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Commissioned work by Macquarie University Gallery
exhibited at Macquarie University Gallery
part of the exhibition “Transitions”
La Trobe University
Flinders University Art Museum
Cowra Regional Art Gallery
Collection Macquarie University Gallery
Read catalogue essay
Work in Macquarie University collection
Photography by Effy Alexakis.
Light box installation Macquarie University Gallery
I am a mixed media artist, working with, and making paper as a core medium. Interested in exploiting its surface qualities as an integral part of my work.
The 3 scrolls are experimental drawings, a continuous drawing on 16 metres or 7 metres scroll. I started my drawings on sketch books but the best way to communicate my idea, and how I felt in front of the landscape, was to draw in a continuous line, similar to walking, wandering along the fences and along the rivers.
Photography by John Lee
Ink drawing on a 16 metres Chinese scroll.
Ink drawing on a 6 metres Chinese scroll.
Ink drawing on a 16 metres Chinese scroll.
The original sketch book for the work is in Grafton Regional Gallery collection.
Ink drawing, relief prints with ink on a 7 metres Chinese scroll.
This is a very long drawing of my wandering around Hill End, carrying my board, paper scroll and a stool. I just loved the way the old fences dance and almost calligraphic.
I transfer the drawing into a video to take the viewer on my journey.
Photography by André Fleuren
Film editing Darkstar Digital
Digital print on archival paper
1100 x 34 cm
The world biggest mass of gold in the world was found in Hill End in New South Wales. More than a century later, a company “Hill End Gold” was again prospecting for gold with modern technology. I was given permission to photograph 1 of their drill-cores, a 200 metres long sample. Each drill-core was divided in trays of 4 lines, a narrative of the underground telling me the story of the earth I was walking on.
Exhibited at Cité International des Arts
Macquarie University Gallery
The series of photographs are of an area behind the Montparnasse train station in Paris. This area where I lived has been, in part, demolished since.
Sadness was with me when walking along the streets, inside buildings and, at the same time, a certain pleasure to think I could testify of that time which will be no more.
I look at the images as a representation of change when I left my birth country, France, to come to live in Australia.
When I left France, my memory had a bank of images, memories of Paris and other places. On a journey back to France, certain things changed, what I thought I new or I could remember was not always recognisable.
I have changed too, from living in Australia, another country, other customs, another culture, but I thought Paris would not change. My memory was altered by experiencing two cultures. These images of streets, buildings which don’t exist are a symbol of the displacement from one country to another: time transforms our physical environment as much our emotional.
Towards the "triperie". digital print, edition 5, image size 60 x 40 cm
Courtyard II, digital print, edition 5, image size 60 x 40 cm
Towards Commandant Mouchotte Street II, digital print, edition 5, image size 60 x 40 cm
Yesterday, today and tomorrow. digital print, edition 5, image size 40 x 60 cm
Towards Commandant Mouchotte Street I. digital print, edition 5, image size 60 x 40 cm
Courtyard I. digital print, edition 5, image size 60 x 40 cm
Hotel du Chemin de Fer. digital print, edition 5, image size 60 x 40 cm
The left out. digital print, edition 5, image size 60 x 40 cm
Roof top view. digital print, edition 5, image size 60 x 40 cm
I live here. digital print, edition 5, image size 60 x 40 cm
Passage. digital print, edition 5, image size 60 x 40 cm
Couryard I. digital print, edition 5, image size 60 x 40 cm
Walled street. digital print, edition 5, image size 60 x 40 cm
Exhibited at Wollongong City Gallery, Laperouse Museum
Photography by Jenny Carter and John Lee
Hameçons, 9 cables de 14 pouces et 120 brasses, 1 cable de 13. graphite drawing inspired by the “Wreck of the two boats at Port des Français” with hand made rope from banana fibres, 78 x 108cm
Plumes rouges, jeaunes et blanches, panaches, aigrettes de plumes,etc, pour la valeur de …1100L. feathers from Australian birds, 78 x 108cm
96 douzaines de boutons de cristal de couleurs, montés en cuivre doré à jour et à brillants, 1720 douzaines de boutons dorés, argentés ou de cuivre poli. watercolour on Kozo paper, 78 x 108cm
Fer en clous de différentes grandeurs. graphite and ink drawings on Kozo paper, 78 x 108cm
2000 paquets de vermillon. vermillion on kozo paper, 78 x 108cm
Perles diverses I, map of "Plan de la baie de Castries". antique Venetians and dress making glass beads, bone beads, linen thread, 54 x 78 cm
Perles diverses I. map of "Plan de la baie de Castries", (detail)
Perles diverses II map of "Manche de la Tartarie". antique Venetians and dress making glass beads, bone beads, linen thread, 78 x 54cm
600 miroirs montés de différentes grandeurs I. digital print, mirrors, 112 x 83cm
600 miroirs montés de différentes grandeurs II. digital print, mirrors, 112 x 83cm
Buttons
buttons and hand made paper. Installation detail
Fishing hooks
Fishing hooks, hand made ropes with plant fibres, installation detail
Vermillon
Vermillon and hand made paper, installation detail
Exhibited at
State Library of New South Wales, Sydney
selected images
Read artist statement here...
