Studio West End
Adele Outteridge & Wim de Vos
6th ab+mf 2017
Studio West End was established in 1998 by Adele Outteridge and Wim de Vos.
Since then they have provided a unique venue for teaching, mentoring, and exhibiting in a wide variety of visual art and design media. Their work is exhibited, published and collected nationally and internationally.
“The teaching and practice of art is an integral part of our being.
Without it there is no cultural development for humanity”. (Wim de Vos 2014)
Studio West End promotes a high standard of work practice in design and execution to build skills and confidence in media including DRAWING, PAINTING, BOOKARTS, PRINTMAKING, SCULPTURE AND ART HISTORY. The studio is an exciting space full of vast quantities of art, books and stuff, collected by Wim and Adele over the years. It is well lit, inspiring to work in, with equipment available for many media.
The Studio was originally situated in West End, first in the former Tristram’s factory, then in the former Peter’s Ice cream Factory. It is now in a refurbished warehouse in the Yeerongpilly Corporate Park.
Parking is available on site. There is plenty of good, reasonably priced accommodation and the studio is accessible by public transport.
Adele Outteridge gained her BSc from the University of Melbourne in 1967 then worked as an Experimental Scientist with CSIRO. She studied with the School of Colour and Design in Sydney from 1984-88 and returned as lecturer, tutor. She taught at the Ku-Ring-Gai Art Centre from 1983-89. Adele now travels to all states and internationally lecturing and teaching. Her work in artists’ books, printmaking, sculpture and drawing has been exhibited widely, is held in private and public collections and has appeared in major publications in Australia and overseas.
Wim de Vos migrated to Australia from the Netherlands in 1959. His study credits include diploma courses in both Commercial Illustration and Fine Art with honours in Printmaking at the Queensland College of Art. He undertook postgraduate studies specialising in etching, lithography and bookmaking in 1981-82 at the Jan van Eyck Academie, Maastricht, The Netherlands. He has exhibited regularly in Queensland, interstate and internationally since 1979. His artistic repertoire includes printmaking, painting, sculpture and artist books. He is represented in public and private collections and publications in Australia, the USA, the UK and The Netherlands.
The Bent Series is primarily an exploration into the use of combined binding structures to produce sculptural books. Pages sewn onto folded concertina spines, which were then bound with single needle Coptic sewing. The ‘bent’ titles are a wry dig at one particular former politician, however could apply to many others.
1. A Bit Bent 1
Rusted paper, Perspex, thread. Unique. NFS
4. Between the Lines, White
A sculptural book exploring the relationships between four types of lines, inspired by Sol LeWitt, also referring to a traditional quilt pattern Log Cabin. As the pages are turned, the images keep changing, although parts of every page are always visible. Paper, Perspex, thread. Edition of 2. Part of a series.
5. Thinking of Sol 1
6. Thinking of Sol 2
Stuff of Dreams Further exploration of Sol LeWitt’s four types of straight lines. The transparent pages may be ‘read’ all at once, even when the book is closed. Again, air between the pages is an important element of the book objects. Engraved Perspex, thread. $1,200.00 each
7. Fragments from Tate Adams
Cut up large, gouache images, Perspex, thread, Perspex slip cases.
Discarded, large gouache images from Tate Adams, torn into fragments, collated and sewn with single sheet Coptic stitch. Four unique books.
8. Gaia 1 (1997)
9. Gaia 2 (1997)
Transparent books may be ‘read’ when still closed. Opened, the sewing becomes the three dimensional image. The air between the pages is an important part of the sculpture. Perspex, thread. Edition of 5 each. $650.00 each.
10. Punctuation (2002 onwards)
Finely folded spines with pages sewn on. The flexibility of the folded spine makes many forms possible. Beautiful curved shapes are formed from multiple straight lines. Paper, thread. An open edition series. $200.00 each
11. Teabag book (2014)
A continuing series of more than thirty books, made from recycled materials, over twenty years has included many books made from teabags. The delicate paper must be strong enough to withstand boiling water, yet porous enough to allow the tea to infuse. The tannin stains render each page unique, although reflecting the structure of the folded bag. The images remaining range from light to dark depending on the individual’s preferred infusion time. Teabags, thread An open edition series.
