Monday, 16 December 2013

2013 Summer icey-pole selection

I've set up this page to record Artists and their respective works that have made this year particularly memorable to me. Sometimes it's the works and at other times its the conviction to push concepts through that has inspired me to make my private musings public. I've attempted to note works and events in chronological order.
I apologise in advance for additional ramblings. Its impossible for me to think about works in isolation.

1. 2013 Redlands Prize at the National Art School- guest Curator Julie Rapp. The entire exhibition reminded me of the old 'Perspecta' survey exhibitions that the AGNSW stopped presenting in the late 1990s. Rapp's solid selection included Elizabeth Day and Cherine Fahd (late 90s works- thankyou) and many more. Coupling emerging with established artists- and established artists with emerging artists- pushed fresh air into a tired set of lungs.

I was particularly moved by Bronia Iwanczek's, Sudden Earth, C type photograph. When I was in Berlin last year, I spent several hours looking and absorbing the Memorial to the Murdered Jews of Europe.  I sat and simply watched the light and people move and weave between the work, it's alleys, its undulating landscape, its greyness and its sheer weight. As the hours rolled on, I went for multiple walks to sit in other parts of the Memorial in order to watch the piece breathe from another location, either within the piece or very close by. I had aimed to return to view the memorial one night: To see it bathed in the blackness of the dead of night. And then to watch the sunrise and the morning light slowly illuminate the work. I will resume looking slowly at the Memorial when I am next in Berlin.

The gravitas present in Iwanczek's work brings to mind two works installed at the Hyde Park Barrack's forecourt for the Sydney Biennale 2006, curated by Charles Mereweather- Miroslaw Balka's The Stop and Milica Tomic's Container. I was fortunate to visit both works on multiple occasions. (I was working part-time in a city book store at the time. So, normally banal lunch hour breaks in the city briefly became gold.) The uncertain and changing winter light and weather conditions compelled me to want to observe how the absence of hard Australian summer light, replaced by softer winter light and weather conditions would affect my responses to both these works. Every viewing allowed me to travel deeper into the work. Iwanczek's photograph represents a missing stanza in Australian art museums collections.

2. Mike Parr Survey, National Art School.
Carolyn Christov-Bakargiev curated a mini- survey of Mike's performances on Cockaatoo Island for the 2008 Biennale of Sydney. Since then, I've been waiting for this survey exhibition for some time. My only misgiving is that, in my parallel and imaginary art universe (where sometimes things make more sense than they do in real life), the AGNSW could have presented a concurrent satellite exhibition- installations and drawings. And a third project partner could have easily presented all the performance video works and/ or new works. Of course I run into Jeffrey Stewart as I am leaving. 

3. Xavier Le Roy, 'Untitled' (2012). This performance piece was presented as part of 13 Rooms, Kaldor Public Art Projects. Working on this project enabled me to watch this quiet performance in my lunch hour in perfect conditions- with no one else in the room. Being alone with this work enabled me to sink into the folds of the work. Special thanks to Carmen who took the piece to another level for me. This work's affect upon me was as strong as the now permanent Bruce Nauman installation 'Room with my soul left out, Room that does not care' (1984) at the Hamburger Bahnhof.

4. Nick Strike's 'October', 55 Sydneham Road. I'd like to see this entire show and/or new works in Melbourne or Berlin.

5. Robert Lake:
Robert & the Frum Foundation's 2013 edition of 20|20 was presented at Breeze Block, Kings Cross, thanks to artist Sean Rafferty. I've lost count of how many artists Robert presented over the course of three weeks- just try to keep track of three exhibition changeovers per week. Robert presented a canny selection of recent graduates, re-emerging and mid- career artists.

6. Unexpected:
a) Emma Wise's participatory-performance piece based on the recent Blue Mountains fire evacuation, as presented in the 'Articulate turns three', Articulate Project Space.
b) Toni Warbuton's participatory object based piece presented in 'Leave it in the ground', Articulate Project Space.
c) Robert Pulie's marionette piece at The Commerical.
d) 'Roomies Project'
e) Petra Gemeinboeck and Rob Saunders' robotic infestation and hoo-haa at Artspace
f) Justin Henderson's Wollongong exhibition

Wednesday, 11 December 2013

'Splice', Articulate Project Space

Photographer: Beata Geyer
India Zegan| 'Museum of Fathers #39: 30 irregular minutes' (1999-2013) at right and Beata Geyer's yellow tongue sculpture. Photographer: Beata Geyer
Splice opens on the Friday 3rd January 2014 at 6pm; with the opening proper on the 10th January.

