I was very excited to receive a Merit Award in the 2021 Parkin Drawing Prize.
Congratulations to Mark Braunias on his tremendous win.
My thanks to the judge and selection panel, and to the curator and team at the NZ Academy of Fine Arts.
It was such a privilege to be announced a finalist in the 2019 Parkin Drawing Prize and to be showing my work with friends and colleagues from the Dunedin School of Art. Congratulations to all the finalists and the winners.
I was lucky enough to attend the opening and was very impressed with the install and curation of the wide variety of works on display.
ENCUENTRO / ENCOUNTER Impact 10
Santander, Spain, September 1st to 9th, 2018
It was certainly a wonderful encounter with a beautiful city, a large contingent of passionate print enthusiasts and a host of exciting venues, events, galleries, beaches and Cantabrian sunshine! Thanks to the wonderful organisers at SM Pro Art Circle.
I felt privileged to exhibit my burnt, compacted book, ‘Dreamwork’, at MUPAC, The Museum of Prehistory and Archaeology and I presented a paper on the projects undertaken in the Print Lab. I also submitted a print for the Mini Print Biennial at Centro de Arte Faro Cabo Mayor, the local lighthouse.
On opening night 13 October, 2016, I used a GoPro camera mounted above the posters alongside the projector to record the disappearance of the coal sack prints from the stack. The video captured some great footage so now for the post production! I’m hoping to use the edited video in an exhibition in the near future.
A network of trans-Tasman artists have come together on a residency in association with the Plab to hold an exhibition of printmedia and fine art prints related to politics and current events at the Dunedin School of Art.
An exhibition celebrating the Unesco Year of Light 2015 that brings together scientists from the University of Otago and artists through the Dunedin School of Art. Kiri Mitchell and I teamed up with Janice Lord from the Botany Dept who specialises in night time pollinators in the Subantarctic Islands. We collaborated with braille transcribers Dave Allen and Paula Waby to produce an artists’ book of Dada poetry and the labels for the works in the show.
14 – 30 August at the H D Skinner Annex, Otago Museum.
The OUSA Art Week saw the ‘Salon des femmes’ make an appearance at the Red Thread Gallery on 6 August, 2015. My work for this pop up show was documentation of an intervention at the art school a few weeks earlier on the day of a seminar on art and climate change. Printed paper towels with subtle messages about climate change were inserted into the paper towel dispensers in all the DSA public toilets.
My work ‘Angel as Greek tragedy’ (after Klee)’, screenprint, was accepted for the Otago Art Society’s Edinburgh Art Awards. 1-30 August, 2015
An exhibition and two days of papers and discussion from those engaged in art and book – as artists, art historians or theorists, teachers and cultural workers, and others involved in the wide constituency of the artworld, as well as those engaged in the world of books.
I presented a paper – The Book as Art Object–A Remedial Reading and had a work from my master’s show The evolution of Industry in the exhibition.
Abstract
Remedial, in this context, applies to the definition of curative or affording a remedy. The concept of Kazimir Malevich’s pharmacy, a term coined from his essay ‘On the Museum’ in 1919 in response to the impending destruction of Russian museums and art collections by civil, political and economic unrest, is contemplated as a vitalising agency in the transformative character of the burnt book as art object.
Book burning has an unscrupulous history and is regarded as a crime against culture. Is this a culture defined by the achievements or failures of our civilised industrial world, a world facing environmental, social, and economic crisis? However, within our current digitised culture does the physical act of book burning evince concern among die-hard bibliophiles and is the notion of the pharmacy able to offer amnesty? This paper will introduce and analyse the ideas and methods of artists who acknowledge book burning in their art practice and conclude by forging connections between their work and the prudent nature of Malevich’s pharmacy.
