Portfolio
visuality: a journey into the self
new TIME SPACE
Project V: virtual virgin 2020
exploring paintings production, reception, aesthetic and virtual possibilities
Social practice, meets the artist as cultural commentator and activist painter/producer of a series of works of art that consist of small miniature paintings, digital, limited edition prints and a body of large scale abstract oil paintings that are currently in process, that seek to challenge the orthodoxy of how works of art are produced and received in what is, new TIME SPACE. The process of making in lockdown witnesses a multi-layered commentary on paintings history and aesthetic traditions of making through an interstice between the digital and haptic processes that are embedded in the disciples of both drawing and painting. More importantly, making in lockdown invites an open dialogue to critique the production and reception of works of art in new TIME SPACE where social practice meets virtual visuality courtesy of the artists hand - mind - time - space.
Virtual Exhibition: Limited Edition Digital Prints, Size Varies.
Drawing into Painting #1, 2020, Limited Edition Digital Print: acrylic underpainting, digital drawing, size varies.
Drawing into Painting #3, 2020, Limited Edition, Digital Print, acrylic underpainting, digital drawing, size varies.
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Drawing into Painting #2, 2020, Limited Edition Digital Print: acrylic underpainting, digital drawing, size varies.
Virtual installation shot, 2020, Drawing into Painting
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Shelf life 2020
Curated by international artist and academic, Kris Smith from Artscope Australia, Shelf Life is an online group show that features works from invited artists who live and work in the Newcastle Region. The artists' have collectively responded to a selection of books that formed as part of the Newcastle Writers Festival, 2020 Australia.
A body of abstract paintings, entitled, Chapter and Verse by Scottish artist, Annemarie Murland sets out to recontextualise the self-reflexive content of Nicole Redhouse's book, Unlike the Heart, A Memoir of Brain and Mind through the physical and material properties of the medium of oil paint. The phenomena, felt experience provides the contextual and conceptual platform from which to view the authors allegory alongside the artists' bodily response to the book, which is framed by her ongoing unresolved temporal dilemma that seeks to find answers to the question of what it means to belong as a woman, artist, mother migrant? [Annemarie Murland PhD]
Chapter and Verse 1, Oil on Board, 25x24cm.
Chapter and Verse 2, 2020, Oil on Board, 35x24cm.
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Chapter and Verse 3, 2020, Oil on Board, 25x24cm.
Chapter and Verse 4, 2020, Oil on Board, 35x24cm.
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ERASURE
a group exhibition that explores the nuances of the act of erasure in the art practices of five Newcastle based artists
the University of Newcastle Gallery, 17 JULY - 24 AUGUST 2019
The Presence of Absence, 2019, 158x133cm, Mixed Media on Archival Paper
"Erasure is never merely a matter of making things disappear: there is always some detritus strewn about in the aftermath, some bruising to the surface from which word or image has been removed, some reminder of the violence done to make the world look new again".
Brian Dillon The Revelation of Erasure”, Tate Etc., accessed June 22, 2019 https://www.tate.org.uk/context-comment/articles/ revelation-erasure
Brian Dillon The Revelation of Erasure”, Tate Etc., accessed June 22, 2019 https://www.tate.org.uk/context-comment/articles/ revelation-erasure
ANNEMARIE MURLAND from the Catalogue
Approaching erasure as a productive form of destruction, Annemarie Murland’s works take the idea as a cue for engaging with the tactile properties of materials. Crossing the boundaries between drawing, painting and sculpture, a number of her works look like scrunched up pieces of paper. This conjures the idea of erasure in terms of thoughts jotted down on paper only to be later discarded. Everyday matter, such as beeswax and fabric are explored alongside traditional art materials, including chalk, pigment and paint, expanding the limits of what painting and sculpture can be. The immersive scale of some of the works underlines Murland’s interest in physical experience as a way of understanding the world around us. These works are simultaneously fragile and monumental. In her practice, the process of making is pushed to the fore, an intimate conversation that Murland conducts with her materials.
