6th ab+mf 2017
Individual entries are displayed on a number of tables. All works are labelled.
M.E. (Key Chains) (2016)
A multiple of 26 key chains, each unique, based on the handwriting of September 11 ringleader Mohammed Atta, engaging with ethical questions of re-enactment and commemoration.
Key chains with letters made from Acrylic; c. 5cm each.
Australia lives Japan
Reefburgered Bookmark (2017)
Talking a cue from that somewhat antiquarian item, the trusty bookmark,
Reefburgered Bookmark draws attention to the phenomenon of immersion.
Not only the bookish variety, though other states including sensory, aquatic, and spatial immersion – and with them corresponding degrees of the tactile and the corporeal. The embossed surfaces and layering employed here echo, in part, the sandwiching and layering of those fragile reef zones that are so very touching.
Copperplate relief print, embossing, archival museum board, Thai Silk, copper, string, & artistic alchemy. Made in Japan. 136 (hanging) 68 (folded) x 10 x 2cm. Signed. Unique state.
Picturing the Island (2016)
Picturing the Island takes the form of a collection of texts and images that present the Central Pacific island Banaba (once known as Ocean Island) as a recollection. This regrouping grants these memories another moment of life. Many of the images are portraits of people in groups, staring somewhat resentfully at the photographer’s apparatus, the camera. In contrast to these stern stares, the last image of the book pictures my sister and me as children on Banaba, as we smile happily up at my mother taking the photograph. In this, perhaps, we might observe the gulf between a willingly photographed subject and the subject of ethnographic documentation. This project was made possible with the generous support of the Siganto Foundation, the Australian Library of Art at State Library of Queensland and the Queensland Library Foundation. My research is also supported by Monash University Art Design & Architecture.
Letterpress, relief and intaglio photopolymer prints on paper. Published in edition of 8; signed, numbered and dated; 48pp; 28.8 x 21 x 2cm.
Picturing the Island (2017)
This is a digitally printed version of the artist’s eponymous book produced in 2016. (see catalogue entry above). Digitally printed. Published in an edition of 100; dated on last page; 48pp; 26.3 x 18.2 x 0.5cm.
Marian Crawford and Caroline Durré
For want of objects (2017)
When regular patterns interact, unexpected symmetries are generated. Following the methodical and mathematical rotation of a striped pattern through ninety degrees from vertical to a horizon, the nine images in this book present a dazzling field that tests vision and suggests the blinding brilliance of the snowfield. The text, written by Arctic explorer William Parry, poetically illuminates the desperate search for landmarks. The reader moves through the book in parallel with the explorer advancing through the icy landscape.
Letterpress and relief prints on paper. Published by the artists in an edition of 8; signed, numbered and dated; 24pp; 24 x 21 x 0.4cm.
Marian Crawford and Alex Selenitsch
Crawford Australia; Selenitsch Australia born Germany
four re-writes 4 poems—4 prints (2016)
One summer afternoon in Melbourne, Alex Selenitsch and Marian Crawford realised that they might make something together, given their common interests in books, the printed image and text. Selenitsch sent Crawford four poems, his re-writes of a poem by Yang Wanli (1127-1206). Crawford response was to make images that observed and supported the poems’ gentle interrogation of the power of language. From across time and cultures, a small book has arrived.
Letterpress and relief prints on paper. Published by the artists in an edition of 8; signed, numbered and dated; 22pp; 27 x 17.3 x 0.4cm.
Don’t Wait (2017) Animation multiplies
Don’t Wait is an ongoing sequence of drawings for animation based on buddhist mind trainings:
“don’t wait in ambush”
“don’t talk of injured limbs”
“don’t bring things to a painful point”
“don’t contemplate others”
Each sequence is made of various multiples depending on how many images are needed to make the illusion of movement.
My work is time based, it describes movement to describe a feeling and a thought. Animation is the spaces in between as much as it is what is seen. Don’t Wait uses this negative space to create an illusion of movement from 189 drawn images. Making the work required repetitive actions drawing and photographing the images frame by frame. The process is the work as much as the result. Each frame was first drawn on tracing paper, then drawn onto black card using a graphite sheet layer and then the lighter graphite line is drawn over again with dense white ink. The images were then photographed on an animation stand using a 16mm camera. The images re-sequenced and re-cycled over and over again to create the illusion of movement while passing through a projector.
