Post solo

Here are the installation images from my solo show at Gallerysmith back in March this year.  The work was the culmination of research completed as part of my Master of Fine Arts degree.  In many ways the Mellorado exhibition gave me some closure on some aspects of my practice and this has now paved the way for new, I would say riskier work.  I think the biggest shift has come in my desire to work more in installation, the arrangement of the works within the space, inviting an element of audience interaction and the ability to connect with the works from different vantage points.  

Its been a little challenging working out in which direction to go since Mellorado.  I've been allowing myself to sample and experiment widely, to do some small projects and develop starting points for new work. In practical terms its meant going back to exploring collage with paper and cloth, a new series of self portraits and  a return to zine making.  At the moment I'm working on getting together some exhibition proposals, I would really love to exhibit more in Sydney  and look at interstate exhibition spaces - Perth, Brisbane and Melbourne are on the radar! 

Currently I have some work in the Feminage show at Cross Art Projects and will be in another group exhibition at the Manly Quarantine Station on 16 September - will post more on this soon.

All images by Armelle Habib Photography

Mellorado - installation view 

Archives & Art

The archive has become an important aspect of my art practice, with a specific focus on personal and family archives.  As an artist I am particularly interested in the archive as a charged historical and political space to explore untold or previously undocumented histories and to make connections between the personal, cultural, historical and political. As part of my masters thesis I began to explore the concept of an archive of objects and I plan to continue this research by looking at the idea of the artist run museum. The concepts of rehearsal and re-staging are also closely linked to the archive.  

Sven Spieker was recently hosted by the University of Sydney to give his lecture titled 'Un-Knowing, Getting Lost, Linking Points in Space: The New Archival Practice'. Spieker is Professor of Russian and Comparative Literature, and Affiliate Professor of Art and History of Art and Architecture at the University of California, Santa Barbara. His talk explores why artists are interested in archives with a focus on recent contemporary art’s engagement with the archive, and specifically on how artists and archives inform discussions around recent (media) revolutions and progressive politics more generally.

I didn't make it to the lecture which was on last Friday but I was happy to find his full talk on the Getty Research Institute website, given in November 2011 as part of the Pacific Standard Time Symposium.  You can view the full symposium talks which are in 3 parts. Talks also from artists George Herms, Mario Garcia Torres, and Suzanne Lacy. Each part goes for about an hour but its worth taking the time to see/hear these talks if the archive in art is of interest.

Part 1 of 3 

Part 2 of 3 

Part 3 of 3

Feminage: The Logic of Feminist Collage

Sepiasiren, suite of 16 collage works

I'm pleased to announce that my work has been included in the group exhibition Feminage: The logic of feminist collage at Cross Art Projects, Kings Cross. I am showing a series of 16 collage works titled 'Sepiasiren' named after the Eros Goldstripe publication of the same name from 1974 aimed at 'the man with exotic tastes'. 

Artists include:

Karla Dickens, Elizabeth Gower, Emily Hunt, Mehwish Iqbal, Deborah Kelly, Fiona MacDonald, Paula do Prado, Sangeeta Sandrasegar, Sally Smart, Tai Snaith, Nancy Spero, Jemima Wyman

Keep Saturday 1st September free for the Feminage Roundtable at 3pm. The roundtable will be chaired by Catriona Moore with Deborah Kelly, Virginia Fraser and Jaqueline Millner.

Please visit the cross art projects website for more info 

http://www.crossart.com.au/

Narrative Threads talk Sunday 20th May 2012

Regeneration - Contemporary Quilt Textiles is currently on show at Manly Art Gallery & Museum until 3 June 2012.  As part of the exhibition I have been invited to give an artist's talk together with Liz Williamson and Cecilia Heffer.  The talks are on this Sunday at 3pm at the gallery and are on the subject of Narrative Threads.  Narrative has always been an important element in my own work and my recent work has specifically explored cloth as archive.  I'm very much looking forward to exploring the links between contemporary textiles and the unique qualities of cloth and fibre to tell stories.  Hope to see you there! 

