'Cutendpaste' | Articulate project space

Some more experiments from Cutendpaste at Articulate. See full site here

Beam Crystal

Paper Star (Collaboration with Melissa Maree | from Melissa's paper remains)

Written Object (collaboration with Melissa Maree | from Melissa's handwriting)

Falling writing, Scattered object (Mountain, Flower, String and Leaf)

The Space of us (The space of Margaret's 'Cloud', The length of Anna's Palm, 
The distance between Articulate's beams, The length of Articulate's rainbow at 4.32pm, 
The distance between upstairs and downstairs)

Dissected objects (half shell, half fossil, rock cut in half, onion skin paper)

Studio memory (Images of studio 5)

'Cutendpaste' | Articulate project space

Cutendpaste is a process project at Articulate. Here are some images from my first few days of working in the space:

Beam fungi

 Black and white paper remains

Wall fungi

Paper scroll objects

Cloth flower

Flower lace

Lace sponge


Paper trees in plastic bag

Paper eclipse, bird, fish and smoke

To follow my progress visit here
To follow all the artists' progress visit here

From 27th October to 16th November, six artists: Linden Braye, Dorit Goldman, Anna Jaaniste, Melissa Maree, Margaret Roberts and Kathryn Ryan, will be working in Articulate project space. Cutendpaste concentrates on process rather than product. Cutendpaste documents each artist’s working practice, and hopes to highlight points of similarity, difference and relationship between their processes. Cutendpaste  is an opportunity to discuss, through making, what process is, why its important to each of us, and how this (often private) side of practice can be revealed to a public audience.
Opening: Friday, 31 Oct 6-8pm  
Closing, artist talks and drinks: Saturday 15 November 2-5pm

Articulate project space  
497 Parramatta Rd, 
Leichhardt. NSW 2040. Australia.

'Self Contained' | Gallery Red

For Gallery Red's Self Contained I made Object Theater - a small box stage, with object parts.

'Gallery Red presents Self – Contained. Invited artists have been tasked with the creative re-imagination of the humble cardboard box. See the artists, cut, draw, paint, wire-up their cardboard boxes as they transform into a creation of their imagination.

Featuring works by: Anna Russell, Annie Kennedy, Anthony Cummins, Chidzey, Edie McCrystal, Edwina Brennan, Isabel R, Jennifer Watson, Jeff Arenas, Julie Bookless, Kathryn Ryan, Leon Fernandes, Misael M, Nadine Louis, Nanna Jake, Olivia Wilson, Pamela Horsnell, Rachael Ireland, Sue Rawlinson and Vanessa Robinson
Please join us for opening night drinks with the artist on Friday 24 October, 6 – 8pm.' 

Gallery Red

'The Survey Show' | Clandulla State Gallery

 Tied grass, radiometer, bell jar, white glass light shade, 
seed globe on milk glass vase.

 Bell jar, plaster cast of egg interior, lichen.


 Seed globe, tied grass.

 Mushrooms, door knob, white markers, label.

  Skeletal pieces, clouded house box ornament, white markers, label.

Native orchid, plaster cast of egg interior, white marker, label.

 Milk glass hand vase, feathers, tied grass.

 Tied grass, smokey quartz crystal.

 Tied grass.

The Survey Show | Clandulla State Gallery

You are cordially invited to attend the opening of the Clandulla State Gallery’s inaugural exhibition, The Survey Show, at 1pm on Sunday 13 April 2014. Thirteen established and emerging artists are producing new work especially for the event, engaging with the unique context of the gallery.

 The Survey Show was conceived by Clandulla State Gallery founder, Alex Wisser to engage contemporary art with the forest environment.  The Survey Show was jointly developed and organised with visiting artist-curator, Margaret Roberts, in conjunction with the artists.

Clandulla State Gallery is co-extensive with the Clandulla State Forest.  Measuring approximately 1400 hectares, it is considered to be the world’s largest art gallery. It is a pleasant five-minute drive along Bylong Valley Drive from Kandos in the New South Wales Central West, and will be clearly sign posted (look for the ‘Contemporary Art’ sign) on the Western side of the road.