Projected and looped the viewer is invited to ponder these concepts and find out what it may mean to them. 148mm x 210mm. Ink on black card.
Not for sale
Ana Paula Estrada
b. Mexico arrived Australia 2011
Born in Mexico in 1984 Ana Paula Estrata migrated to Australia in 2011. She is a photographer and bookmaker based in Brisbane, where her interest in contemporary issues surrounding older people in the Australian community has seen the production of different bodies of work responding to the themes of memory, nostalgia and the human condition of ageing.
Memorandum is the outcome of a 2015-2016 Siganto Foundation Artists’ Books Fellowship at the State Library of Queensland.
The artist uses photography, oral history and collection material to recount life stories. It is a project about things that were remembered, photographs that were carefully stored and conversations that mush never be forgotten.
Photographs and text plus subjects’ personal photographs with foreword by Dr. Doug Spowart. Published in an edition of 200 signed and numbered copies; 170pp; 21 x 15 x 2 cm.
Gwen Harrison & Sue Anderson
Phantomwise Flew the Black Cockatoo (2017) and Howl for a Black Cockatoo (2015) are artists’ books collaborations between Gwen Harrison and Sue Anderson of Impediment Press, Sydney. Living Traces (2016) is a collaboration with Bonney Djurik and Parragirls
Phantomwise Flew the Black Cockatoo (2017)
The little known or unacknowledged ‘other’ history of Australia. Existing silent and invisible beneath the glorious and optimistic chords “golden young and free”, the forced and murky institutionalisation of hundreds of thousands of young children and women had been a government policy entrenched in Australia since colonial times. Orphanage, Children’s Home, Training School, Industrial School and Asylum; all equate to prison. It was just the way things were, and as often happened one would lead to the other. One ‘closed system’ to the next ‘Wonderland’.
Measuring 52.5cm x 37cm, the scale of this work is large, similar to its companion-piece Howl for a Black Cockatoo with the intention to give monumental status to the subjects of this real-life story.
Original sugar lift and aquatint etchings on 300 gsm Magnani ‘Revere’ 100% cotton rag paper. Letterpress printed on 1920’s Potter Proof Press. Handset in Caslon lead type from The Printing Museum, New Zealand. Various antique wood type.
Limited edition of 25 books, hand bound, with abstract design of black and yellow kangaroo leather over an etching on Magnani ‘Revere’. 32pp. 52.5 x 37cm. Signed.
Gwen Harrison & Sue Anderson
Howl for a Black Cockatoo (2015)
Lewis Carrol’s Alice explored and questioned her place within a fantastic world. She was able to confront its bizarre authority at a time when many hundreds
of young girls on the other side of the globe were denied their freedom when they were Incarcerated in the old colonial prison, renamed “Biloela”, the
Industrial School for Girls on Cockatoo Island in Sydney Harbour. The 1873 Inquiry into “Biloela” outlines self-indicting staff and government authorities’ accounts of the systemic abuse, degradation and neglect of those children, the same failures and methods used then have continued unabated throughout the country since its colonial beginnings.
Original sugar lift etchings made on copper and steel plates on Magnani ‘Revere’ 300 gsm 100% cotton rag paper. Letterpress printed on 1880 Albion and 1920’s Potter Proof Press. Handset in Caslon lead type from The Printing Museum, New Zealand. Various antique wood type. Limited edition of 25 books, hand bound, with abstract design of black kangaroo leather over an etching on Magnani ‘Revere’. 32 pp. 54 x 31 x 2cm. Signed.
Bonney Djurik and Parragirls
In collaboration with Sue Anderson and Gwen Harrison
Living Traces (2016)
After the completion of Howl for a Black Cockatoo Sue and Gwen were invited by Parragirls founder Bonney Djuric to become part of a collaborative team working with twelve women who were ‘young former residents’ at Parramatta Girls Home more than 50 years ago.
