Preamble
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Treescape (Engaging New Vision) A. Trevillian
Introduction
Instalments of artist statements and a snapshot of their work in the exhibition will feature on a weekly basis.
The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.
(a) lo Rising II and Giza at Orange Regional Art Gallery, New South Wales (far left artwork is lo Rising II, left artwork is Giza, artworks on right by Susan Fell McLean (see future post).
Photograph courtesy Alan Sisley, Director, Orange Regional Art Gallery.
(b) lo Rising II at Redcliffe City Art Gallery, Queensland (last two artworks on the right - see future posts for all other artworks).
Photograph courtesy Karen Tyler, Director, Redcliffe City Art Gallery.
Photography by Al Sim.
Synopsis of Artwork: lo Rising II
My work is informed by momentary visceral connections made, somewhere between heart and mind, when experiencing the environment around me. Wether looking through a microscope, telescope or my camera lens, I marvel at the repetitive patterns and designs of our universe, whether underwater amongst distant reefs, in my Colorado mountains, or above the Mid-East desserts. In remembering those moments, I reframe, exaggerate, comment and, sometimes, analyze; always attempting to marry my artistic vision with the creative process itself.
I’m a fan of the Hubble Space Telescope, and the many images from the Voyager spacecraft before that – along with the many scientific inquiries that have been set off about our celestial family. Since Galileo first identified IO, this Jupiter moon played its own role in that heretical Copernican solar system and showed that everything did not revolve around the Earth.
Io is one of the most exotic places in the solar system. It is the most volcanic body known, with lava flows, lava lakes, and giant calderas covering its sulfurous landscape. Io orbits closer to Jupiter’s cloud tops than the moon does to Earth. This places Io within an intense radiation belt that bathes this moon with energetic electrons and protons.
This work represents my imaginings of Io through the swirling gases as it orbits around Jupiter. I created this work by first painting soy wax in ascending patterns on black rayon cloth; then laying the entire cloth out on a snow field. To infer the energy and gaseous torrents, I repeatedly sprayed hot discharge solution over the surface. The hot liquid I sprayed mixed with the melting snow from beneath and created it’s own mysterious flow on the cloth’s surface. It is within this dichotomy of hot and cold, that Io Rising II
Techniques
Black rayon discharged on snow with soy wax resist and burned.
Size: 60 cm (width) x 300 cm (length).
(c) lo Rising II - full view.
(d) lo Rising II - detailed view.
Synopsis of Artwork: Giza
The remains of things - language, buildings, plants, human life – provides me much opportunity to reflect on what my life is made of and what place we and our trappings might have in the universal scheme. Among the many forms of mark-making, rust marks recall that presence for me - both physically and metaphorically.
The Valley of Giza, with its Third and Fourth Dynasty pyramids, is a marvel of ancient architectural prowess. Dedicated to the anticipated eternal memory of Egyptian kings, queens and high officials, these pyramids took years to build, with thousands of workers, and numerous innovations in construction materials. Archeological analysis of the structures has shed light on the interior supports, subterranean designs, and outer surfacing materials used in vein attempts to offset the effects of erosion. This massive complex of monuments includes the huge sculpture known today as the Great Sphinx and the monument known as the Great Pyramid of Giza, the only remaining monument of the “seven wonders of the ancient world”.
The Valley of Giza exits in one of the hottest places of our world, situated entirely in the Sahara Desert. The Khamsin winds, hot furious and dust-laden, annually blow through Giza, raising storms of sand that obscure visibility, make it near impossible to breathe without protection, and further erode these great monuments.
My work,Giza;is a reflection upon a storm-surrounded view of these pyramids and the concept of creating this work in a process and form that reflects upon their inevitable degradation. Using found wire and sheet metal forms, I rusted silk organza over several periods; making ghostly remains engulfed by a driving sandstorm. It feels fitting to me to create a work about the remainder of Life’s artifacts using a process that employs one of the very chemical processes that render a remainder image. Another marriage of the message with the medium.
Techniques
Rusted with found wire, nails and scrap metal, resisted with soy wax, and burned on silk organza.