12. Untitled spherical book (1995)
An early example of the artist’s love of sculptural books. Hand made abaca paper, oxides, thread. NFS
Wim de Vos
1. REGENERATION (2015)
This book was the result of a print which was initially reshaped into a work recycling all the materials used to produce the print with the addition of more images and other materials to create a large sculpture, which was selected and exhibited at the inaugural Print Triennial in Mildura, Victoria late 2015.
An edition of 50 books was made as a memory of the large work. Paper, transparent film, cotton thread, acrylic slipcase. Edition of 50.10 x 10.5 x .3cm.
Wim de Vos
2. VENICE. (PER GHETTO) (2012)
While visiting Venice during Christmas 2013, this image was come upon on a late afternoon walk.
In the Jewish quarter the buildings are higher because of the inhabitants having to live in a ‘gated’ community for centuries. These architectural features, the narrow canals and bridges, the golden light and movement of life generally, brought together a memorable moment, which eventually manifested into an artwork diverse in many applied techniques, reflecting the ambience of one of the world’s great cities. Wood, acrylic paint, waxed thread, paper, photographs, one wooden slipcase, two acrylic slipcases. 24.1 x 32.4 x 10cm. (Unique).
Wim de Vos
3. BRUCKNER 7 (2013)
This concertina book is an example of many such books created over some 30 years.
When opened it is 3,220 mm in length by 320 mm. Sound images are often a theme in the artistic repertoire.
The rich tapestry of Bruckner’s orchestral chemistry in sound making combined with moments of silence is the perfect genre to interpret into a visual work.
‘Moments of rasping horn sounds combining all of the brass with all the other instruments fading into moments of silence, only to re emerge into crescendos making for a cacophony of orchestral richness unequalled and which is awe inspiring. These emotions are then re interpreted into images using thick luscious paint. This spontaneous action of painting and the consequent result makes for a work full of movement and emotion, reflecting of what has often been described about the composers work as: Music written from the other side’. Painted both sides. Acrylic paint on paper, glue, embossing, leather, board. 35 x 24 x 3 cm. Unique.
Wim de Vos
4. DANCING LIGHT (2015)
Acrylic sheet is a material that is constantly being explored for creating new forms of expression.
‘Dancing Light’ represents double pages of clear acrylic sheets held together with strips of tarlatan, a strong stiffened open weave cotton.
Various coloured transparent and opaque acrylic shapes were then attached.
When closed and stacked the pages form a 3 dimensional image.
When placed at random a variety of ‘Light Dances’ may be performed in both natural and artificial light. 4 Loose double pages in double slipcase. Acrylic, coloured & clear., tarlatan, glue, natural light. 28.2 x 21 x 9.8cm. Unique.
Adele Outteridge and Wim de Vos
5. THEATRE OF DREAMS
Journal made by Adele Outteridge. Altered by Wim de Vos.
This is the first book to be altered. Made initially to be a travel diary by Studio partner Adele Outteridge the idea was to alter the book into a kind of fold up theatre which also brings into play the peep show, revealing levels as the pages are turned. The layers can also be viewed as total image by placing the book upright as a theatre in the round. Many discoveries were made during the process of making this book including solving technical issues. The result was a very pleasing altered book (theatre of dreams), to be able to be held viewed and closed. Paper, board, thread, acrylic, engraving, glue, 2 acrylic slipcases. Unique. $1,750.00
Wim de Vos
6. EULO DIG DIARY (2012)
Diary Working as an artist in residence recording the investigation at a fossil dig in Western Queensland was a unique outdoor field trip experience during June 2012. This is one of two diaries recording activities and landscape pen drawings and watercolours at a property near the town of EULO where fossils were being excavated and recorded, organised by private and public institutions. The design and execution of recording such events is always a challenge and historically important. Wim has recorded numerous journeys of this kind on his many trips both in Australia and overseas. Drawings and text both sides. Paper, board, glue, thread, pen, ink, watercolours. 19 x 7.5 x 3.3cm. Unique
Wim de Vos
7. POSTCARDS FROM BUNDOONA (1997)
The design for this book is in principle a folded book. The need to exhibit a book to its fullest potential requires for it to become a sculptural book. Suspended in a box and attached to a thin slab of acrylic allows the book to be viewed in the round. The story of this work were a movement of weather changes at BUNDOONA Station near EULO in Western Queensland, representing sunlight, storms and rain on the opposite side of the pages. The threads play an important part in representing rain and other natural motifs. 35 images on both sides. Pastels on paper, thread, acrylic box on stand. 29.9 x 28 x 4cm Unique.
