Saturday, 24 September 2016

Volume 2: The history of wind



The History of Wind is a new open-ended experimental drawing project that is fueled by my sculpture and automatic drawing practices.  This project allegorises slow building wild weather events. To date, The History of Wind has three planned chapters. 

The first chapter, The tree would only be found at higher altitudes (drawings I-VII) is an exploration into the incremental shifts in agency as one travels into previously uncharted waters. The temporality of agency is further heightened when the ship’s compass stops working as you approach the equator.

Steering us through unknowable waters, these allegorical drawings imagine an encyclopedia of cloud patterns that have safely guided sailors for all time. Heavily worked, this suite of automatic drawings also reference historic oilcloth sails that sailors once used to power their journeys. The History of Wind is the second volume in my imaginary Museum of Fathers, which houses approximately 80 objects and drawings.
 
Measurements: All works measure 150x 105cm (approx)
Materials: Archival watercolour pencils on archival Fabriano watercolour paper 200 gsm
Dates: The tree would only be found at higher altitudes (I), 2015-6; The tree would only be found at higher altitudes (II-VII), 2016.
Documentation: Felicity Jenkins 



India Zegan | The history of wind: The tree would only be found at higher altitudes (I) 2015-2016 | Museum of Fathers



India Zegan | The history of wind: The tree would only be found at higher altitudes (II), 2016 | Museum of Fathers



India Zegan | The history of wind: The tree would only be found at higher altitudes (III), 2016 | Museum of Fathers



India Zegan | The history of wind: The tree would only be found at higher altitudes (IV), 2016 | Museum of Fathers

 
India Zegan | The history of wind: The tree would only be found at higher altitudes (V), 2016 | Museum of Fathers


India Zegan | The history of wind: The tree would only be found at higher altitudes (VI), 2016 | Museum of Fathers

 
India Zegan | The history of wind: The tree would only be found at higher altitudes (VII), 2016 | Museum of Fathers


 Installation test below:

India Zegan | The history of wind: The tree would only be found at higher altitudes (I- VII), 2016 | Museum of Fathers

Thursday, 1 September 2016

Catching up with documentation #2: Ghosts: ACR/MEJ # 26-37

The following blind embossed woodcuts, Ghosts: ACR/MEJ # 26-37, were made during 2011-2013. In June 2016 I de-framed these works so that they could be properly documented for the first time.

Background: An earlier post on my blog (dated 06/08/2012) documents the objects that these woodblocks directly reference. I started making the objects in the early spring of 2010 by hand stitching panels of fabric into the leg holes and waist bands of 12 pairs of mens underpants. The objects, ref. Ghosts: ACR/ MEJ # 1-12, were then filled with sand and photographed, ref. Ghosts: ACR/MEJ # 13-24. I then cut out the abstracted shapes documented in these photographs to create a template for the embossed woodblocks that I would make. This suite of prints was conceptually conceived as a blind embossed series.

This suite of woodcuts, and the associated objects and photographs, references a primary document that is held in state government archives.

Print details:
2x A/Ps
1x Printer's copy
Edition: 1-7
Printed on dampened Magnani Pescia paper (300gsm)
Paper support dimensions: 41x 29cm
Printer: Nick Summers, Plum Press
Documentation: Felicity Jenkins




India Zegan Museum of Fathers| Ghosts: ACR/MEJ #26 (2011-2013)


India Zegan Museum of Fathers| Ghosts: ACR/MEJ #27 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #28 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #29 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #30 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #31 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #32 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #33 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #34 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #35 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #36 (2011-2013)

India Zegan Museum of Fathers| Ghosts: ACR/MEJ #37 (2011-2013)

Saturday, 30 July 2016

Group show opens, Wed 3rd August

I have submitted a small work for Factory 49's 2016 Annual Group Exhibition.  
Opens: Wednesday, 3rd August at 6pm and runs until Saturday 13th August. 
Opening hours: 1-6pm Thur - Sat or by appointment.
Address: 49 Shepherd street, Marrickville

Friday, 17 June 2016

Early

Yesterday I finished my new suite of drawings, 'The tree would only be found at higher altitudes (I- VII)' . Finishing two weeks earlier than anticipated provides an unexpected opportunity to finish other work. All seven drawings measure approximately 150cm (H) x 105 cm (W). 

Studio time required to start and finish one drawing = one month/ 100+ studio hours.
The extremely friable surface of these drawings dictates that I need to hold off showing these drawings until they have all been framed.

 

Saturday, 23 April 2016

Work in progress

11/5/2016: What is best described as a herbal tea misadventure has reiterated the need to frame this suite of works as soon as it is practicable to do so.


11/5/2016


 




7/5/2016: There are now seven large drawings in the suite and other works. Three drawings are completed, one at 90% and the other three are at 60%. New deadline for the seven large drawings is the 2rd week in June. 

23/4/2016: I have decided to grow the suite of drawings that I am currently working on. Subsequently, I have had to re-calibrate my temporary studio to create additional wall space which will enable me to work simultaneously on multiple drawings. I initially thought that this series The tree could only be found at higher altitudes would number 4 works.

