired by the work we see around us, our peers and those we look up to as artists, curators and directors of ARIs past and present. We have taken this inspiration and turned it into a drive, both literally and figuratively, towards invigorating the Brisbane ARI scene with an alternative, unconventional and experimental approach to exhibiting.<br />
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Q. Tell me about Clutch Collective artist-run projects so far? What are some memorable moments?<br />
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A. As well as being involved in the HOMEGROUND project at Boxcopy recently, which was a really important project for us in terms of cementing our emergence in the Brisbane ARI scene, we have hosted four shows that have all been exciting, moving, sensitive, beautiful, funny, inventive and outstanding in their own way.<br />
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Our first show, which presented works by Callum McGrath, comprising a lot of memorable moments. Namely it was the first time that we had coordinated the hiring, driving and successful delivery of the truck from one side of Brisbane to the other to park at the location of the show – an effort that was justifiably awarded with applause many sighs of relief. On top of that, we had a total time of less than one and a half hours to install the work which was pulled off perfectly in time for the due start of the show (credit to the artist’s prime organization skills). The show presented two highly saturated videos projected onto screens built to fit the exact dimensions of the truck. The pink glow from the work could be seen from quite a distance as the audience approached the truck down a long driveway. It was a really beautiful and ideal way to kick of our exhibition program for the year.<br />
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It also confirmed to us that our ambition to present shows in the back of a truck was not out of the scope of what is possible even though it might’ve seemed so at times.<br />
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Another memorable moment for CLUTCH was when we presented Louise Bennett’s site-specific video work ‘The Sun From Your Past’. It stood out because it was the first time we fully utilized the mobile attribute of the truck and took it out of a residential setting and into a public park location. Parked adjacent to the Government House property at Norman Buchan Park in Bardon, the somewhat isolated and nature-surrounded site of the show enhanced the ability for the light of the projected video work to travel out of the truck and contrast against the dark landscape. There were common challenges that came with being offsite such as power access and limitations to beverages being served, but this all ended up working out to strengthen the experience of the show and it’s site-specific nature.<br />
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Q. Tell me a wee bit more about the Clutch three tonner's most recent exhibit?<br />
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A. CLUTCH most recently presented the work of Brisbane-based duo SHATRICK (Shannon Tonkin and Patrick Zaia). The truck was located in a backyard of a friend’s house, which was convenient for the set up of the work and also allowed for alcohol consumption and a sizeable crowd. The work, GORGEus, saw SHATRICK sat atop a paper-mache feast. A table ran the length of the truck and was cluttered with all kinds of sculpted paper-mache food/cutlery/dish/creature hybrids. The medieval setting was confirmed by the constant rhythm of a melodic, repetitive and almost sinister soundtrack. Banners were hung from the inside frame of the truck and paper-mache chairs with faces were scattered across the yard.<br />
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If the feast vibe wasn’t already obvious to the audience – it only took a proper look into the back of the truck to see what the work was really about. SHATRICK positioned themselves at the head of the table – overlooking their creations – with baked dough-like bras and strapped on bellies. The bellies, filled with all kinds of ingredients, became the substance that enabled the performance, which SHATRICK devoured consistently from each other’s bodies for the duration of the show. The artists presented a work that was equally as seductive as it was repulsive – it was amazing to stand back and watch a constant crowd of people enter the truck, look intently at the smaller objects on the table, and almost cower away as they approached the performers at such an intimate proximity. The tension however was inevitably broken by a few brave viewers/participants who decided to jump right in and sample the delicacies for themselves.<br />
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Q. The seems to be an abundance of artist-runs unfolding/generating in Brisbane this year, why so?<br />
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A. This is very true! It seems as if a current of change has been brewing – perhaps something about moving from the art-saturated environment of our university institutions out into the everyday world for the most part is what inspired a variety of Brisbane ARIs this year, largely run by university graduates, emerging onto the scene in 2016. We are close friends with many of our fellow ARI directors, which has been mutually beneficial in terms of cross-promoting clashing exhibitions and literally working alongside other ARIs through being part of the accumulative HOMEGROUND project at Boxcopy this year.<br />
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On top of this, as artists we have each presented works with multiple other Brisbane ARIs. Collectively, as well as in group and solo exhibitions, the CLUTCH directors have had past exhibitions/are due to exhibit at the following Brisbane ARIs: Boxcopy, Cut Thumb, The Laundry Artspace, FAKE Estate, Kunstbunker, In Residence, ORAL ARI and Aggregate Projects. So obviously we have close ties to the following ARIs but we are also very excited to see even more new initiatives popping up around Brisbane and can’t wait to see how their spaces and exhibition programs develop.<br />
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We would, however, like to give a special mention to FAKE Estate, who, unknowingly, we had organised our most recent exhibition on the same night as theirs. FAKE Estate jumped right on board with cross-promotion even without a conversation about it. Because of the close location of the shows, as directors we were able to attend each other’s exhibitions (albeit briefly) and had a crowd of keen art goers walk between the two locations. We thought it really showed the spirit of what an arts community should be like, a place where ARIs are mutually supportive rather than competitive, and where an audience is committed to attending and supporting a multitude of events that can sometimes occur on one night.<br />
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Q. Wow, so many different models and methods being used today, one nighters, three tonners, multiple loci, and globally too?<br />
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A. Our model of running an ARI is something that in some ways is quite standard in terms of opening up applications, selecting the artists that we think are the most appropriate for the space, confirming our exhibition program of monthly one-night events and also leaving space for other opportunities that might pop up along the way. The difference with CLUTCH is in our space and its nomadic nature. CLUTCH, while as organized as we can be, does however rely on the support of a broader network of friends, family, our university connections and other supporters to pull off the logistical challenge of driving and parking a large vehicle at a specific location for which we (sometimes) require permission, and facilitating works with technical equipment and supplies borrowed from necessary sources. From what we understand, these kinds of networks are used by most emerging ARIs who are similarly self-funded and ambitious as we are.<br />
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Because of the social aspect of the Brisbane art scene and our networks that have developed through university and broader art contexts, we have the benefit of having regular and sizeable crowds of friends and art show regulars (which for us are one in the same, really) that support our shows. As well as self-promoting through social media networks, CLUTCH is regularly supported by the Brisbane Art website and social media pages who share our events at a broader audience than any of us are able to personally. Again, this is a method that is fairly standard for local ARIs as a way of spreading the word about upcoming shows and sharing documentation and essays of past exhibitions too.<br />
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Artist-run initiatives matter for a lot of reasons. First and foremost, they are the most accessible and unpretentious format of exhibition space that is available to emerging artists. They are spaces where practices develop and find confidence in the freedom of peer critique and encouragement. They are affordable, DIY, community-based, open environments that truly foster experimental practices in ways that art institutions, commercial galleries and other organizations don’t.<br />
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Q. Did the Clutch crew manage to visit the Ephemeral Traces exhibition about 1980s Brisbane artist-runs at the University of Queensland Art Museum April- July this year?<br />
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A. Yes we did! It was a really inspiring show in terms of placing ourselves amongst such a rich history of Brisbane ARIs. It was almost chilling to take a step back and think that in 30 years time another retrospective could potentially present an archive (probably online, however) of our contribution to the ARI movement, which seems to be having another strong resurgence not unlike what happened with the emergence of spaces and activities in the 1980s.<br />
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We were especially excited to see hiding away off to the side of the first main exhibition space, documentation of a work by artist Mark Webb. Mark was a supervisor to all of us throughout our Honours projects, and as long as we’ve known him has kept his practice very much a secret. It was amazing to see his work, as we had assumed, as part of a truly strong movement of rather radical work happening throughout the 80s.<br />
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Another aspect of the show that resonated with us was the rebellious nature of a number of activities that were happening during the 80s. For example, artists reacting to lack of funding and exhibition spaces for emerging practices by hosting shows in abandoned buildings or office blocks that were due to be demolished. We related most definitely to the experience of a lack of funding in the arts as well as a strong ambition to find alternative spaces and potentially disobey the law in terms of seeking (or rather not seeking) permission to park our truck in public or private spaces.<br />
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Q. Brisbane has such a wellspring of artist-run heritage since the late 1979s, in a similar way, what are your enjoying about the ARI Remix Project here, artist-led archives 1980-1990 in development now?<br />
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A. We find the richness, quantity and quality of content in the project amazing, and think it’s a really necessary part of any arts community to archive an ongoing history. As active members of a current arts environment in Brisbane that we believe is pretty thrilling in terms of ARI activity lately, we think it’s essential to understand the historical context in which we exist. Without projects like ARI Remix, it’s impossible, especially for many of us as young ARI directors and artists, to grasp the width and breadth of what has come before us in terms of experimental, guerilla and total anti-establishment ARI histories in Brisbane. ARI Remix brings a new life to past ARIs, exhibitions, activities, artists and audiences, and allows for current initiatives to draw connections and parallels to a shared and timeless experience of a desire for artist-run and non-institutional spaces to contribute to the development of experimental arts practices.<br />
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Q. Thanks, Im sure the ARI Remix Collectve will be chuffed to hear this testimony, and what enticing bits n pieces is Clutch Collective planning for 2016 and 2017?<br />
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A. CLUTCH has another great show planned for September – so keep your eyes peeled! We are in the process of planning a show to be included in the BARI exhibitions program running in October, which could see the truck parked at a landmark Brisbane location. As well as this, we are excited to be contributing to a panel discussion as part of the BARI festival program.<br />
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In regards to longer-term plans, we will soon release a call for applications for our 2017 exhibitions program, and are in discussion with a fellow ARI regarding a collaborative curatorial project and location coordination. We feel like our wheels have only just scratched the surface in the Brisbane ARI scene, and we can’t wait to really dig in and have a number of equally great shows and artists as what we’ve presented so far in 2016.<br />
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Q. Are you hopeful for the future of artist-runs, how so, why so, what value do you feel they bring to the knowledge base, to arts and culture heritage that institutional spaces like the IMA, QAG or GOMA don’t offer or provide?<br />
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A. YES! We absolutely are. We think there is a new air of ambition and passion around Brisbane ARIs, not just because there are a lot of them, but because artists are making strong works that are being presented by ARI directors who are equally as passionate about art as their exhibitors, and who know the ins and outs of their spaces and their networks. It is the combination of these elements that we believe makes things work, and what is driving an exciting flood of artist run activity in Brisbane as of late and will continue to drive things into the future.<br />
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A. As ARI directors, it is clear to us that our fellow directors and artists are mutually concerned with continuing to support each other’s projects in order to contribute to the livelihood and longevity of local artist-run activity. We KNOW that without ARIs, many artists wouldn’t have an opportunity to get their foot in the door (or in the truck) and are left feeling pretty disconnected without the opportunities that ARIs offer to emerging arts practices. For many artists who have recently completed university degrees, it’s quite obvious that there’s a long journey that comes between leaving the safety blanket of an art school and the convenience of the facilities and exhibition spaces it provides before being able to even fathom the idea of presenting in an art institution like IMA or GOMA (if that is even the goal of an individual at all).<br />
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We see artist-run initiatives as an experimental and safe space for the development of emerging practices. A lot of ARIs and artists alike approach projects as works or bodies of work in development rather than a final iteration of a fully developed and resolved exhibition. The social nature of and peer support that is prevalent at ARI shows is fundamental to the working process, support and critique that is a necessary and ongoing step for any developing practice. While more established artists also show at local ARIs, the spaces maintain a total non-pretentious feel and are always open to discussion of an artist’s ongoing growth and refinement of concepts and installation methods. Institutions such as the IMA and GOMA are not accessible in this way. They are much less about supporting open environments of critique to assist the growth of local artists as they are about presenting well established early/mid/late career artists with generously funded projects and publications.<br />
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From our perspective – ARIs are significantly more valuable to emerging artists than art institutions ever will be because they are run BY ARTISTS, FOR ARTISTS, and are supported largely by the attendance OF ARTISTS. This is not to say that ARIs present and exclusive arena for artists only, in fact it’s quite the opposite. ARI events are as much about socializing and networking as they are viewing the work of an emerging artist. We believe that the value they hold is immeasurable, but certainly is something we can say we’ve all felt as exhibiting artists and as the directors of CLUTCH Collective.<br />
<br />
As the crowd gathers eagerly around a work, as they applaud the end of a two-and-a-half-hour endurance performance, as they generously donate a little extra in exchange for a wine that’s in reality at least a third of the cost, as an artist expresses gratitude for an opportunity to finally share the work they so meticulously put time, money and tears into…. that’s what the value of ARIs feels like to us, and why we believe their impact on the cultural heritage and the arts community of Brisbane is immense and will continue to be for as long as we can imagine.<br />
<br />
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<br />
<br />
<b><br /></b>
<b>RELATED LINKS</b><br />
<br />
Read More:<br />
<a href="http://clutchcollective.org/">http://clutchcollective.org</a><br />
<br />
Parallel Park:<br />
<a href="http://www.parallelpark.org/">http://www.parallelpark.org</a><br />
<br />
Clutch Collective – Artist’s Websites:<br />
<br />
<a href="http://www.naomiblacklock.com/">http://www.naomiblacklock.com</a><br />
<a href="http://www.hollybates.com/">http://www.hollybates.com</a><br />
<a href="http://www.taylahaggarty.com/">http://www.taylahaggarty.com</a><br />
<br />
HOMEGROUND at Boxcopy<br />
<br />
<a href="https://boxcopy.org/projects/homeground">https://boxcopy.org/projects/homeground</a><br />
<br />
Brisbane ARIs Now:<br />
<br />
<a href="https://boxcopy.org/">https://boxcopy.org</a><br />
<br />
<a href="http://www.cutthumb.org/">http://www.cutthumb.org</a><br />
<br />
<a href="https://thelaundryartspace.com/">https://thelaundryartspace.com</a><br />
<br />
<a href="http://www.fake-estate.com/">http://www.fake-estate.com</a><br />
<br />
<a href="http://www.kunstbunkergallery.com/">http://www.kunstbunkergallery.com</a><br />
<br />
<a href="http://inresidence-ari.com/">http://inresidence-ari.com</a><br />
<br />
<a href="http://www.oralari.com/">http://www.oralari.com</a><br />
<br />
<a href="http://aggregateprojects.weebly.com/">http://aggregateprojects.weebly.com</a><br />
<br />
Brisbane Art:<br />
<br />
<a href="http://bneart.com/">http://bneart.com</a><br />
<br />
Read More about Brisbane’s Artist-Run Festival here:<br />
<a href="https://www.blogger.com/goog_508616195"><br /></a>
<a href="http://www.bari.com.au/">http://www.bari.com.au</a><br />
<br />
To read more about Australian Artist-Run Heritage:<br />
<br />
<a href="http://remix.org.au/" target="_blank">http://remix.org.au/</a><br />
<br /></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-6851388807495344492016-08-04T04:10:00.003-07:002016-08-04T04:27:49.903-07:00Yielding with Artist Jacqueline King - Northern Rivers Community Gallery Ballina until August 28, 2016 - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Hope, (detail), 2016</td></tr>
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<br />
q. Jacqueline Hi and thanks for your time today. Tell me about your background as an artist working with glass and sculpture?<br />
<br />
a. It began in 2006 as a form of self therapy if you will. I was in the early stages of coping with the aftermath of a traumatic period in my life and learning to live with Complex PTSD and a friend suggested I find something to do with my hands so I did and glass was it! Slowly the process of what began as very simple hand cut glass stars became a source of peace...a meditation if you will, playing with colour and patience.<br />
<br />
I’d moved to my little home in Dalwood, Northern NSW as an escape and the ‘shed’ became consumed by my pursuits within a couple of years. Glass became my lifeline and literally saved my life, reformatted my brain and gave me a gift I did not expect.<br />
<br />
The imaginings come to me in the space between wakefulness and sleep and although I often used to lose hope during their creation I have learned to have faith and persevere and so the imaginings continue to flow. Almost as if I am just the tool...my body, my existence became the tool for simply trusting the flow and making it real. Largely being self taught meant I had to learn a whole lot of new skills in order to see each vision made visible.<br />
<br />
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<tr><td class="tr-caption" style="text-align: center;">Yielding, Glass Installation, Northern Rivers Community Gallery, Ballina</td></tr>
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<br />
<br />
q. How did this fabulous exhibition on now at the Northern Rivers Community Gallery in Ballina come about?<br />
<br />
a. Looking back on my work it became apparent I had two themes appearing unintentionally. One was the fragile beautiful environment we experience here in Australia and the other the fragile nature of my own mental health. I had long held hope that one day I could merge these themes and create a body of work that truely put voice to what I had no words for.<br />
<br />
After ten years of experimentation in glass ‘Yielding’ is as close as I’d ever imagined I would come.<br />
<br />
Each glass form has been intuitively created to reveal the tension of my own existence, indeed perhaps all existence, where safety and permanence are illusion yet equally present in each magnificent breath we take.<br />
<br />
q. Perhaps one the most astonishing aspects to your installation is the inherent fragility of the works?<br />
<br />
a. The fragility is definitely intentional and integral to what I was trying to whisper and shout.<br />
<br />
q. Tactility. I found myself both seduced and captivated by this fragility and while observing the works I felt an overwhelming need to touch them, a taboo in the art gallery more often than not?<br />
<br />
a. I hope it is the organic aspect of the works that originally draws you in. I held vision for each to not seem made of glass but rather something elemental, dew, ice, lava, blood, snow, gold, spun silk. I hoped they became so visceral that they were magnetic and this was my delight when on the first day I wandered around the gallery space anonymously and observed a group of mature visitors (who usually are those well versed in the usual rules of galleries where touching works has long been forbidden, hearing words from stern parents of “look with your eyes not your fingers”) and held my breath as each one touched several works including some of the most fragile. My job was done!<br />
<br />
q. In some measure we as humans have this innate dual sense of creation and destruction, and I wonder whether this sense of tactility that your works produce is in some way tapped into this innate sensibility in some deep archetypal way, the tension we feel throughout our lives with the shared capacity/ simultaneity for creation and destruction?<br />
<br />
a. I love that you’ve raised this in such an insightful way...it is the essence of the experience of deep trauma and the breakthrough that is possible, the re-birthing that is both violent and divine. This is accessed by all who would seek that most universal truth of love (what we must learn in order to fully live and transcend our sleeping states) as love will destroy if it deems this is the way to wake us, just as surely as it will fill our hearts with awe.<br />
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<tr><td class="tr-caption" style="text-align: center;">48 Threads, 2016</td></tr>
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<br />
q. Can you tell me in some detail about your process, from concept to creation?<br />
<br />
a. The vision side I’ve pretty much covered already but in this body of work all the pieces were deliberately kiln formed work rather than the cold glass work I also do. This also was intentional as I wanted some kind of alchemy in play that I felt only the heat of my kiln could deliver. Each piece has had multiple firings to temperatures ranging between 565 degree Celsius (in the case of the glass nest ‘Hope’ to 790 degrees Celsius for full fused works. Many include multiple techniques from flame working, powdered crackle glass through to pattern bar inlays.<br />
<br />
q. Artist Julianne Zoviar Clunne was telling me about one particular work,<i> 48 Threads</i> that has a series of tender "tendrils" signifiying each year of your life?<br />
<br />
a. True, ‘48 Threads’. It’s a vessel made from 48 flame-worked hand pulled canes of clear glass, one for each year of my life so far, held together by kiln firing at tack fuse temperature variable sized clear frit in the centre and again on an uneven edge. It is approx 16” diameter and has then been slumped into an irregular form created in fibre blanket. I wanted it to appear unspeakably fragile yet compellingly beautiful so as to reflect my journey so far on this place we call earth which itself spins miraculously at the edge of oblivion.<br />
<br />
q. As a sympatico artist here equally inspired and transformed by the effects of trauma, I was intrigued to read something about your own direct lived experience of living with CPTSD and how it influences your work as an artist, in particular the choice of your medium Jacqueline, and the intrinsic fragility of glass. Tell me about this impulse in your work?<br />
<br />
a. Glass chose me rather than the other way around. Call it serendipity but there is a connection between the two best characterised by something I heard once on the radio by a leading UK Trauma Psychiatrist who described PTSD something like this...<br />
<br />
<br />
<i>“Imagine you are a beautiful glass vase with exquisite colour and form sitting on a sideboard and much admired. When major trauma happens the beautiful glass vase that you are gets knocked off the table and smashes on the floor splintering into thousands of pieces. Most rush quickly to gather the pieces and try valiantly to hold it all together, to appear like they used to be by holding all the pieces together with anything they can. But there is no way to do this of course.</i><br />
<i><br /></i>
<i>Some, with good therapeutic support coupled with the support of loving family and community, will slowly learn that there is no becoming what they were...but they just might become a beautiful mosaic instead!”</i><br />
<br />
<br />
q. Thanks Jacqueline, wow, and tell me something of the most challenging aspects of making these distinctive glass works?<br />
<br />
a. The most challenging aspect was ensuring each piece was really raw and really me. Two works were held back from display by the Director, Lee Mathers who described them as ‘restrained’ and she was absolutely right...I wanted to stretch every skill I had in each work...synthesize 10 years of glass making and squeeze all its juice into new territory using all the experience, all the pain, all the magnificence, all the qualities unique to me and to glass into each piece. May I be blessed to live another 10 years to try again.<br />
<br />
q. And one or two of the most satisfying and/or consoling aspects of making these exquisite works?<br />
<br />
a. Ahh, what I feel inside is made visible! I watch my hands do things to make what is in my fibre and barely know how it occurs...like breathing.<br />
<br />
q. What are you working on now Jacqueline?<br />
<br />
a. I’m about to start a commission window, right off track from this series, but it’s for a well loved an respected author who has a home north of here and it has been commissioned by a circle of women who radiate love.<br />
<br />
It will be made from the last batch of Spectrum Waterglass in the world as sadly one of the worlds best glass manufacturers has recently shut its doors in the US so I’m excited to get this project underway.<br />
<span style="color: purple;"><br /></span>
Yielding:<br />
<span style="color: purple;"><br /></span>
<a href="http://www.nrcgballina.com.au/v1/exhibitions/2016-exhibitions/258-yielding" target="_blank"><span style="color: purple;">http://www.nrcgballina.com.au/v1/exhibitions/2016-exhibitions/258-yielding</span></a><br />
<br />
Jacqueline's Artist Website:<br />
<br />
<a href="http://www.jacquelineking.com.au/" target="_blank"><span style="color: purple;">http://www.jacquelineking.com.au/</span></a><br />
<br />
Read more INTERVIEWS by Paul Andrew here:<br />
<span style="background-color: #f3f3f3;"><br /></span>
<a href="http://remix.org.au/" style="background-color: #f3f3f3;" target="_blank">ARI Remix - Australian Artist-Run Heritage</a></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com1tag:blogger.com,1999:blog-33375231.post-7630742023185456172016-08-01T22:36:00.003-07:002016-08-01T23:11:18.690-07:00ARI REMIX - Interview with artist and designer Angelina Martinez- INTERVIEWS - remix.org.au<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Angelina Martinez, That Space, 1987 PHOTO: Lisa Wicks</td></tr>
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<br />
<br />
<br />
BIO<br />
<br />
Angelina Martinez is an award winning graphic designer with over 10 years experience in all aspects of design for print, with specialist skills in publication design.<br />
<br />
Previously Angelina was engaged as a graphic designer at the Queensland Art Gallery for over 7 years. This experience, combined with her BA in Fine Art from QCA, has provided her with a unique understanding of communication design for museums and the arts and cultural sector.<br />
<br />
Angelina has furthered her professional experience in the corporate sector through working for two of the best design studios in Brisbane.<br />
<br />
Recently taking the step to self-employment, Angelina is dedicated to providing her clients with creative, considered, brilliantly executed design outcomes that communicate effectively to its audience and straight-forward, concise, timely project management and delivery.<br />
Angelina is based in Brisbane, Australia.<br />
<br />
<br />
Interview<br />
<br />
PA:<br />
<br />
Angelina Hi and thanks, remix.org.au, why does an artist-led archive mapping artist testimonies and artist histories about the ephemeral nature of the vibrant Queensland 1980-1990 artist-run scene matter to you?<br />
<br />
AM:<br />
<br />
I too am very interested in this public archive project as I believe it’s important these untold stories are put on the public record.<br />
<br />
I was directly involved with several Brisbane/ QLD artist-runs during this era including as an practicing artist maintaining a studio and contributing as a committee member of That Contemporary Artspace collective, located at the rear of 20 Charlotte St, 1986-88.<br />
<br />
I also exhibited my work in the gallery space downstairs and was involved in day to day activities and collaborated with the other artists. I was also involved in Bureau Shop 4, City Plaza, Adelaide St, in 1989 and exhibited my work there and I participated in the 1988 Axis Art Project Axis File which was exhibited in New York.<br />
<br />
As a Queensland based artist at the time I was working in various media including painting, installation, drawing and sculpture and was focused on various subjects in my professional practice including exploring the contemporary ideas of feminism and female sexuality.<br />
<br />
I also felt that women were completely under-represented and mis-represented in the art world during the 1980s.<br />
<br />
From my perspective this plethora of artist-runs at this time provided many artists like me with a sense of belonging, a sense of purpose, a sense of the future, a sense of hope and opportunity.<br />
Support and resources for young artists to develop and contribute to the cultural fabric of the city were non-existent. Many graduates from tertiary institutions felt, like myself, that we were on our own, with very little prospect of realising any sort of professional career let alone a career in visual art practice.<br />
<br />
ARI’s or artist-run spaces as we called them also provided us with a place to exhibit, to network and to meet other contemporary artists. This was invaluable at the time as there were no venues, institutions or galleries that would even consider exhibiting my work or promoting my art practice, especially those of a young female artist like myself.<br />
<br />
It is disconcerting that documentation and ephemera from this era has not been collected and published. This archive of material and resources and those of others like myself, deserves to have a place in the social and art history of the city.<br />
<br />
It is important to document this history of ARI’s in Brisbane because of the unique political, economic and social circumstances at the time, and how this generated such enormous activity by cultural workers that was often critical, challenging and provocative.<br />
<br />
REMIX is designed as an online project and what is terrific about this is that it will make these interviews and archives available to a wider audience online, from Queensland and elsewhere, and for much longer period than any exhibition can even attempt to provide. This is important to me.<br />
<br />
Today I work as a freelance graphic designer specifically providing design services for clients in the Arts and Museum sector. I’ve also worked at the Queensland Art Gallery as a designer for over seven years.<br />
<br />
I continue to be involved with local art practitioners, freelance curators and art administrators through my work providing specialised graphic design solutions and services.<br />
<br />
Looking back now at my involvement with artist-run spaces like That Contemporary Artspace and Bureau with reflection – has provided me with an invaluable creative experience that continues to serve me well in my professional work and in my everyday life. It was an amazing and vibrant time.<br />
<br />
Read more:<br />
<a href="http://remix.org.au/interview-angelina-martinez/" target="_blank">http://remix.org.au/interview-angelina-martinez/</a></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-32291893683913668752016-07-30T00:59:00.001-07:002016-07-30T01:00:32.288-07:00ARI Remix Project - remix.org.au - Artist-led Archive- 1980-1990 Brisbane Queensland Australia Artist-Run Heritage in development now...<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<br />
A COLLABORATIVE MEMORY OF<br />
EPHEMERAL ARTIST-RUN CULTURE & HERITAGE<br />
<br />
<a href="http://remix.org.au/" target="_blank">http://remix.org.au/</a><br />
<br />
An Open Source, Public Archive, eResource & Database Artwork<br />
A Work in Progress & In Development Now<br />
<br />
Stage One: QLD 1980-1990 April 2015 – Dec 2016<br />
Stage Two: QLD 1990-2000 (TBA 2017)<br />
Stage Three: NSW 1980-1990 (TBA 2017)<br />
<br />
STAGE ONE<br />
1980-1990 ARTIST-RUN HERITAGE – The Queensland ARI Remix<br />
<br />
The ARI Remix project began in earnest in November 2012 via the social media open group, now comprising over 300 of the artists, designers, creatives, peers and social observers engaged in 1980-1990 Queensland artist-run collaborations here:<br />
<br />
<a href="https://www.facebook.com/groups/451268288264701/" target="_blank"> https://www.facebook.com/groups/451268288264701/</a><br />
<br />
This open group was initiated to assist with both the research and development of the Ephemeral Traces exhibition curated by Peter Anderson at the University of Queensland Art Museum and the collaborative ARI Remix Open source Public Archive. These two projects are independent but related projects and are being generated in collaboration through shared research, study, dialogue.<br />
<br />
Read More about the Ephemeral Traces exhibition:<br />
<a href="http://www.artmuseum.uq.edu.au/ephemeral-traces-brisbanes-artist-run-scene-1980s" target="_blank">http://www.artmuseum.uq.edu.au/ephemeral-traces-brisbanes-artist-run-scene-1980s</a></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-37189122634662886852015-08-25T01:39:00.001-07:002015-08-25T02:18:42.460-07:00ARI Remix - Artist Jeff Gibson - The Ephemera INTERVIEWS - remix.org.au<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><i>Interview with Brisbane-born Artist Jeff Gibson</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><i>The Ephemera INTERVIEWS excerpt:</i></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Brisbane-born and raised, Gibson studied journalism, media theory, modern history, and the visual arts at the Darling Downs Institute of Advanced Education (now the University of Southern Queensland) before moving to Sydney in 1981 to co-manage an artist-run space, Art/Empire/Industry.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">He then studied art and critical theory at Sydney College of the Arts (1984–85) and co-managed another artist-run gallery, Union Street (1985–86). Over the following twelve years he mounted numerous solo shows at commercial and public spaces in Sydney, Brisbane, and Melbourne, including the Mori and Gitte Weise galleries in Sydney, the Michael Milburn Gallery and the Institute of Modern Art in Brisbane, and Tolarno gallery and the Australian Centre for Contemporary Art in Melbourne.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">During that time he participated in group shows in Australia and abroad, including exhibitions at the Art Gallery of New South Wales and the Museum of Contemporary Art in Sydney, the Institute of Contemporary Arts in London, and Artists Space in New York. In 1988 he began working for Art & Text magazine, becoming associate editor in 1991 and senior editor in 1994.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">He taught in both the painting and print media departments at Sydney College of the Arts from 1991 until 1998, at which point he moved to New York to work for Artforum magazine where he is currently managing editor. Since arriving in New York, he has produced two artist’s books, exhibited on the Panasonic Astrovision screen in Times Square as part of Creative Time’s “59th Minute” program, and mounted solo shows at the New York Academy of Sciences, Stephan Stoyanov Gallery (New York), and The Suburban (Chicago).</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Throughout January 2011, two of the artist’s videos were projected onto the facade of the Everson Museum of Art in Syracuse, New York, as part of a curated series presented by Light Work and the Urban Video Project. His video Metapoetaestheticism, 2013, was exhibited in the 2014 Whitney Biennial.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: 1980’s Social History: Jeff tell me about the milieu you experienced during the early to mid-1980s as a young artist living, working, collaborating in Toowoomba and Brisbane, what sort of world was this Queensland for you?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">JG: I attended what was then the Darling Downs Institute of Advanced Education (DDIAE) in Toowoomba from 1976 through 1980. I was born and raised in Brisbane but elected to study in Toowoomba because I was restless and wanted a change of scenery. I was a rebellious, dyspeptic upstart primed for punk. Drawn to art, music and exposition I started out in journalism and media studies since writing seemed a more sensible option than art.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I glommed onto Marshall McLuhan and the Sex Pistols, then switched, after a year of journalism, to the art department. I dove headlong into art and soon after also formed a band—the Sad Cases—with Stephen Butler, Kieran Knox, and James Rogers.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I found Brisbane very oppressive at that time. I would participate in demonstrations and street marches and then retreat to Toowoomba. I guess to some extent I “dropped out.” I lived in farmhouses—dystopian art punks in a rural/hippie setting. It was fun in its own way, but of course Toowoomba was even more reactionary than Brisbane.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">As an anti-authoritarian malcontent, I had plenty to push against. I learnt an awful lot at college but by the time I was half way through my visual arts degree it seemed to me that the culture and politics of the state of Queensland were not conducive to a full creative life, so I committed to moving to Sydney as soon as I’d completed my course.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: Tell me about your exodus from Queensland in 1981?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">JG: I didn’t really participate in the artist-run Brisbane scene. I bummed around for a year after high school then moved to Toowoomba in 1976 to study for four years. After that, I took a bee-line for Sydney. As soon as I got to Sydney, I helped open a gallery on Sussex Street—Art/Empire/Industry—with James Rogers, Gayle Pollard, Calvin Brown, and Glen Puster. There were other artist-run spaces in existence, but it was all pretty rogue and subrosa until the mid-‘80s when ARIs became more formally integrated into the art world, attracting a little assistance from the Australia Council. A/E/I only lasted a year (it resurfaced later without me and James). The absurdly cheap-to-rent loft was sold out from under us. Shortly after, I started a postgrad course at SCA and co-organized another gallery, Union Street, with artists Deborah Dawes, Deborah Singleton, and Jelle van den Berg.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Things were changing. There was a new professionalism creeping into artist-run culture in Sydney. An actual scene was beginning to take shape. Art & Text delivered a fresh discourse that launched a seemingly cohesive generation of postmodernists quite distinct from previous generations of artists, even progressive ones. Stephen Mori, Roslyn Oxley, and Kerry Crowley opened galleries that were sympathetic to these concerns. ARIs in career-minded Sydney were at this point as much professional launching pads as they were cradles of experimentation. Comparisons were often made between Union Street and the East Village New York artist-run galleries that catapaulted 80s art stars like Richard Prince, Jeff Koons, Cindy Sherman, and Robert Longo into the stratosphere. Obviously, the cultural and financial stakes and rewards were much lower in Australia.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">In time I came to know more of early Brisbane, Sydney, and Melbourne artist-run spaces through conversation, conferences, travel and the occasional reference in Art & Text, Art Network, and Tension magazines.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">More:</span><br />
<a href="http://www.remix.org.au/interview-jeffgibson/" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">Jeff Gibson Interview- ARI Remix</span></a></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-35360996600025425452015-07-19T17:37:00.001-07:002015-07-19T17:40:40.464-07:00ARI Remix- Jasmine Hirst On Artist-Run Culture Australia 1980 -1990 - The Remix Project - Paul Andrew INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;"><i>Jasmine Hirst is a filmmaker and photographic artist living and working in New York. Her films are collected by the NY Filmmakers Co-op of the New Cinema Group, and have screened at the California Museum of Contemporary Art, London’s Horse Hospital Gallery and the Sydney Underground Film Festival to great acclaim.</i></span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Jasmine Hirst's photographic art is represented by Illuminated Metropolis Gallery in New York and the Mori Gallery in Sydney and has been exhibited internationally, including at the Casa Del Pane in Milan, Sprengel Museum in Hanover, and Perth Institute of Contemporary Art.</i></span><br />
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<span style="font-family: Verdana, sans-serif;"><i>Jasmine has ongoing collaborations with Penny Arcade, ex-Andy Warhol Superstar, and Lydia Lunch. Jasmine’s art delves into the darkest recesses of humanity’s most ferocious wounds: abuse, broken hearts, suicide and murder. Her work attempts to make sense of the senselessness and brutality of this world.</i></span><br />
<span style="font-family: Verdana, sans-serif;"><i>In this interview jasmine speaks to ARI Remix researcher and artist Paul Andrew about her archive and her direct and active participation and engagement in the diverse artist-run culture scene in Brisbane and Sydney, Australia during the 1980's.</i></span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Late 1970s and early 1980’s Queensland/Brisbane social history, what sort of world was this Queensland for you?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">In the 70’s I was still attending school, graduating in 1980, so my experience of Brisbane’s art scene was confined to a somewhat sheltered typical teenager life at this time. I was raised in a homophobic, racist, misogynist, conservative suburb in Brisbane’s north steeped in the on-going culture of the ‘tall poppy syndrome’.</span><br />
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<span style="font-family: Verdana, sans-serif;">I had learnt from a very early age that to shine or excel is a very dangerous thing. And to be different in any way is social suicide. So I hid my academic successes and my magical overseas experiences afforded me by my traveling family.</span><br />
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<span style="font-family: Verdana, sans-serif;">My parents took me to London in 1979 for a vacation, where I experienced the Punk and Skinhead cultures for the first time. They took me to see Lindsay Kemps’ ‘Flowers’, a stage adaptation of Genet’s, ‘Our Lady of the Flowers’.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was a naive 15 year old, with no understanding of the true meanings of this performance, but I was truly mesmerized. What an incredible gift my parents gave me, to witness Lindsay Kemp in the flesh.</span><br />
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<span style="font-family: Verdana, sans-serif;">An equally compelling experience was almost being mugged by skinheads on the London Underground on the way back from this show. I was amazed by their aesthetic, unknown in the suburbs of Brisbane at that time, shaved heads, and bovver boots.</span><br />
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<span style="font-family: Verdana, sans-serif;">This introduction to Punk/Skinhead phenomena was mixed with terror as I watched them eye my mother’s handbag and felt the energy of intended violence. Although, having being brought up in the Australian suburbs, I was unfortunately accustomed to being in a state of hyper vigilance of potential male violence.</span><br />
<span style="font-family: Verdana, sans-serif;">I had learnt from a very early age that to shine or excel is a very dangerous thing. And to be different in any way is social suicide. So I hid my academic successes and my magical overseas experiences afforded me by my traveling family.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Punk Consciousness when how and where did that begin for you in Brisbane?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">Also in that year a new girl came to school with short red dyed hair. I remember her carrying around a copy of an Iggy Pop album, his incredible wiry naked torso against an all-white cover. Punk was slowly making its way into Australian society and my psyche.</span><br />
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<span style="font-family: Verdana, sans-serif;">I completed High School in 1980 and in 1981 I went to Queensland University to study subjects that my parents decided would be appropriate for me so as to make a living in the future. My heart however was with art.</span><br />
