qca artists’ books 6th abmf 2017

Stand 4
Queensland College of Art
Brisbane
6th ab+mf 2017

Isaac Brown
Australia

This Rock Between Us (2016)
This Rock Between Us investigates the difficult relationship between my father and me. Hard, floating, and an unsubstantiated substance, the rock appears and vanishes from moment to moment. The series attempts to represent the relationship as a physicality, as an object that exists ‘in-between’, and built, by my father and me. Initially I had thought the rock symbolised the difficulty of forgiveness, though as the work developed, it has become a representation of the relationship as a physical form that exists between us. Archival inkjet prints, wax thread. Signed on box. 10pp, 32 x 42 x 1cm. Unique

Annique Goldenberg
England arrived Australia 2002

epistemophilic threads – the passage to the other side (2017)
epistemophilic threads – the passage to the other side, embraces the four elements: earth, air, water and fire. This work stems from the process-led research investigations of my exegesis ‘On Being’, tracing my lines of experimentation. Contained within the sleeves are records of this pull of curiosity, from one matter to the next, back and forth, connected by thought yet separate in form.
Materials include moments of creativity in drawing, printmaking, stitching, found objects, paper, plastic, glass, enamel, beeswax and emerging explorations through light, sound and touch.
epistemophilia plural -s  epistemophilic  – adjective
1. love of knowledge; specifically: excessive striving for or preoccupation with knowledge.
Mixed media; unique edition; signed and dated; 6pp; 30.8 x 34.8 x 8.4cm

Annique Goldenberg
England arrived Australia 2002

in search of equilibrium (2017)
This book has formed slowly over time, just as glaciers surge and retreat. Japanese paper was hand printed picking up pigments, stains and dust as I passed over it, pressing down with my hands to print. It was then repeatedly crumpled and opened, shrinking and stretching, the pressure pushing it into a three-dimensional form. Ink soaked ice was placed at the top, slowly melting through the paper, the red trail suggestive of a blood-soaked bandage. The single page is housed in a square box, seeping through a crack in the cover. The small flags tell of the names of glaciers in in the Arctic Circle. Through process this book has evolved into a search for equilibrium.
Equilibrium: plural equilibriums or equilibriaplay \ˌē-kwə-ˈli-brē-ə, ˌe-\
1a:  a state of intellectual or emotional balance
b:  a state of adjustment between opposing or divergent influences or elements
2:  a state of balance between opposing forces or actions that is either static (as in a body acted on by forces whose resultant is zero) or dynamic (as in a reversible chemical reaction when the rates of reaction in both directions are equal)
3. Chemistry A state in which a process and its reverse are occurring at equal rates so that no overall change is taking place. ‘ice is in equilibrium with water’
4. The Equilibrium Line, the altitude on a glacier where the amount of new snow gained through accumulation is equal to the amount of ice lost through ablation.
Perspex cover, Japanese rice paper, ink, pigment; unique edition; 1pp; 31 x 23 x 6.5cm closed.

Alannah Gunter
New Zealand arrived Australia

The Proliferations of Nows (2017)
One infinite sky encompasses our planet, yet when looking at a live, distant horizon via a webcam upon your computer screen, the sky appears quite dissimilar to the one outside your window. The images in this book were created from fragments of sky taken from screen shots of simultaneous webcam views all around the world. These concentric circles engage with new spatio-temporal formations, and materialise the immaterial. They are temporarily static; each ring was captured at the same time, but spatially stratified, even though the space depicted is celestial—the immaterial sky.
Photomedia book; unique edition; signed and dated; 45pp; 40 x 40 x 2cm.

Christopher Hagen
USA arrived Australia (2016)

Latent Library
(2015 to present) (Ongoing Series of Installations)
Libraries, especially those based on lending models, are valued for their accessibility, unlike museums which must favor preservation for long-term display at the expense of hands-on experience. The more worn a book is, the more likely that it has been visited by many readers — its pages passing through their hands so that its contents pass through their minds. The holdings of Latent Library are composed of paper embossed with varying textures, edged with pigments and spices of varying colours. As the books are handled by visitors, colour is rubbed into the textures and the blank pages fill in. Visitors to the Latent Library are akin to bees — picking up ideas from each book, crossing it with that of another, and ultimately carrying it away.
Embossed paper, pigments, spices; site-specific installations, minimum 150 “volumes” per install’; variable installation; 20 x 50 x 10cm

Nicola Hooper
Australia

Ross@the River Citronella Artists Book
(2016)
The Ross @ the River Citronella Artists Book considers concepts surrounding the zoonotic illness Ross River Fever. The multi coloured lithographic book narrates the cautionary tale about the Ross River Fever hosts: mosquitos, kangaroos and wallabies. Created by combining citronella oil with printing ink and adding the oil to the encaustic cover, making it mosquito repellent. This book was a finalist in the 2016 Libris Artist Book Awards.
Multi coloured lithograph printed with citronella infused ink and citronella encaustic cover; edition 1/2; 12pp; 20.5 x 16.5 x 1.5cm.
+ accompanying suspended from ceiling above the work, mosquito sculpture 2017. Digital print of hand coloured lithograph on foamcore, fishing line (if space permits) 30 x 56cm.