For directions and map, please visit our website: http://clandullastategallery.wordpress.com

'Books of Mountains, Books of Sky' | 'Disbound' Group Exhibition at Gallery Red.

Gallery Red presents Disbound an artist book exhibition featuring works that explore the realm of the artist book through prints, drawings, sculptural statements and paper engineering. 

Featuring works by: Barbara Aroney, Barbara Bartlett, Chidzey, Claudia Citton, Kathryn Ryan, Kassandra Bossell, Kay Lyon, Julie Bookless, Terence Uren.

Gallery Red
131 - 145 Glebe Point Road, Glebe
Monday-Friday: 10am-5pm
Saturdays: 10am-4pm

28th February - 18th March
Opens Friday 6 - 8pm

Onionskin paper, newsprint paper, carbon paper, Japanese thread paper, white and grey cardboard, cotton, silver leaf, clear quartz, labradorite, tree trunk print, feather, card box, tags.


'Colour Collection of studio objects' | Exhibition at BRANCH 3D

New installation at BRANCH 3D, a window gallery in Forest Lodge.

'Colour collection of studio objects'
From 2nd February 2014 - 1st March 2014
Can be seen 9am -8pm Daily

26 Ross Street, Forest Lodge, 2037

More images here
Copy of invite

"The sheer number of the things needing to be arranged and the near-impossibility of distributing them according to any truly satisfactory criteria mean that I never finally manage it, that the arrangements I end up with are temporary and vague, and hardly any more effective than the original anarchy. The outcome of all this leads to truly strange categories. A folder of miscellaneous papers, for example, on which is written 'To be Classified'..." 

Georges Perec 'Species of Spaces and Other Pieces'

I wasn't sure what to do on arriving at 26 Ross St. I had the vague idea of installing a small model studio space, of trying to remember, through recreating, the easy potential of all things held together under that name. I brought what I thought to be an abundance of objects—china leaves, sea glass, corals and plaster casts, sponges and globes, bottles, spools, twigs and pins, boxes and bags of things: black, white, gold, silver, caramel and grey. 

The window space, and table inside, quickly became a jumble of chaotic bric-a-brac. Ordinarily the arrangements of these things are particular, a combination and play of names, spaces, environments, animals and different processes. I'm not sure exactly what it is I collect—but I'm interested in any thing that is not quite itself, that used to be something else, is in a state of slow unravelling, of losing its name—or that use to do something or belong somewhere fantastical. Then there are some things made special by a lack of use, forgotten or saved, highlighted by their unintentional accumulation of time. 

Looking at this mass of objects with all their potential categories in such close proximity, and envisioning them in the window space was slightly overwhelming. Coupled with this was my realisation that I'd rarely worked with such a clean display space, or perhaps given due consideration to the window's nature—to capturing the momentary casual passer's eye, and so I progressed slowly. I didn't mind this slowness, there was pleasure in seeing these objects again, as there was in showing them to Sarah Nolan and viewing them through her eyes—but perhaps sensing my hesitation and witnessing my snail pace, Sarah mentioned in passing how they might look arranged by colour. 

I quickly abandoned my unformulated experiment, and embarked on this suggestion. Colour had always held a particular, though undefined, position in my work. It was important, but perhaps I'd always felt a bit self concious of addressing it—worried there wasn't proper credibility in a choice I suspected of being purely aesthetic. I found these colours beautiful, their natural tones pleasing, soothing and rich with texture. Such qualities ask little justification, and their existence always seems a little uncertain, however with closer examination there were also other reasons. I liked the way, in colour terms at least, all these objects could become reconciled to each other. There could be all these other points of tension between them, but materially they were sympathetic. 

So it was quite freeing to arrange them like this, to acknowledge that material part of them, and for their categorisation to be so obvious that, for a moment at least, it subdues their threatening anarchy.