Photography by Phong Nguyen, Charlie Gordon and Scott Wajon
Wunderkammer, Installation at the State Library of New South Wales, Mitchell Library. 16 custom made frames with Jarrah timber to look like cabinets of curiosity.
Blue bottle, Physalia utriculus. gouache on kozo paper, 96 x 33 cm
Gouty spider, Lambis chiragra. gouache and graphite text, 96 x 33 cm
Gouty spider, Lambis chiragra. graphite drawings, hand made paper castings, 96 x 33 cm
Sea urchin, Echinus marinus. graphite drawing, frottage and collage, 96 x 33 cm
Nautilus. hand casted kozo paper, oil pastel and graphite drawing, 96 x 33 cm
Holly fern, Cyrtomium falcatum. hand casted kozo paper, hand written text, 96 x 33 cm
Fish bone fern, Nephrolepis cordi. hand casted kozo paper, hand written text, 96 x 33 cm
Xanthorrhoea, Grass Tree. digital print with hand written text on kozo paper, 90 x 60 cm
Eucalyptus. digital print with hand written text on kozo paper, 90 x 60 cm
Casuarina, She oak. Digital print with hand written text on kozo paper, 90 x 60 cm
Banksia serrata. digital print with hand written text on kozo paper, 90 x 60 cm
Eucalyptus. woodblock relief print, collage, 90 x 60 cm
Casuarina, she oak. drypoint and woodblock print, 90 x 60 cm
Exhibited at Mosman Regional Gallery
Part of “Sighting the whale” exhibition
hand made hibiscus paper, kozo paper, Jarrah frame and other things, 3 panels, 134 x 67 cm each
What inspired me to work on the subject of perfume is the non literal approach to the theme of the whale and perfume. By this I mean the extraordinary process of transformation from a sea creature to a sensorial art form, a botanical bouquet where the sea meets the land. Each paper jar is made from hibiscus fibre, a very evocative flower due to its shape and the tropical exoticism idea of its origins. In each jar there is an abstract representation of nature, a wearable scented garden, exotic, tropical and sensual. Each jar is a unique floral composition, an imaginary bouquet of imaginary flowers inspired by nature, like a palette of an artist, to compose a perfume. The 3 frames are made of Jarrah timber, a reminder of the perfume cabinet.
Photography by Jane Allen
Ex-île, 2007/09
Private collection NSW
Public collection Victoria State Library, Queensland State Library, Australia National Library, Bibliothèque Nationale de France and Stanmore University Library, USA
Collaboration Nathalie Hartog-Gautier, Penelope Lee and author Daniel Maximin.
Photography by John Lee
Read catalogue essay >>
Wood cover with leather straps, Japanese book binding, 23 pages hand made cotton rag paper, 5 watermarks, 7 prints, 31 x 31cm.
Exhibited at Sculpture By the Sea
Photography by Janny Grant and Nathalie Hartog-Gautier
Perspex, 120 x 233 cm
The eight prints are my interpretation of the process of migration. The key plate “Cartographie” (which is present in all the prints) is mapping of words. I have enlarged, reduced, half erased and cramped words together, thereby changing the density of the lines. Like the lines used to grade landscape, these grade language. The colours have their own stories: red for pain and passion, black is what one doesn’t want to talk about, and white is the unsaid and the undone. Yellow is the colour of the flag raised by ships when they had an illness on board. The etchings of symbols on the prints were those used to register the severity and type of scars on the body. The square, circle and the cross are also used across cultures to describe physical and mental spaces. The screen print of bricks and mortar “S’etablir” relates to the choice people make when migrating to Australia to establish themselves in the hope of a better life.
The 14 books tell the stories of 100 migrants and refugees.
Photography by Marinco Kojdanovski and John Lee
60 frottages of objects and places at the Quarantine Station in Manly
14 books containing about 100 stories of people or their ancestors who experienced the Quarantine Station in Manly
Cartographie. drypoint intaglio on paper, 78,5 x 106 cm
Passage du temps. drypoint intaglio, relief print and etching, 78,5 x 106 cm
S'etablir. drypoint intaglio, relief print and screenprint, 78,5 x 106 cm
des formes pour l'ecrire. Drypoint relief print and sugar lift etching, 78,5 x 106 cm
Des formes pour l'ecrire I, drypoint relief print and sugar lift etching, 78,5 x 106 cm
Quarantaine. drypoint relief print, screenprints, 78,5 x 106 cm
Les mots et leur contexte. Drypoint intaglio and relief print, screenprint, 78,5 x 106 cm
