Saturday, June 30, 2012

'behind beauty's masks' by Inga Walton online

Inga Walton's article/interview behind beauty's masks - works by Deborah Klein appears in the current issue of the arts journal etchings, issue 10, the feminine, published by Ilura Press. (See also Blog Post Wednesday 11 April, which provided a link to an excerpt from the text).

I'm pleased to announce that the text can now be read in its entirety by clicking HERE.

There is another link on the right hand column of this blog, directly under the Survey Exhibition in Miniature.

For full details of etchings journals past and present, click HERE.

Wednesday, June 27, 2012

In(two)art at S. H. Ervin Gallery

Monarch Butterfly Winged Woman, 2010, acrylic on linen, 36 x 36 cm. Photograph by Tim Gresham

In(two)art is an exhibition of works by sixty artists – 30 artist couples – including my partner Shane Jones and I. (My work is pictured above.) 

Since its initial run at Maitland Regional Gallery, NSW from August-October 2010, In(two)art has had a longish hiatus, but it is about to begin a lengthy national tour, which will continue into 2014.

The tour begins at S.H. Ervin Gallery in Sydney, opening on Thursday, 5 July at 6pm and running though to 12 August. The final venue for 2012 is Orange Regional Gallery, NSW (17 August-23 September.)

S. H. Ervin Gallery
National Trust Centre
Watson Road
Observatory Hill
The Rocks
Sydney 2000

Gallery hours: Tuesday-Sunday 11 am–5 pm
Telephone (02) 9258 0173

Thursday, June 21, 2012

Contemporary Australian Drawing #1

On Saturday afternoon (June 16) we called into Langford 120 gallery for the antipodean launch of Contemporary Australian Drawing #1 by Janet McKenzie. The book was an initiative of Irene Barberis of Metasenta® and is published by MacMillan Art Publishing, Australia. Seventy-seven Australian artists are featured, each one's images accompanied by a comprehensive and informative essay. Janet McKenzie’s earlier publication Drawing in Australia – Contemporary Images and Ideas (Macmillan Australia, 1986) was a post-art school bible for me and I still treasure it. This exceptional new book will be an invaluable companion piece.

Directly below is a snapshot of the launch, followed by the pages that focus on my own work. Initially I was intrigued that author Janet McKenzie specifically requested these images for the book, as they are all relief prints. But then for me the lino cutter has always been first and foremost a drawing implement.

The book also includes written contributions by Irene Barberis and Christopher Heathcote. For full details, including a complete list of featured artists, click HERE.

Pictured above, from top:

Contemporary Australian Drawing #1 cover

Artist William Kelly’s opening address. Kelly also wrote the introduction to Janet McKenzie’s Drawing in Australia (1986). On far left: Irene Barberis. Centre: Jenny Zimmer, editor and designer of Contemporary Australian Drawing #1. Background: paintings by Jennifer Goodman

Book pages (1) illustration, left page:
Anonyme, 1998, linocut on Japanese mending tissue overlaid onto brown oriental paper with hand stitching, 73 x 62 cm. Collection: State Library of Victoria
Right hand page:
Sister Act, 2000, colour linocut on Japanese mending tissue overlaid onto brown oriental paper with hand stitching, 64 x 74 cm. Collection: City of Maroondah, Victoria

Book pages (2) illustration, left page:
Lydia the Tattooed Lady, 1995, linocut 89 x 60 cm. Collections: The Arts Centre, Melbourne, University of Western Sydney, Macarthur, NSW
Right hand page:
Tattooed Faces Sampler, 1997, linocuts on interfacing, laid onto oriental paper and unbleached calico with hand stitching. Collection: University of Western Sydney, Macarthur

Thursday, June 7, 2012

Exhibit for a Wonder-Room

Moth Masks, acrylic on papier-mâché masks - a work in progress. Individual masks: (H) 22.5 x  (W) 18 x  (D) 11 cm. Photograph by Tim Gresham 

This ongoing series of painted objects is one of several projects that, when combined, are intended to evoke a Wunderkammer, or ‘wonder-room’.

The work also draws from my personal mythology, primarily the fairy tale The Story of the Moth Masks.

A perennial inspiration is the enigmatic imagery of Surrealist artist René Magritte, whose oeuvre also encompassed painted objects. He first began painting on bottles such as those pictured here in the 1940s, which skilfully incorporate the technique of trompe l’oeil. At present, I’m reading Magritte A to Z (Tate Publishing, 2011, edited by Christoph Grunenberg and Darren Pih.) It has already become a key text. I very much share Magritte’s continuing fascination with notions of the double, metamorphosis, anonymity, disguise, the fictional character Fantômas and much else besides. The book has reminded me of how fundamental Magritte’s imagery and ideas are to my own work, perhaps more than those of any other artist.

Pictured left: Painted bottles by René Magritte, 1959