Size: 60 cm (width) x 300 cm (length).
(e) Giza - full view.
(f) Giza - detailed view.
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Treescape (Engaging New Vision) A. Trevillian
Introduction
Instalments of artist statements and a snapshot of their work in the exhibition will feature on a weekly basis.
The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.
Photograph courtesy Alan Sisley, Director, Orange Regional Art Gallery.
Photograph courtesy Karen Tyler, Director, Redcliffe City Art Gallery.
Photography by Al Sim.
Synopsis of Artwork: lo Rising II
My work is informed by momentary visceral connections made, somewhere between heart and mind, when experiencing the environment around me. Wether looking through a microscope, telescope or my camera lens, I marvel at the repetitive patterns and designs of our universe, whether underwater amongst distant reefs, in my Colorado mountains, or above the Mid-East desserts. In remembering those moments, I reframe, exaggerate, comment and, sometimes, analyze; always attempting to marry my artistic vision with the creative process itself.
I’m a fan of the Hubble Space Telescope, and the many images from the Voyager spacecraft before that – along with the many scientific inquiries that have been set off about our celestial family. Since Galileo first identified IO, this Jupiter moon played its own role in that heretical Copernican solar system and showed that everything did not revolve around the Earth.
Io is one of the most exotic places in the solar system. It is the most volcanic body known, with lava flows, lava lakes, and giant calderas covering its sulfurous landscape. Io orbits closer to Jupiter’s cloud tops than the moon does to Earth. This places Io within an intense radiation belt that bathes this moon with energetic electrons and protons.
This work represents my imaginings of Io through the swirling gases as it orbits around Jupiter. I created this work by first painting soy wax in ascending patterns on black rayon cloth; then laying the entire cloth out on a snow field. To infer the energy and gaseous torrents, I repeatedly sprayed hot discharge solution over the surface. The hot liquid I sprayed mixed with the melting snow from beneath and created it’s own mysterious flow on the cloth’s surface. It is within this dichotomy of hot and cold, that Io Rising II
Techniques
Black rayon discharged on snow with soy wax resist and burned.
Size: 60 cm (width) x 300 cm (length).
Synopsis of Artwork: Giza
The remains of things - language, buildings, plants, human life – provides me much opportunity to reflect on what my life is made of and what place we and our trappings might have in the universal scheme. Among the many forms of mark-making, rust marks recall that presence for me - both physically and metaphorically.
The Valley of Giza, with its Third and Fourth Dynasty pyramids, is a marvel of ancient architectural prowess. Dedicated to the anticipated eternal memory of Egyptian kings, queens and high officials, these pyramids took years to build, with thousands of workers, and numerous innovations in construction materials. Archeological analysis of the structures has shed light on the interior supports, subterranean designs, and outer surfacing materials used in vein attempts to offset the effects of erosion. This massive complex of monuments includes the huge sculpture known today as the Great Sphinx and the monument known as the Great Pyramid of Giza, the only remaining monument of the “seven wonders of the ancient world”.
The Valley of Giza exits in one of the hottest places of our world, situated entirely in the Sahara Desert. The Khamsin winds, hot furious and dust-laden, annually blow through Giza, raising storms of sand that obscure visibility, make it near impossible to breathe without protection, and further erode these great monuments.
My work,Giza;is a reflection upon a storm-surrounded view of these pyramids and the concept of creating this work in a process and form that reflects upon their inevitable degradation. Using found wire and sheet metal forms, I rusted silk organza over several periods; making ghostly remains engulfed by a driving sandstorm. It feels fitting to me to create a work about the remainder of Life’s artifacts using a process that employs one of the very chemical processes that render a remainder image. Another marriage of the message with the medium.
Techniques
Rusted with found wire, nails and scrap metal, resisted with soy wax, and burned on silk organza.
Size: 60 cm (width) x 300 cm (length).
1 comment:
Thank you for sharing these intitmate looks into the exhibition from "Down Under".
I enjoyed seeing Regina Benson's work as exhibited and I look forward to seeing the other artists work as well.
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