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<span style="font-family: Verdana, sans-serif;">Although my father had a darkroom in our house and had taught me how the develop and print Black and White photos, when I was aged six, I began photographic classes as an extra curricular activity.</span><br />
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<span style="font-family: Verdana, sans-serif;">I joined the theatre and filmmakers groups at Uni. I remember creating a dance to the Moody Blues’ song “Every Good Boy Deserves Favour”, having had studied classical ballet since I was five years old. After having spent weeks choreographing this performance, the director, who is now a very famous theatre director in Australia, was incredibly rude to me and I walked out. This was my first lesson in learning that a disrespectful and rude nature doesn’t impede a person’s climb to fame, in fact it seems it is a necessary component in making it to the top. Living in the Art World has thickened my skin but not dulled my memory.</span><br />
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<span style="font-family: Verdana, sans-serif;">In hindsight attending twelve years of school was a total waste of time for me. The only valuable thing they taught me was to read.</span><br />
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<span style="font-family: Verdana, sans-serif;">My real education began when I met a girl, we shall call X, in my first year of University. She had been a punk, way ahead of her time in Brisbane culture. She introduced my to the world of underground music, literature art and film. We would see foreign movies at an art house cinema in Windsor, The Crystal. We attended the New York Underground Film Festival held in a little office-like projection room somewhere.</span><br />
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<span style="font-family: Verdana, sans-serif;">X educated me in the music of Patti Smith, the Sex Pistols, Lou Reed and the Velvet Underground; Andy Warhol’s Factory scene and learnt about the lives of Jayne County, Edie Sedgwick, Taylor Meade and the Factory habitués. I would attend shows and exhibitions at a theater in Edward Street where the Blunt Focus Cinema Collective was housed at the time. The theatre also there in the then Community Arts Centre. One of the highlights for me was Edward Albee’s “Who’s Afraid of Virginia Woolf” performed, as originally intended, by all men, with Luke Roberts (http://lukerobertsartist.com) as the incredible Martha.</span><br />
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<span style="font-family: Verdana, sans-serif;">I volunteered at night as a dresser at the La Boite theatre in Milton and met Michelle Andringa, a Brisbane based visual and performance artist. Through Michelle I met number of artists, many of whom were connected to the Architecture School of Queensland University, it was a time when there were many cross overs between ‘schools’, the Q scene was very active, the Student Union, Activities, 4zzz radio was located there at the time and was a voice of dissent. Michelle and I continued our friendship when we both moved to Sydney.</span><br />
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<span style="font-family: Verdana, sans-serif;">My memories of this period are very spotty. It was thirty five years ago and I have trouble remembering where I put my coffee one minute ago. But these are the memories that remain:</span><br />
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<span style="font-family: Verdana, sans-serif;">Attending a performance of the Go-Betweens at an amazing Brisbane venue, which was a pool in Spring Hill, The Spring Hill Baths. Alcohol and swimming pools a dangerous mix! but I don’t believe anyone drowned that night.)</span><br />
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<span style="font-family: Verdana, sans-serif;">Listening to 4ZZZ radio. The Home of Punk and the punk band scene, The Riptides, Plug Uglies, The Leftovers, and Halfway.</span><br />
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<span style="font-family: Verdana, sans-serif;">Seeing The Saints somewhere. An interesting note is that Artist Linda Dement, a mainstay of Cyberfeminism in the early 1990’s, who I hadn’t met yet, was in the Saints’ ‘Temple of the Lord’ music video.</span><br />
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<span style="font-family: Verdana, sans-serif;">Watching The Sunny Boys somewhere, Noosa maybe?</span><br />
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<span style="font-family: Verdana, sans-serif;">I attended parties in a line of terrace houses near William Terrace, these terraces were squats from memory. These events were filled with artists and musicians and the outsiders of society. It was fascinating to me as I was still very sheltered despite my early excursions into the alternative lifestyles of Brisbane in the 1981-82 period. There was a raw energy I was experiencing that was new to me. I couldn’t quite name it but I longed to live full-time in this world. The energy was of course, Creative Energy. It lit me up.</span><br />
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<span style="font-family: Verdana, sans-serif;">I filmed my first music video for a band at UQ, but now, looking back, I can’t recall their name.</span><br />
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<span style="font-family: Verdana, sans-serif;">Frequenting nightclubs in the Valley, when it was like New York’s Time Square or Sydney’s Kings Cross in the 70’s. I have vague recollections of dancing at The Beat, Hacienda Hotel, the Silver Dollar, Terminus and the Wickham Hotel. It was a dangerous area but I had no fear because, as I said before, I was already trained to endure the danger of living in Brisbane’s suburbs.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was also oblivious to the criminal underground taking place there. When I was still attending high school I would frequent a cinema next to The Valley train station, The Valley Twin. With my best friend we would watch The Rocky Horror Picture Show over and over again. We had no idea we were walking through a red light district to get there. The Bathhouses, Bubbles, the secret places.</span><br />
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<span style="font-family: Verdana, sans-serif;">Punk entered my life in full force when I moved to Darlinghurst, Sydney in 1983. That’s where I met my soul mates. Punk is the great evener. No one cared what gender or sexual orientation or race you were. Punk encompassed and embraced all the outsiders of the world. If you had been an outsider in school, this is where you were an insider. The whole world should adopt this tenet of Punk.</span><br />
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<span style="font-family: Verdana, sans-serif;">Seeing The Saints somewhere. An interesting note is that Artist Linda Dement, a mainstay of Cyberfeminism in the early 1990’s, who I hadn't met yet, was in the Saints' 'Temple of the Lord' music video.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">The Bjelke Peterson Regime, “The Police State” – the oppressive political backdrop, the state sanctioned vice and corruption you touch upon now: Tell me in some detail about this political climate in Queensland during the late 1970’s and early 1980s?</span><br />
<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">My parents weren’t politically conscious people, so my life growing up entailed other perceptions of the world. I have always been somewhat introspective so the political climate of the day made no impact on my young soul. I just went with the flow of what was happening politically in my world. My parents were my immediate Prime Ministers!</span><br />
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<span style="font-family: Verdana, sans-serif;">My focus was directed to the inner landscape of pain, since that is all I really knew. I was born into the Jo Bjelke Petersen Regime so I didn’t know anything that existed outside of this. The only impact changing governments made on me, was their different directives on arts funding. For example, when Bob Hawke came to power he instigated funding programs for women artists and filmmakers, which afforded me the opportunity to participate in the Premier’s Department programs, Technical Girls Collective and receive grants from the Women’s Film Fund of the Australian Film Commission when I was squatting in Darlinghurst. </span><br />
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<span style="font-family: Verdana, sans-serif;">I was more impacted by the endemic nature of misogyny and of male violence towards women, more than the prevailing Government at that time.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Tell me in some detail about what you witnessed of colleagues who were gay, lesbian or trans, what you witnessed about their ordeals with coming out and the oppression and prejudice you and they experienced in the Bjelke-Peterson Police State during this period?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I lived in a bubble. I was totally unaware of gay politics and oppression until later on when I lived in Sydney and matured and became more conscious of the world around me. I remember a boy in primary school calling me a ‘lesbian’ as a derogatory term. Neither of us knew what it actually meant. I called him a ‘lesbian’ back. And then I learnt that to be a ‘poofter’ was one of the worst sins in the world. All I knew was that all the abuse I received was from heterosexual males. Gay men don’t drive around in cars dragging young girls off the street and gang raping them.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was recently shocked to read that homosexuality in Queensland, the sodomy laws the Labour Goss government changed in 1990 after the Bjelke Peterson regime, still apply. And I believe Gay Marriage is still illegal in Australia. I can see that the homophobia of Australian culture hasn’t changed one little bit. It’s 2015. This world bewilders me. Thank God I live in New York City, a melting pot of different sexual orientations, races, genders, religious and non-religious beliefs. No one here cares if you are gay, straight or otherwise.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Tell me about these direct lived experiences around Bullying, Brutality, and Violence while living in Brisbane?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">School was a war zone. Boys were hitting me on the head when I was five years old in Infants School. I was sexually assaulted by a stranger at six, on my way home from school. The boys at both Primary and High School were constantly grabbing at me. I remember the Keperra Gang racing around terrorising girls in the suburbs. Sexual assault is the normal socialisation of the girl child in our society. One in three girls, and one in five boys, are sexually assaulted by a male family member before the age of 18.</span><br />
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<span style="font-family: Verdana, sans-serif;">I believe these statistics are low in reality. I made art about this for years. But nothing changes. And it got worse when I left school. A Taxi driver drove me to isolated part of the city one night, when I was coming home from a club in the Valley. There are too many incidences for me to recall, nor do I want to recall them. These experiences formed the core subject matter of my Art-making.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was asked years later to participate in an exhibition about the murder of Anita Corby. The horror of the brutal rape and torture of a woman walking home in the suburbs from the train station resonated so profoundly within me. I could have so easily been Anita Cobby, many times over.</span><br />
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<span style="font-family: Verdana, sans-serif;">And of course one of the male artists asked to participate in this exhibition About Anita, chose to paint the perpetrators. So predictable. He wanted attention for being controversial, he got it.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Kinship: By way of a brief biography of your immediate family background?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I grew up in the suburbs of Brisbane into what one would term, a lower middle class family. My father was an artist, but chose to take a job in the Government to support his family. He was a photographer and a filmmaker (Super 8 filmmaking which was popular in the 1960s and 1970s), home movies were big and experimental filmmaking at home too, and my father liked film techniques like superimposition and printed his own Black and White photographic work in a darkroom he had set up in the back room.</span><br />
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<span style="font-family: Verdana, sans-serif;">In my childhood he would make Super 8 films of me acting out fairy tales and nursery rhymes. He also filmed New York in 1968 on a vacation there and I don’t know where the footage is. Super Eight film has left a wonderful impression. I remember it to be an amazing visual slice of New York street life, a treasure chest that I have since lost.</span><br />
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<span style="font-family: Verdana, sans-serif;">His creativity was also manifested in entering competitions with magnificent elaborate three-dimensional entries. He won many things over the years, many vacations overseas and weird objects.</span><br />
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<span style="font-family: Verdana, sans-serif;">Dad had long wanted to work in television and took me to many films in the beautiful old theatres of Brisbane, The Boomerang, The Regent, they all had great names. He would also take me to Arthouse cinemas and so I was introduced at a young age to the outside cultures through cinema. He was also a big traveller and adventurer, taking us to exotic places, Timor, the Pacific Islands, Europe and USA.</span><br />
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<span style="font-family: Verdana, sans-serif;">One of my fondest memories is driving over a hill and suddenly seeing the Manhattan skyscrapers. I was fifteen years old and totally mesmerized. This was in 1979 when New York was a dangerous place to visit and certainly not tourist friendly. I fell in love with that city right there and then. He took me to see the Broadway show, Dancin’. I stood over the subway grates like Marilyn Monroe and was absolutely thrilled.</span><br />
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<span style="font-family: Verdana, sans-serif;">I remember music being everywhere. It’s the same today. The most talented musicians in the world perform on streets and in the subways. Music blares out from cars and apartments. I am so grateful to my father for giving me such precious gifts. I had a life long dream of being an artist in New York City, and here I am. Thank you Dad and Mum.</span><br />
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<span style="font-family: Verdana, sans-serif;">One of my fondest memories is driving over a hill and suddenly seeing the Manhattan skyscrapers. I was fifteen years old and totally mesmerized. This was in 1979 when New York was a dangerous place to visit and certainly not tourist friendly. I fell in love with that city right there and then. He took me to see the Broadway show, Dancin'. I stood over the subway grates like Marilyn Monroe and was absolutely thrilled.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Where there others, other than family members, whom you considered your significant kinship, circle, the gay scene for example?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">Punks were my family. Punks, artists, outsiders, the quiet ones sitting in the corner, the abused, the disenfranchised, anyone who wasn’t one of the ‘cool’ ones in school, the bookworms, the introverted, the damaged, the lost, the tortured bright ones, the loners, the depressed….</span><br />
<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Art Education- Self-taught to Higher Education: Tell me about your early adult arts training and education?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I began my creative life as a dancer. I studied classical ballet from five years old. When I left high school I started taking classes in modern dance and jazz. It was my dream to become a professional dancer.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was too tall for classical ballet as the boys needed petit dancers to pick up. But in modern dance I could be any height. I took classes at Kelvin Grove College and in the city. When I moved to Sydney in 1982 I began classes at the Sydney Dance Company under Paul Saliba’s tutelage.</span><br />
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<span style="font-family: Verdana, sans-serif;">I had also begun art classes at night so I could build a portfolio to apply for an art college. Because I had only taken academic classes in High school and University I had no concrete artwork. I knew I wanted to be an artist. It was in my blood but at age eighteen I was still discovering what medium suited me. I finally had to make a choice between dance and visual art. When I got accepted in to East Sydney Tech (Now the National Art School) I gave up dancing.</span><br />
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<span style="font-family: Verdana, sans-serif;">In the years 1983 and 1984 I went to night art classes in drawing and painting I also partook in a government funded project to teach young women how to make videos. This changed my life and led me to a life of a filmmaker. It was funded by Community Trans-Ed Program, Outreach-Randwick and the Women’s Co-ordination Unit (Video Section) of the Premier’s Department. It was supervised by Aquarius Youth Services in Darlinghurst. We made a video about unemployment for girls in school.</span><br />
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<span style="font-family: Verdana, sans-serif;">But I don’t think the Education department ever approved of it as it advocated creative unemployment…that was important for us at the time. Artist and Writer Barbara Karpinski was one of the members and I believe she went on to be a full time writer in the Arts world. From this group of girls we went on to be the Technical Girls Collective, and created a calendar and postcards and learnt many different art skills. I have shared some of these images here.</span><br />
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<span style="font-family: Verdana, sans-serif;">At East Sydney Tech I majored in painting but it was soon obvious that I had a predilection for photography. I do like the instant gratification of photography, as I could spend a year on a painting and still not be happy about it.</span><br />
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<span style="font-family: Verdana, sans-serif;">However my greatest and most profound education is always from other people.</span><br />
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<span style="font-family: Verdana, sans-serif;">I met Geoffrey Levy while I was at Technical Girls Collective. Geoffrey was an artist and a punk and one of the most amazing people I ever met. He introduced me to the work of Andre Gide, Jean Paul Sartre, Italo Calvino, Jean Rhys, Albert Camus, the Existentialists, Jim Carroll, and Herbert Selby Jr….. He taught me that everything was Art and that inspiration can come from anywhere, from a music video, a TV Show, a magazine article, a stranger you meet on the bus, not just an art gallery.</span><br />
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<span style="font-family: Verdana, sans-serif;">We spent magical months, making art, reading, writing, walking around Sydney, hanging out, going to nightclubs such as 45’s, Patches, the Exchange Hotel and Critter Canyon in Elizabeth Bay. And then Geoffrey killed himself.</span><br />
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<span style="font-family: Verdana, sans-serif;">My world fell apart and it took me a long, long time to recover from this loss.</span><br />
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<span style="font-family: Verdana, sans-serif;">But Geoffrey left me the legacy of making art to transmute pain. Another precious gift he gave me was introducing me to artist Linda Dement. I first met Linda sitting in the gutter in King’s Cross, having just got a tattoo of a blue dinosaur.</span><br />
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<span style="font-family: Verdana, sans-serif;">And it was this gutter meeting led to a life-long friendship and creative collaboration. Linda was my next wave of education. She introduced me to the writings of Anna Kavan, George Bataille, The French Feminists…. I participated in her production of experimental Super 8 films, and was the subject matter for her photography and book cover designs. In fact Linda is still educating me to this day. We have corresponded with each other since 1984 even when we lived in the same city. Linda still sends me new authors, and music and artists who she finds. She kept me afloat when I was in the pit of grief over Geoffrey’s death. And Linda keeps me afloat today.</span><br />
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<span style="font-family: Verdana, sans-serif;">In 1991, I was accepted into the Masters Program at University of NSW. I majored in photography and film. I made mural sized photographs, which I printed myself, with Linda’s help, in the gigantic darkroom they had in the basement. Thank God we are now digital!</span><br />
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<span style="font-family: Verdana, sans-serif;">I also studied video making, having the luxury of access to spectacular film and video equipment. In one of my classes after showing my film work, my lecturer asked a boy in the class what he thought about the work. His face was bright red and he said, “I’m thinking about how hard I would like to hit a ball with a baseball bat.” At one of my exhibitions in the art gallery there, a male left a death threat note on my work. …mmmmmm...</span><br />
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<span style="font-family: Verdana, sans-serif;">Geoffrey was an artist and a punk and one of the most amazing people I ever met. He introduced me to the work of Andre Gide, Jean Paul Sartre, Italo Calvino, Jean Rhys, Albert Camus, the Existentialists, Jim Carroll, and Herbert Selby Jr..... He taught me that everything was Art and that inspiration can come from anywhere, from a music video, a TV Show, a magazine article, a stranger you meet on the bus, not just an art gallery.</span><br />
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<br />
<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Tell me about the Technical Girls Collective in a bit more detail?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I can’t remember how I heard about the initial girl’s collective formed to produce a video. But it was certainly life changing. We were young and punk and wanted to make art.</span><br />
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<span style="font-family: Verdana, sans-serif;">Communication back then, was largely word of mouth on the streets and at parties and events. Margie Medlin was involved in this group as well. Margie became a well-known artist. All I remember about this time was the excitement of having found my soul group, and running around making art and dying my hair green. </span><br />
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<span style="font-family: Verdana, sans-serif;">I was living in a huge warehouse space on Oxford Street in Darlinghurst, a very different Darlinghurst to today. My room was a loft bed built over the stairs. It was hair-raising to get in and out of it. I had met friends who lived in the Alpha and Beta Houses in Newtown. They were squats which housed a plethora of artists who would hold events and happenings.</span><br />
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<span style="font-family: Verdana, sans-serif;">Our headquarters for these two collectives was Aquarius Youth Services on Burton St, East Sydney from memory, a little old workman’s cottage made of stone. It was mouldy, dank and dark and I had the time of my life in there making art with others.</span><br />
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<span style="font-family: Verdana, sans-serif;">We also used Darlinghurst CYSS, which housed art equipment and facilities. Creativity was alive and well in inner Sydney in the early 80’s. Many of the projects were funded by Government agencies. And sitting in that ghost-ridden workman’s college is where I first laid eyes on Geoffrey, who had come with to visit Margie Medlin.</span><br />
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<span style="font-family: Verdana, sans-serif;">Geoffrey changed my life. He was the most instrumental person in affecting my life as an artist. Art-making lives in your blood, it is a 24/7 job. It doesn’t matter whether one’s work ever gets into a gallery or not. It may never been seen by anyone, until twenty years after you die and someone finds a box of your negatives in a garage sale and makes a book out of them.</span><br />
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<span style="font-family: Verdana, sans-serif;">Some of the girls from Technical Girl’s Collective continued to meet and wrote a film script, which was funded by the Women’s Film Fund of the Australian Film Commission, “With Inertia”.</span><br />
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<span style="font-family: Verdana, sans-serif;">“With Inertia” was eventually screened on SBS and made it to Berlin Film Festival and Melbourne Film Festival. It was a surreal snapshot of life in Darlinghurst in 1983. We had a twenty two strong all female crew. Which was great that so many women were learning skills in filmmaking, but I found interacting with twenty two other people incredibly stressful.</span><br />
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<span style="font-family: Verdana, sans-serif;">I prefer to work alone or collaborate with one other person. Otherwise there are too many egos clashing at once. And everyone’s childhood wounds are bashing their heads against each other.</span><br />
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<span style="font-family: Verdana, sans-serif;">There were three other very important artist run scenes occurring at this time. Nothing was really established or named or categorised into a neat package as it is today, terms like emerging artists or ARIs were not as commonplace as they are today.</span><br />
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<span style="font-family: Verdana, sans-serif;">These artist-run spaces organically came together. The streets were the internet. The Oasis, where I lived for a time, was the old Women’s Prison, where East Sydney Tech was housed. It was a beautiful 1800’s mansion which a mini jungle in the centre of it. It attracted the artists and outsiders. Everyone was a practicing artist with elaborately decorated rooms. One German artist built his room to match the inside of a heart. I lived in a room that was the servant’s quarters. I painted it all dark blue to match my blue mood.</span><br />
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<span style="font-family: Verdana, sans-serif;">The Gunnery was in Woolloomooloo where Artspace now stands. It was a large squat with no electricity and filled with artists and punks. It had been an old Navy training building and housed a round theatre on the top floor. </span><br />
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<span style="font-family: Verdana, sans-serif;">I remember going to the bathroom, which was a series of bathrooms, under a foot of water and in complete darkness. The Gunnery was divided up with sheets and canvases and other structures as walls. Hellen Rose Shausenberger lived and performed there. She has since gone on to become a well-known performer and filmmaker.</span><br />
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<span style="font-family: Verdana, sans-serif;">I would attend punk bands performing in the old theatre, which consisted of screeching metal on metal and screams and candle light. Armageddon! Hellen later ran a gallery that had been a funeral home and was shaped like a casket, at which both Linda Dement and I exhibited in. Artist Juilee Pryor ran Art Unit in Redfern another significant and lively ARI, a performance venue, studios and printmaking, so many screen printed posters produced there.</span><br />
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<span style="font-family: Verdana, sans-serif;">The other ARI’s were Alpha and Beta houses in Newtown. I was a regular visitor there but have few recollections of it. I do remember seeing a performance of Butchered Babies’ there, a gothic punk underground performance group led by the beautiful Wendy. Wendy was one of the most stunning girls I have ever met, who I believe is now a teacher of circus acrobats. Sometimes they would hold parties in the abandoned subways in Sydney. I would take my saxophone and screech out ugly free flowing sounds.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">ARI collaborations aside, your “official” art school educators, visiting scholars or guest lecturer did they make an impact on you?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">There wasn’t any educator at any of these institutions who made any real impact on me. They taught me skills. They gave me an art school controlled aesthetic. It took many years to shake off my art school training boundaries. I needed to unlearn.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was mostly inspired by other artists, Geoffrey and Linda Dement in Australia. And the work of Lydia Lunch, Joel Peter Witkin and Nan Goldin here in the USA. And as Fate would have it, I am now collaborating with Lydia Lunch who brings such immense joy into my life, as a person and as an artist. And ironically Lydia Lunch’s photograph appears in one the pages of Technical Girls Collective’s calendar all those years ago.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Pop Culture?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I had no TV or phone or radio. No one did. I had no money to buy magazines.</span><br />
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<span style="font-family: Verdana, sans-serif;">I did have a turntable and would play Lou Reed over and over, The Blue Mask and Patti Smith’s Horses.</span><br />
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<span style="font-family: Verdana, sans-serif;">A couple of years ago I was smoking a cigarette outside a restaurant in New York and Lou Reed walked past me. He gave me a dirty look….hahahaha, I guess perhaps because I was smoking and he had given up. So I smiled at him and he smiled back. His music got me through a lot of pain in the 80’s so I was thrilled to have seen him in the flesh.</span><br />
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<span style="font-family: Verdana, sans-serif;">Popular culture most impacted me through films at the cinema. And via books from the library and from friends.</span><br />
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<span style="font-family: Verdana, sans-serif;">I’d spend endless hours researching Andy Warhol and everyone involved in his Factory scene. Edie Sedgwick entranced me.</span><br />
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<span style="font-family: Verdana, sans-serif;">Recently, I was fortunate to have met Bibbe Hansen, who was the youngest Andy Warhol Superstar and mother of Beck. She was a close friend of Edie, so I was able to get a first hand account of the true essence of Edie, and Andy and the other characters of this exceptionally creative time in New York City.</span><br />
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<span style="font-family: Verdana, sans-serif;">I remember seeing the film ‘Sid and Nancy’ at a beautiful old cinema in Sydney, which no longer exists. Most of the audience were in the bathroom smoking. It was incredible to see my sub-culture up on screen.</span><br />
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<span style="font-family: Verdana, sans-serif;">And finally Punk has made it to The Metropolitan Museum of Art in New York! That means punk is truly over. My opinion of Punk is that it began and died with Sid and Nancy in the Chelsea Hotel, although I know many people would argue with this. New Yorkers say Punk began with Jayne County and the New York Dolls and Malcolm McLaren stole it and marketed it back in London.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">And the idea and growing tendency of DIY in the 1980’s, a 1970’s punk tendency perhaps?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I was mostly rejected by the mainstream art world because of my subject matter, the sexual assault of women and children and the impact of these experiences on their lives. That kind of art isn’t a valuable commodity.</span><br />
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<span style="font-family: Verdana, sans-serif;">I saw a lecture by Lydia Lunch at Metroscreen in Paddington in 1997 the one she gave about NO-Wave films in New York City. She said: “Don’t wait for funding or approval by the powers that be, just make the work.”</span><br />
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<span style="font-family: Verdana, sans-serif;">Amazing and I have followed this advice ever since. Lydia has NEVER received funding by an Arts Body, neither has Penny Arcade. They just make the work.</span><br />
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<span style="font-family: Verdana, sans-serif;">I had received funding from traditional funding bodies, AFC, NAVA and the Australia Council, which I was incredibly grateful for. But my subject matter continues to be a major block in receiving funding in the last decade, or maybe it’s not that, maybe I’m just not a very good artist…hahahaha.</span><br />
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<span style="font-family: Verdana, sans-serif;">And I’m certainly dreadful in writing applications. I don’t have a grip on that kind of Art Language, so I’m doomed.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Tell me in some detail about your participation in the Political Theatre scene in Brisbane at La Bamba (late nights at La Boite, you mentioned La Boite a little earlier, Rock and Roll Circus and related theatres or performing arts groups at the time, perhaps?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">True, I volunteered as a dresser at La Boite Theatre in 81/82. I was still a teenager and didn’t know yet what route I wanted to take as an artist. I just wanted to be involved in the art world somehow. All I really learnt from this period is that some actors have huge difficult egos!</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">You mentioned that walking the streets in Sydney, and in London and New York as a teenager, was where you began many of your life long networks, tell me in some detail about the role share houses played for you at the time in terms of artist networks?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">For a while I lived with artist and performer Zoe Long in the Bakers Dozen in Darlinghurst. Zoe was a phenomenal creative talent and way ahead of her time. She performed in the gay bars on Oxford Street in the early 80’s.</span><br />
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<span style="font-family: Verdana, sans-serif;">No one knew if she was a girl or a boy.</span><br />
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<span style="font-family: Verdana, sans-serif;">Zoe dressed as Nosferatu day and night with a shaved head. On the few occasions when we were awake during the day and walking around, she would horrify passer-bys. Once a group of office girls were staring at her and saying derogatory things so she chased them into a building.</span><br />
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<span style="font-family: Verdana, sans-serif;">Once a little boy with a bald head from cancer treatment came up to her in the street and asked her if she had cancer too? She answered that she shaved her head because she liked it. His broad smile made our day.</span><br />
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<span style="font-family: Verdana, sans-serif;">I would photograph Zoe and attend all her performances. We were indeed vampires, living only at night. Other drag performers would visit the house and I would photograph them too. Madam Lash is another. They were all incredibly talented artists and lived day and night creating costumes and performances.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">The impact of HIV AIDs on you around this time?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I think AIDS was identified as a disease publicly in Australia around 1984. It had been a reality since 1981 here in NYC.</span><br />
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<span style="font-family: Verdana, sans-serif;">With HIV AIDS our world became like the Vietnam War. The carnage was traumatic and widespread. So many beautiful and talented artists died horrible and lonely deaths.</span><br />
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<span style="font-family: Verdana, sans-serif;">And we also had to contend with the barrage of public opinion and horror bestowed upon HIV positive people. Homophobia was rampant, not that it has ever disappeared from Australian culture, and the spectre of HIV AIDS gave homophobes license to be violent.</span><br />
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<span style="font-family: Verdana, sans-serif;">I have witnessed horribly violent incidences at the Sydney Lesbian Gay Mardi Gras parade. Things I wish I didn’t still have imprinted on my memory. I also remember gangs of heterosexual boys coming in from the suburbs and attacking gay men with baseball bats. I was attacked by skinheads on Oxford Street when I was just walking along with a female friend.</span><br />
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<span style="font-family: Verdana, sans-serif;">PA:</span><br />
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<span style="font-family: Verdana, sans-serif;">Your Pre Sydney Exodus: So many creatives left Queensland during this 1980’s period, for you it was the malevolent series of male violence and attack against women, where there other contributing cultural factors of this Bjelke Peterson regime era?</span><br />
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<span style="font-family: Verdana, sans-serif;">JH:</span><br />
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<span style="font-family: Verdana, sans-serif;">I also left Brisbane because I couldn’t deal with the extreme conservatism of that city. Also I was a teenager and wanted to leave home. I wanted to go to New York but instead I chose Sydney. It was absolutely the right move for me.</span><br />
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<span style="font-family: Verdana, sans-serif;">Within a short amount of time I found my soul mates, other punks and artists and musicians. A whole new world opened for me. I found people who accepted me for being me.</span><br />
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<span style="font-family: Verdana, sans-serif;">I was free of the judgmental nature of the people I went to school and QLD UNI with. I blossomed. We are social creatures and we all need somewhere to belong. And I found my society in Darlinghurst, Sydney.</span><br />
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<span style="font-family: Verdana, sans-serif;">Read more about Jasmine here ></span><br />
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.remix.org.au/interview-jasmine-hirst/" target="_blank">Jasmine Hirst - The Ephemera INTERVIEWS</a></span><br />
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-43348263774247118532015-05-25T03:47:00.002-07:002017-05-10T04:05:41.373-07:00ARI Remix Project - 1980-Now Australian Artist -Runs, Living Archives - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><i><span lang="EN-US">INTERVIEWS - is having a short break- meanwhile this is a related neglected histories project being researched now - in a sense this project is a prequel to INTERVIEWS- </span></i></b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><i><span lang="EN-US">Remix.org.au</span></i></b><i><span lang="EN-US"> – Stage One- The Queensland
Remix -1980-2000 Queensland Artist-Run Initiatives (ARIs) – Living Archives Project <o:p></o:p></span></i></span></div>
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<i><span lang="EN-US"><span style="font-family: "trebuchet ms" , sans-serif;">Stage One - The Queensland Remix, Living Archives, Artist-Runs 1980-1990 - Project Timeline: November 2012 – May 2017<o:p></o:p></span></span></i></div>
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<i><span lang="EN-US"><span style="font-family: "trebuchet ms" , sans-serif;">Stage Two - 1980 - Now </span></span></i><span style="font-family: "trebuchet ms" , sans-serif;"><i>The Queensland Remix, Living Archives, Artist-Runs (tba July 2017)</i></span></div>
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<i><span lang="EN-US"><span style="font-family: "trebuchet ms" , sans-serif;">The ARI Remix Project is a new collaborative and interactive
eresource mapping the unmapped diversity of the 1980-2000 Queensland Artist-run
initiative scene. Presenting the untold stories of the artists, co-creatives,
peers and cohorts who together built upon, extended and broadened the
foundations of the 1970’s experimental art scene.<o:p></o:p></span></span></i></div>