You can also see the exhibition catalogue here

Mellorado, Gallerysmith until 14 April 2012

Mellorado, installation view

Mellorado, installation view

Mellorado, installation view

My second major solo show titled "Mellorado" opened last week at Gallerysmith in North Melbourne. The exhibition was opened by Dr Patrick Snelling, artist, educator and curator.  It was a challenging task to install the mostly three-dimensional work in the gallery which includes a series of 11 cloth figures and numerous painted gourds.  

Mellorado explores the interconnections between family, identity, culture and heritage, the impact of migration and travel; and cultural transmission.  An exploration of my personal and family history, supported by two substantial periods of field study in Montevideo, Uruguay. The artwork was born out of a two year research project for my Master of Fine Arts degree through the College of Fine Arts/University of New South Wales.  The research represents my continuing interest in the experience (and inherent politics) of hybrid identity by engaging with my mixed African, Uruguayan and European ancestry.  The artwork links  family narratives with significant cultural and historical events such as the Uruguayan civic-military dictatorship (1973-1985), the Atlantic Slave Trade and the Australian and Uruguayan Bicentenaries 1788-1988 and 1811-2011 respectively.   

Adopting the standpoint of both researcher and subject, I investigate the role of the family archive and the autobiographical within contemporary art practice.  I am interested in the continual re-working or rehearsal of connections between personal and cultural memories as a strategy within contemporary art practice. Specifically in relation to work that references the topics of migration, exile, diaspora and displacement in conjunction with family history, gender and race.  I found inspiration in the work of Aleks Danko, Vivan Sundaram, Fiona Foley and Maria Magdalena Campos Pons. The process of rehearsal also brings the traditional into the contemporary and functions not so much as a challenge to the past, but to the present and/or a possible future. For this research I looked to post-colonial theoretical perspectives on displacement and diaspora in addition to the use of autobiographical references and ancestral histories. I was particularly drawn to the writing of Nikos Papasteriadis, Ghassan Hage, Okwui Enwezor and Pal Ahluwalia.  

By its very nature, the creation and dissemination of art is a form of cultural transmission, a product of the specific conditions under which it is made.  My work aims to create a tension between the celebratory and the realities of living between cultures.  The combination of image (pattern, colour and texture) and 'Spanglish' text, whilst on first impressions may appear decorative or inaccessible,  attempt to reveal the political undercurrents of my work and the complexity of cultural identity. Mellorado translates my ancestral investigations and experience of migration into an exploratory visual language,  simultaneously questioning and reaffirming a sense of belonging.   

Mellorado is on show until Saturday 14 April 2012 at Gallerysmith, North Melbourne. To view the works in the exhibition click here

Out of the Darkness - Group show, opening Friday 3 February

Image credit (L-R from top) Arryn Snowball, Simone Eisler, Chris Beaumont, Kirrily Hammond, Susan Purdy, Dadang Christanto, Paula do Prado, Peter Lambropoulos, Lisa Tomasetti, Catherine Nelson, Stephanie Valentin, Junko Go.

Short notice, I know, but if you're free Friday evening AND you are in Melbourne, then check out the opening of Out of the Darkness at Gallerysmith.  Artists exhibiting include Chris Beaumont, Kirstin Berg, Dadang Christanto, Paula do Prado, Simone Eisler, Ian Friend, Junko Go, Kirrily Hammond, Peter Lambropoulos, Sue Lovegrove, Susan Purdy, Catherine Nelson, Silke Raetze, Arryn Snowball, Lisa Tomasetti, Stephanie Valentin, Emma van Leest.  The first show of the year for the gallery runs until Saturday Feb 11th.


I wish I could go be there but I am in Sydney finishing off my thesis which is due to be handed in to be reviewed on Monday (i.e. Im freaking out).  There is so much going on at the moment.  The artwork for my solo show in March is packed and has been picked up today. I hope nothing breaks or cracks en route - surely the three layers of bubble wrap and swathes of acid free tissue paper will protect it all? It always feels strange letting work go...I've been living with it for so long. Overall Im pleased with how it all turned out (see the artworks here), but I can't help those last minute doubts, have I made enough work? Will the installation work out? Did I remember to send everything?! At least the rain is keeping me indoors and focussed on the writing. 