Wim de Vos
8. WINDSHIFT AND REGENERATION (1994)
Driving past this regenerating landscape near Mossman, NSW needed closer investigation. Some time was spent walking in the burnt out forest where much was learned about the cycle of life and death. Visually this experience was new, as in Queensland there is a different phenomenon when the landscape comes back to life after the fire. This book structure is typical of telling a story of evolution as a continuous theme, to view it as separate images or as a spectacular whole. Concertina Book painted both sides. Pastel on paper, thread, acrylic slipcase. 27.3 x 14.8 x 2.9cm. Unique.
Wim de Vos
9. MARKS/ VAN DIEMEN’S LAND (2013)
Painting 47 paintings back to back including some pen drawings was the inspiration for the first visit to Tasmania during Christmas 2013. Much of the painting was done after returning to the Studio. The tactile nature of this book is of importance as it was intended that the viewer may be able to touch the paintings. It has been a good exercise to observe with participants that have touched this work,to have had a physical interaction with the story. The design of the complete presentation is also of importance. In this case three separate acrylic boxes were made to house the book within.
Bound Artists Book painted both sides. Acrylic paint, paper, board, thread, acrylic box in two clear acrylic slip cases. 24.5 x 32.2 x 6.8cm. Unique
Wim de Vos
10. HEIDI MEMORIES (1992)
Hello, welcome. These words were spoken by the writer and poet Barrett Reid, who resided at the original famous Australian home of John & Sunday Reed at HEIDE, Victoria, patrons of the arts and supporters of many well known pre and post Second World War Australian artists.
Barrett Reid and Art Historian Richard Haes entertained for the afternoon, which included afternoon tea and a ‘holiday cake Barrett had baked for the occasion. All the images in this book of that wonderful afternoon are memory drawings. It was originally intended to produce a series of etchings to mark the occasion, but this took away the immediate response of the drawings. The use of photocopying the images and then compiling them into a memory book was in the end much more appropriate, as Barrett had developed much within the library system over many years in Victoria, including the use of photocopiers and other means to promote the written and published word. Bound Artists Book. Photocopies, paper, thread, embossing, acrylic slipcase. 22.5 x 29 x 2cm. Edition of 10 plus 2 proofs.
Wim de Vos
11. I LOVE (1997.)
The keenness of the eye and its flashing movements was the inspiration for a book of rapidly painted pastels on black Stonehenge paper. It is sometimes crucial to work at a fast pace to feel the mood of the moment and fulfill the need to seek a totally new viewpoint. Much of this activity may the be the basis for a new direction of work in any media. Pastels on paper, thread, engraving, acrylic slipcase. 20 x 29 x 4cm. Unique.
Wim de Vos
12. GUTHEGA , DAY AND NIGHT BOOK (1990)
The snowy mountains were a great experience for the family during the winter of 1990. Much work was produced from this holiday in the form of drawings, pastels, prints and artists books. Utilising techniques of mixed media, particularly the use self made papers, this concertina book reflects the weather changes of day and night near GUTHEGA, NSW. The unpredictability and sudden changes in weather became an interesting investigation into this pristine and unique landscape. Pastels, paper, thread, acrylic, acrylic slipcase. 16.8 x 17.6 x 2.6cm. Unique.
Wim de Vos
13. RACHMANINOV IN AMERICA (2009)
Sound images manifested themselves during the late nineteen seventies in drawings, prints, pastels, oil and acrylic painting.
During the first visit to New York City in the autumn of 2008, it was quite by accident that the grave site of the Russian composer and performer Sergei Rachmaninov was stumbled upon. The great artist is buried alongside his wife Natalie and the Princesse Irena Wolanski ( nee Rachmaninov) in the hamlet of Valhalla, a half an hour’s train journey from New York City.
This resting place on top of a hill is surrounded by a semicircular hedge.
Two curved stone seats flank the headstone with the two other graves covered with marble slabs on the ground in front.
Surrounding this unique space were the intense colours of the autumn landscape,a cold wind blowing, sounds overwhelming in memory.
It was time for reflection.
This tunnel book with engraved and painted acrylic pages sewn to folded paper may be interpreted as ‘re constructed’ music. Tunnel, Concertina Book. Acrylic paint, paper, glue, acrylic sheet, engraving, acrylic slipcase, embossing. 15.5 x 22.4 x 7.6cm. Unique.