THE PRESENCE OF ABSENCE: ACTS OF ERASURE 2019
The abstract works of art produced for the exhibition, titled, Erasure, the Newcastle University Gallery, 17 July – 28 August 2019 collate the artist, Annemarie Murland's deep interest in how Modern Art History and subjectivity intersect. The picture plane acts as a repository where drawing, painting, and sculpture interconnect in an evolving and dissolving spatial and material inquiry is at the crux of this series of works of art. The material relationship between form, aesthetics, and abstraction is shaped by the artists' creative expression that is located in the material properties of abstraction. As part of her practice, Murland employs traditional and experimental drawing and painting techniques to extend the specificity and characteristics of the media. To that end, a process-material co-dependence absorbs and records the artists 'thinking through making' methodology that when represented in equally represented terms has the capacity to affect the senses and deliver the viewer with felt, experience.
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DRAWING INTO PAINTINGS MUSCULAR HISTORY
weaving stories yet untold
This body of Abstract works of art, titled: Drawing into Paintings Muscular History, MMXVIII, invites the audience to perceive and receive the imagery through a multifactorial lens. The picture plane presents a process-material interdependence in the shape of intuitive mark-making strategies that read as sgraffito. Alongside a personal drawing methodology there is a variety of interwoven bodily gestures that blend, divide and direct the eye towards no fixed point creating an all over spatial arrangement. Framed in a cool palette the works tonality, haptic process and a genuine exploration of paintings material identity provocatively illustrates how abstract encounters present when art history’s absence du feminine [absence of the feminine] is modified and expressed in equally represented terms. To that end, this series of works on paper share a collective title that offers both form and content suggesting a reading that goes beyond an aesthetic value. The artist presents not only a pictorial experience but a thought-provoking happenstance that highlights the historical soumis et dominant [submissive and dominant] character of the relationship between these forms, drawing, and painting.
SYDNEY CONTEMPORARY: PAPER CONTEMPORARY 2018
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Drawing into Paintings Muscular History, Weaving #1&2: Mixed Media on Khozo Paper, 90x80cm, 2018
Drawing into Paintings Muscular History, Weaving #1-3: Mixed Media on Khozo Paper, 40x50cm, 2018
Drawing into Painting: Into the Mystic #1-4: Mixed Media on Khozo Paper, 50x45cm, 2018
Into the Mystic#3:Mixed Media on khozo Paper, 50x45cm, 2018.
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Into the Mystic#4:Mixed Media on Khozo Paper, 50x45cm, 2018.
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SHEEP PENS DREAMING
Series 1-18 |Acrylic Paint on Archival Paper on Board, 34x25cm, 2018
Sheep Pens Dreaming is a series of works of art that form as part of my research interests that explore the space that exists between memory, landscape, and migration. Practice, research and fieldwork in the Outer Hebrides, Scotland alongside the inner city of Glasgow's East End found a disparate connection with drought stricken Australia in the form of the Sheep Pen. An ambiguous and ironic motif that speaks of security, community and belonging presents here as a symbol of exile and loss through the juxtaposition of traditional and abstract compositional methods, techniques and material processes inherent to painting.
Finalist in the Muswellbrook Art Prize 2019. Sheep Pens Dreaming #3,
Acrylic Paint on Paper on Board, 35x26cm., 2018
Sheep Pens Dreaming #1,
Acrylic Paint on Paper on Board, 25x25cm, 2018
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Sheep Pens Dreaming #2,
Acrylic Paint on Paper on Board, 25x25cm, 2018
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Sheep Pens Dreaming #4,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming #5,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming #6,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming #7,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming #8,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
Sheep Pens Dreaming #14,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming #9,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
Sheep Pens Dreaming #11,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming#12,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
Sheep Pens Dreaming #13,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming #10,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
Sheep Pens Dreaming #15,
Acrylic Paint on Paper on Board,
26x26cm., 2018.
Sheep Pens Dreaming #16,
Acrylic Paint on Paper on Board,
26x26cm., 2018.
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 Sheep Pens Dreaming#17,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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Sheep Pens Dreaming#18,
Acrylic Paint on Paper on Board,
35x26cm., 2018.