  

Join me for a textile workshop - Saturday 5 November

Detail of process wall objects

Installation view

As part of the exhibition I have on at the moment together with artist Nicole Barakat, we are holding a workshop this Saturday November 5th from 3-5pm. There are only 4 places left so book now if you are interested!


Gifts of Exchange sewing workshop will be held at the Cross Art Projects, 8 Llankelly Pl, Kings Cross. Join contemporary artists Nicole Barakat and Paula do Prado for a hands-on workshop with fabric, paper, stitching and handcutting, inspired by works in the current exhibition Adiafa/Diyafa: The Gifts of Exchange and Arabic and Latin American cultural traditions. Participants will take home their unique handmade gift and gain valuable insights into methods used by contemporary artist for collaborative projects.

Materials and tools will be provided but you are encouraged to bring in the following: a basic sewing kit, any gorgeous fabric scraps you are happy to donate for use in the workshop, and an object – such as a souvenir from your travels – to be used as a reference/inspiration in the workshop.

The workshop is limited to a maximum of 10-15 participants, so get in early as bookings are essential. Workshop runs from 3-5pm. Fee: $20, $15 (concession). Enquiries/bookings: info@crossart.com.au or 9357 2058.

Tamworth Opening - Part 2

Anton Veenstra, detail of Sailor Boy, 2011

Lucy Irvine, detail of Continuous Interruptions, 2011

Michele Elliot, detail of hemispheres: drawn to you still, 2011

Meredith Hughes, Mantra, 2011

Meredith Hughes, Portal, 2011

Carly Scoufos, detail of Panels from the Interlaced Manuscript, 2011

Tania Spencer, Would you like some cake?, 2011

Julie Montgarrett, if 'if' is a question, these are the answers, 2011

Esther Paleologos, Framework, 2011(detail)

Esther Paleologos, Framework, 2011(detail)

The beautiful shadows cast by Esther Paleologos', Framework, 2011(detail)

Tamworth Opening - Part 1

Brook Morgan 

Cecilia Heffer

Belinda von Mengersen

Demelza Sherwood

Detail of Demelza's work

Install shot

Almas Gemelas/Twin Souls

My twins

Great crowd for the series of artist talks

Martha McDonald

The official opening of the Tamworth Textile Triennial was last Friday 30 September. A group of us in the show drove for 6 hours from Sydney to be present for the opening and series of artist's talks over the weekend. It was a wonderful experience to meet other exhibiting artists and engage with a wonderfully supportive local and visiting crowd.  The show looked amazing and it was immensely valuable to hear other artist's speak about their work and discover the subtle interconnections between all the work.  The triennial has been curated by Patrick Snelling a practising artist and educator at RMIT.  


It was a very inspiring weekend but it wasn't just the exhibition that struck a chord. I was overwhelmed by the beauty of the Australian landscape driving through various country towns - it felt both familiar and very foreign. It reminded me that within the confines of my bubble in metro Sydney, my experience of place is very narrow. I took lots of photos on the trip and collected bits and pieces as souvenirs.  I'm still trying to digest it all *sigh*. I will also add that Bendemeer pub, 45 mins drive from Tamworth has an awesome old school jukebox right next to the pool table.


Part 2 of this post will include more pics and some notes I took during the talks.

Tamworth Textile Triennial 2011

Pictured: Article appearing in the current issue of Textile Fibre Forum Magazine, Volume 30, Issue 3, No.103, 2011, pp.52-53

I am very pleased and excited to have been selected in the inaugural Tamworth Textile Triennial, a national touring exhibition focused on contemporary textile practice in Australia.  The exhibition is curated by Patrick Snelling and selected artists include Martha McDonald, Elisa Markes-Young, Cresside Collette, Rodney Love, Cecilia Heffer, Brook Morgan and Belinda Von Mengersen amongst others. 