6/5/2015

5/5/2016

01/5/2016
25/4/2016
23/4/2016



Thursday, 7 April 2016

Benoît Lachambre: drawing and performance

I felt very fortunate to be able to see Benoît Lachambre perform- yesterday (Thur 7/4/16) and today (8/4/16)- as part of Adrian Heathfield's curatorial project ghost telephone for the Biennale of Sydney. As part of his brief, Lachambre chose to respond to two works by Doris Salcedo held in the AGNSW's permanent collection: Atrabiliaros (1992-1997) and Untitled (2007).

Benoît Lachambre performance- Doris Salcedo's work, Atrabiliarios (1992-1997) in the background

 As the BoS handout notes:
'Drawing lines of connection between his moving body and Salcedo's works Lachambre investigates how what is absent of loss is carried through the flesh. In a slow time dance Lachambre charges the space between bodies and artworks and awakens the senses.' I was drawn to the strong drawing element in Lachambre's performance. Using a selection of monochromatic duct tapes, grey, black and white, Lachambre performed a temporal mural-scale automatic drawing by using the floor of the art gallery as his paper support. 

Slowly weaving in and between real and imagined spaces, between the traumatic and bloody histories represented by Salcedo's works*, Lachambre created an opened up a third space: the space of energy and exchange between the himself and the viewer. As I watched the performance a single key word kept coming to mind. Truth.









Benoît Lachambre's automatic drawings and Doris Salcedo's work, Untitled (2007) in the background



In trying to provide a summary of the performance, I need to concede that I do have adequate words and language to describe the choreographic language/s that Lachambre employed during his performance. As a rough snap shot, his work made me think of of the late Merce Cunningham, Pina Bausch, Michael Clarke and two immediate family members who read and understand contemporary dance and art on a molecular and cellular level.  During the performance Lachambre spent approximately half of the performance on his knees, which, in itself is a potent act. To be without feet; to dance without feet; to make oneself small; to be small and to be the ground. I was and remain particularly moved by the this component of the performance that was located/ occurred firmly the floor.

The experience of watching Lachambre also brought to mind a memory of visiting the Black Madonna Cathedral, Częstochowa in 2012. A pious family member informed me that I would only be able to see the back sections of the church, where the painting is held (and the reason for my visit), if I did what the others were doing: I would need to crawl across the marble tiles on my knees. I later discovered that I had been deceived: walking around the back sections of the Cathedral was quite acceptable for atheist like myself. To return to Lamchambre's piece, the act of crawling along a marble floor can only be described as very painful.  

Lachambre's performance and automatic drawings presented viewers with a mindful response to the traumatic narratives present in Salcedo's work, Atrabiliaros (1992- 1997) and Untitled (2007). Writing on Salcedo's Atrabiliaros (1992-1997), the AGNSW Handbook (2006) notes: 
Barely visible through the animal skin membrane, the shoes are a haunting evocation of their absent owners and inevitably recall the grizzly souvenirs of Nazi death camps.**  
On a personal note, Salcedo's Atrabiliaros will always reverberate very strongly for me. When my Mother's mother was an adolescent she came home one day to their farm to find that several members of her family had been butchered by Ukrainian nationalist partisans. The only way that my young Grandmother was able to identify her family members was by the shoes that they were wearing when they were murdered.


Benoît Lachambre performance- Doris Salcedo's work, Atrabiliarios (1992-1997) in the background



The floor is what separates and joins us to the earth. It is a loaded zone of connection and loss. In contemporary urban city spaces we traverse a variety of metaphorical and material floors, such as pavements and laneways, on a daily basis. The floor marks the beginning of space and the universal experience of being. The floor is also a border space and a marker of our temporality. 



By the end of today's epic performance/ automatic drawing the room was imbued with a distinct polyethylene based chemical odour from the combination of chemicals used on such tapes. I suspect that Lachambre's use of pressure sensitive duct tapes was no accident. I think most people would easily be able to recall a newspaper or war zone photo that documents duct tape being used by those who torture and inflict grave and immoral acts of violence on innocent people. To turn a material used by torturers, in this case duct tape, into an art material is a deeply loaded action. In addition to this, to watch Lachambre chew and ingest approximately 3 pieces of tape during today's performance is an action that I am still thinking on. I watched a second reiteration of his performance today (Friday, 8/4/2016)- this time- in its entirety. Today's performance went over time, lasting some three and a quarter hours.

I have not been so profoundly moved by a performance work since experiencing Tino Seghal's energetic choral and movement based work at Dokumenta 13 (2012) and Xavier Le Roy's work 'Untitled' (2012; represented for 13 Rooms (2013))***. I hope that I will be able to see more of Benoît Lachambre's work in 2017.

* Cropped sections of the collaborative work by Aurukan based Alair Pambegan and Tony Albert's aerially suspended work, Frontier Wars (Flying Fox Story Place) (2014) can also be seen in the background of some images.
** AGNSW Handbook, 2006 http://www.artgallery.nsw.gov.au/collection/works/372.1997.a-o/ accessed 14/04/2016
***A recent trip in early March 2016 enabled me to experience another very strong dance work, a collaboration between Garry Stewart and the Australian Dance Theatre as part of the Adelaide Biennale of Australian art. However, this piece falls firmly into the realm of a slightly different genre of contemporary art/ dance/ participatory work which I am still contemplating.