The collaboration resulted in “Living Traces”, a programme that produced this Artists’ Book, Living Traces, as well as an exhibition of performance, film and prints – a Parragirls part of the ‘Parramatta Female Factory Precinct Memory Project’. The body of work aims to “engage with and interpret institutional sites of confinement that would place former occupants at the centre of the process rather than at the periphery as subjects, or footnotes”.
Each print incorporates traces of scratchings left by young girls on surfaces in the institution and excerpts from state welfare records kept on them. Graffiti, traces of coded language – written while in ‘segregation’ (solitary confinement) as an act of solidarity and resistance to the cruelty they suffered at the hands of their keepers.
Living Traces captures otherwise unrecorded memories of the institution, buried under trauma and shame, before they are lost forever.
12 unique intaglio collagraphs, photopolymer plates for graffiti and text. Edition of 12. 20pp. 35 x 25 x 22cm. Dated, not signed. Colophon included.
France arrived Australia 1981
Revisiting Hill End (2008 – 2014)
During Hartog-Gautier’s residencies at Hill End in New South Wales, the artist developed a series of works representing the very specific landscape and its stratification. Picket fences frame empty blocks of land standing as sentinels guarding a past history; they became Hartog-Gautier’s support to create a series of wood block prints using different coloured clay found at Hill End. Concertina book bound by the artist, hand made banana fibre paper, kangaroos’ faecal matter, collages and strings. 7 relief prints with clay. 20 x 47 x 3 cm. Signed by the artist.
Site Unseen II (2016)
In the concertina style artist book, Site Unseen II, braille and text, printed as blind embossing on black paper, are hidden within the folded layers of the work. To engage with the content of the work, the viewer is invited to dip their hand into the accompanying climbing chalk bag and move their hands across the folded pages. It is only through repetitive touching with chalked hands that words become visible and sentences can be read. It is the bodily movement of the reader and not just a visual interaction with language that this engagement requires. The imprint of the viewer’s hand memorialises a moment of contact, initiating a play of presence and absence. Linocut, blind embossing and chalk. 42 x 415cm (open). Unique State.
Belonging In Motion (2017)
Belonging In Motion revolves around the idea of home and mobility through the transnational lives of families from Myanmar/Burma. The story of the transnational diaspora from Myanmar/Burma is significant in furthering our understanding of a world in which people fleeing conflict increasingly dominates the stories of our time. Because of the complexities of their repeated movements, the narratives of the lived experiences of the people from Myanmar/Burma disclose an ongoing negotiation of their inner self with the external world across time and place. While Belonging In Motion makes specific reference to the transnational diaspora from Myanmar/Burma, themes of home and mobility are common to us all and it is therefore important to expand our understandings about families in complex displaced or mobile situations. The images talk about the duality between what is personal and universal. The photograph is not about our own experiences, but others’ as well. Belonging In Motion aims to share both the local and global context of the everyday reality of transnational families, investigating the multifaceted identities between presence and absence, permanence and impermanence, belonging and displacement. Photographic images printed on Hahnemuhle Bamboo Paper. Edition of 2. 30pp. 25.4 x 36.9 x 3.6cm. Signed.
Helen Malone and Jack Oudyn
The Future of an Illusion (2016)
Multiple concertina structure, which reveals the processes and stages the body goes through after death and contains a central void or portal leading nowhere, challenging the belief systems associated with death. The inclusion of a skull is an art-historical reference to the Vanitas Still Lifes of the 17th century which reminded the viewer of the transience of earthly existence. Text used in the book was sourced from The Future of an Illusion by Sigmund Freud and Being Dead by Jim Crace. Freud argues that an afterlife is wishful thinking that has no basis in science and is a disavowal of reality. Crace documents the natural changes that occur in a dead body left in nature to return to nature. Acrylic, soluble carbon, gouache, ink painting and image transfer on Arches paper. Published by the artists in an edition of 4 originals, signed, numbered and dated. 25 x 29 x 2cm.
Discarded Venetian patterned papers, collected from my travels, have been collaged on to timber veneer swatches then further embellished through the drawing of abstracted patterns, colours and forms to create what could be ‘swatches’ for tile, textile, or wallpaper decorating applications.
