SYDNEY CONTEMPORARY: PAPER CONTEMPORARY 2018
Drawing into Paintings Muscular History, MMXVlll
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.
Drawing into Paintings Muscular History, Weaving# 1-3: Mixed Media on Khozo Paper, 50x60cm, 2018.
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.
Into the Mystic#4:Mixed Media on Khozo Paper, 50x45cm, 2018.
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.
Sheep Pens Dreaming#10,
Sheep Pens Dreaming#11,
Multi-Media, Works on Paper, 1-6, Untitled, 2017.
Migration in Practice 2015|16
Dublin & Glasgow
GLASGOW THE DEAD END OF CULTURE, 2007.
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.