The exhibition opens on 30 September 2011 at 6pm at the Tamworth regional gallery. There will be a series of artist's talks over the opening weekend on 1st and 2nd October.  I will be giving a talk in the morning of Saturday the 1st October. The show will tour nationally through to the end of 2013 to the following regional galleries:


RMIT Gallery, Melbourne
Goulburn Regional Gallery
Manning Regional Gallery
Albury Regional Gallery
Broken Hill Regional Gallery
Stanthorpe Regional Gallery
Manly Regional Gallery 
Ararat Regional Gallery VIC


To keep up to date with the touring exhibition and events check out the Tamworth Regional Gallery website here

Process/Progress

I'm trying not to panic.  I have quite a few exhibitions coming up plus I am working towards a big solo show which is also part of my Masters degree examination. I'm feeling like things are starting to happen, momentum has been building and I'm grabbing the opportunities as they come.  I am confident I can make work. Making in the studio is never a problem in the sense that even when things I try aren't working out, I know its all part of the process.  I've even come to (almost) liking that frustration and tension that comes when you have an idea in your head but it just doesn't quite replicate in the materials.  I work in short frequent intense bursts.  I am trying not to panic at the moment because I get into the studio and want to do five things at once.  


There's a huge amount of work in progress. At that crucial stage where I've worked out how I'm going to resolve things but its just about spending the necessary time working towards completing a piece.  I'm at the stage where I will make significant headway with one piece and what I've learned working on that will help with resolving another piece of work.  What I have been finding hard is drawing the line between different projects.  Work for the solo show versus work for the group show versus work for the collaborative show. I'm conscious that my work is starting to take on a very definite 'signature' of sorts.  Even though I work across a few different mediums there is a distinctive set of recurring motifs, themes and modes of making.  Sometimes though doubt creeps in and I feel paralysed by the thought of either starting something that I'm not confident about or wrecking a piece by doing further work on it. I usually get myself out of a rut very quickly by going off to flip through some art, design or interiors magazines, having a cuppa and a cookie or putting on a load of washing and seeing what I can do in the hour I have before I have to go and hang up the clean clothes. 


I've given myself until the end of October to finalise work for the solo show next year, so I have a couple of more months of focussing on the process as well as making progress. In between I'm having my first show in Sydney at Cross Art Projects so look out for a post on this soon.

A new series of cloth figures is in progress

An extension of my 'Flag' works from last year, this piece is on linen

Another large wall piece, there are about 5 large pieces in progress

More cloth figures, the new series includes 'upside down' and 'loop' figures

Piles of work in progress at my studio at COFA

Exhibition: Play at the Brooklyn Textile Arts Centre

Play

curated by Joetta Maue

May 13-June 24, 2011

Opening: Friday, May 13, 8-11pm

Play- fun or jest...a game? a toy? a bully? a tease? a hair pull? a game of tag? a snowball fight? a kick or a pinch?

Play is an experience we all know- one that can bring us laughter and perhaps at times bring us tears. The dualities that exist within play are what make it a rich subject for the 2011 spring exhibit at the Textile Arts Center.

Most everyone has happily played on the playground but also been left out, made fun of, and teased. Through the exhibit this complexity within play is revealed. In addition to the thematic thread of the exhibit, we also celebrate the extensive risks and playfulness that emerging fiber artists are exploring in their medium and techniques.

Artists:

Bren Ahearn, Paula do Prado, Ricki Dwyer, Di Ellis, Julia Elsas, Mallory Feltz, Linda Frost, Mira Gelley, Kathy Halper, Maggy Rozycki Hiltner, Jan Johnson, Eunkyung Lee, Tyler Mackie, Mary March, Amanda McCavour, Sophia Narrett, Robert Reed, Lydia Reinhold, Magali Rizzo, Julie Roch-Cuerrier, Daniaelle Simonsen, Carol Sogard, Kathryn Greenwood Swanson, Mariangela Tan & Justin Alan Volpe, Candice Thompson, Vadis Turner, Katya Usvitsky, Kathy Weaver

Artist Talk: Monday, June 13, 7pm

Play workshop, Sunday, June 12, 1-5pm

Textile Arts Center is located at 505 Carroll St, Brooklyn, NY 11215.

http://www.textileartscenter.com/Gallery hours are

Mon - Friday: 10AM - 6PM Sat - Sun : 11AM - 5PM

Field Notes: Brighton, UK

I was honoured to present at the Picture This: Postcards and Letters Beyond text conference at the University of Sussex in Brighton UK. The conference was a fantastic two day event and accompanying exhibition curated by Nicola Ashmore, which included my piece A Big Adventure (pictured above). It was my first time in the UK and I thoroughly enjoyed the conference and meeting fellow presenters who discussed postcards and letters from a range of perspectives. My paper was titled Writing from the Margin: Letters of resistance, the conference website will soon be updated with copies of conference papers and other resource links.