Artists include: Margaret Roberts, Beata Geyer, Christine Myerscough, Jacqueline Spedding and me.
Exhibition dates: 4-12 January 2014
Opening Hours: Friday- Sunday, 11am-5pm 

Articulate Project Space: 493 Parramatta Road, Leichhardt (directly opposite the orange 'Kennards' building)

For additional information see:;
also see: 7311&type=3

Addendum on 01.01.2014: The conceptual elasticity of Articulate Project Space (APS) and the parameters of this exhibition proposition keep reminding me of an essay that Peter Schjeldahl wrote in 2003. By my estimations, APS falls into the realm of the art laboratory. See Schjeldahl's essay, 'Art Houses': 

Photographer: Felicty Jenkins
Splice@ Articulate Project Space| Margaret Roberts, Christine Myerscough, Jacqueline Spedding, Beata Geyer, India Zegan| Photographer: Felicity Jenkins

06/01/2013: I've submitted 'Museum of Fathers # 39: 30 irregular minutes' (1999-2013) and 'Museum of Fathers #40: Fog drawings' (2013) as my entry point into the Splice project parameters. Now that everyone has installed their works, I am looking forward to making objects that respond to the other participating artists' work.

Special thanks: Richard Crampton and Steven Mori 
India Zegan| Museum of Fathers #40: Fog drawings' (2013) [suite of 5 miniature drawings]| Photographer: Felicity Jenkins

23/01/2013: Additional works made in response to the Splice premise included, 
'Museum of Fathers #41: Raft' (2014)
Materials: plywood, consolidant and found objects. 
Dimensions: 66 and 68.7cm diameter. 
Notes: This is the first of what I imagine will be several sculptural 'Raft' works that are a direct response to Gericault's remarkable painting, 'The Raft of the Medusa' (1818-1819) which is held in the Louvre Museum.

Splice: Margaret Roberts' textile| Beata Geyer string element| Jacqueline Spedding ceramics and branches| India Zegan, grey raft| Photographer: Felicity Jenkins

'Museum of Fathers #42: Slow' (2014)Materials: coloured pencil on archival paper
Dimensions:175x 145cm  on archival paper| Margaret Roberts' floor piece| Photographer: Felicity Jenkins

India Zegan | Museum of Fathers #39: 30 irregular minutes' (1999-2013), Photographer: Felicity Jenkins

India Zegan | Museum of Fathers #39: 30 irregular minutes' (1999-2013), Photographer: Felicity Jenkins

Tuesday, 10 December 2013

Exhibition: 'Closer', Articulate Upstairs

Articulate Upstairs, Sydney
India Zegan | Museum of Fathers: Ghosts: ACR/MEJ #25-37, 2011-2013 | Exhibition: 'Closer', Articulate Upstairs, November 2013, installation overview | Photography: Felicity Jenkins

All works are blind embossed woodblock prints 
Printed on archival 300gsm Magnani Pescia paper, 100% cotton
Plate size: 29 x 23cm
Paper support: 42.5 x 30cm
Framed size: 53 x 42cm
Edition 7 + 2A/P + Printer’s copy
Printer: Nick Summers, Plum Press

The ghost-like, abstracted portraits, at points barely perceptible, have undergone a series of transpositions from sculptures, to photographs, to woodblock plates and now into blind-embossed woodblock prints. The original objects have been sunken into the paper substrate, returning them to their sculptural histories.

Special thanks: Mez Cornford.

Saturday, 7 December 2013

Upcoming group exhibition: Stonevilla Studio Fundraiser

The very funky 2013 Stonevilla Studio Fundraiser exhibition has come around again.

Date: Friday, 20th December
Time: 6-8pm
Venue: Chrissie Cotter Gallery, Camperdown
Address: Pidcock Street, Camperdown (pale 60s single storey building at the end of the street)

This is a great opportunity to pick up a small works- all priced at around $50- by quiet achievers such as Nick Strike, Mishka Borowski, Lynne Barwick and many others. That is, assuming you arrive before the indefatigable and whip smart Mr. Lake. 

I will be submitting a new miniature drawing.
India Zegan 'Night Fog #1-3', 2013| Pencil on archival paper

This fundraiser helps Stonevilla Studios present their annual Sculpture Prize.

Monday, 25 November 2013

Articulate turns 3

India Zegan| Museum of Fathers: Substrate #38 (2013)
Looking forward to showing Museum of Fathers: Substrate #38 (2013).

The exhibition opens with a birthday party for the gallery on Friday, 6th December 2013 from 6- 9pm.

