Tidal Meditation (Turtle Swamp, Canaipa & Deanbilla Bay, Minjerribah), May – August 2019

Since beginning as an artist member of the Ferny Hills Painter’s Group convened by artist educator Audrey Kelk, the Northside Creative Artists Association in Brisbane and the Brisbane School of Art with artist educator Irene Amos in 1977 and 1978 its almost 43 years now that I have been involved with artist collectives and groups in Australia and overseas.

From March 2018 until November 2019 I had the pleasure to be involved with two local Canaipa artist collectives; ‘Canaipa Mudlines’ and ‘Trica Dobson’s Weaving Circles’ . These two groups include local artists who focus on and feature personal and collaborative creative responses to art and ecology in the SMBI [Southern Moreton Bay Islands] region on Quandamooka country.

‘Field Notes – Walking Meditation’, is part of the ‘Tidal Meditations’ series of video and sound works. This particular work was made as a response to the Canaipa Mudlines site generated residency in May 2019 at Deenbilla Bay and is imagined as a queer walking meditation composition. It draws on my earlier art and ecology work where personal walking meditations are performed as a way to contemplate and reflect on the impermanence of life.

We acknowledge the Quandamooka People as the traditional custodians of the lands in which we live, make and work where sovereignty was never ceded. We pay respects to their elders and their youth, past, present and emerging – and stand in sovereignty with the Uluru Statement from the Heart and their ongoing resistance against colonisation.

The Patient – The Medical Subject in Contemporary Art

One of my video art works, The Man in the Irony Mask is included in this inspiring exhibition on now at the UNSW Gallery.

The Patient examines the embodied experience of the artist as medical patient and the medical patient as living subject in contemporary art.

The word patient has a dual meaning. It describes a state of being – of bearing a situation quietly, without complaint. It also describes a person in a hospital or clinical context, who is ill and undergoing diagnosis or treatment. The word originates from the Latin patiens, which means “suffering, enduring”. And for the medical patient, it is a common enough experience to wait, with pain.

The exhibition explores the ways in which artists engage with powerful human experiences in the fields of health, biological science and medicine, contributing to discourse on the representation of illness, disease, care, individual agency and what it is to be human.

Curated by guest curator and UNSW Art & Design PhD candidate Bec Dean, the collection of works, new experiments and ongoing projects featured in The Patient are all variously difficult, fearless, funny and sometimes unlovely. They range across media and connect to us as viewers and occasionally as participants.

The artists in this exhibition are drawn from Australia and the world, past and present. Their work deepens our own enquiries into the actual stuff of illness and disease, death and life – how they manifest viscerally and psychologically, as well as socially and politically.

Through its exhibition programs, UNSW Galleries fosters and advances research and discourse around the pressing issues of our times. Exhibition projects that draw on knowledge and research from a range of disciplines – such as art, medicine and science – have the capacity to impart and investigate new approaches to understanding the fluid and rapidly evolving 21st century society in which we live.

Participating artists: Ingrid Bachmann (Canada), John A Douglas (Australia), Brenton Heath-Kerr (Aus), Carol Jerrems (Aus), Eugenie Lee (Korea/Aus), David McDiarmid (Aus), Helen Pynor (Aus/UK), Jo Spence (UK), ORLAN (France), John Wynne (UK) & Tim Wainwright (Aus/UK), Bob Flanagan & Sheree Rose (US), and Guy Ben-Ary (US/Aus) with Nathan Thompson, Andrew Fitch, Douglas Bakkum, Stuart Hodgetts, Mike Edel.

 

Read more:

https://www.artdesign.unsw.edu.au/unsw-galleries/patient

Ephemeral Traces – Brisbane’s Artist-Run Scene in the 1980s

‘ephemeral traces’ provides the first introductory analysis of artist-run practice in Brisbane during the final decade of the conservative Joh Bjelke-Petersen government. The exhibition focuses on the scene that developed around five key spaces that operated in Brisbane from 1982 to 1988: One Flat, A Room, That Space, The Observatory, and John Mills National.

Drawing on artworks, documentation and ephemera, the exhibition provides a contextual account of this progressive artist-run activity, examining collective projects, publications and the spaces themselves, as well as organisations such as the Artworkers Union and Queensland Artworkers Alliance. A counterpoint to Michele Helmrich’s earlier exhibition ‘Return to sender’ (UQ Art Museum, 2012) which focused on the artists who left Queensland during the Bjelke-Petersen era. This exhibition is about the artists who stayed.

Curator: Peter Anderson:

http://www.artmuseum.uq.edu.au/ephemeral-traces-brisbanes-artist-run-scene-1980s

Read the Catalogue here:

https://issuu.com/uqartmuseum/docs/ephemeral_traces_catalogue_essay_fi?e=18873558/34748266

Art Works by Artist Paul Andrew including;

Pop/text, Featherweight, 1986 (Acrylic on John Kaldor Fabric)

pop text featherweight

Pop/text, Hotpoint, 1986 (Acrylic on John Kaldor Fabric)

pop text hotpoint

SaveSaveSaveSave