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<a href="http://remix.org.au/" target="_blank">ARI Remix Project</a></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-27954702031368618762015-03-24T15:28:00.000-07:002015-04-03T03:58:44.345-07:00Artist Barbara Campbell- ARI Remix- The Ephemera INTERVIEWS - A ROOM ARI- Qld 1984<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">Born in Brisbane 1961. Barbara Campbell currently lives and works in Sydney, Australia.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Barbara Campbell has performed in Australia, Europe and the USA, in museums, galleries, public buildings, photographs, on film, video, radio, and the internet, in silence and with words, still and moving, since 1982.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Barbara has been actively engaged in the research and development of the Arts and Culture Sector during this time in a number of significant roles including as Gallery Co-ordinator of the Institute of Modern Art (1982-83) and as an office bearer of the Qld Artworker’s Union which became the Artworker’s Alliance. During the 1980’s, Barbara instigated and worked with the A ROOM collective an influential six month Artist-Run Space located on the first floor of 446 George Street, Brisbane from June 18- December 18, 1984. In 2015 Barbara is due to complete her PhD at Sydney College of the Arts, University of Sydney researching how migratory shorebirds direct human performance. Barbara chats here about her active role in Artist-run culture and infrastructural activism in Queensland during the 1980's.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">____________________________________________</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">ARTIST INTERVIEW</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">January 23, 2015</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: 1980’s Queensland/Brisbane Social History: By way of a detailed personal snapshot, the milieu you experienced during the early 1980s as a young artist living, working, collaborating in Brisbane?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: For me, Brisbane was my youth. I was very art focused. I worked with art, studied it, read about it, made it, formed friendships and working relationships within it. I can’t remember doing anything that was ‘outside’ of it.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: The Bjelke Peterson Regime, “The Police State” political backdrop, what did this mean to you at the time?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: My awareness of the Police State came vicariously through association with people who were more directly political – students at University of Qld or volunteer staff at 4ZZZ that broadcast from UQ campus. 4ZZZ did great journalism, exposing not just conditions in State-run institutions like Bogo Road Jail but national issues such as Australia-Indonesia relationships over Indonesian territories.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Really, I was very naïve. I was middle-class and straight. I’d grown up naturalized to a political reality ruled by Bjelke Petersen with a one-house parliament in a one newspaper town. I was unemployed but working as an artist; I’d received a free education; had access to birth control and other health benefits, most of these thanks to the Whitlam government.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: A brief biography?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: I grew up in the country (Lamington, SE Qld) but went to a private boarding school in Brisbane from age 12. Both my brothers also went to private boarding schools so we siblings did not see a lot of each other. My own conception of my parents’ lot is that my father was a farmer who should have been an engineer and my mother was a city girl who should have been living and working in the city as a lawyer.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I think of them both as emotionally displaced but also aspirational through their children. They both had imaginative lives through books. My parents actively supported me to go to art school although my mother worried from then on about how I was going to make a living. There was a professional artist on my paternal grandmother’s side – a cartoonist for the Bulletin. All of this meant that I met with no resistance from the family to being an artist. It also meant that because I hadn’t really lived at home since 12 my emotional life and main influences came from friends and my partner during this time, artist Ted Riggs.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: An early artistic influences?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: Well one particular visiting artist certainly left an impression on my first year at Morningside TAFE where I was studying art in 1979: Dragan Ilic from Sydney. Ilic had been invited onto campus by some of the painting staff who were themselves artists. It seemed just an amusing distraction during our lunchtime. Ilic and later a couple of students stripped off and became canvases for audience members to draw on their bodies using coloured pens fitted into electric drills.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">The event had been videoed.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">We all went back to our classrooms in the afternoon. But that night, I guess word spread from students to (presumably outraged) parents, to media, to police. Overnight Bjelke Petersen’s Vice Squad raided the homes of some of the lecturers who’d been present, looking for the video recordings of the “nude” performance.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">The tabloid press had a field day. It would have been nasty for the staff and to make it worse, they were not supported by the head of school. In the wash-up to that event, all the professional painters resigned their positions en masse and the head of school refused any further outside visitors onto campus. But rather than agitate or leave, I moved from the painting to the printmaking department and found an alternative education outside that institution through the activities at the IMA.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: Pop Culture- Tell me about the popular culture that mattered to you during the eighties?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: I seemed to spend a lot of my life at the IMA or hanging out with other artists. I was doing a part-time art history degree at UQ during my final year at IMA (1983) and the year of A ROOM (1984). I spent some time at the Student Union’s Activities unit at UQ where Brian Doherty ran the screen-printing department. So the graphic arts aesthetic that ran through there was an important part of my cultural landscape. The “only gay in the village” I had significant contact with was Luke Roberts who was still running his vintage shop in the Brisbane Arcade. I wasn’t part of the live music scene.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: The Red Comb House Precinct: Tell me about the confluence of artist studios, exhibitions, performance art and events circa 1981-1984?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: My memory of the timelines is a bit shaky here. I don’t remember when Red Comb House started. Maybe it was the same year as A ROOM (1984). But in any case, although they were geographically close by in that Roma Street area of the CBD, I can’t remember showing work there (although the archival evidence suggests otherwise). I didn’t have a studio at Red Comb House because my studio was already set up in the A Room building.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: Earlier experiences or memories of ARIS, local, interstate or overseas?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: I was pretty aware of what artists were doing in Sydney, not just the work they made but the way they made it, the lives they led that created the circumstances for art practice.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">My perception of it was that shared studio complexes led to artist collectives which led to the ARIs. All of these things share an ethos of collectivity which appealed to me hugely. I think in Brisbane, where it was hard to get critical mass for any kind of alternate action, the model of the collective was essential. The only artist-run project I remember prior to Janelle's One Flat Exhibit was John Nixon’s Art Projects run from his flat in Spring Hill. It wasn’t really an open space though. John invited whomever he liked to show there and visit.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: And the One Flat Exhibit in the early 1980’s?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: Prior to Red Comb House, I’d been involved in One Flat Exhibit - Jeanelle Hurst’s first ARI in her flat at Edmonstone St, South Brisbane. During my last year at art school (1981), she and I both lived in flats in that terrace house. I did one or two performances there. One Flat Exhibit became O’Flate when it moved into the shop front space in the city. I was probably working at the IMA at that time.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I did a couple of performances with Ted Riggs at One Flat Exhibit.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I’m not sure if I knew to call them performances. We called them actions. They were very simple. In one I made up my face using Ted’s highly reflective sunglasses as a mirror. We had to sit very close to each other. In another, I think we were in underwear facing the audience, each of us alternately reciting “I have slept with [say a common given name]” and because we just kept going, pretty much everyone in the audience got named. Yes, it seemed to be about sex at that time – another reflection of my youthful state (disarmingly heteronormative too). Gay culture, let alone queer culture, was yet to make a claim on the Brisbane art scene…AIDS likewise.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: The Institute of Modern Art: This year marks the 40th year anniversary of the IMA, tell me about the role the IMA played in your personal experience towards the development and promotion of what in turn became an ARI scene in Queensland?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: In 1981 I’d graduated from a conservative art school (Morningside TAFE) in 1981 without any sense while I was there that there was any correlation between going to art school and becoming an artist. That awakening—the idea of becoming an artist—only happened in the parallel education I sought out through my association with the Institute of Modern Art.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">At the time, the IMA was run by an artist, John Nixon, who used his own personal contacts with other artists to build a program of (mostly) solo exhibitions by contemporary artists from elsewhere (with the exceptions of Robert MacPherson and Hilary Boscott-Riggs).</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">During John’s time, the IMA was a real precursor to the ARI model in the sense that it was artist-run. It was only in about 1984 that the Visual Arts Board changed the model for spaces like the IMA by insisting that boards professionalise the position of Director and become VAB-funded “flagship” spaces in their respective states.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">It led to centralised homogenization and less scope for local responsiveness. But between one model and the next there was the hybrid model that (my partner) Ted Riggs proposed as IMA board member. It was a program of guest-curated exhibitions in 1982 and 1983 which I oversaw as part-time gallery co-ordinator.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">By not having an in-house director-as-curator, my role was broadened to institute or guide an ancillary program that would boost the level of critical dialogue amongst artists in Brisbane and between those artists and visiting artists. That program included reading groups (using the IMA’s considerable art journal collection), film groups (initiated and run by Brian Doherty using the NLA’s film collection); artist lectures; performance and video workshops; Artworkers Union meetings, etc. I think about that program now, the amount of (mostly unpaid) hours I put into it, how casualised the labour was (both the IMA secretary, Joan Sherriff, and I had to go on the dole during the two months of exhibition down-time each year) and I realize that it utterly depended on youthful energy. When I left the IMA I transferred that same energy, local networking and economic precarity to being an artist and setting up A ROOM.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: A Room in 1984 (the year of the eponymous George Orwell novel) – Tell me about how A ROOM came about?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: The structure of it was pretty much my design. I wanted it to be as manageable which meant cutting down as much as possible on administrative tasks in order to have more time for art-making. This meant that it wasn’t the open model of most ARIs at the time or since in which an ever-widening circle of artists were included in the program.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">A ROOM had a limited time frame of six months that matched the 6 month lease and during that time there would be one group show and one solo show for each of the seven members of the collective. We all shared the minding of the space but the gallery was only open two days/week because again, no one wants to spend all their time in a rarely visited gallery not being paid. We all shared in the rent and other associated costs and could even opt to pay those costs on a $5/wk basis.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">These were the days when parts of the CBD were pretty shabby and untenanted, when the cost-of-living was low and the dole was not heavily policed. It was pretty fabulous.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: Infrastructural Support-Tell me about the measure of support, patronage and interest from established Brisbane/Qld galleries, networks or institutions you witnessed during the early to mid 1980’s?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: The networks that I’d brought with me from the IMA; from my time as a student in the Art History Dept at UQ and through friendship circles all helped to sustain A ROOM. There were some very good institutional people around who understood contemporary art culture. I’m thinking particularly of Jenny Harper at QAG, Cassie Doyle at SLQ, Nancy Underhill at UQ, Marguerite Bonin at Griffith Artworks and Nicholas Zurbrugg at Griffith Uni.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: Exodus: During the 1970’s and 1980’s many artists across many arts and culture platforms left Qld for interstate or overseas, tell me about your experiences around this mass exodus of Queensland arts workers?</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: There were two main factors that led to Ted and my departure from Brisbane at the end of 1984. The first was that Ted was on a path to self-realisation. In a short period of about two years he’d gone from being on an invalid pension due to crippling dyslexia to being treated for that dyslexia and then receiving government assistance to enroll in an undergraduate degree at Sydney College of the Arts so Sydney was our trajectory. Coupled with that was a sense that we’d done all we could in Brisbane. We needed to be somewhere bigger.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">PA: Tell me about your early photographic work, "Portrait of the Artist as a Young Man", 1983</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">BC: That is funny, given what I said about the lack of gay/queer culture yet there was I queering myself back in 1983. That photograph was taken by a young photographer named Laura McLeod for an exhibition at the IMA called "No Names" in which none of the exhibiting artists, all local, would be credited by name either in the show or in the catalogue.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">I called the image “Portrait of the Artist as a Young Man” so the impetus was literary rather than gender-politics, although I think I was somewhat aware of all the codifications of power including gender, whiteness, Europeaness, bourgeois entitlement, higher education and so on.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">At around the same time as the show, I noticed the Offset Print place near the IMA had a special offer on where they’d print any colour for the same price as black. So I had a series of postcards made, printed in ‘sepia’ and just distributed them freely to friends.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">That 1983 postcard would be the first in a series of 25 annual portrait cards, each taken by a different female friend, the series ending with a group portrait of me with all the photographers on my 50th birthday.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">ABOVE: A ROOM Opening Poster, Artist Designer Brian Doherty in collaboration with artists Barbara Campbell and Ted Riggs, 1984 ( Courtesy QAGOMA, ARI Ephemera Collection)</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">ABOUT; REMIX.org.au</span><br />
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<a href="http://theqldremix.blogspot.com.au/" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">Read the behind the scenes blog about R and D for The Remix Project here:</span></a><br />
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<a href="http://www.remix.org.au/" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">Follow the development of The Remix Project here during 2015-2018</span></a><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<a href="https://www.facebook.com/groups/451268288264701/" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">And if you are an artist directly involved in Artist-run culture in Queensland during 1980-1990 please join our social media open group study and R and D pages here:</span></a></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-15171415198611473112015-03-08T03:30:00.001-07:002016-08-01T23:12:05.205-07:00Photography + ARI Remix Project + Writing + Paul William Andrew Artist<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivO91gEYVBhqd5j8pYylI-TWwQfXG-ekpgebJYo-vMN2fcNzy533pavoOXYObVfbwhNWTE2IOJBebNWE6T7ZlMhd1BDxSuM-Idq9yKDlIYR8TAQfMVIfMsw_NVsbUF6S7Ef52k2g/s1600/016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivO91gEYVBhqd5j8pYylI-TWwQfXG-ekpgebJYo-vMN2fcNzy533pavoOXYObVfbwhNWTE2IOJBebNWE6T7ZlMhd1BDxSuM-Idq9yKDlIYR8TAQfMVIfMsw_NVsbUF6S7Ef52k2g/s1600/016.jpg" width="400" /> </a></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Thanks dear INTERVIEWS readers for following my blog over the past nine years I am truly grateful for your attention. </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">This year I am currently working on my photomedia art - and slowly building my artist website.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">I am also working on my autobiographical flash writing... </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">- and -</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">I am currently researching "The Queensland Remix- Queensland Artist-Run Culture 1980-1990- A public archive transmedia project. A selection of interviews from this project will be posted here for your reference.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">You can read a few examples of my flash writing here:</span> </div>
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<span style="font-family: "courier new" , "courier" , monospace;"><a href="https://open.abc.net.au/people/14087" target="_blank">ABC Open - Artsmedia</a></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">You can see some samples of my art since 1984 here:</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><a href="http://www.paulandrew.com.au/" target="_blank">Paul Andrew + Photomedia Artist</a> </span></div>
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<span style="font-family: "courier new" , "courier" , monospace; text-align: justify;">And if you are interested in Artist-Run Culture you can follow this public archive as we grow and build it. This project is funded by the Queensland Government through Arts Queensland. You can visit the principle web site and its links to artists independent web sites here. This project is in development now from April 2015 - April 2018.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><a href="http://www.remix.org.au/" target="_blank">ARI Remix</a> </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">There is a blog about the behind the scenes work for the remix Project beginning in April 2015 here:</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><a href="http://theqldremix.blogspot.com.au/" target="_blank">The Queensland Remix</a></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">And if you were an active member and/or peer of the lively Queensland/Brisbane/Australia 1980-1990 Queensland Artist-run space scene and would like join in the research and shared archival journey please visit and join the Remix Collective here at our social media open group study research and reconnect pages, it is this social media group that has in turn produced a remix cohort since the group began in November 2012:</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><a href="https://www.facebook.com/groups/451268288264701/" target="_blank">1980-2000 Queensland Artist-run culture - Social Media Open Group</a></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Have a great year. Thanks again for your attention :)</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Best,</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Paul</span></div>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-91355112004900200602014-10-30T00:23:00.001-07:002014-10-31T01:09:54.002-07:00Twelve + 3 - Northern Rivers Community Gallery Ballina - Curator Julie Barratt - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy7nvgwFfdQHzPP3khNNhs5WVfinfr9Y2dkPPqsUUX2zM_Vl6vaRTSJcBn0dJf4olFgQKJA6NB8f5-RYzyklACl-D7K7xJUU7DYVndqkGB4qwWAZDpzZnc8WRDhRCz6mrRuu7Oxw/s1600/DSC07828.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy7nvgwFfdQHzPP3khNNhs5WVfinfr9Y2dkPPqsUUX2zM_Vl6vaRTSJcBn0dJf4olFgQKJA6NB8f5-RYzyklACl-D7K7xJUU7DYVndqkGB4qwWAZDpzZnc8WRDhRCz6mrRuu7Oxw/s1600/DSC07828.jpg" height="266" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Curator and Co-coordinator at Accessible Arts NSW Julie
Barratt chats to Paul Andrew about a new exhibition opening this week at Ballina's Northern River's Community Gallery, about artists living with disability and the politics of disclosure.
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Julie I understand you began working on this exhibition almost two and a half
years ago?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">True, I work for Accessible Arts NSW, the peak body for arts
and disability in NSW. Two and one half years ago AARTS received funding from
Community Builders to establish the Creating Connections program working across
the North and Mid North coast regions of NSW. As the manager of that project
the aim of my role was to establish networks for artists with disability across
the regions and assist them into mainstream opportunities wherever possible. It
wasn’t long before I realized what a huge pool of talented artists there were
out there and the idea for a regional exhibition was seeded very early on in
the project.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And Twelve + 3 is also about supporting artists who rarely
get an exhibition opportunity like this?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Yes, and initially it was really about supporting artists
who hadn’t otherwise had the opportunity to exhibit at this level before
because of all sorts of reasons, social isolation, distance, transport, lack of
opportunities, the list goes on. Then there were artists who were working at a
professional level and quite established in their careers but who hadn’t
previously been supported or highlighted by Accessible Arts. The diversity of
cultural practice only really became apparent when we started to put all of the
works together!</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And initial interest aside, how did Twelve + 3 get “legs”?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I wanted the exhibition to be big. I wanted to mentor all of
the artists, get them all a website, foster their careers and so on. I always
have a big vision. I approached Peter Wood (RADO Arts Northern Rivers) to see
if he was interested in collaborating on the project. </span></div>
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He said ‘yes’, we submitted a grant application but were unsuccessful so we
continued on anyway with a slightly less ambitious version of the project. I
was blessed to have Zoe Robinson-Kennedy (Communications Manager with Arts
Northern Rivers) come on board as the co curator of the project.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">The exhibition title is intriguing?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I work across eleven council regions so initially the idea
came from the thought that I could have one exhibiting artist from each region
but as time went on and the process unveiled a bit more with Zoe from Arts
Northern Rivers coming on board we made the decision to select a body of work
from artists who best represented that diversity that you speak of so ended up
with twelve artists. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">In my position I also work with supported studios across the
region in diverse projects including facilitating workshops, helping with
marketing, promotion and it was important to also showcase some of the more
collaborative work coming out of the supported studio environment. So that’s
where the three came from; three supported studios.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRpFs479PG40qPdIzvlknT32JsJtz1GXMrc22gY6kx_fitpkoEN6R_fvqYf2pBBN1TnfJYIEeWzM3bq7C-8aUO5eWn8D3WS2KISqg7WbwZgvV4hQItgfpXTi6AezUkuzJ7FfOag/s1600/DSC07834.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRpFs479PG40qPdIzvlknT32JsJtz1GXMrc22gY6kx_fitpkoEN6R_fvqYf2pBBN1TnfJYIEeWzM3bq7C-8aUO5eWn8D3WS2KISqg7WbwZgvV4hQItgfpXTi6AezUkuzJ7FfOag/s1600/DSC07834.jpg" height="266" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And the twelve artists, what were some of your guiding
principles, motivations and selection criteria?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Essentially, that the artist had to have a lived experience
of disability. There are so many fantastic artists working across this region
that we really wanted to highlight some of those artists who Accessible Arts
hadn’t previously supported or exhibited. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">There was also a sense that we needed to show work across
genres so that we now have glasswork, ceramics, painting, collage and works on
paper in the exhibition. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">We were very keen to mentor a few of the artists in the
exhibition as well so these artists were very much supported through the
process in terms of their materials supplied, several meetings with these
artists to discuss the work and what we were actually looking for from the
works themselves. Similarly with two of the supported studios we worked very
closely with the two artists managing those studios, visited the studios, and
discussed the work that we wanted for the exhibition so it was very much about
a collaborative process.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4M9Kl0PmjxFfdn5OKYbzzYRe4oO3SXSwmMgmJ3RS1DX1Ud2esH0eXVQAMOGA2gf_RSldm3D_rEbnvLyZsSqCXyL4aUyyINAmR12944tJj4C5-IYia5NObDxv5GYKcZZbYCEI4g/s1600/DSC07833.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4M9Kl0PmjxFfdn5OKYbzzYRe4oO3SXSwmMgmJ3RS1DX1Ud2esH0eXVQAMOGA2gf_RSldm3D_rEbnvLyZsSqCXyL4aUyyINAmR12944tJj4C5-IYia5NObDxv5GYKcZZbYCEI4g/s1600/DSC07833.jpg" height="400" width="266" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Damien Conte is one of the younger artists in the
exhibition?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Yes, that's right and I met Damien Conte very early on in
the Creating Connections project. I was contacted by his mother Cheryl and
clearly remember going into Damien’s home for the first time and seeing
incredible, vibrant, quirky, contemporary paintings. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">There were paintings on every wall, stacked against the
wall, all throughout his garage studio and several in progress. Damien is
autistic and has very little verbal language but his works had such a strong
narrative going on. Damien uses text in his work and will often write around
the edges of his canvasses and that intrigues me. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">The other thing I love about his practice is that he often
changes his signature with each new body of work so over the past 2 ½ years I
have seen Damien’s work signed Damien, Damen, Planet, Lifeworks and at one
point Jack Johnson. Damien’s repetitive patterning, his bold use of colour and
personal narratives are common themes within his works.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And Brook Walker is another younger artist in the mix?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Young indigenous artist Brook Walker works out of the
Jambama Indigenous art centre in Casino. The centre have a great commercial
gallery space and it was here that I first saw Brook’s work exhibited on the
day I went out to Casino to meet Brook for the first time. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">While I was waiting for Brook to arrive I was looking
through the gallery and there was a particular painting that caught my eye.
Painted in blacks, yellows and ochres the painting possessed a similar
aesthetic to Damien’s work in its patterning and elements of whimsy. Certain
animal totems are repeated in Walker’s work such as the owl, that speak to us
about the artist’s inner world and belief system that I find intriguing and
naively beautiful.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Anyway I was looking at this painting (not knowing that it
was one of Brook’s) and just knew that I had to buy it. So I did, and then
Brook walked in and asked what I thought of his work. I like the artist as much
as his work. Brook Walker, a Bundjalung man who lives with disability, is a
self-taught artist who has been painting since childhood. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Damien is also a self taught artist and perhaps the fact
that their work is unadulterated by academic instruction or traditional
influence is what I find so refreshing and unique about these two artists work.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Twelve +3; the big vision you mention?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Accessible Arts vision - and it’s a vision I share - is a
society in which people with disability can contribute to and fully experience
the arts and cultural life. It’s about inclusive practice so touring this
exhibition and basing it in a major regional gallery as a first exhibit was
very important. It is about the artist first and foremost and about the work
these artists are making.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And there are other artists like Brook working with
indigenous subjects, themes and concepts?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Two of the Indigenous artists involved in the exhibition,
Mabel Ritchie and Lewis John Knox, are represented by the Dunghutti Ngaku
Aboriginal Art Gallery in Kempsey and both attend a local disability workshop
known as ‘Life skills’ where they paint. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Mabel’s beautiful works are based on the local flora in her
region and her attention to detail and pattern is extraordinary. Mabel has some
difficulty with communication and struggles to make herself understood, however
through her painting she speaks volumes. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Johny has been interested in painting since he was a small
boy with cerebral palsy and polio. The church makes a regular appearance in
Johny’s narrative works but he depicts the church not so much in the religious
sense but as a regular gathering place. Johny and Mabel both grew up on
missions. Johny paints stories – what he saw on the way to school, family
gatherings, church going, they’re observational in character.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I am now trying to imagine an ordinary day for you Julie
during this long development period?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">An ordinary day would always involve driving. With the
artists spread out over a 600 km region from Damien at Cabarita Beach in the
north to Claire who is based in Taree, then west to Casino as well the artists’
studios are spread far and wide. Visiting an artist’s studio, talking on the
phone about paperwork, writing submissions to galleries, writing grant submissions,
curating work, there were so many tasks associated with this exhibition and
then we decided to tour it which added a whole other dimension.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Zoe and I just recently spent a week in Port Macquarie
installing the work for the first twelve + 3 exhibition and with almost seventy
works I think it is the biggest exhibition I have ever hung in all my many
years curating and hanging shows. Definitely one of the most exciting as well.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Clearly Accessible Arts NSW has played an important role in
helping artists in the region build momentum with their professional practice?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I guess for this project in particular it has been about
giving voice to the lived experience of disability by providing a forum for
work produced for and by people with disability and about disability. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Will there be a follow-up exhibition to help build this
professional artist and skills development momentum?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Well from small beginnings big things grow. Is that how it
goes? So we started with an exhibition at the Glasshouse gallery in Port
Macquarie and the project has now grown to include exhibitions at the Regional
Arts Australia conference in Kalgoorlie in October this year, an exhibition at
the Artspace on the Concourse in Sydney as a part of our upcoming conference in
October. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Your personal aspirations for the artists in Twelve +3 as
the exhibition tours ?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Hopefully it will assist all of the artists involved to lift
the profile of their artistic practice to a wider audience. Every artist
involved in this project has a unique artistic practice and an amazing story.
There is an authenticity and individuality in all of the artists work across
many genres and hopefully these exhibitions will give the work the well
deserved attention and recognition each of the compelling work deserves. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">It has been an absolute pleasure to work with the artists
and to watch their process unfold.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRMrKfSEpONia5TqSmbQJSq5PtUTiEysP06p_2b0rL7vUIl9kRtkbVg3iNf02hLhEAW0UgO5eXSRcWs5Rk4Th7k5iNqbDgu2oF1DlYJeCSGsh0W02reXkAjH-ZUCqwVQFwODlRnA/s1600/DSC07836.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRMrKfSEpONia5TqSmbQJSq5PtUTiEysP06p_2b0rL7vUIl9kRtkbVg3iNf02hLhEAW0UgO5eXSRcWs5Rk4Th7k5iNqbDgu2oF1DlYJeCSGsh0W02reXkAjH-ZUCqwVQFwODlRnA/s1600/DSC07836.jpg" height="266" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And the politics of disclosure, revealing an artist's
"back-story"?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">It is interesting and thought provoking to think about this
question and it reminds me of a forum that Accessible Arts conducted at the MCA
in Sydney late last year where some of these issues were discussed.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">One of the panel discussions at the Supported Studios
network was themed Considering Perceptions and it highlighted the
difficulties for commercial galleries to sell the work of self-taught artists
without talking about ‘the back-story’. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Evan Hughes from The Hughes Gallery said, "It is almost
impossible for me to sell the work of self-taught artists without the
back-story." Evan claims that he does not exhibit work with such
narratives but the questions almost always comes-up from prospective buyers. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">This raises the complex issue of disability disclosure to
artists in general and in particular to the artists that I worked with on the
Twelve + 3 project. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I guess when we worked on the artist statements for the
project I really wanted to first and foremost have the artists talk about their
work and the reasons for making the work that they do. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">For some disclosure of their disability was important as it
very much informed their artistic practice, for others art and art making has
always and will always be a part of their life.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">There is a lovely quote from Zoe in the exhibition catalogue
which I think sums up perfectly how I feel about each and every one of these
artists work: “There is a lyricism in these works which could easily be
misunderstood as a form of naivety, but instead should be viewed as each of the
artists gifted ability to work with an unbridled sense of freedom”</span></div>
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PHOTOS: Courtesy Zoe Robinson - Kennedy</span></div>
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More details of the exhibition can be found at the following links: </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><i>5 November– 30 November 2014</i><br />
<i>Launch Event: Thursday 6 November 2014 5.30pm - 7.30pm </i></span></h4>
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<b>Twelve + 3</b> showcases work by 12 individual artists from the
North and Mid North coast of NSW, and is an initiative of the Accessible
Arts North Coast Creating Connections project. A culmination of 2 1/2
years of discovery, mentoring, promoting and providing opportunities for
artists with disability across the regions; this exhibition aims to
showcase the diversity of contemporary art coming out of the North and
Mid North coast.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/ny4g85y" target="_blank">Northern Rivers Community Gallery- Ballina - Nov 2014</a> </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/le2bsth" target="_blank">Accessible Arts NSW - Twelve + 3</a> </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/kcvzpa6" target="_blank">ABC - Regional Arts Summit</a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Related Links:</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/muo6jcp">"Disabling" the Museum -
Curator Amanda Cachia</a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/mpz7yrm">Regional Arts Summit - Kalgoorlie</a> </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">-and- </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">And at the Ballina NRRG now is the vivid solo exhibition by</span><span style="font-family: "Trebuchet MS",sans-serif;"> Bundjalung Elder Digby Moran\;</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">What's on</span></h3>
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<span style="font-family: "Trebuchet MS",sans-serif;"><img alt="" src="https://www.ballina.nsw.gov.au/cp_galleries/gallery_images_n/master/8017ec82496ea79b48c979a4ee6980c5.jpg" style="float: right; height: 218px; margin-left: 5px; margin-right: 5px; width: 200px;" title="Digby Moran | White Water 2014" /><i>8 October - 2 November 2014</i></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Launch Event Thursday 9 October 2014 5.30pm - 7.30pm</i></span></h4>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b>Solo Exhibition – Albert Digby Moran </b>Local artist and
Bundjalung Elder Digby Moran returns to the Northern Rivers Community
Gallery (NRCG) with a major solo exhibition. Albert (Digby) Moran was
born in Ballina and grew up on Cabbage Tree Island near Wardell. His
father was Dungutti and his mother Bundjalung. Digby started painting
later in life (having worked previously as a harvester and a
professional boxer) and, apart from a TAFE course in 1991, is
self-taught as an artist.</span><br />
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</span><span style="font-family: "Trebuchet MS",sans-serif;">
This very special exhibition presents a new series of paintings
celebrating his identity as an indigenous man in a riot of colour and
movement. Traditional motifs are married with the rolling landscape to
form a singular vision and record of contemporary indigenous
masculinity.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Useful Links:</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/krah6se" target="_blank">Northern Rivers Regional Gallery - Digby Moran Solo Exhibtion until Nov 2 only</a> </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/lofxbqp" target="_blank">Artist's Website- Artist Digby Moran at Ballina Gallery - Exhibition Last Days</a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/kvvyek5" target="_blank">ABC North Coast - Profile on Digby Moran</a></span><br />
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INTERVIEWS readers your commentaries are most welcome:</span></div>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-5153494017979821722014-08-15T22:44:00.001-07:002015-03-30T16:19:32.558-07:00Penny Arcade, Performance Artist - On Collaboration with NY- based Photographic Artist Jasmine Hirst<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiEtR30aoScwAunxjWaigiSLjb0kYfVFn2H_QOnkrDTD_bVM34lP41SM225vrC_52MlvQysNPBQFVn4FOpYSgPa8okNqKwCap9oPv8SBwYbsU8hXt0IndhNIBFI8WJ13NeibDNzg/s1600/Penny+Arcade+by+%C2%A9+Jasmine+Hirst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiEtR30aoScwAunxjWaigiSLjb0kYfVFn2H_QOnkrDTD_bVM34lP41SM225vrC_52MlvQysNPBQFVn4FOpYSgPa8okNqKwCap9oPv8SBwYbsU8hXt0IndhNIBFI8WJ13NeibDNzg/s1600/Penny+Arcade+by+%C2%A9+Jasmine+Hirst.jpg" height="400" width="311" /></a></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>Performance artist<b> Penny Arcade</b> chats to artist <b>Paul Andrew</b> about the extraordinary coincidences at the heart of her collaboration with Australian-born New York based Photographic Artist <b>Jasmine Hirst</b>.</i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>Penny tell me a little bit about your long-term collaboration with Artist Jasmine Hirst?</i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">From my point of view all collaborations are a
synchronistic merging and they occur on an intuitive level. I know that now
'collaboration' is taught as a process in Art School but to quote Oscar
Wilde: <i>"Nothing worth learning can
be taught."</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">I met Jasmine Hirst in 1994 after
one of my performances at Belvoir St Theatre in Sydney. I had noticed her and
her girlfriend in the audience during the show; they stood out in black
and white to me amid the general colourfulness of the large audience.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">At the end of the night as I was
exiting the theatre, I saw them sitting in the lobby, a bit expectantly I
thought and I myself was surprised to see them there. I experienced an
aura of inevitability and immediately went up to them and introduced myself which
I suppose was a bit odd since they had been watching me on stage for two hours
but I was eager and pleased to meet them. We talked and I felt very drawn
to Jasmine who was a bit shy but very warm and generous about my work and I
asked her about hers and she told me she was a photographer</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">We immediately exchanged
addresses and wrote to one another when I returned to NY and she sent me some
samples of her work which I was very impressed with. Within six months I
was back in Sydney where I began a three month tour with five weeks in Sydney. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Jasmine and I arranged a photo
session immediately and working with Jasmine was not only effortless, we
seemed to not only communicate wordlessly but the word I would use was
'commune'. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">By 1995 I had a very long history
of being photographed. I should add here that photography is my favourite
art form and I had been photographed by some of the greatest photographers
in the world but I noticed with Jasmine I was willing to show aspects of myself
to the camera that I had never felt comfortable revealing to any other
photographer. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">We worked quickly and
effortlessly and the session yielded many exceptional photos but more than
that it seemed we had together captured a secret visual story. I was in the
process of creating my play <i>Bad
Reputation</i>, an emotionally charged work about the co-optation of "the
Bad Girl" image by the art and entertainment world, that
sensationalizing the sufferings of women who are marginalized by society
without ever bringing the content of their pain and suffering to a
conscious level. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">One photo in particular was
so iconic, so revealing of strength in the face of isolation, and
rejection, that I immediately recognized that it was the photograph that told
the whole story of the play without words and that it must be the photo for the
play's poster. Five months later I returned to Sydney to collaborate with
Richard Tognetti, the famed violinist and creative director of The
Australian Chamber Orchestra, who was composing music for on a new work commissioned
by The Vienna Festival; <i>Sisi Sings The Blues. </i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">I spent a lot of time with
Jasmine and we set up a photo shoot. Once again an iconic photo emerged. One
photo that told the whole story of the play that I was still in the midst of
writing. Now it became obvious to me that Jasmine and I had tapped into
some subterranean emotional stream that she was somehow capable of capturing
on film. This photo too would become the image for <i>Sissi Sings The Blues</i>, featured in the catalogue for that
prestigious theatre festival, The Vienna Festival being one of the world's
most important theatre festivals.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">I returned to Sydney again six
months later and Jasmine introduced me to Artspace where Jasmine was currently
having a big exhibition of her black and white self portraits which were
very deeply moving for me. Artspace immediately gave me a residency with a
studio in which to collaborate with Jasmine as I started to work on <i>Bad Reputation</i> in earnest. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Unbeknownst to me at the time Jasmine
was working on her film about the American Serial killer Aileen Wuornos and
unbeknownst to Jasmine, Aileen Wuornos and her story were already a pivotal
part of my play.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Jasmine and I spent the next two
and one half months in deep conversation about all the elements in the play and
at the end of the period I presented a public performance of the work I created
and Jasmine photographed it. I returned to NY and stayed in touch with
Jasmine as we tried to future out how we could continue to work together. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">A few years later Jasmine had the
opportunity to get a travel grant to further her career and I became her sponsor
in NY and I offered her a residency in my studio. Jasmine and I then embarked
on a full time collaborative relationship that has included video as well as photography.
Jasmine has become over the past two decades an integral part of my work and of
my artistic team. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">I am not aware of any two artists
from different métiers who work together as Jasmine and I do, but then
that is the nature of collaboration. Jasmine and my collaboration continues.
People are always in stunned disbelief by our ability to work quickly and
succinctly, all our shoots are done in less than two hours and they are always marked
by the same organic, intuitive and holistic communication that we have had from
the very beginning. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">During the more than a decade
that Jasmine has worked in NY she has become part of the fabric of downtown
NY's art scene fusing her own aesthetic with that of a long lineage of
national and international artists who make up what is called The New York
Art Scene. Jasmine's work and her unflinching commitment to her work is hugely
admired and influential in NY and her film and photography work plays an
important role in the artistic dialogue of NY. As Jasmine enters her mid-career
period, her personal artistic vision has matured and integrated into a
visual voice of great purity and power. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Penny Arcade NYC August 12, 2014</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Photo: Penny Arcade by Jasmine Hirst </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/kkm5bsw" target="_blank">Read about Jasmine Hirst's amazing biodiverse career here...</a> </span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/lo4xheq" target="_blank">Read Penny Arcade here....</a></span></span><br />
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</div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-23368605132097688062014-06-16T17:37:00.001-07:002017-03-19T00:20:26.154-07:00Jasmine Hirst Photographic Artist, Filmmaker and Visual Poet- It's Been A Hell Of A Life - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcKb71HgE0NUFIdFOgwq2G1_4tIpzu_wCNsHc0kJbD6XZhYXgKl5AILb5XQq5mIkba3tm_AbrDQQNz0tnUc1lzbVBsTmQRvfcead2IJGis1kMsUyoDgvR_-88uSvnoHaPYWTsDGQ/s1600/punk+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcKb71HgE0NUFIdFOgwq2G1_4tIpzu_wCNsHc0kJbD6XZhYXgKl5AILb5XQq5mIkba3tm_AbrDQQNz0tnUc1lzbVBsTmQRvfcead2IJGis1kMsUyoDgvR_-88uSvnoHaPYWTsDGQ/s1600/punk+2.jpg" width="400" /></a></i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>"My work as an artist and my personal life are one entity. So my answers will
combine both aspects". Australian-Born, New York-based Artist,
Photographic Artist, Visual Poet, Film Producer <b>Jasmine Hirst</b>, makes it perfectly clear at
the outset, life and art are inseparable. </i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Like the celebrated Australian Photographic Artist Carol Jerrems in the 1970's almost ten years earlier, Jasmine Hirst is similarly concerned with the gritty, poetic and elusive images that portray the actions and way of life in the 1980's. </i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>In turn, unconsciously perhaps, the artist has been continuing Jerrem's interest in feminism and style ever since, extending and broadening analogue photography into experimental filmmaking and the MTV video future, producing an extensive repertoire of evocative, low-key and not-so-low-key, intimate, diaristic, social documentary photographs and moving image works focusing on largely urban environments, women's interventions, popular culture and social relationships. </i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Instead of portraying the hopes and aspirations of the counter-culture of earlier days, Jasmine Hirst casts her lens onto the Punk and Post-Punk scenes of 1980's Inner City Sydney and takes the gritty, the poetic and the elusive qualities of 1970's artists like Jerrems to the outer limits, illuminating the spectre of HIV AIDS, intravenous drug use, alienation, suicide, grief and loss, anarchy, violent abuses of women, children and foregrounding the empowerment young women and men achieved through their complex web of women's-based creative collaborations and kinship circles gathering momentum since the 1970's.</i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Unfortunately today, unlike Carol Jerrems who is long celebrated, collected, the subject of many survey exhibitions and academic publications, Jasmine Hirst remains relatively unknown, undervalued and unexamined in her own culture of origin, however, recently as is the case of many artists who need to be elsewhere other than Australia to gain recognition, a sense of place, a sense of belonging and the absolute feeling of safety, her extraordinary thirty-year career comprising photography, films and
visual poems were the subject of the comprehensive retrospective <b>It's Been A Hell Of A Life</b> organised by The New York Filmmakers Co-Op and La Petite Versailles in her chosen homeland. </i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Many of Hirst's works have been collected and archived by the New York Filmmakers Co-op in perpetuity. In these candid moments of genuflection and gratitude <b>Jasmine Hirst</b> speaks to <b>Paul Andrew</b> about the consolations of hindsight and the sheer joy of living in New York.</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jasmine<b> </b><i>tell me about your
earliest childhood memory?</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I was in Grade
Two and we were drawing. I don't remember much about my childhood but this
memory is, for whatever reason, crystal clear. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I looked at
this boy's drawing of a space man. It was phenomenal. So much more mature than
the other children's drawings including my own. No doubt in my mind, this
little boy had an artist's soul. I always wanted to be an artist but my parents
forced me to take academic subjects at school and university so that I would
have a financially self-supporting career to fall back on….well that didn't
work out. I just wasted a whole bunch of time doing Physics and Maths. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>
</b><i>Tell me about your early
training in Photography?</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">My earliest
photographic training was with my father. He was a photographer and made Super
8 films. He was an artist but chose to take a normal job to support his family.