‘Swatch(ing)’ explores the notions of popular culture and tradition, and their influence on decoration and art whilst continuing my exploration of the notion that art may be purely decorative.
Collage and ink pen on timber veneer attached to crocheted cotton thread and fine wire. 33pp. 9 x 9 x 2.5cm. Unique state. Signed and dated by the artist.
Romancing the Bridge (2017)
That great arch of steel we call simply The Bridge is celebrated by Jocelyn Moloney in Romancing the Bridge. The artist introduces us to the rivets that hold the bridge together, and to Bridge Grey, the paint chosen by the chief engineer, Dr Bradfield, to blend in with the cityscape. She relates stories of Dr Bradfield, who emboldened his staff to ‘in your plans, aim high in Hope, Work, and Dream…’, and of his right hand, his secretary, Kathleen Butler.
The artist uses acrylic, collage, sewing, handwriting, photos and transparencies in this fascinating celebration of the 85th anniversary of the Sydney Harbour Bridge and embracing the current Bradfield Oration in Sydney. Binding by Fred Pohlmann using rivets in spine. 50pp. 30.5 x 45.5 x 4cm. Unique.
33 Ways to Wrap Christo (2015)
33 Ways to Wrap Christo is a homage to environmental artists Jeanne Claude and Christo Yavachev. In 2016 it was exhibited in Christo’s birthplace at Lessedera Gallery Sofia in Bulgaria. Although the artist is no longer sure if the words or the images came first, the poem ‘Ways to Wrap Christo’ was written in tandem with accompanying prints; mainly drypoints with chine collé plus an Indian woodblock and a screenprint. The poem focuses on ‘art’ with references to artists and art related themes. In 33 Ways to Wrap Christo Palethorpe’s poetry is balanced within a visual sense. Drypoints were printed on BFK Rives and handmade papers from India and China were use for chine collé. A postcard was printed on commercial paper from India. Drypoints with chine collé; bound by George Matoulas. Published by the artist in edition of 7 plus 2 APs; signed, numbered and dated; 42pp; 55 x 34 x 15 cm.
33 Ways to Wrap Christo was awarded the 2017 Guanlan International Print Prize in China.
Hannah Papacek Harper
They always breathe (2017)
I stop and I am observed softly
You told me patience.
Every one waited.
An eye was shut an entire life, but when I looked, you looked back.
For at times, we spent a lot of time together, in silence. All of us. Then some got up, they left.
That was enough.
Last gust of dust, I breathe no longer.
The scent on the bridge, the tracks always breathe.
The stretch is immense and we meet it with a milky tea.
A head falls forward, lips cracked in the heat.
Even at great speed, I taste a glimpse and smile too late.
What can be more decisive than what evades me even when it is immobile.
So on my blue bench, at the end of the platform; I close my eyes so as not to miss the moment, For the instant exists no more.
A cow stops at a window, it stays an eternity staring back. A bench set on a platform we do not move away from, stays vacant for minutes, maybe hours. This book contains photographs taken on travels through India from Goa to Daramkot. Moving on trains, which take undefined amounts of time to leave and arrive, our relationship to the passing minutes changes. Going from the photographic ‘instant’ of Henri Cartier-Bresson, It explores the disappearance of this decisive click. It talks of slow feet on long rails, heat, exhaustion and patience. It takes hours of watching the same man fall asleep and jerk awake to finally capture his slumber. The barred windows show a landscape which is always changing, fast then slow, bringing the multitude of scents to through the gaps. The slowness of this trip should give the time to explore and thicken the textures which we often brush past briefly. The cloth and weave of a country which itself takes its time to move. The series of images framed by a short poetic text is like a wagon which we walk through slowly and check each opening for the new view. It has been printed in two different versions in 2017. Both are concertina in form, however, the first cover was made of wood, whereas the exhibited version is corrugated cardboard. This is fitted with stainless steel bars. 15 cm x 10 cm x 5 cm.