Nicola Hooper
Australia

James the Rat King
(2016)
This book narrates this gothic tale, born out of the events from an outbreak of the bubonic plague at Garnets Grocery Store in New Farm in 1907.
Digital print of hand coloured lithograph with encaustic cover; edition 1/2; 6pp; 10 x 7 x 1cm.
+ accompanying suspended from ceiling above the work, flea sculpture 2017. Digital print of hand coloured lithograph on foamcore, fishing line (if space permits) 40 x 45cm.

Nicola Hooper
Australia

Patricia in the pig-pen
(2016)
This book narrates the story of an outbreak of Japanese Encephalitus at Badu Island in the Torres Straight. The pigs housed next to dwellings, were the zoonotic hosts along with the mosquitos and the migrating night herons. Once the pigs were moved away from the homes and the problems with stagnant water was remedied, there were no further outbreaks.
Digital print of watercolour drawing with citronella encaustic cover; edition 1/2; 8pp; 10 x 7 x 1cm.

Nicola Hooper
Australia

Kiss, Scratch, Bite
(2016)
This book explores the demonization of some animals in the context of fear of disease, the created rhyme discusses kissing bugs, bats, rats, pigeons, rabbits and guinea pigs. Digital print of hand coloured lithograph; edition 1/2; 12pp; 10 x 7 x 1cm.

Louis Lim
Australia

An Opened Letter (2016)
An Opened Letter is a photographic artist book dealing with grief and reconciliation between a father and son after the release of the father from imprisonment. A compilation of images created through a reclaimed polaroid process that unexpectedly leaves marks and bruises on the emulsion from a bleaching method, puts the artist on a reflexive journey to understand the meaning of the tragic incident. Photographic book; unique edition; 16pp; 26 x 21 x 1.5cm.

Tess Mehonoshen
Australia

Unmap (fold) (2015)
Tess Mehonoshen examines the contemporary phenomena of transient living and the ensuing disconnection that occurs with loss of place. Using sourced Cootharaba red clay and industrial concrete on a cotton muslin substrate, Mehonoshen seeks to both mimic and disrupt the separation between urban and rural through material ambiguity, thereby questioning such categorisations of ‘place’. Natural processes of erosion and disintegration are exposed within the installation objects ephemeral substrate, which remain in a continual state of decay. In this, Mehonoshen exposes the vulnerabilities and boundaries of the materials, toying with and straining their properties beyond inherent and intended use, to a point of distress and ruin. Cement, fabric; unique edition; 60 x 65 x 45cm.

Jude Roberts
Australia

These things of earth are a living entity (2017)
The book consists of lithographic images printed over ink blots on hosho paper. The drawings were taken from a trip to Allora in South East Queensland while climbing the Allora mountain.
By folding the page in half, the ink creates a reversal of its image as it transfers to the other side of the page. This action releases something as if recalling a thought from the unconscious mind.
This process also represents a reversal of order where the Earth community encompasses all living things rather than placing humanity and its needs above all else.
Cover: handmade paper with lithograph, ink and gesso; unique edition; 28pp; 29 x
20 x 1cm.

Jude Roberts
Australia
Blood life
(2017)

The found objects used to create this book are from Western inland Queensland, including the prickly pear skeleton and remanent wire fence.
The red dyed paper represents the cochineal taken from the scale insect that fixes itself to the pear. The cacti was brought to Australia for a potential cochineal industry, (the cochineal was used to dye the British military uniforms), but ironically became an invasive coloniser that crippled large areas of Queensland in the 1920’s.
The outer skeleton of the pear acts as a cover to the book exposing the cochineal stained innards. This allows the reader a haptic experience as opposed to one with words.  Standing upright or lying open, the book indicates a need for our own human embodiment and inclusion in the natural order instead of distancing ourselves from that order and devaluing and exploiting it.
Prickly pear, ink, red dye, paper, cotton, wire; unique edition; 30 x 12 x 4cm.