He died of cancer a year before his retirement as a soil analyst, probably from
the mercury thermometers which would explode in the oven. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">He hated
that job and had planned a wonderful retirement that never came about. Moral of
this story is, life is short, do what you love to do. Dad had built his own
darkroom in our house. So I learnt to develop and print photos at the age of
six. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Dad's
creative energies came out sideways through entering competitions with
elaborate creative submissions. He won many trips around the world and many
strange things. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Since I
wasn't allowed to pursue creative subjects in my academic training, and I was
too well trained to rebel, I didn't take an official photographic class until
my first year of university, which was a week end workshop and nothing to do
with the University curriculum. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I grew up in
a very conservative, racist, homophobic, misogynist, anti-art,
anti-anything-different culture. For some reason, my friends were angry at me
for taking such a class. I didn't understand why at the time. I just learnt
that anything creative was perceived as an antagonistic act against the general
public. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I was a late
bloomer, in relation to teenage rebellion, so it took me until second year of
University to assert my own needs, in a very explosive and overnight way. I
demanded that I wanted to move to Sydney and go to art school. Although, I
actually wanted to go to New York and be an artist, but Sydney was closer and
more manageable at the time. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I believe
New York in the early 80's was still like a war zone, so with my innocence, I
don't think I would have survived Manhattan back then. </span></span></div>
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So at the age of 18, I landed in Darlinghurst, Sydney, totally alone and went
to art night classes, as I didn't have anything to put in a portfolio for an
Art School application. I became a Punk. I dyed my hair blonde and dressed like
Courtney Love before she dressed that way. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Purple
boots, torn emerald green dresses, smudged eyeliner. It was an external change
in an unconscious attempt to change internally. I looked and acted in diametric
opposition to the conservative way my parents and the suburbs had demanded of
me. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
The Labour Government at that time was putting a lot of money into the Arts,
especially programs to get more women involved in the creative industries.
Thank you Gough Whitlam and Bob Hawke. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I undertook
a government funded free program for women to learn video production. We called
ourselves <i>Technical Girl's Collective </i>and made a video about women and creative
unemployment, called <i>Let's Work. Let's Not. Let's Live</i> to be shown
in schools. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We went on
to learn screen printing and made postcards and a calendar. It was at this time, in 1983, that I met
someone who profoundly affected my entire life. Geoffrey was a young, gay,
punk, poet, artist, a magical creature with a soul too fragile for this earth. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">He walked
into the Darlinghurst house, where the Technical Girls had their studio, to
visit one of the girls who was his friend. My life changed in that moment. He
was my first soul mate and he wasn't long for this world. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We became as
thick as thieves immediately spending dreamy days and nights, reading Andre
Gide, Djuna Barnes, Jean Rhys and Italo Calvino, making art, fantasizing about
moving to New York and killing ourselves in the subways, very Gothic and Punk
and Romantic. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We floated
through Oxford Street nightclubs, 45's, the Taxi Club, Patches, French's and
the Exchange Hotel with all that great '80's disco music, which still
reverberates within me. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">One night on
one of our surreal walks around Darlinghurst we came across police crime scene
tape around the building behind the Coco Cola sign at the crest of William
Street in King's Cross. We discovered that a guy had wrapped himself in a bomb
and was threatening to blow up himself and the skyscraper. Geoffrey and I, in
our Young Punk Stupid Gothic Delirium got as close to the building as we could
and sat down waiting for the explosion. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Geoffrey
told me his exotic tales of Lost Love and Lost People while we waited to die.
He was one of those people who finds the extraordinary in the ordinary, so life
through Geoffrey's eyes was a rich beautiful tapestry. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The man
didn't blow himself up and we wandered home. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Geoffrey
taught me that being an artist is about the way you perceive the world. It's
not about the work you make. So many artists are too depressed to even get out
of bed, let alone make art. An Artist has an artist's soul and that's that. You
either are or you're not.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
I was free as a bird then. One day Geoffrey said that he would like to get his
Australian flag back, which he had left in Deo Demure's apartment in Adelaide.
I decided to go and get it and see the Adelaide Art Festival while I was there.
Geoffrey put me on a Greyhound bus and said "You are so beautiful and
ethereal." and kissed me goodbye. He killed himself 24 hours later. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
I broke into pieces. My heart, to this day, has a bottomless hole in it, with
his name on it. But he left me priceless gifts. The first day I met him I also
met his best friend, artist Linda Dement, dressed in a pink leather coat and
diamantes and a fresh dead blue dinosaur tattoo on her arm, at a time when nice
girl's didn't get tattoos.</span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdzJsuTtyWxx36HJw3shVSmZyQ-yd9Adsq2l5udAHIF0WhEnetMl3a3AAVXj2wcWhNJhXXBsvRxzteLy5jUSi47VIMs2VWrIX3O43Yuydl1hX7tf7EIsac0LkLJMGe_-fBFe7-rg/s1600/Geoffrey+1984.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdzJsuTtyWxx36HJw3shVSmZyQ-yd9Adsq2l5udAHIF0WhEnetMl3a3AAVXj2wcWhNJhXXBsvRxzteLy5jUSi47VIMs2VWrIX3O43Yuydl1hX7tf7EIsac0LkLJMGe_-fBFe7-rg/s1600/Geoffrey+1984.jpg" width="290" /></a></span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Linda and I forged a life long friendship over
this great tragedy and loss. I lost all reason to live at this time, as did Linda.
It was the beginning of my experience of feeling like a ghost floating over the
surface of the earth. Of not belonging anywhere. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Geoffrey had
been my home, his other gift to me. The gift of finding where you belong, to
find like-minded souls with whom to wander aimlessly. Linda and I became art
collaborators, working on each other's art to get us through these dreary days
of life.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
After Geoffrey died, I applied to East Sydney Tech which later became the
National Art School. It was housed in an 1800's women's jail. In the large
auditorium you could see where the walls of the cells once were. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Every day I
used to walk past the Prison Governor's mansion across the road from this old
jail, which had become an artist's haven and was called the Oasis, named after
the tropical jungle garden that lay in the centre of the circling mansion. I
longed to live there. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The bedrooms
and living rooms and servant quarters had been transformed into magical
apartments. A German artist had transformed his space into the interior of a
heart. The place was filled with punks, artists, musicians…the outsiders. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">As has often
happened in my life, the things I visualize come true. And soon I was living
there while I went to Art school. At the time, to accompany my adolescent punk ways,
I made work that shocked. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And I sure
did evoke a reaction. The more conservative teachers wanted to fail me in
photography for the immature shock value, no doubt, of my work, by my
photographic teacher, Christine Cornish, defended my work and could see my
potential as I matured in life, and I received an "A". </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Christine
makes the most beautiful refined delicate work and I was, and am, grateful for her faith in me. My major was
painting but one could easily see that photography was where I felt at home,
since I'd been photographing and printing since I was six years old. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
<i>Tell
me in a little more detail about the social cultural political setting at this time
and what else also fuelled your discontent?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In the mid
'80's, whilst at art school during the day, at night I made art, read and hung
out with dreamlike, transexual, gay, soul-broken artists who lived in the Glebe
squats and Beta and Alpha Houses in Newtown. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The Gunnery
in Wolloomooloo, where Artspace in Sydney is now, was a surreal eclectic mix of
musicians and artists who would have underground films screenings and crazy
wild nights of Punk music. I made friends there with Hellen
Rose-Schauersberger, who has gone on to create great art, performance and films
internationally. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I remember
going to the bathrooms which were under a foot of water. It had been a military
training place, and there was an incredible dome-shaped stage and seating where
the performances would occur. Wild wild days. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Everyone was
making art, performance and music. I remember seeing one of the most beautiful
girls I've ever laid my eyes on, called Wendy, who was in a Butchered Babies
performance. I still have visions of her and a little girl, whose mother was
also an artist, dressed as dead people and creating the strangest performance
one would ever see. True Punk. <br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Books, Geoffrey had taught me, were extremely precious objects to be infused
and held and slowly savoured, to steal quotes from and to make visual art
about. I continued the literary education he had begun with me. I loved the
lonely Parisian experiences of Jean Rhys, the narcissistic musings of Anais
Nin, the blinding sun of Albert Camus' <i>The Stranger</i>. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Linda
introduced me to the eclectic writings of Colin Wilson. <i>The
Outsider </i>gave me great comfort as I discovered my soul mates back through
history. Our bible at the time was <i>The Mind Parasites</i>, an
explanation for the suffering that was common to us all. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I immersed
myself into the writings of the Existentialists as I resonated with this pain
and emptiness and meaninglessness. Until today, the very look of a book sends a
luxurious chill down my spine. <br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I would help Linda in her filmmaking and photographic adventures. She was
making glorious Super 8 films about the Transgressive. The writings of Michael
Foucault, Jacques Lacan, Georges Bataille, Julia Kristeva, Roland Barthes and
Hélène Cixous were the flavour of the day.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">However I
was entirely bored by their writings, as my interest lay in, not the theories
of Life and Art, but of immersing myself in the feeling nature of Life and Art.
A predilection that could easily kill one. And did. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">There was
great carnage at this time. Through suicide, AIDS and overdoses, I witnessed
the death of many young people. It was like a war zone. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I would wake
up every morning wondering who would die today. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Geoffrey's
death had so devastated me that I had become somewhat numb to the hundreds of
deaths that followed. Every loss just cemented that black hole in my soul and
provided more fuel for my art-making. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I had learnt
that creative energy transmutes pain into something like ecstacy. An Alchemical
process. And to this day I make art for the transformative purposes. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">As I have
aged, I have witnessed and experienced more and more horror that lies within
the innate being of humans. Art is my love and my salvation. And my Torturer.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The worst
times of my life are when I am incapable of creating, because of a broken
heart, despair, or the plain old Nothingness and Meaninglessness that invades
all people at some point.<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I wasn't aware of the political situation at the time, nor am I ever, as I live
in the subterranean world of my psyche, rarely popping my head up to see what
the Government is up to. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">All I was
aware of was that the Labour Government gave more money to the Arts than the
Liberals. I have been fortunate to have grown up in a country and, now live in
another country, where I am free to be an artist. If I had grown up in an
oppressive society, I doubt I would have had any psychic room to create.<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">When I was six years old, I was sexually assaulted by a stranger on my way home
from a friend's house. This was the beginning of many incidences of sexual
abuse in all its forms. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The boys at
school couldn't keep their hands off me. As I matured, the perpetrators became
older, stronger and more frightening. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Sexual abuse
is the normal socialization of the girl child in Australian society. I lost
many friends through self-destruction because of sexual abuse in their
childhoods. I experienced sexual harassment every day of my life in Australia. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The first
time I ever felt safe in my entire life was when I landed in New York City. I
have not been assaulted or harassed ONCE. I travel the subways and walk the
streets at 3am and feel so incredibly secure. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The New York
subways, that Geoffrey and I had dreamed of dying in, have become my safety and
comfort, my life. <br />
So in the late '80's/early '90's my art changed shaped. The growing rage within
me about the endemic nature of sexual assault of women and children, became my source of inspiration. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">To live with
this level of rage would only give me liver cancer, and so I diluted its poison
by making art. I also began my Master's degree at the College of Fine Arts of
the University of New South Wales and extended my medium to filmmaking. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I discovered
the music, writings and performances of American artist Lydia Lunch in a book
called <i>Angry Women</i>. (RE/Search Publications, 1992) And in doing so found
another soul mate. Another artist who was painfully aware of the abuses women
suffered in this world.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vq957DhE1COHua5JLs1n3BBz8yrVzrsrfDYjfqzJ_bmKH0QHW_1WxKGnfxVmhwfAhwKjCPVlqwE3IYBXKX_6Q33mQ13ugv-xO3UlSAhSI-_BeeH1aWhupzKoX-Bj60xk2ByCAg/s1600/lydia+full+body+gate+sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vq957DhE1COHua5JLs1n3BBz8yrVzrsrfDYjfqzJ_bmKH0QHW_1WxKGnfxVmhwfAhwKjCPVlqwE3IYBXKX_6Q33mQ13ugv-xO3UlSAhSI-_BeeH1aWhupzKoX-Bj60xk2ByCAg/s1600/lydia+full+body+gate+sm.jpg" width="302" /></a></span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And again,
proving that what you focus on can materialize, I ran into Lydia on the streets
of Darlinghurst one afternoon. I asked her to be in a film I was making about
Aileen Wuornos, whose portrayal by Charlize Theron in the feature film <i>Monster</i> years later won
the actor an Academy Award for best actor. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Lydia
happily and enthusiastically agreed to participate. Then years after this we
reconnected in New York and became creative collaborators. I photograph her and
made visual filmic poems to her music and her dark poetry. She is helping me
finish my film about Aileen Wuornos, which has been my Sword of Damocles for
the past seventeen years.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We have
begun quite a few large art projects together. Lydia is my constant inspiration
as an artist and a human being. She is a Force.</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVDRQWebSb-em557VnZ_Om15Vl3NNOOCrEkOorKIhQ8H_xoObNd7OhpBRLea-s46yzSleNOQnJ4ak0FUrZl46htTtPrmNQxzhOvGcqrGzuaIK2gR73CK9ELMSDFvYY6f9P8Cu_2A/s1600/pink+pen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVDRQWebSb-em557VnZ_Om15Vl3NNOOCrEkOorKIhQ8H_xoObNd7OhpBRLea-s46yzSleNOQnJ4ak0FUrZl46htTtPrmNQxzhOvGcqrGzuaIK2gR73CK9ELMSDFvYY6f9P8Cu_2A/s1600/pink+pen.jpg" width="266" /></a></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I also met Penny Arcade, at her performance of <i>B! D! F! W!</i> at Belvoir Street
Theatre. I cried during the show, overwhelmed to see my soul group for the
first time on stage.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We talked
after the performance, she touched my cheek delicately and we bonded for life.
She had talked about Aileen in her show, <i>Bad
Reputation</i> and immediately understood my art. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">She later
became my mentor for an Art Mentorship grant from the Art's Council of
Australia and in doing so manifested Geoffrey's and my dream of being an artist
in New York City. She changed my life. I wouldn't be where I am now without
her. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I began
photographing her in 1994 and continue today. We are now working on a book
of twenty years of my photographs of her accompanied by her writing. My
photos of her are currently in an exhibition along with her artwork, and
performance, at the AMP Gallery in Provincetown. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Lydia also
appears in my current solo show, <i>Black
Blood</i>, which includes my portraits of Patti Smith, Courtney Love, Chrissy
Amphlett, Nan Goldin, Vali Myers and Pam Hogg. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT12CB36Lw6YjNEi1L18mft0xMZ8XOsgWRqnoeAU3PplgXxW_-UZNcjhHiU8iJYV3d8VHM81uAz5ZIF9Tz7-RbQe2tzPHyQ0ytILv8i-fyC8dupXxfq-iedlJZWyfdgcFHNRnSgQ/s1600/Nan+Goldin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT12CB36Lw6YjNEi1L18mft0xMZ8XOsgWRqnoeAU3PplgXxW_-UZNcjhHiU8iJYV3d8VHM81uAz5ZIF9Tz7-RbQe2tzPHyQ0ytILv8i-fyC8dupXxfq-iedlJZWyfdgcFHNRnSgQ/s1600/Nan+Goldin.jpg" width="309" /></a></span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In 2012 we
began <i>The Coming to America</i> tour in
Baltimore which involved my short films intercut with her performance. Penny
then landed a role in the Tennessee Williams play <i>The Mutilated</i> alongside John Waters' star Mink Stole and so the
continuation of our tour was postponed until a future date. <br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">When I first moved to Sydney to go to art school, I spent many lonely hours in
the Art Gallery of NSW and the library. I had become obsessed with Andy Warhol
and the Factory and read everything I could about him and the people who
surrounded him.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I made art
about Edie Sedgwick, being totally mesmerized by this beautiful doomed
creature. I still have a photograph of me punk in 1984 with an Edie Sedgwick
poster behind me, <i>The Wreck of a Warhol
Superstar.</i> </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">So once
again, what you focus on becomes real. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Penny Arcade
was an Andy Warhol superstar. She starred in Warhols' film <i>Women In Revolt</i>. She starred with Patti Smith in <i>The Play-House of the Ridiculous</i>. She
knew Andy, Edie, Taylor Meade, everyone in that New York scene. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">When I
arrived on her doorstep in 2002, she took me around the underground art scene
of New York and introduced me to all the Warhol Superstars who were still
breathing. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">This was so
unbelievable to me, that I entered a surreal zone in my mind. You know when the
magical and bizarre happens in your life and you can't comprehend it, so your
brain enters another sphere? </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I met Jayne
County, Lee Black Childers (RIP), a darling man who died recently, Taylor Meade
(RIP), who also passed over recently, Ruby Lynn Reyner, Danny Fields and
others. And I was able to ask Penny all about Edie Sedgwick.</span></span><br />
<i style="font-family: 'Trebuchet MS', sans-serif;"><br /></i>
<i style="font-family: 'Trebuchet MS', sans-serif;">And technology Jasmine, I am curious about the actual
technology you began making work with, the lenses, cameras and film stock you used and
why so?</i></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In the 80's
I used my Dad's 35 mm camera. A Fuji I think. And a standard lens. I did all my
creative work in the darkroom. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It doesn't
matter what photo you take, all the work is in the darkroom process or, now, in
Photoshop. I've taken some of my best work with an iPhone, or a plastic
children's camera. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Also pin
hole cameras produce the most beautiful work as there is no control about what
you are photographing and accidents produce the best work. I still go for
accidents in my work, which is very scary to rely on. But that is where the
best art lies, when I let go and just snap, snap, snap.<br />
In the early 80's Linda Dement introduced me to the work of Joel Peter Witkin.
I loved his use of scratches on the photographs and began drawing and
scratching on my photographs.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Then I would
make a paper contact negative of it, and then back to a positive paper contact
so that the marks I made became one with the photograph.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I always use
a high ASA, 1600 or 3200. Back then I would push my film, shooting on 400ASA
and developing as 1600ASA. I love the beauty of high contrast film. It makes
people look stunning immediately. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Then I found
Ellen Von Unwerth's photography, a woman after my aesthetic and she is a master
of it. Finances absolutely direct my creativity and I have had great
restriction. But within these boundaries, one pushes their scope of creativity.
</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I've never
had superb equipment, until recently when an Angel bought me a Sony Digital
RX10. (You know who you are!) Before this I had been using my iPhone which
takes beautiful photos with Instagram filters and stills from a cheap digital
video camera. Five year olds are now taking the best photos with their iPhone. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>And looking back what details were you interested
in conceptually and stylistically during your early 1980’s career?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I am a child
of Popular Culture and Punk. Music videos are my greatest source of aesthetic
inspiration. Whenever I am stuck for ideas, either photographic or film/video,
I go on Youtube and watch hours of music videos. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">But back in
the 80's I had <i>Countdown</i> and music magazines. Conceptually I was interested in my
interior world as well as documenting the amazing people who surrounded me. I
lived for a while with Zoe Farris, who was way ahead of her time and an
incredible performer. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Zoe would do
shows at 45's on Oxford Street. She dressed as Nosferatu all the time. An
amazing person and artist. During the day we would walk into the city and she
would scare the secretaries.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I took many photos of her. But mostly, through
my art I was trying to purge my pain and angst of youth. And heal the damage of
having grown up in a sexist, racist, ignorant, homophobic, misogynist
judgmental rapist suburban culture. <br />
<i><br /></i></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Tell
me a little more about this experimentation with photography, what you adapted,
did differently or extended into your own unique and original visual style?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I can't see
the forest for the trees in regards to my own visual style. That question is
probably best asked of the viewers of my work. I see things: visual art, music
videos, films, magazines, posters in the streets, graffiti, book covers; I read
things, both books and stories on the internet, and this all goes inside of me,
a click happens and then something comes out of me. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I'm not
really conscious of creating a unique style. I just make art, because I have
to. I have no choice.<br />
<i>And as career momentum began to build,
how did your early ideas grow, extend and broaden?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I looked
internationally for my subject matter. I extended past Darlinghurst. I found
other women artists who were making similar work to mine. And most of these
women were in New York. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In Australia
I most resonate with the work of Media Artist Linda Dement. I also felt a
kinship with Debra Petrovitch. But that's about it.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I found the
work of Lydia Lunch, Barbra Kruger, Jenny Holzer, Penny Arcade, Nan Goldin. I
had begun using text with my images, as I wanted my work to be perfectly clear
in its meaning. And I started noticing that many more women artists added text
to their images, than male artists. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I wished,
and still do, that my art is available to all audiences, not just the viewer in
the art world. The problem for me about conceptual or abstract art is that it
is not readily available to someone who never enters the art world. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I didn't
want any confusion when the viewer reads my work. My work has been inside
jails, health centres and doctor's surgeries. If my art can help just one
teenager, lying in their bedroom in the suburbs, somewhere in the world, in
complete despair, then I will feel that I have been successful as an artist. <br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Whilst doing my Master's degree I broadened to film and video, as they had the
equipment available there. The still image, even with text, became not enough
for me. I wanted to create a greater emotional impact, and they only way to
impact someone emotionally in a really profound way is to use music.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I wish I had become a musician, rather than a
visual artist. When I stood at that particular crossroad, I chose the wrong
path. In later years I learned to play the bass and joined <i>Trash Kitten</i> with two other girls. I wasn't very good, but I had
the time of my life.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I loved
rehearsals and the collaboration. Everything to do with making music. In New
York I also joined a band as bass player, a multimedia performance band not
unlike <i>Velvet Underground</i>, with our
films playing behind us, and strange performances by performance artists who
would join us on stage. I loved that too. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">But to be a
good musician you must practice every day and I abhorred daily repetitive
practice since the horror of my classical ballet training from five years old
until I was nineteen. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">At this time
I also sold work to Madonna, who owns one of the largest contemporary art
collections in the world. It didn't change my life as an artist, but I did notice
that people who had previously ignored me, started talking to me. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The same
thing happened after I filmed Aileen Wuornos on death row. My invisibility
became visible. I don't like this part of human nature. And still today, people
will ignore me, and then find out what I have done creatively and with whom,
and suddenly they want to be my best friend. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Unfortunately
this world is about Who You Know and What You Have Done, rather than who you
are as a person. Once Linda Dement and I went together to a gallery in Sydney
to show them our work for a possible future exhibition and they spent the whole
time telling us how bad our art was: an ugly experience. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We felt so
horrible after this experience we vowed we would never put ourselves in that
situation again. A little while later we ran into one of those girls at an
opening at another gallery. One of us had achieved a milestone by then, I can't
remember what, and the girl had found out and asked us back to her gallery. We
declined.<br />
<i><br /></i></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Tell
me about your earliest influences/mentors in Photography?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">There are
two strands to my art. I investigate the shadow lands of the human psyche, at
great cost to me emotionally. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">So then I
like to take a break and make work of Beauty Itself, portraits of my favorite
artists, musicians and writers. I began a series called <i>Underground Superstars</i> in 1995.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I kept
collecting photos of my favorite artists and had an exhibition in New York at
Illuminate Metropolis Gallery in 2011. This will be on going exhibition as my
collection grows. </span></span></div>
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</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">So far I
photographed Chrissy Amphlett, Courtney Love, Patti Smith, Penny Arcade, Lydia
Lunch, Sandra Bernhard, Nan Goldin, Paul Capsis, Leee Black Childers (RIP),
Vali Myers (RIP), Mary Gaitskill, and more.</span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYugTU-qsPuI6eAVvJtb-unQQpG4w3traxy4KVifVxVUsKXsgDhwiSnUqosHXXXvqEXaF1NcjljZh0sSzV1B2g0irhq0gmRML8d93YpSyiW3FkUkpH9RvopgC_B39JzfWtzOZ6cg/s1600/139342_9_1_2009_7_53_39_PM_-_sandrafrontcover-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYugTU-qsPuI6eAVvJtb-unQQpG4w3traxy4KVifVxVUsKXsgDhwiSnUqosHXXXvqEXaF1NcjljZh0sSzV1B2g0irhq0gmRML8d93YpSyiW3FkUkpH9RvopgC_B39JzfWtzOZ6cg/s1600/139342_9_1_2009_7_53_39_PM_-_sandrafrontcover-1.jpg" width="400" /></a></span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Although I
was already making high contrast black and white grainy portraits before I saw
Ellen Von Unwerth's work, her work definitely pushed me harder to perfect this
look. And punk rock posters with that photocopy look absolutely influenced my
aesthetic. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I loved Andy
Warhol's polaroids and portrait screen prints. Polaroid is a beauty maker, but
very expensive. So I try and recreate that look in Photoshop. I love the black
and white photographic and film work by Patti Smith. And I am affected by the
images in Zines, music posters, music videos, high end fashion magazines and
Popular Culture magazines such as <i>Interview</i> Magazine.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmMEB2JqoSy_6bf2m9J37fKtCVodgmPMwq-z9wWUXpUTy9Uh5Sw9_CWsmjqQ4y8Swzt0ymZjrjHKJF0l-VokdnajEcHgyjdMPwqQbqKGhPIlUxlAbfAETVhdadbnyCL3b81PAQQ/s1600/Chrissy+Head+on+Side+sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmMEB2JqoSy_6bf2m9J37fKtCVodgmPMwq-z9wWUXpUTy9Uh5Sw9_CWsmjqQ4y8Swzt0ymZjrjHKJF0l-VokdnajEcHgyjdMPwqQbqKGhPIlUxlAbfAETVhdadbnyCL3b81PAQQ/s1600/Chrissy+Head+on+Side+sm.jpg" width="290" /></a><br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">My first 'Superstar' was Divinyls musician Chrissy Amphlett.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I first witnessed Chrissy as a teenager at The
New York Hotel. She was so wild on stage, with her dirty hair covering her face
and singing with her back to the audience. I had never experienced a creature
like her. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Then one day
I was walking along my street in Darlinghurst and I saw her crossing the bridge
near the Coco Cola sign, and recognized her as the girl from that band. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I later
found out she had lived a few doors down from me. When I was at art school in
the early 80's I was walking through Hyde Park one night I saw them filming a
man dressed in gray walking through the fountain.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I wondered what it was for and saw it later in
the Divinyls' music video <i>The Good Die
Young</i>. In 1995 Chrissy called my house out of the blue and said "It's
Chrissy Amphlett here." I dropped the phone in shock and hung up on her. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">She called
back, "I hear you want to take my photo, come to my hotel room now and
show me how good you are." I took her my photos about the ramifications of
sexual abuse in childhood, from the exhibition <i>I Really Want To Kill You But I Can't Remember Why</i>, at Artspace,
Sydney in 1995. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Chrissy
loved my work, and although the record company had already hired a photographer
to take the photos for their upcoming <i>Underworld</i> album, she chose
the photos I took of her for the album and publicity. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">That was the
beginning of an eighteen year long friendship with Chrissy until her tragic
death last year. Her death haunts me. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">She was a
vibrant strong exotic life-filled woman. A true artist. She helped me so much
to settle into New York living and I treasure all the adventures we undertook
together. My work of Chrissy was recently at Blender Gallery in Elizabeth Bay
on the one year anniversary of her death.<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">My second "Superstar" was Penny Arcade. I have been photographing her
for twenty years. I just did another shoot of her a month ago.<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We live in a ADHD society. I want my work to be strong in nature and have
immediate impact. And I want to make it very quickly as I am ADHD in nature.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It's why I chose photography rather than
painting, so I get the thrill of seeing the image emerge quickly in the
developer tray, or see what I have shot immediately on my digital camera. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I have no
mentors I can think of in regards to portraiture, except for Ellen Von Unwerth.
I know who I don't want to be influenced by. I am very tired of the perfect
gray scale portrait with the subject sitting in a studio with canvas behind
them.<br />
<i><br /></i></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Tell
me in a bit more detail about your long term friendship and collaboration with
Media Artist Linda Dement?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Linda Dement
Linda Dement Linda Dement. Yes, Linda is my greatest muse and influence. Linda's
writing and art is so incredibly..., I can't even find the words to describe her
work.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It impacts me where it is the darkest and most
vulnerable. Her written work takes me away to another reality and makes me
smile, a hard feat. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Her work
makes me cry. Her work makes me forget the cruelty of day to day living. Linda
and I escaped our conservative city (ironically she went to the same
kindergarten as my sister, but we didn't meet until I was 18 in Sydney) and
found the subculture of Punk which meant we were artists, outsiders, had
suffered a lot of pain, open thinkers, all inclusive: there was no racism,
sexism, homophobia, misogyny. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Punk, the
great equalizer. The boys were thin and gentle and looked like British rock stars.
The girls were tattooed and strong and feisty. And Geoffrey as I mentioned earlier
was also my muse. He was a brilliant artist and it is one of the greatest
tragedies that he died so young. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Linda and
Geoffrey both taught me that to be an artist, you live it. You make art out of
everything. You read widely. You watch films. You even cut the vegetables in a
creative way. You make stories up, have dreams, transmute the pain through any
means you can.<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Linda and I weren't very popular in the art world in Australia, as they thought
we were too dark and confrontational. Our art is the blood and guts of life. We
talk about the subject matters that are swept under the carpet of polite
society. We were raw and in your face. And we couldn't get exhibitions or
funding. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We are NOT
too dark for New York City. My beloved Gothic City. It's a tough city and it
applauds our work rather than shy away from it. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Our soul
mates are here. In Australia the tall poppy syndrome almost killed my spirit. I
learnt from a very early age not to reveal my successes or I knew I would be
annihilated. I got a perfect score leaving high school, and the whole time I
tried to hide my high marks, as though I had done something terrible by being
smart. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And I also
learnt very early on not to say I was an artist, as people would give me that
blank stare and then change the subject. GOD HELP US if we were different in
any way. And then I came to America, where they treat artists with great
respect. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And here it
is okay to have self-esteem, it's not seen as being "up yourself" as
in Australia. What a horrible term and I was accused of this so many times. In
America you can say I am an Artist and I make Great Art and the other person
will smile and say, "How wonderful! Show me!"<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I met Linda in 1983 through a mutual friend Geoffrey, who killed himself as I
mentioned earlier. Linda Dement is a preternatural human being. A rare and
exquisite person. We saw the world through the same eyes. A rare gift. </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
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<br />
<div class="separator">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We were photographing the
people around us. I would assist Linda in her art projects. She was making
super 8 films of the girls around her and life as a punk in Darlinghurst. She
was reading Bataille's <i>The Eye</i> at the time, and made a wonderful
transgressive film called <i>Heart.</i>I would be a model in her photographs.
There are many photos of me naked with meat carcasses. Very Punk. She was also
doing incredible drawings and writing stories.</span></span></div>
<div class="separator">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="separator">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="separator">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I was a character in one of her many stories.
I am not part of Cyberfeminism, that's Linda’s claim. Although my body is in
her Cyber space art. She went into Cyber space and I stayed in the world of
photography and film. Her interactive art is mind-blowing.One would press on an
image of a wound and up would come films or stories or more images about the
darker side of life. For years Linda and I would write letters to each other
while she was travelling the world, or even if she was suburb away. I've lost
my letters from her. They would have made a beautiful book. Now we email one
another.</span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwsabeBGy9t6bl-XjpZiehE0GREBYpKroWRWR1huPNvvkNDQcY75aTtB9QG2zoCqF0tcI3NmTmSy6f8_7MOn9vnRh6akGtLXbSRk7nhVTpxnssCRCRzobHVlZRiwCCXNtEQaBw8g/s1600/Jasmine+Hirst+%C2%A9+Film+Still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwsabeBGy9t6bl-XjpZiehE0GREBYpKroWRWR1huPNvvkNDQcY75aTtB9QG2zoCqF0tcI3NmTmSy6f8_7MOn9vnRh6akGtLXbSRk7nhVTpxnssCRCRzobHVlZRiwCCXNtEQaBw8g/s1600/Jasmine+Hirst+%C2%A9+Film+Still.jpg" width="228" /></a></span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />
<i>email each other.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><br /></i></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>And
film, video, tell me in more detail about your other early collaborations
including Technical Girl’s Collective?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In 1983 I
took part in a government funded program to teach women video. It was called
<i>Technical Girl's Collective</i>. And this is where my film career began. We made
the video I mentioned a moment ago called <i>Let's Work! Let's Not! Let's Live!" </i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It was about
unemployment and employment. Very exotic. But really it captured history, a
glimpse into life in the inner city of Sydney in 1983. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Another girl
from the collective, Margie Medlin, and I decided to develop this work and
apply for funding from the Women's Film Fund at the Australian Film Commission.
</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We developed
the script, called <i>With Inertia</i> and
did indeed receive funding from the AFC in 1986. It was a twenty minute film
that won the Best Experimental Film at the Toowoomba Film Festival. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It also
screened at Melbourne and Adelaide Film Festivals and on SBS. It is a precious
visual capture of that unique time. We employed twenty two women to work on the
film. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">During my
Master's Degree, because they had the equipment there, I learnt to edit and
began to make short videos by myself. Working with a large crew and dealing
with funding bodies was very stressful for me, and so I began working alone on
film.<br /><br />
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I have always loved film. Film and music are the most important things to me,
because they take you out of your reality. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I remember
when going to the movies as a child it was an Event. Those beautiful ornate
picture theatres at the time and that wonderful smell of popcorn, old walls and
floorboards. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The first
movie I recall seeing was <i>The Hunchback
of Notre Dame</i> which terrified me. Next I remember seeing <i>Jaws</i> with my father, which instilled an
intense fear of sharks into me for the rest of my life. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">My mother
and I would watch all those beautiful black and white 1940's films, and I guess
that aesthetic solidified within me, especially film noir with the shadows and
ahead-of-its-time composition. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">While I was
still at school I discovered the world of the Arthouse cinema. I watched <i>Rebecca</i> in one of these small grungy theatres
and to this day remember, <i>Last Night I Dreamt
of Mandalay</i> and the dreamlike state that movie<b> </b>put me into. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">That era of
cinema moved me aesthetically and emotionally. And then I discovered foreign
films and my small universe cracked open. The slow sexy French films, the smart
gritty English films, the Scottish films that would whack you across the head.