b. Malaysia, arrived Australia 1981
Bookshop Labels Series # 11 (2013); # 12 (2015); # 14 (2016)
The series is an ongoing sequence of handmade books. In the course of his day-to-day work as a second-hand bookseller Phillips finds bookshop labels, also known as bookshop tickets, in random books. Originally printed for booksellers their design and typography vary from plain to ornate. Rather than actively seeking them out, Phillips waits until they come his way. When he has eleven, not previously used, labels he combines them in a new book with the same text used throughout the series. The text is ascribed to the pre-Socratic philosopher Anaximander and is the earliest known fragment of Greek philosophy. It reads; “They give justice and reparation to one another for their injustice in accordance with the arrangement of time”. The fragmentary nature of the text, and the ephemeral nature of the labels suggested they be put together in a formal way. The text is typed onto alternate pages with one label facing each page of text.
Simple concertina binding with interlocking folios, employing glue only to the front and rear covers. Each book is unique and published by the artist in a series; in slipcase; signed and dated; 14pp; 12.5 x 8.5 x 1.2 cm.
Beach Burial (2017)
a poem by Kenneth Slessor
Beach Burial is a limited edition poetry book. The poem is by Australian poet Kenneth Slessor. The pages are letterpress printed on a Vandercook SP-15 proof press. All the hand lettering, and the printing are by the artist. Each book is unique even from each other in an edition of 50. The lettering style, colours and paper are meant to compliment the ghostly words of this war poem. The colours and printing process add depth to the experience of the book by making it difficult to read and hopefully urges the reader to focus on each word. Self-published in an edition of 50. Signed and dated. 8 pp. 14.8 x 21 x 1 cm. Perfect bound with hard cover and glassine cover sheet. Edition bound by Bob E. Collins.
Pieces of Paris (2015)
Discarded metro tickets used to ride the Parisian subway were the perfect shape and size for using in this flag book structure inspired by the churches, cathedrals and other buildings in Paris. One of the challenges was to somehow incorporate as many different elements as possible in one book. To do this Reynolds used gouache to paint objects and images she observed onto the back of the metro tickets. A copy of a map of the Paris metro is juxtaposed with the paintings on inside front and back covers. This book is a beautiful reminder of the significance of these Parisian treasures. Re-purposed metro tickets, gouache, handmade paper, button waxed cord. Unique; 6 accordion, pages; 16.50 x 9.52 x 1.6 cm (closed); signed and dated.
The end papers (2017)
These books tap into raw emotions of a generalised fear and existential anguish related to death and dying and to the lack of communication in our times.
The three books sit in a velvet interior and are housed in an encrusted mussel shell box. The lid’s surface is also covered in mussel shells with a small velvet lined box on top. Inside the glass topped box is a shell and hair tied with red cotton. Wooden box, mussel shells, hair, velvet. Three books with gold leather covers. Kid leather pages with paintings and text. Text is stamped and hand written. 29 pp. Box: 38.5 x 41.5 x 14.3cm. Books 21 x 18.5cm.
England, arrived Australia 1965
Stupid Dog (2017)
This is an overview of a rural community and its response toward the environment in the wake of a major bushfire. Changes in legislation that previously protected vulnerable species of flora and fauna, no longer do so, resulting in loss of habitat and degradation of the land through inappropriate grazing. The Credulous Ones Suite first printed in 2010 uses Australian history in allegory drawing comparisons with past and contemporary attitude toward the Australian Environment. First printed in 2012 Des Pastoral Suite communicates an overview of a rural community that still has strong links to its pioneering past. There are themes concerned with the clash of urbane and rural values and the impact caused by a lack of understanding of the natural environment. 11 Etchings and aquatint with computer and stamped printing. Published by the artist in an edition of 5; signed numbered and dated; 20 pp.; 36.5 x 41.5 cm x 2cm.
England, arrived Australia 1965
Something Fishy (2004)
Inspired by word play – the content is comprehensively concerned with fish or fishy situations – something not quite right. Folktales, nursery rhymes and songs are interpreted in etching and aquatint. Assembled from the Something Fishy suite of etchings first printed in 2001. 7 etchings and aquatint with stamped printing. Published by the artist in an edition of 10; signed numbered and dated 15 pp.; 28.5 x 31 x 1 cm.