I particularly enjoyed the following presentations:

Des Barry on the use of found postcards from the Tristan Narvaja market in Uruguay as a starting point for creative narrative, click here to see more of his project with Uruguayan Diego Vidart

Rachel Flynn presented a paper titled Using the written letter as a fine-art source to inform and stimulate a creative practice-led enquiry, she is currently undertaking her PhD at the Scottish Centre for Island Studies, University of the West of Scotland. I found her discussion on practice led research within Fine Art practice engaging and insightful.

Robyn Creagh a fellow Australian based in Perth and London delivered an original paper combining postcards she has written to herself with a discussion of the interconnected nature of place, experience and memory

There were also fantastic keynote speakers including Ann Dumas, curator at the Royal Academy of Arts in London who spoke about the groundbreaking exhibition Vincent Van Gogh: Artist and Writer. The exhibition is particularly significant as it brought together a number of the letters that Van Gogh and his brother Theo exchanged, the letters are more akin to a visual art journal including sketches and insight into his creative process.

I was also profoundly affected by Professor Marcus Wood's paper titled Obscene aesthetics: Posting the lynching postcard. His work is concerned with cultures of slavery, you can read more about his practice here

The conference provided me with a wonderful opportunity to present my own ideas and expose my artwork to a new audience. The presentation panels were followed by a group discussion which provided an opportunity to both receive and provide presenters with feedback and more importantly highlight places of cross-over and valuable insights gained from current practice and research from divergent perspectives. The opportunity to exchange ideas with other arts and cultural practitioners was truly the highlight of the conference and made the effort very much worthwhile.

I would like to acknowledge the generous assistance of the conference organisers Katie Reid and Bethan Stevens in awarding me with a travel bursary and to the College of Fine Art, University of New South Wales which assisted in funding my attendance to the conference through a COFA Travel Grant.

Writing from the margin: letters of resistance

A Big Adventure, 2009. Acrylic on bemsilk lining, Australian souvenir pins.

Handwritten note from my paternal grandparents, Elsa and Fermin. The photo is of my grandfather. This is one of the few surviving letters that includes my grandfather’s signature. He didn’t write much. He only made it to the equivalent of year 3 in primary school before he began to work.

This is the title of a paper I'll be presenting at the Picture this: postcards and letters beyond text conference at the University of Sussex in a couple of weeks. The paper explores the work of two Latin visual artists, Eugenio Dittborn’s Airmail paintings and Cecilia Vicuña’s ‘circular’ letters. Dittborn’s Airmail paintings specifically engage with the letters ability to cross multiple geographic locations. Vicuña’s literally circular shaped letters were a direct response to a Chilean government mail out following the death of President Allende. The focus of my research are Latin American artists and makers drawing upon their experience of exile, migration and culturally diverse heritage to challenge notions of the centre and periphery. My research also explores my own personal experience of migration through collected family letters exchanged during the first year after migrating to Australia from Uruguay (including the handwritten note and photograph above).

The forms in which these letters are written, delivered and exchanged are explored as strategies of resistance and survival. Through making visual artwork in response to collected correspondence, I am attempting to tease out the politics of the experience of letters across borders. How can the individual and collective narratives, shared knowledge and experiences embedded within these letters impact on our understanding of established and unexpected borders or places of cross-over?

As part of the conference, I will also be exhibiting a work titled A Big Adventure which recalls my experience of migration. The combination of text (in both Spanish and English) and textile features predominantly in my work. The choice of materials also references the tradition of 'making do' and using whatever materials are available to convey a message.