And then….the love of my life…..New York Underground Films.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I went by
myself to a New York Underground Film Festival. It was held in an office block
in the city and I remember, for one of the films,<i> Underground U.S.A. </i>(1980,
feature-length underground film directed by Eric Mitchell and starring Patti
Astor, Rene Ricard, Jackie Curtis, Cookie Mueller) I was the only one in the
audience. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Entering the
world of New York in the '70's and early '80's was like entering heaven for me.
A couple of years ago I saw this film again at The Anthology Film Archives in
Manhattan. I had experienced so much in the intervening years, that it was like watching a completely
different film. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I devoured
all the films of Andy Warhol. <i>Ciao
Manhattan</i>, about Edie Sedgwick, changed my life. It was the film Geoffrey
and I had been looking forward to seeing. He saw it while I was in Adelaide,
and then killed himself.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I watched it
by myself after his death and cried all the way through it. I now live in a
building which Edie Sedgwick would often visit. There are photos of her outside
my front door. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">She filmed<i> Kitchen</i> in an apartment on the corner.
((<a href="https://www.youtube.com/watch?v=uV57T5Sf9IM" target="_blank"><span style="color: blue;">https://www.youtube.com/watch?v=uV57T5Sf9IM</span></a>).</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">So every day
I walked through Edie Sedgewicks ghost. The film that grabs me is the one, that
during the watching of, I don't think of what I need at the grocery story. Its
total transportation and I love films like this that capture the struggles common
to us all.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And if it
has a great soundtrack and an intelligent script and stunning cinematography,
well...I am in Heaven. And this is rare. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>The Rocky Horror Picture Show</i> profoundly impacted my 15 year
old brain. It truly rocked my foundation. I realised then
there was an enormous rich world out there that I had no idea about. And that I
could access these worlds through cinema.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">There are
too many films from the 40's, 50's, '60's and '70's that I love, to list, which
have inspired my art making. There are less movies from the last 30 years that
I have been moved by.
</span></span>
</div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSrqwXdWNJwgiPS1A9vE9mSCMrazVxwwDx5x68heeOPVtq50Fcyrp6QJ5XVad2POb4ioe-gzg5CYI3BM4P9qbPBLe0m83u9nTzfzMQHG5rkuWIKE1Aoz-wgTDTv9O9-f5pFxMqvg/s1600/With+Inertia+film+still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSrqwXdWNJwgiPS1A9vE9mSCMrazVxwwDx5x68heeOPVtq50Fcyrp6QJ5XVad2POb4ioe-gzg5CYI3BM4P9qbPBLe0m83u9nTzfzMQHG5rkuWIKE1Aoz-wgTDTv9O9-f5pFxMqvg/s1600/With+Inertia+film+still.jpg" width="400" /></a></span></span></div>
</div>
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Tell me about Margie Medlin?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In 1986 Margie
Medlin and I co-directed the film called <i>With
Inertia</i>. It was developed from the first video we ever made, <i>Let's Work, Let's Not, Let's Live</i>. The
script was written collectively, so it isn't my vision. But I learnt much about
making film with a large crew, twenty two amazing women. And it taught me that
I would rather work alone or with one other collaborator. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>With Inertia</i> is a slice of punk life in Darlinghurst in the
'80's so it is an important piece of art historically. </span></span></div>
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</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I am now
collaborating with Lydia Lunch on films that visualise her music and poetry.
Just the two of us. I film and light and edit. Lydia allows me to do what I do.
I LOVE it. It's the perfect way of making art to me.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">She is so inspirational and what a remarkable
human being she is. This is pure magic. Alchemy itself. She understands me and
the two of us make great Beauty out of past Pain.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I have also been collaborating with Penny
Arcade for 20 years. Again it is just the two of us on a shoot. She does her
own styling, I do lighting and I just click, click, click and in about 30
minutes, we have incredibly beautiful photos. And then there's my collaboration
with Linda Dement, which has been on-going since 1984.
<i>Yes and I understand you are
collaborating once again with Media
Artist Linda Dement for her augmented reality project about the 1980’s Punk
Scene?</i></span></span></div>
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</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">True. Linda
is currently working on a project called <i>Ex</i>:
Let me read this;<br />
<i>"The spirits of past events, invisible reverberations of lives lived,
inhabit the ground we walk on. New terrain forms from the fertile decomposition
of the old under the weather of the present. Narratives of the past are materially
written in the landscapes objects and patterns of our present.<br />
This work calls up now faded and illegible stories from the Darlinghurst
streets to re-write them in-situ as augmented reality for viewing on smart
phone, to give new form to vigorous and turbulent energies of a punk subculture
that existed across this locale in the 1980s. <br />
The creative bohemian past of the area is well known and documented. This work
adds to another layer of acknowledging a cultural past which arose from that
rich ground, post-yellow-house, post-1970s, in the particular socio-political
conditions of the eighties. This was a formative movement for a number of our
contemporary artists, myself included.<br />
In Roman times neighbourhoods had tutelary deities, protectors and patrons of
locales, their shrines, meeting points for local unrest as well as for prayer.
Here, characters from our punk past will similarly be given a deified presence
in a location of significance, as geo-located writing and iconography; a
poetics of memory and attributes, presence and absence, place and invisibility,
new tech and old grunge, dead souls and cultural lineage.<br />
I will be undertaking this work during a City of Sydney Creative Live Work
Space residency (providing subsidised rent in Darlinghurst) and in consultation
with long time local resident artists George & Charis Schwarz and with
ex-resident artist Jasmine Hirst, now co-director of the grassroots
organisation New York Museum of Punk.<br />
This work deals with both personal and cultural memory, with how we honour our
dead, how we remember, what we see & don't see in a place we once knew, how
we share that and make it vibrant and relevant to those who were't there but
who now walk on the ground so marked and formed by the unseen past."<br />
</i>Linda and I were bona fide punks in the early 80's. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Punk came to
Australia a little later than London and New York. So she is re-animating this
incredible time. Breathing new air into our faded memories.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I met
Tequila Mockingbird, who is the Queen of Punk in USA, through Chris Rael. They
were recording indo-pop versions of <i>Pretty
Vacant</i>, <i>Wild is the Wind</i> and <i>Jumping Jack Flash</i> and asked me to make
music videos for them. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Tequila had
started the LA Punk Museum, where she lives, and asked me to be the director of
the New York Punk Museum. The New York chapter still exists in cyber space, but
will hopefully find a physical venue in Manhattan one day.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I am contributing my experience of the 80's to
Linda and creating a triangle between New York, LA and Sydney, punk-wise. I
have been blessed with hearing first hand stories about the major players in
Punk in New York and LA.</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2sgbuRP59DFWZblYDxAXPmk7F29xemFLNHMK6YCne_Q7QGc9TU2igdFVvcr06JgUQ3rj6pys6I8cAt4x2ORmYFgGnEBvsNsSQYPIyg-0h_rzP1SPUwSER1-1R6F3Ok1gc1ogPsA/s1600/nypm+4+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2sgbuRP59DFWZblYDxAXPmk7F29xemFLNHMK6YCne_Q7QGc9TU2igdFVvcr06JgUQ3rj6pys6I8cAt4x2ORmYFgGnEBvsNsSQYPIyg-0h_rzP1SPUwSER1-1R6F3Ok1gc1ogPsA/s1600/nypm+4+(2).jpg" width="400" /></a></span></span></div>
</div>
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</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I have even
walked past Richard Hell on St Mark's at Halloween, now that's a New York
experience, just like having a rat run across your feet, which I have also
experienced. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">They say
that Malcolm McClaren saw Richard Hell perform and took that aesthetic back to
London and formed the Sex Pistols. There are two opposing camps who claim the
birth of Punk is London vs New York. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Penny Arcade
says that Jayne County was the first punk, and that all her ideas were stolen by
the British. I once sat in the bathroom Nancy Spungen had died in, at the
Chelsea Hotel. Very depressing energy there. </span></span></div>
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</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Chrissy
Amphlett had booked Room 100 for a magazine photo shoot and invited me to come
over and feel the ghost of Nancy. I remember when all the punks came out of the
darkness to see <i>Sid and Nancy</i> in 1986
at a cinema in Sydney. Many of them spent most of the movie in the bathroom
smoking. And then 25 years later I am
sitting in the bathroom she died in. Life is surreal.<br />
<i>The
New York Filmmakers Coop began in 1963 with groundbreaking experimental
filmmakers like Jonas Mekas, tell me about the Co-op from your own point of
view, your recent retrospective and why it is so significant to you and
the role it has today for contextualising works for artists like yourself who
work differently to mainstream filmmaking?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">The NY
Filmmakers Coop is SO important, as it is collecting and saving the jewels of
experimental film, which would otherwise perhaps become extinct. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">MM Serra,
the executive director, saw my films in a screening at Gene Frankel Theatre in
New York and asked if I would like my films to be collected by the Co-op. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">She is a
huge supporter of my work and I am very grateful to her. She asked me to have a
solo screening of my films at Le Petit Versailles in the Lower East Side and a
photographic solo show, <i>Black Blood</i>,
at the Coop, which opened on Friday, Black Friday of course. It is one of the
few avenues we have in New York for showing films outside of the mainstream. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>Reflecting on these gritty works from your career
one of the things that I find most compelling is the way you are able to evoke
the most extraordinary and engaging intimacy with each of your subjects, how do
you do this?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I don't
know. It would be best to ask the subjects about that. You could ask Penny
Arcade about this as we have been working together for twenty years.( See Penny's testimonial about their collaboration below).</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Penny often
talks about our art making relationship and she is so much more eloquent than
I. But I do feel an immediate trust that these women give me, when I start
shooting. Also they know that I will only show them in the most beautiful way,
as I am dedicated to Beauty. </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Ul0awPgoIrA3PPbjT-SSoSEKwaUMW6c6Gamnf-WGYjaqqfxLaHiMKc1ChjC-dVHq6es5NOi3CWD3rL8pmWNxjTM587cJao-2L2fwcFDbsjTKZv8ambmGh_cueYDBXALcRFU-Eg/s1600/Aileen+Wuornos+on+death+row+%C2%A9+Jasmine+Hirst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Ul0awPgoIrA3PPbjT-SSoSEKwaUMW6c6Gamnf-WGYjaqqfxLaHiMKc1ChjC-dVHq6es5NOi3CWD3rL8pmWNxjTM587cJao-2L2fwcFDbsjTKZv8ambmGh_cueYDBXALcRFU-Eg/s1600/Aileen+Wuornos+on+death+row+%C2%A9+Jasmine+Hirst.jpg" width="400" /></a></span></span></div>
</div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>And with Aileen Wuornos,
the intimacy you have captured of Aileen on death row is astonishing; tell me
about your profound connection with Aileen?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I read about
Aileen in the newspaper in 1993. Something clicked deep within me, a strange
recognition, and I wrote to her. She wrote back and we corresponded for ten
years up until her execution in 2002. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">In 1997
Aileen asked me to come and film her on death row as she wanted to tell the
truth about the seven murders to prepare herself spiritually for her death. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Aileen had
been raped since she was a little girl. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Most women
self destruct after such experiences, but Aileen struck outwards. It was
absolutely the effects of sexual assault on her psyche that led her to death
row. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I doubt that
sexual assault against women and children is EVER going to stop. I have just
read about the hideous gang rape of a woman in Egypt. I can't even bear to
think of all the rapes that are happening throughout the world as I write this.
</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">My interview
with her does indeed show the vulnerable side of Aileen. She just wanted to be
loved. She was very ill from the effects of all the rape she endured throughout
her life. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>
Your correspondences with Aileen, did
these letters also inspire you to move to the US to live and to work as an
artist?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">No, my love
of America happened when my parents brought me here for a vacation when I was
little. I landed on American soil in the 1970’s and for the first time in my
life I felt like I was Home. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">And when I
visited New York as a teenager, I knew that this was the centre of my world.
New York is not a city, it's a person. And I am having a very passionate affair
with this city.</span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It is not for the faint-hearted, and living
here is intense. But it is a city of Artists and I have found my soul group
here. One of the best things in the world is to just walk around the streets of
Manhattan. </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">It never
fails to amaze me. Like I am walking through one big film set. New Yorkers are
so generous and helpful and kind. I love them. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghMSJW-Hn3UE3yDgWNr-Icsprb6B9_p7I9UD9csWONVc8kl-UTPnrjJ-QchWaFH6Jc5yUHPR-74lvQIZyNXGYSQd0EHNM0IF0vC_bVFe2R7f6-bwuLPSZjOdph2tKY8BTgV1YHSA/s1600/nypm+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghMSJW-Hn3UE3yDgWNr-Icsprb6B9_p7I9UD9csWONVc8kl-UTPnrjJ-QchWaFH6Jc5yUHPR-74lvQIZyNXGYSQd0EHNM0IF0vC_bVFe2R7f6-bwuLPSZjOdph2tKY8BTgV1YHSA/s1600/nypm+3.jpg" width="320" /></a><br />
<i>Looking
back at your career now with some measure of genuflection, what new or
surprising insight(s) have you observed recently about your work on reflection?</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="line-height: 115%;">Now that I am old. Yes, I have realized that the only important thing in
life is one's spiritual journey. My art is completely insignificant. Be kind
and helpful to strangers. Be generous to your friends. Listen to people's
stories even if you are bored. If one has resentment for someone, don't act on
it. Be aware of where one's energy is going. </span></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="line-height: 115%;">The challenge is being kind and generous when one doesn't feel like that
at all. Let go of expectations. Do what makes you happy, or at least brings
peace to your mind. Keep my negative judgements of others to myself. But I will
continue to make art, because I have an endless source of creativity flowing
through me. </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="line-height: 115%;">I see the emptiness of Fame, and although when I was young I had
desired to be famous, I now see the folly of that. </span></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="line-height: 115%;">I aim every day to find peace within myself. And because we are all
basically Narcissistic, I try to at least do one helpful thing for someone
every day, even if it is as little as thinking kind thoughts about them.
Knowing that Death is not far away puts everything into perspective. </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="line-height: 115%;">And if my
art helps one tortured lonely teenager, or adult, somewhere in the world, well
that is the icing on the cake.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://splashurl.com/k5scq2l" target="_blank">Jasmine @ Tumblr</a></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>Penny Arcade - On Collaboration with Artist Jasmine Hirst</b></span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">All collaborations are a
synchronistic merging and they occur on an intuitive level. I know that now
'collaboration' is taught as a process in Art School but to quote Oscar
Wilde: <i>"Nothing worth learning can
be taught."</i></span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I met Jasmine Hirst in 1994 after
one of my performances at Belvoir St Theatre in Sydney. I had noticed her and
her girlfriend in the audience during the show; they stood out in black
and white to me amid the general colourfulness of the large audience.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">At the end of the night as I was
exiting the theatre, I saw them sitting in the lobby, a bit expectantly I
thought and I myself was surprised to see them there. I experienced an
aura of inevitability and immediately went up to them and introduced myself which
I suppose was a bit odd since they had been watching me on stage for two hours
but I was eager and pleased to meet them. We talked and I felt very drawn
to Jasmine who was a bit shy but very warm and generous about my work and I
asked her about hers and she told me she was a photographer</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We immediately exchanged
addresses and wrote to one another when I returned to NY and she sent me some
samples of her work which I was very impressed with. Within six months I
was back in Sydney where I began a three month tour with five weeks in Sydney. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jasmine and I arranged a photo
session immediately and working with Jasmine was not only effortless, we
seemed to not only communicate wordlessly but the word I would use was
'commune'. </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiEtR30aoScwAunxjWaigiSLjb0kYfVFn2H_QOnkrDTD_bVM34lP41SM225vrC_52MlvQysNPBQFVn4FOpYSgPa8okNqKwCap9oPv8SBwYbsU8hXt0IndhNIBFI8WJ13NeibDNzg/s1600/Penny+Arcade+by+%C2%A9+Jasmine+Hirst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiEtR30aoScwAunxjWaigiSLjb0kYfVFn2H_QOnkrDTD_bVM34lP41SM225vrC_52MlvQysNPBQFVn4FOpYSgPa8okNqKwCap9oPv8SBwYbsU8hXt0IndhNIBFI8WJ13NeibDNzg/s1600/Penny+Arcade+by+%C2%A9+Jasmine+Hirst.jpg" width="311" /></a></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "trebuchet ms" , sans-serif;">By 1995 I had a very long history
of being photographed. I should add here that photography is my favourite
art form and I had been photographed by some of the greatest photographers
in the world but I noticed with Jasmine I was willing to show aspects of myself
to the camera that I had never felt comfortable revealing to any other
photographer.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">We worked quickly and
effortlessly and the session yielded many exceptional photos but more than
that it seemed we had together captured a secret visual story. I was in the
process of creating my play <i>Bad
Reputation</i>, an emotionally charged work about the co-optation of "the
Bad Girl" image by the art and entertainment world, that
sensationalizing the sufferings of women who are marginalized by society
without ever bringing the content of their pain and suffering to a
conscious level. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">One photo in particular was
so iconic, so revealing of strength in the face of isolation, and
rejection, that I immediately recognized that it was the photograph that told
the whole story of the play without words and that it must be the photo for the
play's poster. Five months later I returned to Sydney to collaborate with
Richard Tognetti, the famed violinist and creative director of The
Australian Chamber Orchestra, who was composing music for on a new work commissioned
by The Vienna Festival; <i>Sisi Sings The Blues. </i></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I spent a lot of time with
Jasmine and we set up a photo shoot. Once again an iconic photo emerged. One
photo that told the whole story of the play that I was still in the midst of
writing. Now it became obvious to me that Jasmine and I had tapped into
some subterranean emotional stream that she was somehow capable of capturing
on film. This photo too would become the image for <i>Sissi Sings The Blues</i>, featured in the catalogue for that
prestigious theatre festival, The Vienna Festival being one of the world's
most important theatre festivals.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I returned to Sydney again six
months later and Jasmine introduced me to Artspace where Jasmine was currently
having a big exhibition of her black and white self portraits which were
very deeply moving for me. Artspace immediately gave me a residency with a
studio in which to collaborate with Jasmine as I started to work on <i>Bad Reputation</i> in earnest. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Unbeknownst to me at the time Jasmine
was working on her film about the American Serial killer Aileen Wuornos and
unbeknownst to Jasmine, Aileen Wuornos and her story were already a pivotal
part of my play.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jasmine and I spent the next two
and one half months in deep conversation about all the elements in the play and
at the end of the period I presented a public performance of the work I created
and Jasmine photographed it. I returned to NY and stayed in touch with
Jasmine as we tried to future out how we could continue to work together. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">A few years later Jasmine had the
opportunity to get a travel grant to further her career and I became her sponsor
in NY and I offered her a residency in my studio. Jasmine and I then embarked
on a full time collaborative relationship that has included video as well as photography.
Jasmine has become over the past two decades an integral part of my work and of
my artistic team. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">I am not aware of any two artists
from different métiers who work together as Jasmine and I do, but then
that is the nature of collaboration. Jasmine and my collaboration continues.
People are always in stunned disbelief by our ability to work quickly and
succinctly, all our shoots are done in less than two hours and they are always marked
by the same organic, intuitive and holistic communication that we have had from
the very beginning. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">During the more than a decade
that Jasmine has worked in NY she has become part of the fabric of downtown
NY's art scene fusing her own aesthetic with that of a long lineage of
national and international artists who make up what is called The New York
Art Scene. Jasmine's work and her unflinching commitment to her work is hugely
admired and influential in NY and her film and photography work plays an
important role in the artistic dialogue of NY. As Jasmine enters her mid-career
period, her personal artistic vision has matured and integrated into a
visual voice of great purity and power. </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">For more about Jasmine read here:</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.remix.org.au/interview-jasmine-hirst/" target="_blank">The Remix Project- ARI Remix Jasmine Hirst - The Ephemera INTERVIEWS</a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Penny Arcade NYC August 12, 2014</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://splashurl.com/lo4xheq" target="_blank">Read about Penny Arcade here....</a> </span></span></div>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://splashurl.com/kpq2py7" target="_blank">Sissi Sings The Blues</a> </span></span><br />
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<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Credits:</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">All Photos Courtesy Artist Jasmine Hirst:</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jasmine</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Geoffrey </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Lydia</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Penny</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Nan </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Penny</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Sandra </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Chrissy</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Jasmine</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">With Inertia</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Tequila and Jasmine </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Aileen</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">Courtney</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">New York Museum of Punk </span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;">La Petite Versailles Poster</span></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://paulandrew-interviews.blogspot.com.au/2013/06/catching-light-isea-2013-digital-artist.html" target="_blank">For more info about Cyberfeminism's Linda Dement:</a></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;">For more info about Jasmine Hirst:</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://remix.org.au/" target="_blank">Jasmine Hirst - Artist-Run Culture Australia</a></span><br />
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://jasminehirst.tumblr.com/" target="_blank">Jasmine's artist web site:</a></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">To read more about Australia's unique and diverse artist-run scene post 1980 click here :</span></div>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-6442732437736071512014-06-05T23:20:00.002-07:002014-10-30T18:04:38.395-07:00Twelve + 3 - Curator Co-ordinator Julie Barratt - The Glasshouse - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;">Curator and Co-coordinator at Accessible Arts NSW Julie
Barratt chats to Paul Andrew about a new exhibition at The Glasshouse, Port
Macquarie, about artists living with disability and the politics of disclosure.
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Julie I understand you began working on this exhibition almost two and a half
years ago?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">True, I work for Accessible Arts NSW, the peak body for arts
and disability in NSW. Two and one half years ago AARTS received funding from
Community Builders to establish the Creating Connections program working across
the North and Mid North coast regions of NSW. As the manager of that project
the aim of my role was to establish networks for artists with disability across
the regions and assist them into mainstream opportunities wherever possible. It
wasn’t long before I realized what a huge pool of talented artists there were
out there and the idea for a regional exhibition was seeded very early on in
the project.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And Twelve + 3 is also about supporting artists who rarely
get an exhibition opportunity like this?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Yes, and initially it was really about supporting artists
who hadn’t otherwise had the opportunity to exhibit at this level before
because of all sorts of reasons, social isolation, distance, transport, lack of
opportunities, the list goes on. Then there were artists who were working at a
professional level and quite established in their careers but who hadn’t
previously been supported or highlighted by Accessible Arts. The diversity of
cultural practice only really became apparent when we started to put all of the
works together!</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And initial interest aside, how did Twelve + 3 get “legs”?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I wanted the exhibition to be big. I wanted to mentor all of
the artists, get them all a website, foster their careers and so on. I always
have a big vision. I approached Peter Wood (RADO Arts Northern Rivers) to see
if he was interested in collaborating on the project. </span></div>
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He said ‘yes’, we submitted a grant application but were unsuccessful so we
continued on anyway with a slightly less ambitious version of the project. I
was blessed to have Zoe Robinson-Kennedy (Communications Manager with Arts
Northern Rivers) come on board as the co curator of the project.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">The exhibition title is intriguing?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I work across eleven council regions so initially the idea
came from the thought that I could have one exhibiting artist from each region
but as time went on and the process unveiled a bit more with Zoe from Arts
Northern Rivers coming on board we made the decision to select a body of work
from artists who best represented that diversity that you speak of so ended up
with twelve artists. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">In my position I also work with supported studios across the
region in diverse projects including facilitating workshops, helping with
marketing, promotion and it was important to also showcase some of the more
collaborative work coming out of the supported studio environment. So that’s
where the three came from; three supported studios</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And the twelve artists, what were some of your guiding
principles, motivations and selection criteria?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Essentially, that the artist had to have a lived experience
of disability. There are so many fantastic artists working across this region
that we really wanted to highlight some of those artists who Accessible Arts
hadn’t previously supported or exhibited. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">There was also a sense that we needed to show work across
genres so that we now have glasswork, ceramics, painting, collage and works on
paper in the exhibition. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">We were very keen to mentor a few of the artists in the
exhibition as well so these artists were very much supported through the
process in terms of their materials supplied, several meetings with these
artists to discuss the work and what we were actually looking for from the
works themselves. Similarly with two of the supported studios we worked very
closely with the two artists managing those studios, visited the studios, and
discussed the work that we wanted for the exhibition so it was very much about
a collaborative process.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRpFs479PG40qPdIzvlknT32JsJtz1GXMrc22gY6kx_fitpkoEN6R_fvqYf2pBBN1TnfJYIEeWzM3bq7C-8aUO5eWn8D3WS2KISqg7WbwZgvV4hQItgfpXTi6AezUkuzJ7FfOag/s1600/DSC07834.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtRpFs479PG40qPdIzvlknT32JsJtz1GXMrc22gY6kx_fitpkoEN6R_fvqYf2pBBN1TnfJYIEeWzM3bq7C-8aUO5eWn8D3WS2KISqg7WbwZgvV4hQItgfpXTi6AezUkuzJ7FfOag/s1600/DSC07834.jpg" height="266" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Damien Conte is one of the younger artists in the
exhibition?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Yes, that's right and I met Damien Conte very early on in
the Creating Connections project. I was contacted by his mother Cheryl and
clearly remember going into Damien’s home for the first time and seeing
incredible, vibrant, quirky, contemporary paintings. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">There were paintings on every wall, stacked against the
wall, all throughout his garage studio and several in progress. Damien is
autistic and has very little verbal language but his works had such a strong
narrative going on. Damien uses text in his work and will often write around
the edges of his canvasses and that intrigues me. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">The other thing I love about his practice is that he often
changes his signature with each new body of work so over the past 2 ½ years I
have seen Damien’s work signed Damien, Damen, Planet, Lifeworks and at one
point Jack Johnson. Damien’s repetitive patterning, his bold use of colour and
personal narratives are common themes within his works.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And Brook Walker is another younger artist in the mix?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Young indigenous artist Brook Walker works out of the
Jambama Indigenous art centre in Casino. The centre have a great commercial
gallery space and it was here that I first saw Brook’s work exhibited on the
day I went out to Casino to meet Brook for the first time. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">While I was waiting for Brook to arrive I was looking
through the gallery and there was a particular painting that caught my eye.
Painted in blacks, yellows and ochres the painting possessed a similar
aesthetic to Damien’s work in its patterning and elements of whimsy. Certain
animal totems are repeated in Walker’s work such as the owl, that speak to us
about the artist’s inner world and belief system that I find intriguing and
naively beautiful.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Anyway I was looking at this painting (not knowing that it
was one of Brook’s) and just knew that I had to buy it. So I did, and then
Brook walked in and asked what I thought of his work. I like the artist as much
as his work. Brook Walker, a Bundjalung man who lives with disability, is a
self-taught artist who has been painting since childhood. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Damien is also a self taught artist and perhaps the fact
that their work is unadulterated by academic instruction or traditional
influence is what I find so refreshing and unique about these two artists work.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Twelve +3; the big vision you mention?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Accessible Arts vision - and it’s a vision I share - is a
society in which people with disability can contribute to and fully experience
the arts and cultural life. It’s about inclusive practice so touring this
exhibition and basing it in a major regional gallery as a first exhibit was
very important. It is about the artist first and foremost and about the work
these artists are making.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And there are other artists like Brook working with
indigenous subjects, themes and concepts?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Two of the Indigenous artists involved in the exhibition,
Mabel Ritchie and Lewis John Knox, are represented by the Dunghutti Ngaku
Aboriginal Art Gallery in Kempsey and both attend a local disability workshop
known as ‘Life skills’ where they paint. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Mabel’s beautiful works are based on the local flora in her
region and her attention to detail and pattern is extraordinary. Mabel has some
difficulty with communication and struggles to make herself understood, however
through her painting she speaks volumes. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Johny has been interested in painting since he was a small
boy with cerebral palsy and polio. The church makes a regular appearance in
Johny’s narrative works but he depicts the church not so much in the religious
sense but as a regular gathering place. Johny and Mabel both grew up on
missions. Johny paints stories – what he saw on the way to school, family
gatherings, church going, they’re observational in character.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRMrKfSEpONia5TqSmbQJSq5PtUTiEysP06p_2b0rL7vUIl9kRtkbVg3iNf02hLhEAW0UgO5eXSRcWs5Rk4Th7k5iNqbDgu2oF1DlYJeCSGsh0W02reXkAjH-ZUCqwVQFwODlRnA/s1600/DSC07836.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRMrKfSEpONia5TqSmbQJSq5PtUTiEysP06p_2b0rL7vUIl9kRtkbVg3iNf02hLhEAW0UgO5eXSRcWs5Rk4Th7k5iNqbDgu2oF1DlYJeCSGsh0W02reXkAjH-ZUCqwVQFwODlRnA/s1600/DSC07836.jpg" height="266" width="400" /></a></div>
</div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I am now trying to imagine an ordinary day for you Julie
during this long development period?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">An ordinary day would always involve driving. With the
artists spread out over a 600 km region from Damien at Cabarita Beach in the
north to Claire who is based in Taree, then west to Casino as well the artists’
studios are spread far and wide. Visiting an artist’s studio, talking on the
phone about paperwork, writing submissions to galleries, writing grant submissions,
curating work, there were so many tasks associated with this exhibition and
then we decided to tour it which added a whole other dimension.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Zoe and I just recently spent a week in Port Macquarie
installing the work for the first twelve + 3 exhibition and with almost seventy
works I think it is the biggest exhibition I have ever hung in all my many
years curating and hanging shows. Definitely one of the most exciting as well.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Clearly Accessible Arts NSW has played an important role in
helping artists in the region build momentum with their professional practice?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I guess for this project in particular it has been about
giving voice to the lived experience of disability by providing a forum for
work produced for and by people with disability and about disability. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Will there be a follow-up exhibition to help build this
professional artist and skills development momentum?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Well from small beginnings big things grow. Is that how it
goes? So we started with an exhibition at the Glasshouse gallery in Port
Macquarie and the project has now grown to include exhibitions at the Regional
Arts Australia conference in Kalgoorlie in October this year, an exhibition at
the Artspace on the Concourse in Sydney as a part of our upcoming conference in
October. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimLVLWvzxerhb8aCF1o3Xn-nnHunHagNPkGEFYwPZbTBvPGj5WpbJEoRQdB1oQJSDVaR5O1N8yNmjO4ktT4yhF2Clflw9FZWl9eddAqruJCrUIhtmP740zfoxvsxgOuVrNebKH4Q/s1600/DSC07833.jpg">
</a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Your personal aspirations for the artists in Twelve +3 as
the exhibition travels?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Hopefully it will assist all of the artists involved to lift
the profile of their artistic practice to a wider audience. Every artist
involved in this project has a unique artistic practice and an amazing story.