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A TRIO OF TRESPASSERS:MAITLAND REGIONAL ART GALLERY
Structure Becomes Image
UoN Gallery, Newcastle, Australia, 28 September 15 October, 2012
EAST MEETS WEST:expressions in contemporary art
Gallery Tondinelli, Rome 2010
DRAWING
across disciplines we find ourselves thinking through acts of wonder we find ourselves drawing
DRAWING IN THE AGE OF COVID 19
This is Not Fluff Series
an expanded field of study where time - space - thinking and doing collide in drawings materiality;
the nexus of a contemporary aesthetic experience
This is Not Fluff Series
an expanded field of study where time - space - thinking and doing collide in drawings materiality;
the nexus of a contemporary aesthetic experience
This series of Limited Edition, Digital Prints, titled, This is Not Fluff, 2020 have taken their aesthetic and material queue from my interest in blending interdisciplinary painting and experimental drawing techniques as a methodology for making works of art that are at once harmonious but at the same time disparate. As a point of departure, process, intuition and a firm belief in how the phenomenon of osmosis can sync the subjectivity of interiority and exteriority through the body, time and space to deliver an aesthetics of isolation.
Interdisciplinary DRAWING
always revealing itself through the body, people places and things
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DRAWING: A QUESTION OF MATERIALITY
and it is through the act of doing that we truly begin to know ourselves
Drawing on Women's Stories
Materials: Ink - Gesso - Charcoal - Graphite Powder - Thread - Shellac
Interdisciplinary Drawing: Mixed Media on Styrofoam, 2016
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Interdisciplinary Drawing: Mixed Media on Paper on Board, 2018
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Drawing with Thread, Paper and Ink, 2016
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Weaving Stories yet Untold#1: Mixed Media on Khozo Paper, 2018
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Weaving Stories yet Untold#2: Mixed Media on Khozo Paper, 2018.
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Drawing: A Question of Materiality
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My approach to drawing is fluid, spontaneous and intuitive, exploring the space in which materiality links process and practice. As a tacit language, drawing is both the subject and object of my abstract visual ideas, which are conceptually framed within a language of resistance and representation. Embodied in a Celtic cultural context, the works refer to the phenomena of migration referencing a personal itinerant history as well as the broader history of mass migration from an Irish/Scottish perspective. Drawing, as such, is a felt experience that blends practice and theory, the conscious and unconscious, absence and presence. Expanding drawings visual literacy is an important characteristic of my creative research and studio practice that function through a multidisciplinary lens, encompassing aspects of painting, printmaking and fibre textiles. An interdisciplinary approach to drawing has assisted in the development of a personal drawing methodology that employs wet and dry materials and hand made knitted surfaces to recreate woven surfaces that evoke a sensory aesthetic that is culturally specific. In combining conventional and new material methodologies in the practice of drawing it is my intention to advance my creative practice and material knowledge and further challenge drawings traditional boundaries through overlapping empiricism with the language of drawing. In contextualising drawing within this framework, drawing is in a state of becoming and can be translated as ‘anything’. As such, drawing has the capacity to expand its own place within the canon of Western Art through material knowledge building, which in effect contributes to finding meaning and understanding. |
WORKS ON PAPER Migration in Practice 2015|16
Dublin & Glasgow
Queen Victorious,
Digital Print,
Limited Edition, 2015.
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Penance,
Digital Print,
Limited Edition, 2015.
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St. Margaret of the Cross,
Digital Print,
Limited Edition, 2016
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Photography: Joerg Lehmann
GLASGOW THE DEAD END OF CULTURE, 2007
Homeless,
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Dirty Dicks Black Market,
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Pope Joan,, Digital Print, Limited Edition, Size Varies, 2016
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Madonna and Child, Digital Print, Limited Edition, Size Varies, 2016. |
Digital Prints on Archival Paper, Limited Edition, a selection of these images form as part of Centre for Creative Practice, Dublin and Glasgow Women's Library Collection.
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Photography by Joerg Lehmann Photography
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Photographs: Joerg Lehmann Photography
INTERDISCIPLINARY DRAWING
Multi-Media, Works on Paper, 1-6, Untitled, 2017.
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Migration in Practice 2015|16
Dublin & Glasgow
Penance,
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St. Margaret of the Cross,
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Queen Victorious,
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MIGRATION IN PRACTICE
VIDEO INSTALLATION DUBLIN & GLASGOW
Tobago Street,
Calton, Glasgow, Digital Print,
Limited Edition, 2007.
GLASGOW THE DEAD END OF CULTURE, 2007.
Homeless,
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Dirty Dicks Black Market,
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Pope Joan,, Digital Print, Limited Edition, Size Varies, 2016
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Madonna and Child, Digital Print, Limited Edition, Size Varies, 2016. |
Digital Prints on Archival Paper, Limited Edition, a selection of these images form as part of Centre for Creative Practice, Dublin and Glasgow Women's Library Collection.