England, arrived Australia 1965
This work was created in remembrance of paper dolls and those folk tales that took on a more complicated symbolism later in life. This work still invokes innocence and playfulness. Relief printing on paper with collage. Printed by the artist in and edition of 3; signed, numbered and dated 3pp; 41 x 79 cm folded into 3, 41 x 21 cm x 2 mm closed.
Japan arrived Australia
Colours of Flowers (2017)
“Colours of Flowers” has taken on the form of a string of beads, each resembling cherry blossom petals inspired by a necklace Kay Watanabe made from fallen petals in her grandparents’ garden when she was a child. As with actual petals, the beads are random shapes and they represent events in life. They are in translucent, dreamy colours to express the memories of these events which are sometimes forgotten. They are strung together to illustrate events which happen in a linear timeline throughout life. The necklace is placed in a box covered with paper with a cherry blossom design (outside) and a pattern that can be seen as cherry blossom petals with young leaves (inside). The box represents the garden filled with cherry blossoms as well as the person who holds the memories. The beads are accompanied by a poem written by 9th Century AD Japanese novelist Ono no Komachi. It is written in Japanese characters and in a circle to show the cycle of life, reads;
The flowers withered,
Their color faded away,
I spent my days in the world
And the long rains were falling.
(Translation by Donald Keene)
Komachi looked back on her life, recalling memories and acknowledging that her beauty had faded over time. The flowers here are cherry blossoms as often used to illustrate similar themes in old Japanese literature. Signed and dated. 14 x 14 x 4cm. Unique.
Japan arrived Australia
Sakura Night (2017)
“Sakura Night” is themed around cherry blossoms at night which are believed in Japan to have a power to make viewers go mad with their absolute beauty. The sub theme of the artist book is a historical incident of a young woman named Yaoya Oshichi in Japan’s Edo period. Oshichi was madly in love, attempted arson, and was later excecuted. After her death, stories were written based on the incident which were later adopted to Japanese traditional performing arts such as “Joruri” and “Kabuki.” Although cherry blossoms do not appear in these Oshichi stories and plays, in the climax of the Kabuki play, white paper pieces are fallen on the stage to express a snow fall which resemble cherry blossom petals falling in the wind. In modern Japan, Oshichi reappeared in the lyrics of a pop song “Yozakura Oshichi (Night cherry blossom Oshichi)”, which is a hit in 1994. These elements of Oshichi are extensively used in “Sakura Night.” Signed and dated. 14 x 14 x 3.5cm. Unique.
Japan arrived Australia (year)
Sekishu Onjo – One Hand Clapping (2017)
“Sekishu Onjo – One Hand Clapping” is based on Japanese Zen master Hakuin Ekaku’s (1686 – 1768) “koan” or paradoxical riddle. The artist book consists of a book of several pages made of paper and thin wooden sheets. They are bound together with Japanese stab stitches. On the front and the back covers, hand-carved characters meaning “One hand clapping” are printed in light brown and the title of the book were written in Japanese and stamped in English in black. Inside of the book, the koan was written in both Japanese and English. Accompanying the book are two small objects in the shape of right and left hands. They are made with polymer clay to resemble “netsuke”. They are connected with a thin silk “kumihimo” cord just as people’s two hand are together, but they are stored in separate cloth bags so that they do make noise. Both the book and the hands are stored in a box with the book’s title “Sekishu Onjo” stamped on the lid. Signed and dated. 11 x 11 x 5cm. Unique.
The Netherlands, lives Scotland
The world is a page (2017)
Yspol’s contribution is an artist publication consisting of an A3 sheet of paper folded to A5, it oscillates between being two and three-dimensional and references the tradition of concrete poetry.
Claire Yspol’s artistic practice revolves around exploring the materiality of language and the waywardly poetic qualities of everyday life. Born in Rotterdam, the Netherlands, Yspol lives in Scotland where she is currently pursuing an MFA. Photocopy on 80gsm office paper, 42 x 29.7cm (when folded out completely), open edition. A number of copies will be made available for free at the 6th artists’ books + multiples fair 2017.