There is an authenticity and individuality in all of the artists work across
many genres and hopefully these exhibitions will give the work the well
deserved attention and recognition each of the compelling work deserves. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">It has been an absolute pleasure to work with the artists
and to watch their process unfold. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">And the politics of disclosure, revealing an artist's
"back-story"?</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">It is interesting and thought provoking to think about this
question and it reminds me of a forum that Accessible Arts conducted at the MCA
in Sydney late last year where some of these issues were discussed.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">One of the panel discussions at the Supported Studios
network was themed Considering Perceptions and it highlighted the
difficulties for commercial galleries to sell the work of self-taught artists
without talking about ‘the back-story’. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Evan Hughes from The Hughes Gallery said, "It is almost
impossible for me to sell the work of self-taught artists without the
back-story." Evan claims that he does not exhibit work with such
narratives but the questions almost always comes-up from prospective buyers. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">This raises the complex issue of disability disclosure to
artists in general and in particular to the artists that I worked with on the
Twelve + 3 project. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I guess when we worked on the artist statements for the
project I really wanted to first and foremost have the artists talk about their
work and the reasons for making the work that they do. </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">For some disclosure of their disability was important as it
very much informed their artistic practice, for others art and art making has
always and will always be a part of their life.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">There is a lovely quote from Zoe in the exhibition catalogue
which I think sums up perfectly how I feel about each and every one of these
artists work: “There is a lyricism in these works which could easily be
misunderstood as a form of naivety, but instead should be viewed as each of the
artists gifted ability to work with an unbridled sense of freedom”</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">
PHOTOS: Courtesy Zoe Robinson - Kennedy</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br />
More details of the exhibition can be found at the following links: </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/k7beulj" target="_blank">Arts Northern Rivers</a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Related Links:</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/muo6jcp">"Disabling" the Museum -
Curator Amanda Cachia</a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://splashurl.com/mpz7yrm">Regional Arts
National Conference- Kalgoorlie</a> </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">http://splashurl.com/mpz7yrm </span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br />
INTERVIEWS readers your commentaries are most welcome:</span></div>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-90200433442873579812014-05-28T01:07:00.001-07:002015-04-03T04:01:27.020-07:00 Pollyxenia Joannou - Devolving - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Tell me about your
earliest childhood memory, place, time or experience when you just knew you
needed to become an artist?</span></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I can’t recall a
‘eureka’ moment.<span style="mso-spacerun: yes;"> </span>The notion of becoming
an artist wasn’t a clearly defined road.<span style="mso-spacerun: yes;">
</span>Now in retrospect, I see the making of work (art) happened in stages.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Although I’m an impatient
person by nature, I have realized over the years that when I ignore stages, the
work usually becomes formulae …… (what I would perceive as added decoration or,
result in a facile story which has been laden).<span style="mso-spacerun: yes;">
</span>I have learned to follow my instinct and, stop when I feel the work
needs no elaboration.<span style="mso-spacerun: yes;"> </span>If that road
fails, I start again and approach an idea from another angle.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Tell me the story
about your early art training Pollyxenia?</span></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">In 1969, Edith Head (costume
designer for film) was in Australia to promote the film ‘Sweet Charity’ and was
being interviewed by Don Lane on Channel 9.<span style="mso-spacerun: yes;">
</span>She spoke of colour, movement and materials.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I applied for the
dress design diploma for the following year at East Sydney Tech.<span style="mso-spacerun: yes;"> </span>I failed to be accepted into the course and
subsequently, used my bursary to go to night school to study fashion
illustration, colour and design, pattern-making, life drawing and sculpture for
four years while I was employed by a publishing company as a girl friday during
the day.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">After this I
travelled to London.<span style="mso-spacerun: yes;"> </span>I worked as a temp and
attended life drawing classes at the Byan Shaw School Of Art and, sculpture at
St. Martins during the evenings after my day jobs. </span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I returned to Australia
and it was then I enrolled on a full time art certificate course at East Sydney
Tech followed by a visual arts degree at the City Art Institute (now
COFA).<span style="mso-spacerun: yes;"> </span>I was awarded the NSW Travelling
Art Scholarship on completion of my visual arts degree and this propelled me
back to London.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">On my return from the
scholarship, I was quite lost and took up the post grad diploma in painting at
Sydney College of the Arts as a way of settling back into Sydney.<span style="mso-spacerun: yes;"> </span>I had realised at this stage that the
expressionistic work I had been making was not the direction I wanted to go.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Still very restless,
I headed back to London via a residency through the Australia Council.<span style="mso-spacerun: yes;"> </span>This time, I stayed nearly a good decade and
applied for my Masters Degree in Communication Design at St. Martins.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">By the way, I went to
see ‘Sweet Charity’ four times within a month. <span style="mso-spacerun: yes;"> </span>The magic was in all the elements combined;
the choreography, costumes, the actors, music, songs et al.<span style="mso-spacerun: yes;"> </span>The studio had filmed two endings. One ending
was where she gets the fella, and the other, where she doesn’t.<span style="mso-spacerun: yes;"> </span>Both endings had a positive message.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">And something about
the teacher or teachings that inspired you then and continue to linger and
inspire you now?</span></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Brian O’Dwyer at the
City Art Institute was the first teacher to say to me “One day you won’t need
to make that gash!”<span style="mso-spacerun: yes;"> </span>And, as he inhaled
on his More cigarette, walked away.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Ann Thompson was
another teacher that inspired me. She was encouraging and gave of herself and
her knowledge.<span style="mso-spacerun: yes;"> </span>This encouragement led to
The NSW Travelling Art Scholarship.<span style="mso-spacerun: yes;">
</span>Also, Jim Brown who encouraged self-sufficiency in the sculpture
workshop.<span style="mso-spacerun: yes;"> </span>His practical, no-nonsense
approach, have been with me to this day.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Do you have a recent
(or not so recent) magical experience of gazing at a work of art and being
absolutely lost in it, in a way that all time disappears?</span></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">There are two works
that hold that magical experience.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The first being
Joseph Beuys’ video of being in an enclosure with a coyote.<span style="mso-spacerun: yes;"> </span>Him crouched in a corner wrapped in his felt
blanket and the coyote slowly, cautiously sniffing and snapping as he
approached this living thing wrapped in felt.<span style="mso-spacerun: yes;">
</span>As you watched, there was a tolerant acknowledgement of this strange
‘other’ in the cage with the coyote.<span style="mso-spacerun: yes;"> </span>The
work left me optimistic and touched me in a way that changed my perception or,
gave me permission if you like, to another way of story telling.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The second was the
work of Rachel Whiteread.<span style="mso-spacerun: yes;"> </span>The inside/out
terrace house in the East End of London, which, revealed an inner life of a
humble two-up/two-down.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Nothingness - there
is an expression I particularly like that nothing underpins everything - your own philosophical take on nothingness?</span></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I like your
expression “that nothing underpins everything”.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I’m not sure where my
philosophical take on nothingness derives from.<span style="mso-spacerun: yes;">
</span>My knowledge of both Taoism and Buddhism are very sketchy.<span style="mso-spacerun: yes;"> </span>The most true would be from the quietude of
place.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Tell me the story
about what happened at the very beginning of the idea behind this exhibition
Devolving?</span></b></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The title ‘Devolving’
didn’t happen until I was asked to come up with a title for this exhibition.</span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I had to backtrack to
my work entitled ‘Safe’.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">‘Safe’ was a work
I’ve always wanted to make for years but, failed attempts to fund this had
always put this project on the backburner.<span style="mso-spacerun: yes;">
</span>About two and a half years ago, I bit the bullet and ordered the felt I
would need to construct my felt house on wheels.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">It had to be
unbleached, thick felt, stacked in layers (like sediments of time), it had to
convey safety, it had to be portable, had to be a recognizable, iconic shape
that conveyed our idea of being safe: A house or home. </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The concept of
portability and safety took me back to my Greek Orthodox background of the
portable icons that were used during the Byzantine time; where portable images
of saints were carried as a form of faith and protection.<span style="mso-tab-count: 1;"> </span>It (the result of this current exhibition)
stemmed from ‘Safe’.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">The word ‘evolving’
wasn’t quite what was happening as I always head towards nothingness after one
stage or, body of work.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I looked up the
meaning of ‘devolve’ and found that this was what was occurring.<span style="mso-spacerun: yes;"> </span>My work and thoughts were taking everything
back to a simpler, more central core that sprung from nothing.<span style="mso-spacerun: yes;"> </span>Devolving for me implied motion.<span style="mso-spacerun: yes;"> </span>No doubt the next stage will evolve into a
more complicated language?<span style="mso-spacerun: yes;"> </span>I’m not sure?</span></span></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I am struck by the
sensuous, tactile quality of the works, even as digital photographs they evoke
a rich sense of touch, tell me about your enthusiasm for tactility in the works?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Yes this enthusiasm
for tactility in my work has been a long held tenet.<span style="mso-spacerun: yes;"> </span>Even when I make paintings, I try to evoke
tactility.<span style="mso-spacerun: yes;"> </span>It proved harder to convey
this in paint without resorting to the expressive gesture and density of oil
paint.<span style="mso-spacerun: yes;"> </span>It has also proved more difficult
as I chose not to be representational in my work.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I went back to the
drawing board with paint and learnt from artists that went long before me in
history:<span style="mso-spacerun: yes;"> </span>Trial and error.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Can gallerists
actually touch the felt, blanket, rope, wood and silkscreen works? I imagine it
must be terribly difficult not to touch them?</span></b></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I consider touching
an extension of the work.<span style="mso-spacerun: yes;"> </span>I remember
taking my mother to a Biennale.<span style="mso-spacerun: yes;"> </span>She
stopped in front of photographs and her hand went over the photograph.<span style="mso-spacerun: yes;"> </span>My mother was diagnosed with schizophrenia when
I was young and for her, touching was her way of an </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">image or
thing existing.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Joseph Beuys
springs to mind again now, felt and blankets perhaps, simple things that afforded Beuys
shelter, warmth, consolation and protection in difficult times?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Yes! Joseph Beuys is
definitely an influence as he opened a gamut of possibilities.<span style="mso-spacerun: yes;"> </span>Before him though an artist named Yannis
Kournellis who spoke of humanity, the human condition and, history using
various materials for his installations.<span style="mso-spacerun: yes;">
</span>I later discovered the scale and colour of Elsworth Kelly, the purity of
Robert Ryman, the simplicity and complexity of Malevich, the magic of Rachel
Whiteread’s work and the silent rhythm of Agnes Martin.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">There is one work
that I (not so secretly) covet and would cherish and that would be Joseph
Beuys’ ‘Felt Suit’.<span style="mso-spacerun: yes;"> </span>This piece sums up
life or the journey of life. And these recent works have been a culmination of
influences over decades plus, the revisiting of ideas and the trials and errors
of experimentation.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">For me, it is this qualit that evinces a palpable sense of belonging at the heart of each of these works?</span></b></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I would like very
much to have realized some sense of belonging in each of the works as I think
that most of us would like to belong and, if a sense of this comes through in
the work, I’m happy.</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">For me, the phrase you
use: "Stripping Away" is such an evocative term about your process
and practice?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">OOOO! I never thought
of “Stripping Away” as an evocative term.<span style="mso-spacerun: yes;">
</span>When I use the term “stripping away” in relation to my process and
practice, I mean a ridding of all that is not necessary in a work.<span style="mso-spacerun: yes;"> </span>That is, attaching a shape, an unnecessary
gesture or stroke, a pattern, a material that will kill or sledgehammers a work:
So yes, in a way there needs to be a degree of detachment in the studio during
the making and work process</span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">.</span></i></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">There is also a
quality of meditative quietude in each of the works, a unique and distinctive
quietude that invites contemplation, for reverie, and compassion?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">I’m not conscious of
setting out to make work that has a quality of meditative quietude.<span style="mso-spacerun: yes;"> </span>I can only guess that my work is what it is
and probably derives from an unsure early family life</span></span><span lang="EN-US" style="mso-ansi-language: EN-US;"> <span style="mso-bidi-font-style: normal;">and my constant desire for a safe respite
from the real world?</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">What does nothingness
feel like?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Scary and hopeful.</span></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQGFGUwXHp_TLkaFjRGIGluTpFmdME8ojsuVkjZ5i9i1i8Evkf0DGYyau__vWscVwmNHMJ7jqyQKvRxe0IwciUrS-KeiVBDJY_2_pErk86O1QNI63HStWiQ-pcMgOsP8CUGCdx5A/s1600/3.RedCornerSquare(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQGFGUwXHp_TLkaFjRGIGluTpFmdME8ojsuVkjZ5i9i1i8Evkf0DGYyau__vWscVwmNHMJ7jqyQKvRxe0IwciUrS-KeiVBDJY_2_pErk86O1QNI63HStWiQ-pcMgOsP8CUGCdx5A/s1600/3.RedCornerSquare(1).jpg" height="400" width="342" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span id="ctl00_mainContentPlaceHolder_lblPress" itemprop="description"><b>D E V O L V I N G<br />
POLLYXENIA JOANNOU</b><br /><br />
OPENING: TUESDAY, 29 APRIL, 6 - 8 PM<br />
EXHIBITION DATES: 29 APRIL - 31 MAY, 2014 </span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<br />
<div itemprop="location" itemscope="" itemtype="http://schema.org/Place">
<h3 itemprop="address" itemscope="" itemtype="http://schema.org/PostalAddress">
<span style="font-family: "Trebuchet MS",sans-serif;"><span id="ctl00_mainContentPlaceHolder_lblAddress" itemprop="streetAddress">99 Crown Street</span>
<span id="ctl00_mainContentPlaceHolder_lblAddressRest"><span itemprop="addressLocality">Sydney</span>, <span itemprop="addressRegion">NSW</span> <span itemprop="postalCode">2010</span> <span itemprop="addressCountry">Australia</span> </span></span>
</h3>
</div>
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<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span id="ctl00_mainContentPlaceHolder_lblPress" itemprop="description"><br />
The artist will be present at the opening.
<br /><br />ARTIST TALK during EAST SYDNEY ART WALK<br />
SATURDAY 31 MAY, 2014 12.30 - 1.00 PM</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Links:</span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="http://splashurl.com/jw77fs6" target="_blank">http://splashurl.com/jw77fs6</a> </span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span lang="EN-US">Pictured Above:</span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><i itemprop="name">Safe</i>, </span><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_artworkYear"><span itemprop="dateCreated">2012</span></span></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<br />
<dl class="dl-horizontal list"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">
</span></span>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Medium:</span><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords">Sculptures, Felt, wood, castors</span></span></span></dt>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords"> </span></span></span></dt>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords"> </span></span></span></dt>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords">Pictured Below:</span></span></span></dt>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords"> </span></span></span></dt>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Red Corner Square, 2012</span></span></dt>
</dl>
<dl class="dl-horizontal list"><span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords"> </span></span></span></dt>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<dt><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_sCategory" itemprop="keywords">Dear INTERVIEWS readers your commentaries are welcomed, thank you, Paul. </span></span></span></dt>
</dl>
</div>
</div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-89372127483585112262014-03-26T15:20:00.001-07:002016-08-16T02:22:07.828-07:00Charlie Hillhouse - Printed Matters - The ARI Effect - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxUomjWXZ0yzQoWlcfEEZ8BGFQoX0l3fREni2-PFbgI1Itf8XkzYUdrPF7Besxabd7dKKmmxdmpqvPacJNhqwlpoWrHiw93aZQwWzBYuFC85Ug8b__sMLfOXIyupPyL2ZohXMmFw/s1600/bus_install_shot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxUomjWXZ0yzQoWlcfEEZ8BGFQoX0l3fREni2-PFbgI1Itf8XkzYUdrPF7Besxabd7dKKmmxdmpqvPacJNhqwlpoWrHiw93aZQwWzBYuFC85Ug8b__sMLfOXIyupPyL2ZohXMmFw/s1600/bus_install_shot.jpg" width="320" /></a></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><b>Charlie Hillhouse </b>is a Brisbane-based artist passionate about digital manipulation. <b>Paul Andrew</b> chats to Charlie about his work and exhibiting in ARI's in Brisbane and Melbourne.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Tell me about your
art studies Charlie?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">I studied at the
Queensland College of Art in photography. I started out in visual communication
design but changed after my second year into photography. I think the most
important thing I learnt from studying was treating being an artist like a
proper job. Going to university taught me to have the discipline to keep going
once that structure had finished, because I think the hardest part of being an
artist is actually finishing your ideas. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">You have recently
held exhibitions of your work at several artist-runs, In Brisbane and Melbourne?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">True, two Brisbane ARI’s
I have exhibited in recently are Witchmeat and A-CH. Witchmeat was a small
artist space in Highgate Hill. It was run by two artists Michael Candy and Anna
Carluccio from inside Michael’s house. The second space was A-CH gallery in
West End which at the time was run by Brisbane painter Archer Davies and his
sister Freda Davies who is also a painter. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">The exhibition at
A-CH largely comprised of photographs of what I call man-made cliffs, which is
basically how it sounds, cliffs of some form that have been created by humans.
As well as the photographs of cliffs I had four other photographs which I
believed held the same sentiment as cliff works and a large text piece which
read “Sometimes one must stand on the edge of a man-made cliff.” </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">For the show at Witchmeat,
I created six large photocopy photographs that had been manipulated, paired
with a small framed photograph. I had the idea of showing large photocopy works
and thought that Witchmeat would be the perfect place as it encourages more
experimental practices. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Tell me about your
thoughts about the benefits of emerging artists exhibiting new work in ARI's
like these?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">I’m not sure what
the benefits were of exhibition these works in an ARI as opposed to a
commercial gallery, but especially in terms of the show at Witchmeat I enjoyed
being able to experiment with a medium - such as photocopy - which didn’t have
an inherent value, something maybe commercial gallery wouldn’t be as interested
in.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Melbourne. Earlier this year you
had an exhibition at a Melbourne based ARI, Bus Projects?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">The exhibition at
Bus Projects was called <i>Parts of Cars. </i>It was five photographs of out of
focus bright green card bonnets with 4 Risograph prints of the letters FAP in
different fonts. The letters FAP were taken from a car registration plate spotted
in Brisbane. I wanted the Risograph prints to influence the way the viewer felt
about the colour fields which the bonnets had produced because the photographs
were so out of focus. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">What is important
for you about exhibiting interstate at an ARI like Bus Projects?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">The main reason I
wanted to show interstate was to widen the audience viewing my work. Brisbane
is a great city but the art scene is fairly small so it’s a nice thought to
think new people could potentially be viewing your work for the first time. I
think the internet can only get you so far, it’s really satisfying to see your
work in a foreign space. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Do you think your
Bus Projects exhibition helped raise your artist profile in some measure?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">That’s a really
hard question to answer if the exhibition raised my artist profile. I had some
really great feedback and I did get to meet people through having that
exhibition. But sometimes the immediate benefits are hard to see. I think
you can never tell which opportunity you take is going to be the one that leads
to more opportunities. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"> </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Do you think it's
important for emerging artists to specifically exhibit in ARIs, local, interstate
or overseas?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">I think it’s
important for emerging artist to show their work, however that may be. ARI’s
usually offer a good opportunity to be able to do this for artists who are just
starting out because the barriers are a lot smaller for getting your work into
a gallery. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Digital Photography
is one important aspect to your work?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Well digital
photography isn’t so much a big part of my practice but digital manipulation
is. Most of the abstract work I make is based from photographs, either film or
digital and then manipulated usually with photoshop or through printing
processes. What I like about this digital process is the possibilities, they
really are endless and you can always come up with new ways to change your
image. This may be a simple change of colour or a huge change to completely
destroy something that was figurative. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">What do you find
most challenging about photography as a medium?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">The challenges are
also the options. Sometimes it’s hard to remain clear with so many options. I
try to resolve this by doing one process and applying it to lots of different
images. Hopefully this creates some kind of cohesion in the end. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Are you equally
interested in pre-digital photography?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">I’m not sure if
there is much of a distinction between digital and pre-digital photography. I
think most photo based work hasn’t changed much, there is just a new way of going
about making it. In my practice I really like to use each medium and they both
serve different purposes for me. When I'm taking photographs with no set idea
yet I like to use film because I like to be able to carry a good camera in my
pocket. Also the process of not being able to immediately digest these
photographs e.g going home and having them immediately on my computer is a
necessary process for me. I like the slowness of film and being removed from
the immediate situation the image was captured in. For other work where I am
rephotographing stuff or have an idea I want to experiment with I like to use a
digital camera. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">You are also passionate
about self-publishing?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Yes I really like
books. I’m not sure when it really started but it was a great way for me to be
able to compile my photographs into physical objects. What I find really
captivating about books is that you can have this idea or body of work
that’s small enough to carry with you and that it’s affordable so you can trade
it with people. I really love being able to just make small no fuss books that
you can simply do whatever you want in them. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">In April you are
travelling to the US for a study and research trip to extend your practice?</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Yeah I am going to
New York for three months to work in an artist book store called <b style="mso-bidi-font-weight: normal;">Printed Matter</b>. They have been going
since the late 70’s buy and selling and collecting small artist made projects.
There ethos is about providing affordable art objects but they have worked with
or stocked many works from top contemporary artists of all forms so I am super
excited to be able to be there for three months. </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzEQxCHjYvSk1GAyYJ8EwE-mpD9DHW8ZiT8acnnwpBhqc6qhFQgNuuT3Qa4A-e4HMZQa8k8bERj1L1m5V5vEYW84rSXYSEL8VTYWf09ufQfLoPXL0izQ7kC9vYlr5uJORM_S2lug/s1600/bus_green_bonnett_11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzEQxCHjYvSk1GAyYJ8EwE-mpD9DHW8ZiT8acnnwpBhqc6qhFQgNuuT3Qa4A-e4HMZQa8k8bERj1L1m5V5vEYW84rSXYSEL8VTYWf09ufQfLoPXL0izQ7kC9vYlr5uJORM_S2lug/s1600/bus_green_bonnett_11.jpg" width="213" /></a></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Photos: Courtesy the artist:</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Top: Installation Bus Projects, Melbourne February 2014</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Above: Green Bonnet, 2013</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">See:</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Printed Matter NYC:</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><a href="https://www.printedmatter.org/"><span style="font-size: xx-small;">https://www.printedmatter.org/</span></a></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;">Bus Projects Melbourne:</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: trebuchet ms, sans-serif; font-size: 13.3333px;"><a href="https://busprojects.org.au/">https://busprojects.org.au/</a></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: 10.0pt;"><br /></span></span>
<br /><span style="font-family: "courier new"; font-size: 10.0pt;"><br /></span>
</div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-42914064803565466442013-11-30T19:05:00.001-08:002015-04-03T04:00:31.542-07:00World AIDS Day 2013- Brenton Heath-Kerr- Same Sex ELDERS Tribute - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEKYcCl1pY0FR6g_Xaym1USZdwKHOVvjJDWqghcS4l7ckaBnc9jKst8YDdF2drFW4pwVaP_kWlMzbew4-WOakoUBmyfL7s-ZxnLF6pE3rKfy5gwNjCGPyAz3HNPiTOTGWhUXhrRg/s1600/Brenton+Blog.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEKYcCl1pY0FR6g_Xaym1USZdwKHOVvjJDWqghcS4l7ckaBnc9jKst8YDdF2drFW4pwVaP_kWlMzbew4-WOakoUBmyfL7s-ZxnLF6pE3rKfy5gwNjCGPyAz3HNPiTOTGWhUXhrRg/s320/Brenton+Blog.JPG" height="320" width="162" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">This documentary portrays the life and death of performance
artist and AIDS activist, Brenton Heath-Kerr. Through his repertoire of
performances, costumes and photographs, Heath-Kerr challenged
perceptions, dominant sterotypes and myths which he thought underpinned
the gay communities and notions of gay identity. An emigre of drag and a
gender misfit, Heath-Kerr understood that often holding a mask up to
society had more political impact than holding up a mirror.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Paul Andrew 1998</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">See this link for a low res version documentary about the art, life and death of Australian Performance Artist and HIV AIDS activist Brenton Heath- Kerr. Writer/Dir. Paul Andrew, Prod: Kath Shelper. A Scarlett Pictures Film. NSWFTO 1998. Copyright 1998 All Rights Reserved in All Media Paul Andrew</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">More info:</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://themanintheironymask.blogspot.com.au/">http://themanintheironymask.blogspot.com.au/</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span><br />
<br /></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-78038566504715507192013-10-13T04:20:00.003-07:002014-09-17T00:42:45.230-07:00Artist Hannah Furmage - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Performance and Installation Artist <b>Hannah Furmage</b> talks to <b>Paul Andrew </b>about the challenges of presenting truth and "authenticity" in an era post 9/11. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i><br /></i></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Is there an early childhood experience or memory when you knew you wanted
to become an artist?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">There was not one childhood experience in particular. There are a
couple that stand out as setting foundation for reoccurring motifs.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I don’t remember the incident because I was too young but my Mum said that
after I found my pet rabbit mauled by the neighbours pet Alsation that I drew a
nightmarish series of drawings depicting the attack and bloody aftermath.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Perhaps this was a way of coming to terms with my personal horror. This is at
the core of my artmaking, to investigate things that are disturbing and
unsettling in an attempt to understand the brutality, senseless violence and
insanity of the world. Not to turn a blind eye. If we don’t come face to face
with these things they will end up haunting us.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Many years later in High School as a teenager I painted a woman giving birth
for my art major work. I was not allowed to show my painting in the annual art
exhibition with the other students. I had to show it in this separate room with
a disclaimer urging children and sensitive viewers to "stay out".</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My intention hasn’t really changed. I believe now as I did then that one of
the most important roles of the artist is to agitate the status quo. To confront,
discomfort and challenge. It is an intuitive knee jerk reaction.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Tell me about your tertiary studies Hannah and how
performance/installation has become your creative focus?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Performance/installation was always my intended creative focus. However
there was no major in Performance Art so I studied sculpture at UNSW COFA
because it was the faculty which was the most interdisciplinary and would allow
me to experiment with performance.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My process has never been technical or skill based. I never learnt any of
the tools in the ceramic or wood rooms. I was more interested in the process,
researching ideas and brainstorming with collaborators rather than creating
finished art pieces with a commercial value.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">After art school I became involved with Pact Theatre in Newtown and did a
few ‘theatrical’ performance pieces at Performance Space. This kind of
‘theatre’ seemed disembodied to me, too fake. As opposed to ‘acting’ I
am more interested in actually <i style="mso-bidi-font-style: normal;">being</i>.
As opposed to recreating a scene why not just present the actual scene. I
am interested in presenting what is real. Not conjuring up these magic
shows that require a suspension of disbelief.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i><i>Tell me about your most recent artistic influences?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">For me, a lot of contemporary art seems so impenetrable and snobbish.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">However having said that I like the work of German multimedia artist
Christian Jankowski who works with video installation and performance. I like
Santiago Sierra too, a Spanish artist who is critical about Capitalism and the
institutions that support it. I enjoy the work of contemporary Mexican artists such as Yoshua Okon, and
Joaquin Segura. Who are like these super sophisticated and intelligent art
hooligans.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">When I was living in Mexico I was very influenced by the anarcho-punk energy
of the contemporary art scene on a very street level. Artists making a wide
range of socially and politically provocative works with no budget and a stolen
video camera.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>What entices you about these artists, artists who share a dislike for Capitalism.
What do you find compelling in their work, urgent, intriguing, perplexing?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I think there is a real need to free art from the artworld pedagogy. To
reclaim it back from the academics.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">What I like about these artists works is that they are democratic and
accessible to people from all walks of life not just the art elite.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I am interested in artists that are taking genuine risks. Not this benign
‘creative risk taking’ that most artists will only ever rhapsodize about from
the safety of their studios. I am excited by the idea of artmaking as a Guerilla act, a criminal act, a
terrorist act.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Yes, there is a long tradition of artists who use artmaking as a
transgressive act. Like Fluxus and their anti art and anti capitalism
tendencies or radical feminist Valerie Solanos who wrote the SCUM Manifesto and famously tried to kill Pop Artist Andy Warhol. What
do you feel are the biggest challenges you face now as an artist?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The biggest challenges for me artistically is to get a little bit of money
and exhibition opportunities to allow me to continue making my art. In Australia it is increasingly challenging for me to make the kind of brash
and defiant artworks I want to because of ongoing artistic censorship.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">There is this new kind of artistic censorship in Australia that has been
created in response to recent occupational health and safety legislation and as
a result of this a change to the corporate and government funding of the arts
and artists.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">When I speak about art as a guerrilla act it is because I feel that today everybody
in the arts is playing it safe for fear of losing their financial support or
possibly their jobs. It has created this sycophantic pandering of artists
to government bodies and the widespread production of the most mediocre and
insipid art.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Government arts funding bodies are setting the bar of what is acceptable.
Arts projects must include these regulated buzz words and tick boxes such as
‘community engagement’. When was this ever a prerequisite for making art? When
did this become the benchmark for good art? Who decided this? Did German Fluxus
artist Joseph Beuys or Mexican painter Frida Kahlo have to consider this in the
production of their work? I think not.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I think the government and the arts are getting too close. We have seen the
extremes of this in communist countries such as Cuba and China with government
sanctioned art. What is scary is that artists don’t seem to be questioning this and except
it as the norm. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The most recent feedback I got from The Australian Arts Council by way of
example. “The panel found your proposal interesting and provocative but they
had concerns with the ethical and legal implications of the project".</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Once artists begin censoring their ideas at their conception based on morals
and ethics that are imposed like this, they are in your head and they have won. My artistic challenge is this; how do I continue to develop dissident artworks in the
face of this increasing neo conservatism in the Australian arts? What acts of <i style="mso-bidi-font-style: normal;">resistance</i> are still available to me
artistically in this climate?</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i><i>How are you negotiating these challenges, how is this resistance
manifested?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">While there is this romantic integrity in being a rebel artist in actuality
it is quite lonesome and frustrating. It is tiring and demoralising
listening to these wimpy art directors and curators saying ‘Sorry but your
proposed project is a liability risk we could jeopardise our funding’.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It is a dilemma. If you adapt your ideas to the fears of arts curators the
work gets watered down. If you don’t you get labelled as too difficult to work
with and blacklisted. I am trying to create this nomadic and autonomous art practice. I am forced
to work overseas because I can<i style="mso-bidi-font-style: normal;"> not</i>
present the work I want to present inside Australia.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Yes. Tell me about your recent death/ resistance installation work in Mexico?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It’s a wild story. I was living in Los Angeles. I was
arrested on the border of Mexico and California and got sentenced to a jail in
Texas. Consequently I was deported and banned from The USA. My boyfriend at the
time, Danny a chicano from LA.We decided to move to Acapulco, Mexico. As
a result of our combined legal problems Mexico was the only country where we
could be together.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">We settled permanently in the southern city, Oaxaca. I approached a
contemporary art gallery La Curtiduria to have an exhibition there. Everything about life in Mexico is tinged with this brutal beauty and
extremes. None more so than loosing Danny in Oaxaca to drugs and suicide.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The installation was called, ‘Death Drive’ (Pulsion de Muerte). I exhibited
a car from the police impound that had been involved in a fatal traffic
collision. The blood of the victims, a mother and her small child, was still
splattered across the windscreen and seats, their personal effects strewn
through the car, a baby’s toy, a make-up case, a shoe. The <i style="mso-bidi-font-style: normal;">authenticity</i> of the wreck and
the knowledge of the deaths that occurred in the car was a source of both
fascination and disgust.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The audience unexpectedly responded to the work by laying tributes of
flowers and candles on and around the car. It became a shrine.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i><i>Describe the cultural and political backdrop for that work?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The work came about as I was struck by the very Mexican characteristic to
ponder images of horror. It is part of the day to day life there. The mutilated
statues of saints in the churches. Day of Dead celebrations.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">In fact, there is a section of the daily newspaper called ‘La Roja’ which
presents graphic images of death, murder victims, car accidents and
intersperses them with porn. A severed head in a pot on one page and then an
image of a woman sucking a cock on the next. It serves to highlights the
titiliation and physical arousal of this macarbe voyeurism.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">In ‘Death Drive’ I was interested in breaking down the ‘spectacle’ of the
media and creating a space for a more direct and human contemplation of the
scenario.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Clearly there is a radical political tendency within your work?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I am a clumsy anarchist. I believe that the human spirit should conceptually
move unhindered throughout the universe.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">In my work I am interested in staging random acts of poetic sabotage
and provocation. Creating these temporary disruptions and interruptions
that highlight how social control and power operates and how it reacts to
creative resistance.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I am sick of this socially conscience art that focuses on inclusion and
‘cross cultural dialogue’ for political change. I am more interested in
instilling an ethics without morals into the order of things. If you are
serious about change go out on the street and overturn a police car and start a
riot. Don’t create these objects that can be brought and sold.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>And your recent installation work at Alaska Projects featuring a group of
bikies?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgdqgrtSIUVhMuD-0Wz-Fb7f5Ku_nlnbkgqMjHdA-cQaM_d8ojo-2pqxpJF4-rJgKA5u6iinmBdOyPG2racDPCYIaGR5OAO2-gtJUgXlN60Vq0yHpbxoUKeO0xs_DUIBJXh9W6YQ/s1600/bike_best1+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgdqgrtSIUVhMuD-0Wz-Fb7f5Ku_nlnbkgqMjHdA-cQaM_d8ojo-2pqxpJF4-rJgKA5u6iinmBdOyPG2racDPCYIaGR5OAO2-gtJUgXlN60Vq0yHpbxoUKeO0xs_DUIBJXh9W6YQ/s400/bike_best1+copy.jpg" height="311" width="400" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The work ‘God Forgives. Outlaws Don’t’ was created for a feminist group show
Janis at Alaska Gallery. I wanted to present this authentic representation of a
crass male stereotype that was completely abhorrent and offensive to
traditional feminist’s sensibilities.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I presented a group of bikies sitting in the gallery space on their bikes
and revving their bikes and filling the space with noxious gases from their
exhausts. I wanted the work to be a physical assault. For the fumes of the
bikes to suffocate the audience and the sound of the roaring Harley engines to
deafen them.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">As with a lot of my work it is a visceral reaction. About letting these demons loose in a gallery setting. The feminists, academics and critics can attempt to
explain them and tame them. I don’t see that as my job as an artist.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>And to my way of thinking the equally humourous recent installation at the MCA in Sydney?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The work was called ‘How To Blow Up The MCA’ and was created for The MCA Art
Bar.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I wanted to <i style="mso-bidi-font-style: normal;">present</i> the
ingredients of a terrorist bomb. Bags of ammonium nitrate and cans of diesel
fuel, packed into an unmarked white van parked in the gallery space at The MCA.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtvbN9iq_q16BJvn2mVrmHIC-X5OHrVVJXsHqwNsyCvWV4pLRML0eNUUce_EEdc6OXS1zcI53nDRKhQFURXzuk5AMwuKpmswyNa3r7Vf30wYWa7UvR5xGomEfuMPKmoJF15yPhQg/s1600/BlowUpMCA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtvbN9iq_q16BJvn2mVrmHIC-X5OHrVVJXsHqwNsyCvWV4pLRML0eNUUce_EEdc6OXS1zcI53nDRKhQFURXzuk5AMwuKpmswyNa3r7Vf30wYWa7UvR5xGomEfuMPKmoJF15yPhQg/s320/BlowUpMCA.jpg" height="218" width="320" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i><i>Was this work censored in some way?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Yes. The work was questioned and censored every step of the way and with
every possible excuse.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">They finally agreed to show the work if there was no car, the ammonium
nitrate bags were emptied and filled with sand and the diesel containers filled
with water and red food dye.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">They paid an employee from the MCA to watch me fill the bags and fuel
containers so as not to switch them with the real substances at the last
minute. It was absurd. Maybe because I have this reputation for authenticity.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Obviously part of the nature of my work involves an ongoing
recontextualisation in regard to the governing regulations. The question is
where do I draw the line? How much am I prepared to compromise?</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">If we continue to comply over and over again we will eventually lose our
voice and spirit.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Arguably photo documentation is an important aspect to an artist working
with temporal means, whether it’s for the sake of prosperity or the sake of
having proof that something happened, or is it Hannah? </i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Documentation is the last thing that I think about when I am devising a
work, It is not a major concern of mine. My work is action based and ephemeral
by its nature. Any attempt to document it is pointless. Like catching spiders,
putting them in a jar and then watching them die. At best documentation serves
only as a record of the event.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i><i>What authentic artful resistance are you planning next Hannah?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I am currently revisiting a project I devised during a four month artist
residency at Sydney Olympic Park, which is located directly next to the Silverwater
Prison.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">During the residency I began talking with male prisoners in their cells at
night through the prison fence. The conversations enraged the prison
authorities while agitating and enlivening the inmates.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Also participating in the residency was the Russian painter and video artist
Vika Begalska. Vika began video recording the conversations and resulting
confrontations with prison security guards. I am currently looking at ways
to develop and exhibit the project.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">More:</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://home.alaskaprojects.com/Janis" target="_blank">Hannah does Janis - check it out</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://kegdesouza.blogspot.com.au/2013/05/weird-science-artbar-at-mca.html" target="_blank">MCA Art Bar "Wierd Science"</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.realtimearts.net/article/61/7446" target="_blank">Hannah in Real Time</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">PHOTOS: Hannah Furmage</span></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-8146430677082975652013-10-04T21:08:00.002-07:002014-09-17T00:43:09.366-07:00Hannah Bertram - Artecycle 2013 - Upcycling Series<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Artist Hannah Bertram won this year's Environmental Art Award for her new installation work <i>Evolving From and Evolving Towards Nothing</i>. <b>Paul Andrew</b> speaks to <b>Hannah Bertram</b> about her practice of "repurposing" everyday materials and the particular alchemical challenges she faces in the throes of transforming dust into art. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Hannah
thanks for your time today, tell me about your art education background?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">My
education history is a bit all over the place. I left school after year 11 and
went to TAFE to do a certificate in Visual Art. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">It
was a dream to be spending everyday painting, drawing, talking and learning
about art. After a year there I was accepted into RMIT where I quickly learnt
that I knew nothing about pretty much everything. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
was painting figuratively but nothing I made seemed to convey what I wanted it
to. It was a pretty miserable time. It wasn’t the right time for me to be at
RMIT, so I left as a way of preserving my drive to be an artist. A year or two
later, after I had my daughter, I went back to TAFE. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">It
felt safe there and my development needed a slower gestation period than
perhaps some of my peers. After that I spent the next 5 years, painting (still
pretty unconvincingly) attending lots of life drawing classes, reading,
traveling and studying art history through Open Learning. Eventually I went
back to RMIT to finish my degree. This time I had a bit of life experience, my
knowledge of art and general history was broader, but mostly I had a clear
vision about what I wanted from it.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I gave up painting and figuration and made two
commitments to myself; firstly that I would be open to every medium and method
available in order to find my voice, and secondly that I would give myself ten
years of serious commitment to my practice, and if at the end of those years I
had nothing to show for it then I could give up art. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">What
did your teachers instill in you at the time about recycling/upcycling?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
don’t remember any specific classes on recycled materials, but my teachers at
TAFE taught me how to see. I think that foundation of attentive looking is
significant for me, not just in the way you train your eye to look and your
hand to translate that, but in a much wider way you start paying attention to
and contemplating the world around you. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">What
I remember from RMIT in both my undergrad and Masters, was the focus on
critical thinking. I started to understand that materials can provide meaning -
they are not benign but can contribute significantly to the content of artwork.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">How
did you become aware of the Incinerator Moonee Ponds Annual Artecycle event?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
can’t remember specifically how I became aware of it, but a few years ago my
studio assistant Lisa Franklin was shortlisted for it. I remember talking with
her about the development of the work and going to see the exhibition. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">At
the time it was a prize for artists mainly working with recycled materials. For
some bizarre narrow minded reason I was getting a bit frustrated with being
pigeon holed as an ‘environmental artist’. I felt like my work investigated
more diverse issues than recycling. So during the earlier years I didn’t apply</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">What
inspired you to participate in the 2013 Artecycle?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">A
couple of things changed for me. I became aware that the reason why I didn’t
want to be labeled an environmental artist was because of fear. I was afraid of
being called a fraud. I thought I lacked enough political involvement in
environmental issues. I was worried that should someone start scrutinizing my
life they might find that my footprint was too large. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
guess I got to the point were I reconciled that I do what I can, and my
political action occurs through my work. It’s therefore important to exhibit
within the context of sustainability and environmentalism as a public action.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">What siezes you the most about the Artecycle exhibition?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">One
afternoon recently at the incinerator site I was collecting dust, ash and dirt
and I was fortunate to have a tour with one of the gallery volunteers. It turns
out that the rubbish that was brought into the site and burnt in the
incinerator was then mixed into the asphalt to seal the local roads. I love
stories like that.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
had a very rewarding experience while I was installing too. This story isn’t
really an answer to your question, but I’ll tell you anyway. I was at the
gallery for three days making the piece and during this time there were a lot
of comings and goings while the rest of the show got installed. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Three
guys had been employed by the council to help out with a cherry picker, I
think, and from time to time they would traipse through the gallery and stop
and watch me working. One day I stopped to chat and it turned out that these
guys worked next door at the Transfer Station (which is the fancy name now for
a tip). So here are three men who see everyday the volume of waste from our
over consumption, and they were really excited about the work. They started
talking about some of their own projects - making things for their homes out of
recycled materials and we all lamented that people can’t take stuff from the
tip anymore. It was an exchange that felt very direct, less nebulous arty arty.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Tell
me about your work over the past decade, you started exhibiting in 2003?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">For the
past 8-10 years, I have been exploring the ambiguity of value, by creating
decorative ephemeral installations out of worthless materials. I use worthless
materials, decoration, absence and temporality to question preciousness. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Materials
such as dust, ash, scrap paper, dirty water and grime are salvaged from the
overlooked remains of life in motion. These are then transformed into complex
decorative installations, which exist briefly and are then swept up, washed
away or otherwise disposed of. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Ornamentation,
the decorative or the ornamental - is a recurring theme- what specific artistic influences do you
draw from?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
types of ornamentation I look at gets broader and broader as I continue making
work. It started with both an aesthetic and socio-political interest in lace,
but I started to understand that decoration exists in all cultures and is
present throughout the history of mankind. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Now
I look at architecture, textiles, jewellery, weaponry, tattooing, design,
furniture, masonry, religious artifacts, the list goes on. At the moment I’m
interested in Islamic tiles. The patterns that they use are endlessly repeatable
and actually elude to a sense of the infinite and to timelessness. <span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">You
have talked about the poetics contained in your work, particularly the
installation work in artecycle pictured here, tell me about what you consider
to be distinctly poetic about the imaginative reorganisation of dust and
detritus?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Hmmm.
I guess a definition of poetics is required first. For me poetry occurs when
something holds a contradiction, its sense of something rather than a clear
definition of itself or has a complexity to it that requires very slow
contemplation. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I’m
not sure if this is the general understanding. The term ‘poetic’ is a bit like
the term ‘beauty’ it’s very, very difficult to define. I think I’m going to
avoid this question actually, because its more than just the reorganization of
detritus which is poetic, it’s the longing and loss experienced through it’s temporality,
and the simple separate contemplation of what dust is that contribute to
something poetic emerging. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Dust
is often comprised of discarded skin cells- tell me your thoughts about this
fact?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">That’s
true dust is partly comprised of skin, which is, even for me, slightly
unpleasant. In fact the physical properties of dust incorporate the final
deterioration of all matter, from the microscopic debris of our built
environment to grains of sand and soil caught in weather, from specs of burnt
meteorites as well as skin and hair unknowingly shed from our bodies. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
process of collecting dust and refining it through sieves is quite abject.
There are a lot of filthy grimy fragments that have to be removed before
resurrecting it into artwork. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
don’t have specific dust I prefer I more concerned with using materials that
are relevant to the site where I am making a work. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Dust
interests me because of its worthlessness. In addition to this, intrinsic to
the production of dust is time, it evolves/devolves over days, years and
centuries, accumulating slowly and quietly. So it’s a material that is discarded
and yet is the visual articulation of time passing. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">When
I first saw one of your works about three years ago now - in an installation
documentation photograph- it reminded my of the Man Ray Duchamp collaboration: <b style="mso-bidi-font-weight: normal;">Breeding Dust 1920</b>, that fabulous work
that <i style="mso-bidi-font-style: normal;">happened </i>after Duchamp
discovered dust on his Bride Stripped Bare?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
have a deep arty reverence for Duchamp. And of course I love his ‘Breeding Dust’
with Man Ray. My love of this though doesn’t assume a lineage between their
collaboration and my work purely through a common material. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
get excited by this 1920 work because it accepts randomness as a significant
element in art and also because it captures the wonderful moment where rather
than cleaning the work they saw this layer of dust as something of interest and
wonder. I’m doing some experiments in the studio and at home at the moment -
placing stencils on boards and pieces of glass then leaving them for months so
that dust can settle on them. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Already
everyone is saying “Oh it’s just like Man Ray’s photos of dust” and of course
it is, but it came about because I was thinking about a more gentle approach to
making work, a way to have work almost generate itself. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
use of photography is an entirely separate issue. And perhaps the way to talk
about that is to say that I have a very problematic relationship with
documentation. I am frequently frustrated by the way that documentation becomes
not something which stands in place of an ephemeral work, but the work itself. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">It
begs the question ‘If a work of art is intentionally ephemeral and its content
is dependent on its fleeting nature, does the production of enduring
object-based documentation undermine the work?’ And does this act reinforce the
value that is placed on permanence over impermanence? </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">If
the answer is yes then is there any potential for ongoing access to ephemeral
works for a continually growing audience. Or in other words: what, if at all,
is the possibility of perpetuity within an ephemeral art practice?’ </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I’m
struggling with these questions.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">" Dust
to dust" - working with dust like always evokes death and transience?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">There
are traces of all of that and some other things too. Some people draw parallels
between my work and Buddhist Mandela’s or Indian Rangoli or Kolam, some people
bring their own spiritual and religious readings to the work, and others still
will be reminded of their own immortality or the death of another. This is
fine, I sometimes think about these things too. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">You
use the term worthless, others like UK artists Paul Hazelton and Serena Korda
have variously described dust as a nuisance- tell me about your feeling about
what we value, or don’t value when it comes to the subject of/ materiality of
dust- what makes it powerful and vivid as a metaphor in addition to what you
have just been saying?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
think Korda and Hazelton’s works still refer to the overlooked and the
discarded which for me sits under the umbrella of worthlessness in the sense
that we have no use for it. It is beyond any function that it may have ever
had. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
have probably focused more often on the term worthless because I have been
interested in the ambiguity of the term value. In part it is linked to aspects
of art history that have questioned the value of the object, and in other ways
speaks to our overconsumption of materials and the ease with which we discard
things. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
think it’s not simply the dust that activates a dialogue about value, but its
dust which appears to be ornate. Decoration has many of its own references to
status, reverence, preciousness, but when the dust is transformed into
something decorative it superficially appears to now be something to consider.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Memory
is also another aspect innate to your use of dust as a material?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Well,
I think smell and music invoke memories more concisely than dust. I’ve tried to
work with both of them for this reason and also because of their ephemerality, alas
nothing great has come of it yet.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">As
for dust perhaps it has the ability invoke a speculative future memory, if
there is such a thing. It may be that when you meditate on the properties of
dust there becomes an awareness that that you and the world around you will in
some later time be gone. It’s a way of looking at the absence of ourselves in
the future.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Back
to Duchamp and Man Ray for a moment- the idea of readymades that inform so much
contemporary art?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Duchamp
is clearly the most influential artist of the 20<sup>th</sup> Century. He radically
changed art with his readymades, so it’s hard not to bring everything back to
him. But I’m far more influenced by performance art at the moment. The current
dialogue about reenacting and restaging of performance works is certainly
informing my research, particularly in relation to some of the questions I
mention earlier, such as “what, if any, is the possibility of perpetuity within
an ephemeral art practice?” </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Tell
me about two of the contemporary artists who inspire you Hannah?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Wolfgang
Laib’s pollen works are of course hugely fascinating to me. His process is
remarkable - collecting pollen from individual flowers by tapping. I’m also
reading a bit about Robert Smithson’s thoughts on entropy, oh but wait, he’s
dead. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">So
contemporary… my mind keeps coming back to Tino Seghal. I only heard about him
out about him a couple of years ago and I was very excited when I found out
that he never documents his work, there are <i style="mso-bidi-font-style: normal;">no</i>
photographs, <i style="mso-bidi-font-style: normal;">no</i> texts, <i style="mso-bidi-font-style: normal;">no </i>instructions diagrams - <i style="mso-bidi-font-style: normal;">nothing</i>. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">When
he sells the work to museums everything is done verbally. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
even went to TATE Modern and Documenta last year specifically to experience
first hand two of his live installations, both of which I thoroughly enjoyed.
But during my day at TATE I noticed that most of the audience was either
filming or photographing the performance. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
had expected to see signs saying you couldn’t record the work. When I got home
I did a quick Google image search and found millions of images, sound files and
films of his works. I felt so disappointed, I’d been researching him all year
and had believed the writers and critics when they spoke about the eradication
of all material trace, but it turns out it is documented by the thousands of
visitors that go to see his work.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Is
that an inspiration of sorts?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">As
for my other creative contemporary inspirations… I listen to a bit of
experimental music. I won’t say I listen to a lot ‘cause that might assume I
know something and I really know very little, but I have a few Jazz albums, and
a few albums by an American composure John King, and some of David Sylvian’s
albums and some percussive albums by my friend David Evans. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
listen to these a lot in the studio because I think that there is something
unexpected that occurs in them which is similar to what I’m trying to do with
my patterns at the moment. I want to create patterns that come undone, that
appear to be repetitive and each reiteration is a new version itself or
patterns that morph unexpectedly. I guess it’s about disrupting the
expectation. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span lang="EN-US">Process.
Tell me about how you gather dust and something of your process particularly
for the Artecycle installation? </span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Firstly
I have to collect the materials. This is usually an unpleasant dirty activity
involving sweeping or vacuuming dust from some pretty filthy places. I then go
through a process of sifting it through different sieves.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
first sifting is to remove the large particles such as hair, food, litter and
other more revolting detritus. The next sifting separates out fine from course.
As an example the white flecks of ash are finer so the first sieving separates
this from the grittier black ash. I then pound the larger particles of ash in a
mortar and pestle. Once I have a black and a white I can mix a pallet of grey
shades. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
design for the installation is usually researched and drawn to scale in the
studio. I then go through a process of tracing the design to establish the
individual stencils. These are then transferred onto card and I cut them out.
This Artecycle work took a day of collecting and processing, then three days to
install in the gallery but overall it takes about a months work in the studio.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">More
generally your approach is also emblematic of a current tendency in artmaking
towards representing the mundane, the everyday, evincing the phenomenology of
the everyday if you will? And from an art historical point of view there are so
many terms circulating about this style of approach that artists are using in
different ways – selection/selectivity, readymades, recycling, reification,
upcycling, bricolage and so on- tell me about where you feel your work fits in
to the art hictorical genre 'priors'.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
like to use the word repurposing.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">There
are a couple of genres that my work is in dialogue with and continues to build
on. </span><span style="mso-ansi-language: EN-AU;">Because
the preciousness or value of the work is lifted from the object and placed in
the ephemera of experience it could be seen as an attempt to readdress the
traditional status of the art object as collectable and saleable. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-ansi-language: EN-AU;">Therefore links can be drawn between my work and Conceptual art ideas
from the 1970’s onwards such as process based art, dematerialised objects,
interventions and particularly to Arte Povera and its use of commonplace
materials. But like I mentioned earlier my work owes a lot to the vast history
of ornamentation.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">To
my way of thinking there are a number of distinct approaches employed in the
artecycle exhibitions- <span style="mso-spacerun: yes;"> </span>artists who use
waste to hold up a mirror to society as if to say look at the truth as it
really is, artists who employ waste for its transformational and poetic
possibilties, artists who use waste for a particular political motivation or
ideology about waste and excess consumption and artists who use waste as an
evocation of shared human (collective) memory (Artists like Claire Healy and
Sean Cordiero and/also perhaps someone like Song Dong's <i style="mso-bidi-font-style: normal;">Waste Not</i> fuses many of these tendencies) I am curious about
your thoughts are about this sphere, this realm of wasted possibility?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I
think these are all true aspects of the way and why artist use waste material.
But I want to add one more reason, the Mount Everest of reasons - “Because it’s
there”. Artists throughout time have used materials which were ready at hand
and so as an urban practitioner waste materials seem to be a natural choice.
It’s exciting to see so many artists reworking the detritus of our day-to-day
existence. But I’m kind of still foolishly surprised that it gets so little public
recognition by comparison to traditional media. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
question of kitsch.Texas dust artist celebrity Scott Wade - in a strange
variation on the theme of chalk art/pavement art and so on- makes artworks on dusty
car windscreens ( an interesting space for art in fact) - his work refers to
art history, cinema history ( Mona Lisa, Marx Brothers and so on) and his work
seems to be hugely popular both on the street and online. According to many an
art critic his work is base or kitsch, nonethess an artist like Wade, mindful
that a rain shower will eventually wash away his artwork, also has something
'deep' to remind us about impermanence - your thoughts Hannah?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Did you
have to put this last Paul? It feels like this may be a test of my
egalitarianism. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I have
seen Wade’s work – in fact I get emails from people all the time saying “You’ll
love this!” and it is surprising to see the first time, and he has, as one of
my colleagues puts it a ‘good look and put’ ability. But to me it’s weak in
terms of content. I haven’t read anything about him, but I’m fairly sure it’s
not really about anything, it’s merely a fantastic technique combined with
crowd-pleasing recognizable images but nothing much else to say. I don’t know
that his intention is to remind us of our impermanence, even if people do read
that into it, I think it equities to an arrogance of skill and a lack of
substance. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">For me
there are plenty of other artists working in the public domain that provide ‘deep’
as you put it, consideration of our existence in this world.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;"><a href="http://www.hannahbertram.com/" target="_blank">Visit Hannah's Website</a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;"><br /></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;"><a href="http://themeanderjournal.com/" target="_blank">Visit Hannah's Blog</a> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;"><a href="http://www.incineratorgallery.com.au/" target="_blank">Visit Moonee Valley's Incinerator Gallery</a></span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;">Photos: Hannah Bertram </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US"><span style="mso-spacerun: yes;"><a href="http://www.metmuseum.org/toah/works-of-art/69.521" target="_blank">For info about New York Dada visit here</a> </span></span></span></div>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-79839244680584779242013-09-13T15:47:00.000-07:002014-09-17T00:43:46.852-07:00Dungog Artist Profile - Simone Turner-Ryan - Realism, The Queen of Sheba and Two Red Kelpies - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_STlg5FZ9I_afFCMciwbl0rDo2m1kvDRPWjQ8yyW-cJi0LeabYWyIjjuXMYq9TPXfCPjPV7A3sL28D7OHNJZSYxdtWvPt9kYYNN5govkBIr6P_za8UAAdDCyUzSnYYNgjg3WyQ/s1600/JOB+DUN.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_STlg5FZ9I_afFCMciwbl0rDo2m1kvDRPWjQ8yyW-cJi0LeabYWyIjjuXMYq9TPXfCPjPV7A3sL28D7OHNJZSYxdtWvPt9kYYNN5govkBIr6P_za8UAAdDCyUzSnYYNgjg3WyQ/s400/JOB+DUN.jpg" height="296" width="400" /></a></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><i>Winner of the 2013 Lesley Skinner Traditional Landscape prize, Dungog based artist Simone Turner-Ryan chats to Paul Andrew about childhood memory, her dislike of " man made objects" and her passion for John Gould and dogs.</i></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Do you have a vivid childhood memory about art, a time and place when
art made a distinctive impression on you?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">My first trip to the New South Wales Art Gallery, as a girl from
the bush walking through the large rooms of the gallery, looking at the usual
Melbourne male heroes, when suddenly I came around a corner and looked
into a gold framed room. <i style="mso-bidi-font-style: normal;">The Visit by the
Queen of Sheba to King Solomon</i>, by Sir Edward John Poynter (1836 –
1919). I can’t resist it.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Did you grow up in a family and home setting where art was a way of life?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Growing up, we were all use to physical work, cutting firewood,
barking and splitting fence posts on weekends and school holidays. During
school holidays we also spent a lot of time on a sheep and cattle property
called Mernot, near Gloucester, NSW. It’s owned by Mr. Lindsey Hyem and brother
Keith and they influenced me greatly. Collections of bird eggs from around the
world, limited edition <a href="http://www.artgallery.nsw.gov.au/collection/works/898/" target="_blank">John Gould</a> bird books with life size images. National
Geographic and Natural History Magazines handed down to me with posters of
wildlife both painted and photographed. Inspired by Scientific Illustrators, I
was always picking garden plants to draw and watercolour painting. </span></span></div>
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</b></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Your art training background?</span></b><span style="font-size: 12.0pt;"> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">My background ability, comes from my father, Mr Walter H.
Turner, named after an uncle who was a sniper during the war. Jim as he is
known, used to draw for other children in class, as I did. His attention to
detail in his drawings is phenomenal, he is also colour blind, not being able
to see the colour red. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Art training – Mr Max Ellem taught me how to shade in 4th class,
Dungog Primary and High. The only colours I learnt about were the primary
colours, as I couldn’t afford to buy all the colours produced, I had to make my
own. I started painting commissions before I left school and decided to follow
this path, whilst juggling hospitality jobs. P.S even today I mix my own
colours using the primary colours, not off the shelf fancy named colours. I
suppose I’m like a musician who plays by ear and cannot read music. I mix the
colours I see but don’t know their names. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">How did you develop an interest in realist painting? Was it realism from
the outset of your art career or did you experiment in other styles too?</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt;"> </span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">No doubt from the outset, I was inspired by scientific
illustrators like John Gould, hence realism. I have not experimented with different
styles but have experimented with mediums from my then environment, the bush. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Being selective loggers, Pipe – the rotten guts or the heart of
a felled mahogany tree, is a rich red/brown clay like substance, with a strong
smell, watered down to paint with on paper. I love painting on board or metal
with enamel. The paint flattens itself and dries quick. Oil – I don’t care for.
Acrylic is by far my favourite medium because it dries quick. </span></span></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt;">
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Tell about what you love most about realism as a style?</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt;"> </span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Realism Style – I love realism, it’s my religion. I believe
in recording our era - time in history, although I don’t paint events that
upset me, they are important, I just prefer to leave that part of life to
someone else to record. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">The most challenging thing about realism in other peoples eye’s?
Like religion or politics, if you don’t like it, at least show some
respect. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;"> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">I have discovered in time that realism is so easy for anyone to
judge. They love it because it tells their story as in a commission or just
pulls at the heart strings, sentimental, humorous or just plan cute. They hate
it because it looks to much like a photograph, it’s not painting, it’s not art,
never mind, I’ve had more thumbs ups than thumbs downs and it sells. Touch
wood! </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">The
township of Dungog is clearly an inspiration in the Lower Hinter Region? </span></b></span></div>
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</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Dungog is my life. It’s where I will be buried, preferable in a
chocolate lined coffin. Having three generations on my mother’s French,
Egyptian, Aussie heritage side buried at Dungog and three generations of
English, German, Australian South Seas Islander and Aussie heritage on my
father’s side buried at Quart Pot Cemetery, good luck trying to keep me out of
the shire. Both parents came from family owned dairies, but the love of timber
for my father was greater. Living and working in the bush, we had the best of
both worlds. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;"> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">You have
recently won the Lesley Skinner Prize at the Dungog Art Society Exhibition?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Winning the Lesley Skinner Traditional Landscape prize this year
at the Dungog Art Society Art Show, is an honour. I knew Lesley as a painter. We had a mutual
respect, something you can feel and see, it’s a wonderful feeling. I have even
seen it this week in mutual friends and fellow water colourists Mrs Ira Morgan
and Mr Rene Brager. Like the old saying goes you don’t know what you have until
you lose it. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">As for the prize money, this is the second time I have really
needed it to pay the rego or green slip, next month. True. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">
</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Tell me
about your award winning work?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Tillegra Crossing – my mother’s family owned this land. It’s
where the Tillegra Dam wall, was proposed to go. Cutting Posts 1980’s –
based on one of the first ever photos I took of our family working in the bush.
Enamel painted on a 31 inch round saw blade, it’s still sharp too!
JOB:DUN – again respect for anyone working the land, the last
link. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;"> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">I was
enchanted by the work with the two Kelpies, tell me about this work pictured
above?</span></b></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">It’s called; <b>JOB : DUN</b> - Completed on 23/5/2013.
Medium Acrylic Size 18 x 20 inch Ampersand Gessoboard. This
painting came about, for my love of Red Kelpies – working dogs in general. The
photo I took originally, it was perfect timing and meant to be! From the
Jacaranda in full bloom behind the white obelisk to the signage of distance to
surrounding towns, a little artistic licence, leaving out a light pole and
corner of a tray back ute, parked in front of me. </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">Yes! 69.5 hrs to make people smile and feel proud of a small
rural town. The process of painting flows easy when your heart and soul are in
your work. I must admit by the time I painted the obelisk, Toyota and bitumen
road, I realized how much I despise man-made objects – ALL THIS FOR THE DOGS!!</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;"><a href="http://simoneturnerryan.com/about/" target="_blank">Visit Simone's Blog</a> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif;">See: </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://en.wikipedia.org/wiki/John_Gould" target="_blank">John Gould Artist</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.artgallery.nsw.gov.au/collection/works/898/" target="_blank">The Queen of Sheba Painting @ AGNSW</a> </span><br />
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-76006731221365744662013-08-07T23:15:00.001-07:002014-09-17T00:55:10.655-07:00Lally Katz- Stories I Want To Tell You in Person - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRsYEulZrIXOFq8kWheEAZLAZPcfSIwCuaSx3gjGy-bJdontlX_svuP8AJAP_OuzJwIEPER5C92ny-hzcgCO1aoniDIloZCfj5iO1n71566ZaTnIDWgIjdicnih3TRhuXohfzm_w/s1600/Malthouse_Portraits_Lally_4166(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRsYEulZrIXOFq8kWheEAZLAZPcfSIwCuaSx3gjGy-bJdontlX_svuP8AJAP_OuzJwIEPER5C92ny-hzcgCO1aoniDIloZCfj5iO1n71566ZaTnIDWgIjdicnih3TRhuXohfzm_w/s400/Malthouse_Portraits_Lally_4166(4).jpg" height="400" width="298" /></a></span></div>
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Written by <a href="http://www.australianstage.com.au/members/creative-content/profile.html">Paul Andrew</a> </span>
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<td class="createdate" valign="top"><span style="font-family: "Trebuchet MS",sans-serif;">Thursday, 08 August 2013 09:16 </span></td>
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<td valign="top"><span style="font-family: "Trebuchet MS",sans-serif;">Playwright <b>Lally Katz</b> is an original voice in Australian theatre, film and television. She speaks to Australian Stage's <b>Paul Andrew</b> about her one-woman show, <i>Stories I Want To Tell You In Person</i>, opening this week at Melbourne's Malthouse Theatre.<b><b><br /></b></b></span><br />
<hr />
<span style="font-family: "Trebuchet MS",sans-serif;"><b><br /><img alt="Lally Katz" src="http://www.australianstage.com.au/images/stories/2013/august_news_13/lally_katz_int_2.jpg" height="339" style="float: right; margin: 0px 5px 5px;" width="300" />Lally is there an early stage memory you have that continues to inspire you and/or inform your writing?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">There used to be more when I was younger. I think when I was a teenager
and in my early 20’s I wrote from the essence or the feeling of
childhood a lot. Almost all my writing came from a childhood feeling. I
think that’s less so now. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">But certainly it’s still there somewhat.
I think in the characters I write that are from myself or inspired by
myself there’s still a real childlike feel. But often I write plays
about other people now. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">So they are usually inspired from the
time that I meet them, or the stories they tell me about themselves. But
even in the stuff I write about myself now, it’s less specific
memories, than a sort of feeling of childhood.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>
Fascinating – is there a particular memory you have of a time, place,
event or person when you knew absolutely that you needed to write for
the stage?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">There was one when I was fourteen years old and I
was caving with my year nine class. We were in the punchbowl cave at
Wee Jasper. You have to abseil forty metres into it. And at the bottom
of the entrance is a fake grave made out of rocks. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Someone must
have made it as a joke once. But it’s the first thing you see when you
abseil in (at least it was in 1992). I was very scared of that grave. I
was also scared of abseiling and caving, but I didn’t want to miss out. I
remember sliding through the dark corridors and stepping over the never
ending holes, and hearing the chimes of the bats flying into the part
of the cave called The Ballroom Chamber. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It was like they were
making music for a ball in there. When it was time to leave, we had to
climb up the forty meters on a very thin silver ladder. I was so scared
of going up this ladder. I had dreaded it from the moment I abseiled
into the cave. There was some sort of technical problem, the ladder was
twisted or something. We stuck down there for about two hours. During
this time, I became more and more afraid of the grave that was there
next to us. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I began to wonder what or who was really in it. One
of the teachers climbed up and fixed the ladder. My friend Dee said
that she and I would be the last ones to go up, that we where happy to
stay down there. I started to cry. I didn’t usually cry. So they sent me
up in the middle. I was scared, but I started to climb up the rocks and
the silver ladder. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">When I reached the top I sat in the mouth
of the cave and watched the remaining students climb up. The torches on
our helmets hit onto the cave wall and I could see very clearly
portraits of young women. Not in poses. Just how they had looked.
They’re long hair. They’re sad eyes. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The life that was in them. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">And I realised who they were. They were girls who had been taken into
the cave, by this half bat, half man creature. He was buried once in the
grave at the bottom of the cave and then he had come out and took these
girls and their life and it was how he survived in the cave. He loved
them all. He cried when each one was finished. But that’s what he did. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I knew straight away that I would write about that. And I thought to
myself that I would write it as a play, so I could just have them
talking without having too many descriptions. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me about your passion for fabulous fables?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">My favourite fable – and I think it is a fable, is called <i>The Thirteen Clocks. </i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Everything in it is very simple, but also very true and very scary.
There’s a cold duke who lives at the top of the hill and he’s so cold
that all the clocks in his castle are frozen on 13 o’clock. And there’s a
creature called the Total, that gleeps. And when it gleeps, it is
horrifying. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Also a kid’s movie called ‘The Last Unicorn’ stays with me. Again, I am not sure if that is a fable, but it feels like one. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me something particular about fables like this that lingers languorously in your consciousness?</b></span> <br />
<span style="font-family: "Trebuchet MS",sans-serif;">To be honest, I don’t know how much I think of either of them anymore.
But I guess they become part of your development, part of who you are. I
loved in the Thirteen Clocks how a woman cries tears of diamonds when
she’s sad, but now she won’t cry anymore. So the hero in the book makes
her cry tears of laughter, but the diamonds don’t last. I use tears as a
currency in my kids’ play <i>Starchaser </i>and there’s a difference in that between tears of sadness and laughter. Also in <i>The Last Unicorn </i>I
always remember a bit where one of the characters was telling the
unicorn who had transformed into a woman to avoid being run into the sea
by the red bulls, that he knew she was a unicorn because he could see
his reflection in her eyes. That has always stayed with me. And I look
for reflections in people’s eyes. Not necessarily to see if they’re a
unicorn, but to see if there’s just reflections in everyone’s eyes. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Your definition of "the imagination"?</b></span> <br />
<span style="font-family: "Trebuchet MS",sans-serif;">To me imagination is mathematics meets magic. We’re all the sums and
parts of our experiences – what we’ve seen, who we know, what we’ve
heard. That’s the mathematics. But then you add magic to that – a
slightly different angle – or curve that’s unexplainable – or something
else entirely, and that’s magic. To me that’s imagination. Its role I
think is in helping us to understand the ordinary. Or to grasp at
things. It’s sort of its own law and sort of part of everything. I think
it matters because we learn through imagination. Humans grow through
it.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me something about your own writing process Lally – about <i>A Golem Story</i>
for example – is there an (archetypal) image that once appeared in your
imagination, a character, a line of dialogue, a composite character, something that in turn you unpacked, explored, navigated, streamed?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I was looking for the characters for that play, so my eyes were kind of
open to it. And I was walking by Hyde Park in Sydney. A man waiting for
a bus asked me if I was Jewish. I thought he was a Rabbi. I said yes
(even though I’m only half and on the wrong side). He told me he needed
to talk to me and could I follow him into the park. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I thought,
‘Oh wow – this man’s going to give me my play! He’s going to give me
all the answers!’ So I followed him deeper and deeper into the park.
Suddenly I got the sinking feeling that he wasn’t asking me to come into
the park to give me the word of God. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I got very scared
thinking he wanted to kill me (probably he was just trying to pick me
up) and I ran away from him and out of the park. I thought to myself,
‘Darn, I thought he was going to give me the play.’ And then I realised
he had. The opening conversation in <i>A Golem Story</i> comes from the conversation I had with this man. It was a gift. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b> How did you arrive at the title for this play, it has a delightful testimonial aspect to it?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">We actually had a lot of back and forthing about the title. Belvoir
were into one title and the Malthouse were into another and I would
change my mind constantly depending on who I talked to last. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Finally we decided to come up with a new title and I made a big list of titles. <i>Stories I Want to Tell You in Person</i>
was one of them. I’d written it down because I thought that no matter
what, that was definitely what the show would be (I hadn’t written the
show yet – part of why it was so hard for everyone to agree on a
title). </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The director of the show, Anne-Louise Sarks saw that
title in the list and said she liked that one. Marion Potts and Ralph
Myers liked that one too. So we went with it! And that really is what
the show is – me telling people stories in person! </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b> What is your definition of a curse?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I’ve got a few definitions, but I guess one is some sort of personal
myth or belief that you hold about yourself that is stopping you from
doing something that you want to do. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me something about one or two of the curses contained in this work?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">They’re pretty vague, because the psychics who told me I had them were a
bit vague about it. Just basically a curse that was stopping me from
having everything I dreamed of – from having it all. A curse that
stopped me from being able to be a writer and to have love. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>
Mystical and esoteric traditions are present in every culture; here in
Australia we are blessed to have such a magical melange of diverse
cultural traditions – what are your thoughts about this?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I
think Australia is a great place to write in. I feel really lucky to
have moved here when I was a kid. I think the artistic world is so
faraway geographically from the rest of the world that you have the
chance to really develop your own voice.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Photo Credit: Heidrun Lohr</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #1f497d; font-size: 11.0pt;"> </span>Malthouse Theatre and Belvoir present</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b>STORIES I WANT TO TELL YOU IN PERSON</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i>Written and Performed by Lally Katz</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Venue:</b> Beckett Theatre, Malthouse</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Season:</b> 9 – 25 August, 2013</span></td></tr>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-20655692889454129592013-08-07T19:00:00.001-07:002014-09-17T00:45:56.916-07:00Julie Shiels - Godmothers of Graffiti - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJV5qC3prsM7xH3eYvgGFaLNUTG_HSx61xxdSjv-KOaUf57oLyBwSMK5YWOV7TOz-zJmIe-glS8OiYHa26qDotfV0TZEx_NgeeHXCBQ1ebL18xTY3Xlb6Bc0eZDzqP9U4ljExj8w/s1600/julie+sheils.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJV5qC3prsM7xH3eYvgGFaLNUTG_HSx61xxdSjv-KOaUf57oLyBwSMK5YWOV7TOz-zJmIe-glS8OiYHa26qDotfV0TZEx_NgeeHXCBQ1ebL18xTY3Xlb6Bc0eZDzqP9U4ljExj8w/s400/julie+sheils.jpg" height="266" width="400" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><br /></span></b></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Long before the internet and the new wave of savvy visual artists utilising
social media, graffiti and stencil art transformed Melbourne into the great street art capital it has become today, women artists like
Julie Shiels were it's early precursors.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">In the 1980’s, Shiels was a political poster artist, one of the many angry
and educated women with something different to say "and with no qualms about putting it out there". During this time Shiels made hundreds of
pithy political posters, images that helped to change both the face of the Australian
city and to agitate and transform some of society’s longest held beliefs, Shiels was an adept at representing such diverse
issues as equal pay for women, environment and land rights, same-sex social
justice, anti-nuclear protests and freedom of information.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Today “in the vivid throes of middle-age” Shiels sees herself “more as an
artist or viral philosopher, than punk, street crim or political poster
vandal”. Perhaps this has something to do with the benefit of hindsight that arrives with aging
suggests Shiels “ having a family and being in the wrong side of twenty-five”,
her sense of agency hasn’t changed one iota. Today Shiels with a cache of eye-catching
installation work situated along the streets of Melbourne’s inner city has
morphed into a street art elder.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Works like <i style="mso-bidi-font-style: normal;">Contested Space</i>, 2006 still
foreground social urgency around issues Shiels is as passionate about today as
she was in the early 1980’s, the traditional male dominance of public space she
refers to in this stencilled work has been supplanted with the rise
and rise of the internet colonised by women artists like VNS Matrix who have been quick to claim
virtual space since the early 1990’s as an unmapped, uncolonised, tranformative and enticing zone for artmaking.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Shiels sums it up, “There is absolutely no way I could be making the sort of
art I make today if I didn’t make all that political poster art back in the
1980’s. Not only that, were it not for this new wave of street art activity we
have had in Melbourne in recent years there is no way I would be making it in
the way I am now either. Today, there is a context, a heritage for street art
that people know and get. Street artists haven’t changed that much. Back in the
eighties, they became highly skilled with screen printing, photocopying and
offset press technologies and produced political posters and flyers. Today, the
philosophy is still the same only the technology, techniques and tools have
changed.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Shiels works across platforms; on the streets, in galleries and the
internet. In recent years she has also produced several public art projects
including <i style="mso-bidi-font-style: normal;">Auntie Alma’s Seat</i>s in St
Kilda’s O’Donnell Gardens, a bronze sculpture comprising three plastic milk
crates recreating a local aboriginal elder’s - once impermanent- seat of wisdom. Shiels says: “ for
me the empty seat is welcoming, inviting people to take a seat and hold for a
moment another’s point of view and to share in that wisdom and heritage.”</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Shiels practice is wide in its social ambit, both mercurial and impassioned
in tenor. Today some of the most pressing issues the artist engages with are
“memory, gentrification and homelessness, urban indigenous issues, the sex
trade close to home here in St Kilda, drug use and suburban celebrities.”
Alongside her internet art Shiels works with textiles for gallery based
exhibitions ( recycled mattress fabirics sewn into shirts for example) and stencilling observational epithets on inner city streets.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">“ I like to mix it up. Stencilling art is the same impulse as I experienced
in the early 1980’s. A desire to place work both on the street and in the
gallery. The internet focused works, are able to reach a much wider audience
and at all times of the day, to create dialogue between other political/stencil
artists here, even if they don’t ever meet face to face or with others located
on the other side of the globe. For me art making is political, it’s
sub-cultural, it’s storytelling. The internet helps enormously, as the physical
public domain is shrinking the public internet domain is expanding, and its
fun, it’s beautiful, it’s not expensive to use and it’s spontaneous.”</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">According to the artist a fascinating corollary of working in this way, is
the manner in which artists have directly and indirectly also positioned themselves as media makers – <span style="mso-spacerun: yes;"> </span>not as persecuted subjects -<span style="mso-spacerun: yes;"> </span>this groundswell of media making is highly organised
and seductive. And in so doing the traditional media empires- “the monopolies
of media moguls”- has been radically overturned, today it is artists like
Shiels, poets, activists, the small, common and empowered voices that now
proliferate, social action is accelerated, social dissent is amplified, social
disobedience is witnessed, social change is quickening.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Shiels documents her street art interventions, transmutations of discarded
mattresses, cardboard boxes, old furniture, hard rubbish and the minutiae of household waste. “The streets,
the hard rubbish have become my canvas” and one recent work this writer
particularly likes, ( and in turn prompted this story ) was a bold stencil upon a
stained and forgotten mattress off Carlisle Street. One week the stencil read: “You
thought it wouldn’t happen to you.” And the following week an added stencil on
the mattress reads, “Then one day it did.”</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">“There is a growing global cultural interest in the possibilities of public
art”, adds Shiels. “Anything aesthetic inserted in public space authorised or otherwise,
is political. Sadly, Architecture gets off much more lightly particularly is it
just a big ugly building with few design elements. Public space is and always
will be public, however, and this is the clincher that we need to be mindful
of, it’s up to us to express our discontent.”</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">(Archive Copy- 2006) </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://julieshiels.com.au/ilovestkilda/onedegree/disowned/" target="_blank">http://julieshiels.com.au/ilovestkilda/onedegree/disowned/</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://blog.vca.unimelb.edu.au/2012/07/06/now-showing-julie-shiels-placeholders/" target="_blank">http://blog.vca.unimelb.edu.au/2012/07/06/now-showing-julie-shiels-placeholders/</a></span></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-7069414729191780142013-07-24T16:26:00.000-07:002014-09-17T00:46:17.916-07:00 Ashlee Laing - Greening - Artecycle 2013 - Upcycling Series - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMBHfUCPZjEM8x2jDU-dSQk7KVNLzRtTfeZOh1T1fnLRwDS-A-psG6xjC19pz7DwByk_VtW8XDi9SJ0OGV8UMhWOtK40al-zxL1V28GmtukGVJyNQtgUd10BILBAmoqyOOTQQPQ/s1600/Laing-BushVandal+Still+02(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMBHfUCPZjEM8x2jDU-dSQk7KVNLzRtTfeZOh1T1fnLRwDS-A-psG6xjC19pz7DwByk_VtW8XDi9SJ0OGV8UMhWOtK40al-zxL1V28GmtukGVJyNQtgUd10BILBAmoqyOOTQQPQ/s400/Laing-BushVandal+Still+02(1).jpg" height="225" width="400" /></a></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Artecycle
is the annual non-acquisitive art award held at The Incinerator Gallery
in Moonee Ponds. Inspired by the striking 1929 Walter Burley Griffin
Building this exhibition has become an important event on
the annual arts calendar bringing together artists from around the
country who are negotiating waste, recycling, environmentalism and
sustainablility in a plethora of ways and means. As a part of his series
of profiles on visual artists working with waste and upcycling <b>Paul Andrew</b> speaks to artist <b>Ashlee Laing</b>.</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span lang="EN-US">Artists who inspire you Ashlee?</span></i></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The artists that I’m beginning to
delve into at the moment are Nedko Solakov, Hans Haacke and Rachel Harrison.
I’ve known about these artists for a while but I haven’t really got to know
them in an in-depth or influential kind of way and am now just beginning to
research their practices, amazing artists. </span></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">If I have to look back or choose
two artists who I have long admired and who inspire me most of all, I would have to say
Felix Gonzales-Torres and Nan Goldin. </span></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I still get butterflies in my
tummy when I see their work in the flesh. What really resonates with me is that
both of these artists made art directly from life, about life, and specifically
about their lives, yet they seem to connect with us, not in demonstrating their
lives to us so much, but I guess in some kind of way connecting with the
viewer, the other, in really powerful ways. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">For instance, I’m thinking of
Gonzales-Torres’s <i style="mso-bidi-font-style: normal;">Perfect Lovers</i> as one
of the most beautiful, simple and incredibly powerful gestures - two identical
clocks on a wall set to the same time and as time ticks by they fall out of
sync after having moved, however briefly, perfectly together. </span></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">What I love about this work is that
it’s just so simple and so germane to interpersonal relationships, to life,
such a powerful piece of visual poetry. </span></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">And, Nan Goldin, who you know, for
years has documented her life and the people in her life. I remember while
living in Hamburg for a little while, a time when the Ballard of Sexual
Dependency was installed at </span><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">The Hamburger Kunsthalle, I went
there almost daily for several weeks whilst I was unemployed and just sat there
on the red velvet cinema chairs immersed in the installation, the slide show,
of her life. </span></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">I
was truly mesmerized by these photos, these photos of everydayness, that were
images of stuff that anybody could have taken, images that you’ve taken, that
we all take, that I’ve taken, documenting time, party times, documenting life,
documenting the good and the bad.<span style="mso-spacerun: yes;"> </span>I mean
I remember taking a photo of myself crying at one time, just to see what I
looked like, to see what an emotion looked like. Her work really captures that,
for me, really captures the emotional connection and </span></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">What inspired you to enter the 2013 Artecycle Exhibition?</span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">I guess what attracted me
initially to apply for the 2013 Artecycle Award was for the opportunity that my
work could be in an exhibition that had a prize attached to it and the
possibility of winning that prize - money is hard to find when you're an
artist. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">These kinds of exhibitions, exhibitions with prizes and awards attached
to them put together by public galleries are also another way of exhibiting -
an economical way of exhibiting. As an early career artist these types of
exhibitions also provide opportunities to exhibit in a public gallery context,
to a wider audience, alongside artists with more established careers.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">I remember seeing the call
out for this show and thinking “Oh, I should really make that sculpture I’ve
been banging on about for years” but it hasn’t happened yet. With further
reading of the call out I noted that the entries had been diversified and
artist could submit work that dealt with issues of sustainability and the
environment without having to use recycled materials. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">This is when I thought
that my work “Bush Vandal (Green wash) would be a good fit as it dealt with ideas
of, notions of environment disaster and the impact of contemporary culture and
consumerism upon the natural and constructed environments we inhabit. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">Artists upcycle wit differing intentions? </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">Yes, in fact, I couldn’t even begin to try and categorize the diversity of work being
produced at the moment. I’ll leave that for the art historians/</span><i><span lang="EN-US" style="font-style: normal; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">theoreticians</span></i><i><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">
</span></i><span lang="EN-US" style="color: black; mso-themecolor: text1;">to ponder. For me, art and it’s varied outputs simply
fall under the HUGE umbrella term - Contemporary Art Practice, which provides
more than enough food for thought.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">It’s interesting to look at say, art education (although fraught) over
the past several decades and note the break down of disciplinary practice. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">Art
making now being an interdisciplinary process relying on a multitude of factors
for the articulations of concepts. What's fantastic is that Contemporary art
practice crosses different genres, different disciplines; it’s a </span><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">hodge</span><span class="st"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">-</span></span><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">podge</span><span lang="EN-US" style="font-style: normal; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";"> of coming up with ideas,
objects, propositions or whatever it is that really finds; that locates and
exemplifies the essence of the idea that is being expressed rather than
formally working within a more kind of disciplined approach to media, something
that I am much more excited about than working exclusively with a particular media.
I am much more interested in the idea and finding a way that best facilitates
and resolves that idea - relying on a </span><span lang="EN-US" style="color: black; mso-themecolor: text1;">multi-disciplinary
approaches to art making. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
diversity of the work in Artecyle reflects the interdisciplinary nature of art
practice. This can be seen by tracing the history of the prize that was initially
a sculptural prize that dealt with recycled materials, found objects, waste etc
and all those words that we use to describe the readymade and its re-signification.
This year it was opened up to include other works that were not only made from
such materials or processes but work that was conceptually located within the
discourses surrounding environment and sustainability. I guess my work was
selected as it's a landscape video and deals with me in that landscape doing
something quite absurd, and in an unconscious way has an environment message. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">At the time this wasn’t the reason or impetus for the work I made but through a series
of coincidences and reflections it poetically speaks of the destruction of the
environment. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">In fact I wouldn’t
say that I am an environmental artist or that my work deals exclusively with
issues surrounding the environment. I guess I make work that poetically
comments upon social conditions, usually a response to the limitations of or
restrictions that culture, that society inflict upon <i style="mso-bidi-font-style: normal;">my </i>being. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Historically - the 90’s had a major impact on me, work
was made about identity and its inherent politics, I’m thinking Barbara
Krueger, Jenny Holzer - those kind of artist who were about exposing the
inequality and I guess I think it’s even more pertinent now in 2013 to be
exposing that because things like homosexuality, things like adoption, giving
blood, things like being a woman, or being one of the genders between male and
female, things like being an asylum seeker, these identities, these rights are
still not equal with what the so called majority of the population are
privileged to. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I mean homosexuals are not equal - homosexuality has been
captured by consumerist culture and rendered a lifestyle, and this is something
that I am still very passionate about<span style="mso-spacerun: yes;"> </span>-
making work that subtlety exposes that - blatantly exposes that - poetically
exposes that; perhaps not even exposes but work that proposes and questions is
where I am coming from. </span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Tell me about the video work Bush Vandal?</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Bush Vandal
(Green wash) was developed while I was the artist in residence at Birrarung
house as part of the Nillumbik shire councils Laughing Waters Artist in
Residence program in aug-sept 2012. Birrarung House is a beautiful 1970’s mud
brick house designed by Gordon Ford along the Yarra River in Eltham. When I
first arrived I began to explore the landscape, the environment, by embarking
on daily walks through the bush and along the river. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The bush here was somewhat
dense and fallen trees, trees that appear to have been snapped off at their
middle, continually obstructed my walks through it and thus I was constantly
navigating new passageways through the bush. From this I got the idea of
heading out with different coloured gouache and every time a fallen tree
blocked my path I would paint the tree in a really bright, almost toxic colour. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The colours came about because I had noticed that most of the trees in the area
had brightly coloured fungus growing on the south-side of their trunks - this
being the side that didn’t get sunlight. This also tapped into the idea of
brightly coloured things usually being dangerous. I’d been out here for only
about a week at this stage and was finding it difficult to actual location where
I was. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I mean I knew that I was along the river, outside of Eltham but I was
unsure of how far the next house actually was, where anyone was living there,
whose land was on when walking etc. So when I got back to house I did a Google
maps search view of where I was and realized through this Google map search
that the fence that I had jumped wasn’t into private property but was into
Parks Victoria Land. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">This residency is run in collaboration with Parks Vic and
I had signed a contract agreeing not to interfere or damage the environment in
anyway. Realizing that I had breached my contract and that I had damaged the
environment I became completely paranoid that I had breached my contract and
that I was going to be the first artist evicted from the residency in it’s
entire history for painting trees. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">So I filled my rucksack with booze bottles
(the only bottles I had around - thankfully plonk is now screw top) full of
water, and the only scrubbing type of brush I could find in the house was the
toilet brush. So I set off with this, back to the tree I had painted and proceeded
to video myself scrubbing it clean - removing my <i style="mso-bidi-font-style: normal;">crime.</i> I videoed this process, as I am one of these artists that in
the past had lost a lot of work by not documenting it. I know obsessively
document everything I do. Now, I hadn’t spoke to a living soul either in person
or via technology for about 5 or 6 days at this time, which in context of our
current culture is a rarity.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">It was also bizarre to be only ten minutes from
Eltham by car but feel completely isolated and unsure of who was around the
area, other than knowing that there were people around, somewhere, which added
to a kind of fear I think which I kind of got carried away with. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Anyway, I
was out there scrubbing off this gouache as quickly as I could. The tree I had
painted was about 30 meters way from a fire track. Three quarters of the way
through cleaning the tree I heard a car coming down the fire track, now being
completely paranoid at this stage I’m like OMG it's the ranger, OMG they’re
gunna see what I have done, catch me in the act, I’m gunne be thrown out - this
is gunna be sooooo embarrassing while I am scrubbing, scrubbing, scrubbing
away. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I could see the car fortunately they couldn’t see me. They proceeded to
do a 4 point turn and proceed back up the hill - I drop everything and hide
behind a bush, while the camera continues to record the static frame and sound
of the car and then when safe I return to the scene and continue cleaning up.
That's how the work came about. I was retifying an act of vandalism </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">This lead
me to think about corporations and the idea of green products and that more
money, time and non-green processes go into the advertising of environmentally
friendly products rather than spending resources on developing and sustaining
environmentally sound practices/ products. It's installed in the gallery on a
slick near infinity edge LCD TV (very environmental) and is mounted on the brick
wall of the downstairs gallery of The Incinerator Art Centre. It plays for
about 5 mins an 30 seconds and is looped. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">It has a charm this work doesn't it, it's enchanting?</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">People really seem to enjoy it. I think what they enjoy about it the
most is that it is kind of comical, yet sinister. I forgot that I am quite
theatrical in my approach as well as my being that I can be quite camp which
contradicts my physical image which people of see as a big burley, scarey kind
of guy and really I am a pink pussy cat. So I think that the image of myself,
the gestures, and the reaction to the car, the crisis that this temporally
presents is something that people responded to. I am not sure what the judges
liked about this work for it to be included in the show other the similarities
to what I have just said. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">I also think that Bush Vandal (Green wash) was a good
example of a different approach that artists use to engage in the political
discourses surrounding the environment and environmentalism.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">So many artists in the exhibition with different angles to upcycling?</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">It’s interesting seeing the work in this context or in an exhibition
about environmental art, as I said I have never really engaged with environmentalism
before and Bush Vandal (Green Wash) was an indirect response to this theme. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">It
started off as a painting exercise really in order to begin a daily practice
while in residence doing something everyday in order to begin the process of
making art and that's what happened. This work also taps into, through the
imagery and my persona, the action of pouring water over the tree which has
this feel of pouring petrol over the tree and that perhaps I am about to start
a fire which brings this other sinister reading of the Australian bush,
landscape, environment and how vulnerable it is, how aggressive it is, how
volatile it is. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">There are some provocative sequences that happen in the work
that highlight different elements for people to contemplate one being the
red-neck bogan in the bush; the booze thing; the aggressive volatile nature of
the </span><i><span lang="EN-US" style="font-style: normal; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">heteronormative</span></i><i><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman";">
</span></i><span lang="EN-US" style="color: black; mso-themecolor: text1;">masculine identity of the Australian male.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">How does this work tie in with your recent photo/video based works?</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">Recent p</span><span lang="EN-US">hotographic and video based work
sees me play with multiple, minority identities in an attempt to confront the
audience with the ingrained cultural fear and bigotry that seems deeply etched
into the Australian landscape, constitution and psyche. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">I am conceptually
driven and utilise photography, video, objects and public space to articulate
my visual responses. My practice is about the placement and location of the
individual and of the collective within the construction of socio-cultural
spaces. It explores the relationship between ourselves (identity) and the
combination of social, cultural and environmental factors that influence and
challenge our identities. I am interested in the boundaries enforced upon the
individual by cultural, sub-cultural and self-identification codes. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">The
outcomes of my conceptual investigations rely on the development and use of a
visual language or system of signs taken from a variety of cultures. My work is
poetic and political; and continues to embody notions of intimacy, mortality,
sexuality, gender, race and ethnicity. Through my work I seek to challenge and
provoke questions rather than answer them.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US">Where do you think your work is located in art hitorical terns?</span></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">Hmmm in an art historical context I am not really sure,
you know, I guess that landscape depicted in the video is a very McCubbin-esq
landscape so there is a reference/play upon that and the Heidelberg School -
traditional landscape painting in Australia. The image in the video, the fixed
position of the frame, references painting and photography - a time-based, <i style="mso-bidi-font-style: normal;">moving</i> painting. The painting action,
the painting of the snapped, fallen tree illustrates, draws upon, conceptual
and contemporary responses to landscape. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;">And there are the performativity
elements that I play, that I bring to the work. So I guess you could trace a
history in that landscape, elements of the history of Australian Landscape
painting in this work - historically and conceptually it fits with notions of
contemporary art as comment rather than representation.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Useful Links:</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;"><a href="http://www.youtube.com/watch?v=Ei9FQo5I5xA" target="_blank">http://www.youtube.com/watch?v=Ei9FQo5I5xA</a> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;"><a href="http://mvcc.vic.gov.au/Experience-Moonee-Valley/Arts-and-Culture/Incinerator-Gallery/Artecycle.aspx" target="_blank">http://mvcc.vic.gov.au/Experience-Moonee-Valley/Arts-and-Culture/Incinerator-Gallery/Artecycle.aspx</a> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span lang="EN-US" style="color: black; mso-themecolor: text1;"><a href="http://en.wikipedia.org/wiki/Upcycling" target="_blank">http://en.wikipedia.org/wiki/Upcycling</a> </span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://ashleelaing.com/home.html" target="_blank">http://ashleelaing.com/home.html</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppCgP_tSro6euLkqVEhWhvzwRWLgskxRcAIZu9bMT5lgy1YCx2Y_v6e2VSaxksX6I4z3ScKU1-OOdayBR0dK7HWApeu_H6vYlubK6Xl_fjZcUaXGrYk1xIC-OfjooMFbzIx7NoQ/s1600/green+tree(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppCgP_tSro6euLkqVEhWhvzwRWLgskxRcAIZu9bMT5lgy1YCx2Y_v6e2VSaxksX6I4z3ScKU1-OOdayBR0dK7HWApeu_H6vYlubK6Xl_fjZcUaXGrYk1xIC-OfjooMFbzIx7NoQ/s320/green+tree(1).jpg" height="213" width="320" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #689b3a; font-size: x-small;"><u><b>General Bio</b></u></span></span></div>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #689b3a; font-size: x-small;">A</span><span style="color: #689b3a; font-size: x-small;">shlee Laing was born in Melbourne, Australia in 1974. Laing works in
photo-media, video, installation, painting and performance. His practice
is concerned with the location of the individual and of the collective
with socio-cultural spaces. </span></span></div>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #689b3a; font-size: x-small;"><br /></span></span></div>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><br /></span></span>
<br />
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><b><span style="color: #056e8e;"><u>Artecycle Artist Statement </u></span></b></span></span></div>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #056e8e; font-size: x-small;">Bush Vandal (Green Wash)
is was developed while on a two-month residence at Birrarung House as part of
the Nillumbik Shire Councils Laughing Waters Artist in Residence program.</span></span></div>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #056e8e; font-size: x-small;"><br /></span></span></div>
<div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: #056e8e;"><span style="font-size: x-small;">Bush Vandal (Green Wash) is a 5 min. 32 sec. looped video of a fallen tree in the
bush. The tree has been painted with green gouache. The video begins as I start
to remove the paint using a toilet brush. It documents my behaviour in the
process of rectifying my act of environmental vandalism. The sound in this
video is of the actual environment and cleaning process. </span></span></span></div>
</div>
</div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
</div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-63566642297835614612013-07-24T15:54:00.000-07:002014-09-17T14:01:51.893-07:00Jeremy Blincoe - Saved - Artecycle 2013 - Upcycling Series - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF8HZL83lME3KcBeQeiMDpK0AlXboJFgo6cDUkFbjiRk32fDlSo9WH2-YYzcIDHWtg14EWIpY-8P77HD7xGSeyyqyiT6rV3opncoK3wGBeNt5Bcxk_m3JP2xoHrdMtJA6My__gUA/s1600/jeremy_blincoe_untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF8HZL83lME3KcBeQeiMDpK0AlXboJFgo6cDUkFbjiRk32fDlSo9WH2-YYzcIDHWtg14EWIpY-8P77HD7xGSeyyqyiT6rV3opncoK3wGBeNt5Bcxk_m3JP2xoHrdMtJA6My__gUA/s400/jeremy_blincoe_untitled.jpg" height="307" width="400" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Artecycle is the annual non-acquisitive art award held at The Incinerator Gallery in Moonee Ponds. Inspired by the striking 1929 Walter Burley Griffin Building this exhibition has become an important event on the annual arts calendar bringing together artists from around the country who are negotiating waste, recycling, environmentalism and sustainablility in a plethora of ways and means. As a part of his series of profiles on visual artists working with waste and upcycling <b>Paul Andrew</b> speaks to artist <b>Jeremy Blincoe</b>.</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;"><br /></i></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Jeremy
tell me about your art training?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I studied photography at Massey
University in Wellington, New Zealand.<span style="mso-spacerun: yes;">
</span>Immediately after finishing I pursued a career in advertising
photography and it was not until I shifted to Melbourne in 2008 that my focus
switched and I became devoted to working on my own bodies of art work.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The first series <i style="mso-bidi-font-style: normal;">Wander and Wonder</i> was created to express
my deep concern for what I perceive as the diminishing wonder and imagination
amongst future generations. Brought about as technology pervades every aspect
of our lives and the beauty of the natural world may be losing its grip, its
ability to seize the attention of the modern generation. On a road trip a
child’s distant gaze out the window toward a setting sun, is now replaced by an
intense gaze into the cool glow of a smart phone.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">What theme's in your work have
emerged since his time?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My second series <i style="mso-bidi-font-style: normal;">Fleeting Embrace</i> focused on the
environment, sustainability and principally it raises the question about what
we leave for future generations if current environmentally detrimental
practises continue.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My series <i style="mso-bidi-font-style: normal;">Ephemeral Memory</i> was created to help shine a light on a number of
important issues surrounding Indigenous Australians.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">My concern for the environment and
the fate of indigenous cultures continues to feed into my new work. Though I
have also become very intrigued by questions surrounding the formation of the
self, the contradictory nature of humans and the spiritual famine within modern
culture as the influence of mythology and religious ritual has waned over time
coupled with this growing disconnection from nature.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Tell
me more detail about your interest in environmentalism and sustainability, why
is this important you?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Although the prospect of settling
distant planets is becoming a far more plausible possibility, we only have one
planet right now. To quote Carl Sagan this is our very own “mote of dust on a
sunbeam.” </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I feel strongly that we all have a
responsibility to future generation’s to determine what state the planet is
in. It is a humbling thought the idea of tracing your existence back to one
common ancestor and how fortuitous we are to be in existence knowing that each
of our ancestors has has survived and passed life on to us. Thinking about this
heritage gives weight to the importance of environmentalism and
sustainability.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Tell
me about what inspired you to participate in the 2013 Artecycle exhibition?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It is one the first competition’s/exhibition’s
that I have come across that focuses on both the environment and on
sustainability. As these are both key threads within my work I jumped at the
chance to be involved.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Describe
your entry, Untitled?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The work features my friend’s son
Samedhi, whose clear plastic bag parachute has deflated leaving him floating
aimlessly through a black void. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The narrative intent behind the image addresses
the detrimental impact of the current volume of plastic production for the
environment and the uncertainty for what state the environment will be left in
for future generations.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Tell
me about what you adore most about photography as a medium?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">With the advent of technology it
gives me the immense freedom of being able to turn any idea into reality. It is
also a fantastic catalyst for curiosity, providing me a purpose to seek out
pockets of wilderness, explore new places and to meet interesting people. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Why
the realist photography style?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It is closely related to how my
imagination conceives ideas and my desire to create new myths, ones that help
me become a better human and hopefully have the ability to emotionally connect
and plant the seed of a narrative in the viewer’s mind. As much as I revere
many traditional analogue photographic artists I yearn to be able to create my
own distinct language and make a valid contribution to a medium in which I love
and am drawn to.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">You
commented once about your work for Artecycle 2013; “we are having a love affair with
plastic”, what did you mean by this?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Day to day life is almost inseparable
from plastic, many see it as an extremely economic and convenient necessity. Yes
I do believe we are a disposable culture which is partly due to the dying art
of patience. We bemoan the slightest wait time or moderate inconvenience in our
lives and often operate in our own isolated bubbles.<span style="mso-spacerun: yes;"> </span> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I am guilty of both of these and the
mindfulness you mention is perhaps one of the cures. To find transcendence from
everyday anxieties and find the realisation that each of us has a part to the
play in the welfare of the planet is extremely important.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">My greatest concern is that the growing
population rates parallels the rise in plastics production and if we will ever
be slow down or reverse the consumption rate of the long lasting and extremely convenient
commodity.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">Long
range thinking for the benefit of future generations is something you feel is
important too?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Indeed, it is a shame that it takes
the stark reality of global climate change for countries to initiate
conversations to work together and think about long-term solutions. It is such
a difficult road however as strategies are often targeted at resource use, the
engine room behind a large proportion of the world’s economies.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i style="mso-bidi-font-style: normal;">So
much of our consumerism seems to be based on excessive consumption, consuming goods with an inbuilt obsolescence and a short use by date - things are not made to last, not well crafeed like they were once, goods are not durable - disposability
of consumer goods is paramount now with mass production happening now in China and so on, e goods, mobile phones, PD’s and so on?</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It is a huge issue, we crave the
fleeting gratification that comes with a shiny new technological toy with often
little thought as to where the previous model will now reside.<span style="mso-spacerun: yes;"> </span>I yearn to travel and make a series of work
in places such as as Ghana and Guiyu in China in order to come to terms with
the scale and magnitude of electronic waste epidemic.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">Paradoxically
photography is one of the few things that we
treasure today?</span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Our memory is an incredibly fickle
thing, a nice analogy compares memory to compost heaps which grows and transforms
as new content is added often leaving the original form unrecognisable. Photographs
are important, as they are powerful triggers to relive experiences. This is an
amazing quality for me as one of the ultimate goals in creating an image is to
create an emotional trigger in the viewers mind.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">There
is a recurrent theme in your work about the depiction of youth, figures
alone, floating in nature represented in a fairly iconic peraps even alienated
manner?</span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">One of my preoccupying thoughts is
maintaining the inner radiance of a child. As time progresses life’s toils and
social conventions tend to from rigid armour around each of our inner child. Preying
those layers back to maintain wonder, curiosity and an open spirit are important
theme that I wish to continue to explore through my work.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">And in many of the works there is a mythic quality that pervades te image, many of the figures apppear Icarus like, is this a comment about humanity's hubris in the face of "an epidemic of waste"?</span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Yes I am fascinated by mythology. Part
of the reasoning behind the ‘untethered nature’ of the figures is a re-occurring
thought that we are each a tiny fragment of a vast universe our fates often at
the whim’s of nature. The ideology of mans domination of nature and the growing
disconnections from nature are barriers to mindfulness and environmentalism. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">I am curious as to why your figures are
represented in nature vs cities and/or urban contexts, the theatrical quality they espouse? </span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The solitude of Australia’s vast
landscapes allows me to step away from my sense of self and gain perspective
that I am a very small part in a grand universe. In terms of creating work in
an urban environment, I love landscapes I think too much too focus on the urban
environment and a big part of the thrill is the chance to explore beautifull
spots that I may never have visited if it were not for the urge to create
driving my curiosity. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Growing up in New Zealand,
definitely helped nurture my appreciation for the natural environment. The
house where I grew up backed onto a reserve filled with a dense plantation of
bamboo, I couldn’t have asked for a better-secluded playground.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">For the untitled image I experimented
with placing different landscapes or backdrops behind the figure, but I like
the graphic nature of the black void and believe that it helps portray that the
future fate of the boy with the deflated parachute is unknown. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i>
</i><i><span style="mso-bidi-font-weight: normal;">Zeitgeist-
your thoughts on what matters now - there is a tendency in contempoary art today to focus on and
represent the everyday the mundane the ordinary vicissitudes of life and what
do you think this tendency says about society?</span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">I use photography to escape from the
realities of the everyday and to ease the burden slightly. As new forms of
narcissism have developed via social media platforms individual focus has been
shifted inwards, ever so slightly and the grander narratives connecting all
humans have been left by the wayside.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">And is this to do with making a sense of ourselves in a world that is priamrily about
consumption ( and by corollary it's monumental waste) perhaps?</span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Yes, I believe our perchance for
consumption is partly an attempt to fill a spiritual void in our lives. It is a
shinning mirage that the latest object of our desires will give such
satisfaction, only to dissipate in our hands and leave us searching for the
next bigger and greater thing with perhaps a few more unnecessary functions.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.blogger.com/null" name="_GoBack"></a><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">Photography
tends to make things look good or beautiful, we know this, to your way of
thinking what is useful about making waste, about making plastic appear good, redemptive and beautiful like a parachute in the image above?</span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">With all of my work whether they are
concerned with the environment or another narrative I strive to make it a thing
of beauty to entice the viewer then if all goes well they will delve into the
story and create his or her own meaning from the image.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="mso-bidi-font-weight: normal;">And
finally how did it feel seeing your work in the context of this marvelous
exhibition about environmentalism and sustainabilty, such a wide range of
attifudes towards waste in the exhibition - sartists ike Hannah Bertram are passionate
about the poetic possiblities of waste, detritus, dust and others like Ashlee Laing
are keen on the political aspect of waste, recycling and so on? </span></i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">It was great I think any opportunity
to gleam an insight into a range of artists’ perspectives on such an important topic will always be a valuable and worthwhile experience.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklWiX98s9sC1B7lXxduzt5gfXG52BLKiFVK6LROL_f7KPELmpIWGabvQz7HYDnoAth2_AtQ_Svv-Ni6srGQ39A8y8Pb7fSfQlbSvsBceNXoqIf9nP1d9PHOfDqzmfySSG2JB0pA/s1600/Jeremy+Blincoe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklWiX98s9sC1B7lXxduzt5gfXG52BLKiFVK6LROL_f7KPELmpIWGabvQz7HYDnoAth2_AtQ_Svv-Ni6srGQ39A8y8Pb7fSfQlbSvsBceNXoqIf9nP1d9PHOfDqzmfySSG2JB0pA/s1600/Jeremy+Blincoe.jpg" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Useful Links:</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://en.wikipedia.org/wiki/Upcycling" target="_blank">http://en.wikipedia.org/wiki/Upcycling</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.jeremyblincoe.com/" target="_blank">http://www.jeremyblincoe.com/</a> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://mvcc.vic.gov.au/Experience-Moonee-Valley/Arts-and-Culture/Incinerator-Gallery/Artecycle.aspx" target="_blank">http://mvcc.vic.gov.au/Experience-Moonee-Valley/Arts-and-Culture/Incinerator-Gallery/Artecycle.aspx</a> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.youtube.com/watch?v=irY1PsqxlYE" target="_blank">http://www.youtube.com/watch?v=irY1PsqxlYE</a> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Photos:</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Above: Untitled, 2012</b></span><br />
<span style="font-family: "Courier New";"><span style="font-family: "Trebuchet MS",sans-serif;"><b>Below, Artist Jeremy Blincoe</b></span> </span></div>
ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0tag:blogger.com,1999:blog-33375231.post-34033329171956247222013-07-21T19:27:00.003-07:002014-09-17T00:46:53.259-07:00The Reduced Shakespeare Company - Austin Tichenor - The Bible: The Complete Word of God ( abridged ) - INTERVIEWS<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.reducedshakespeare.com/" target="_blank">http://www.reducedshakespeare.com/</a><br />
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Written by <a href="http://www.australianstage.com.au/members/creative-content/profile.html">Paul Andrew</a> </span>
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<td class="createdate" valign="top"><span style="font-family: "Trebuchet MS",sans-serif;">Monday, 22 July 2013 00:00 </span></td>
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<td valign="top"><span style="font-family: "Trebuchet MS",sans-serif;"><b>Austin Tichenor</b> is an actor and Managing Partner of The Reduced Shakespeare Company – as well as Co-Writer and Co–Director of <i>The Bible: The Complete Word of God (abridged)</i>, soon to tour Australia. He spoke to Australian Stage's <b>Paul Andrew</b>.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b> <img alt="Austin Tichenor" src="http://www.australianstage.com.au/images/stories/2013/july_news_13/reduced_shakespeare_int.jpg" height="425" style="float: right; margin: 0px 5px 5px;" width="300" />An early/childhood theatre memory Austin, a time when you were absolutely enchanted by the stage?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">It was a production of <i>The Wizard of Oz </i>and
I remember three things: being dazzled by the whole thing; so dazzled I
really wanted to meet Dorothy ‘cause I thought she was awesome; and
being so scared of the Lion that I hid behind my mother’s skirts when I
saw the actors in costume in the lobby. I was four.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me a potted history about your early stage training?</b></span> <br />
<span style="font-family: "Trebuchet MS",sans-serif;">My
earliest “training” was the thing I still most highly recommend:
Learning by Doing: puppet shows in kindergarten, musicals and Gilbert
& Sullivan operettas in high school, and technical theatre with
local ballet companies and orchestras. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Was there a formative Shakespeare moment during your training?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">While getting my MFA in Directing at Boston University, I was roped into playing Claudius in <i>Hamlet </i>(because
I am, as my friends will tell you, the personification of evil). I
worked on the text with a great voice teacher named Robert Chapline, and
once I began to speak those speeches, it was like learning a new
language or to play a musical instrument. Plus sword-fighting!</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> How do you describe the Reduced Shakespeare company in seven words?</b></span> <br />
<span style="font-family: "Trebuchet MS",sans-serif;">Making long serious topics short and funny.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> How do you describe the CWOG narrative in seven words?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">We’re celebrating the Bible through reverent irreverence.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> For the benefit of AS readers tell me about the formation of the company?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">The
RSC started as a busking act at Renaissance Faires in 1981 by three
Californians who had a shared passion for busty wenches and iambic
pentameter. They took their first play to the Edinburgh Fringe Festival
in 1987, thinking it’d be their swan song, but that led to international
touring, even greater reduction, and a nine-year run in London’s West
End. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me something about theatre experiences that truly enthralled you Austin?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">My greatest experiences almost always involve the audience. I saw a university production of <i>Cabaret</i>
staged in a dining hall where regular non-costumed students stood up in
the audience wearing swastika armbands and singing “Tomorrow Belongs To
Me”. Chilling. And when I’m performing in RSC shows, I’m always hugely
impressed at the audience members who are so caught up in what we’re
doing they start to play along without even knowing it. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b>
Is the RSC (same acronym as the Royal Shakespeare Company) inspired by
other theatre companies – tell me about this source of inspiration?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Yes,
it’s come to our attention that some upstart company in the UK has
stolen our initials. We’re pursuing legal action. We’ve been inspired by
many professional theatre companies; in fact, when I joined the company
in 1992 and began co-creating all of our “Complete (abridged)”
comedies, the idea was to turn this summer holidays busking act into a
professional theatre with a company of actors performing a repertoire of
plays in our “house style” of serious silliness and intellectual
vaudeville. </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b> How did you go about writing this new work Austin, struck by lightning, baptism by fire?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">After
condensing the complete works of Shakespeare and abridging the complete
history of America, taking on religion seemed like the next logical
step. We were approached by an Israeli TV producer to reduce the Bible
for the small screen. That fell through, but the idea wouldn’t die.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Tell me in about the bible?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">The
three guys who attempt to reduce the Bible into ninety minutes don’t
know that what they’re attempting is impossible. That’s funny. But even
if they did know it was impossible they’d do it anyway. That’s
admirable. And being too stupid to know what you’re doing for the
entertainment of others? That’s America.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b> Is there a quote from the play that continues to make it difficult for you to keep a straight face?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Again,
it comes back to the audience. I know all the scripted lines so well
they don’t make me laugh anymore. But I never know what the audience is
going to do, and sometimes I’ll be bowled over by something we say in
response to something <i>they </i>say.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b> In this secular age what makes a play like this matter?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I’m not a religious person: I rarely look to ancient texts for wisdom
and enlightenment, except possibly Shakespeare and every once in a while
<i>Star Trek</i>. But the Bible is still one of the fundamental texts
of our civilization. And my form of tribute for anything I love is to
celebrate it by making fun of it. Ask my wife and kids.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b> Indeed - what makes humour matter right now?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">When has humor ever <i>not</i> mattered? </span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Les Currie presents</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b>The Bible: The Complete Word of God (abridged)</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i>The Reduced Shakespeare Company</i></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Melbourne</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Athenaeum Theatre </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">August 5 – 18, 2013</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">(03) 9650 1500 | Ticketek 132 849 | <a href="http://www.ticketek.com.au/" target="_blank">www.ticketek.com.au</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Adelaide</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Dunstan Playhouse, Festival Centre </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">August 19 – 21, 2013</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Bass 131 246 | <a href="http://www.bass.net.au/" target="_blank">www.bass.net.au</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Canberra</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Playhouse Canberra Theatre Centre </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">August 23 - 24, 2013</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">(02) 6275 2700 | <a href="http://www.canberratheatrecentre.com.au/" target="_blank">www.canberratheatrecentre.com.au</a></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><b>Brisbane</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Brisbane Powerhouse </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">August 27 – September 1, 2013</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">(07) 3358 8600 | <a href="http://www.powerhouse.org/" target="_blank">www.powerhouse.org</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Sydney</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Playhouse, Sydney Opera House </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">September 3 – 15, 2013</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">(02) 9250 7777 | <a href="http://www.sydneyoperahouse.com/" target="_blank">sydneyoperahouse.com</a> | Ticketmaster 136 100 | <a href="http://www.ticketmaster.com.au/" target="_blank">www.ticketmaster.com.au</a></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Tickets $59.00 – $69.00</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Booking fees may apply</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">First Publoished Australian Stage Online- 22/7/2013</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 8pt;"><i>Image Credits</i></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 8pt;"><i>Photos – Eric Vizents</i></span></span></td><td valign="top"></td><td valign="top"></td><td valign="top"></td><td valign="top"></td></tr>
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ARI Remixhttp://www.blogger.com/profile/06635962766555864054noreply@blogger.com0