Exhibition dates: 6 - 22 December 2013.
Opening hours: Friday to Sunday 11am - 6pm
Articulate Project Space: 497 Parramatta Road, Leichhardt (directly opposite the orange 'Kennards' building)

Tuesday, 15 October 2013

Forthcoming exhibition, 'Closer'

India Zegan and Lynne Barwick
Exhibition opens: Friday, 15th November 2013, 6-8pm

Venue: Articulate Upstairs
479 Parramatta Road,

Photographer: Felicity Jenkins 
Ghosts: ACR/MEJ #37, Ed: 5/7, 2011-2013  Photography: Felicity Jenkins
 I will be presenting the complete suite of twelve 'Ghosts, ACR/MEJ' (2011- 2013) blind embossed woodblock prints.

Special thanks: Nick Summers, Plum Press.

Recent viewings

13 October 2013: 
During a recent German language class break, I decided to take a small stroll down one of the corridors. This seemed more preferable than attempting to drink instant coffee. It was during this break that I discovered one of Matthys Gerber's works entitled 'Family' (2001) which is now belongs to the Sydney University Art Collection. Despite being poorly lit, one could still immerse oneself within the multiple layers in his work. The light values in Gerber's work frequently reminds me of the Northern Flemish School, both historical and contemporary living artists.

I clearly remember a conversation with Nick Waterlow many years ago where he re-iterated a conversation he had with Mattys re a show that Nick was curating for Artspace. Nick's only request to Matthys was, 'No painting, ok', followed by Nick's carefully timed pause and a solemn slow nod of his capped head. For this project, Mattys created a memorable installation where he took the paint off the canvas and reconfigured one of his paintings into a very playful 3d installation that the viewer accessed through a small viewing portal. Gerber's work has always subliminally reminded me of many exhibition excursions with my Mother and my younger brother in the mid 1970s  to view Stanislaw Ostoja-Kotkowski's early laser installations and experiments in Adelaide.

This then brings me to Nick Strike's current exhibition. 'October' at 55 Sydneham Road, Sydneham. Nick has once again presented the viewer with multiple entry points into his personal cosmology through filmic references, Hitchock's 'North by Northwest', Sergei Eisenstein's 'Oktober' and the re-occurring monolith from 2001 A Space Odyssey. The conceptual and psychoanalytic layering present in each work presents viewers with the opportunity to fall into the work as deeply as they choose, or as deeply as they are able to. This is not art as furnishing, fashion, asset or entertainment. Second and subsequent viewings of Nick's works reward astute viewers. I hope to get a second look next weekend before the exhibition closes.

Closing: Justin Henderson's 'Forever New II' exhibition took me to Wollongong's Project Contemporary Artspace last weekend. Justin's architecturally inspired installation presented a sardonic interpretation of the Marouba Beach landscape and aspirational value systems and their signifiers, such as the MacMansion, 'the boat' and the obligatory linguini van [SUV]. Henderson's works keep coming back to me, like John Spiteri's show earlier this year. I am always thrilled and curious when works come back to me when I least expect it. 

Saturday, 28 September 2013

Two movements

29 September 2013: Over the course of the last six weeks or so I have been using grey ink to draw up a grid of x and y axis on a ream of 20 year old acidic tissue paper. The work is slow as all lines are drawn freehand and the tissue tears easily when handled.  Subsequently, I have transported the entire ream to home which allows me to draw before work and then again in the evening after work. Once I have completed the entire ream, I can commence stage 2 which needs to be done in the studio.

At this point, there are three pieces in this suite of works. Listening to the ACO's Stradivarius violin the other night enabled me to imagine the third permutation. The aged tissue paper is a present from an insightful friend. 

1. The London Contemporary Choir's version of Bjork's 'Unravel'
2. Ane Brun's stunning cover of  Bjork's Jóga 

Thursday, 11 July 2013

Silicon moulds, 'O' and '30 irregular minutes'

 29 September 2013: Now that Erth's 'Dream of the Thylacine' installation preparations are complete, I can return my attentions to my own work. Working with the very funky Erth team has been very satisfying. The object making intelligence on the workshop floor is compelling. The engineering research and development time that they invest in each puppet's design and movement technology is noteworthy. Subsequently, the choreography of each character's movement is fluid and credible. 

Pleasing audio moments: Had the great pleasure of listening to the ACO's Stradivarius violin the other night at a small private recital at the White Rabbit. While listening to that glorious instrument, I remembered an article published a few years ago: A tired musician accidentally leaves his Stradivarius violin in a Manhattan taxi. Luckily for the musician, the taxi driver is a good guy and returns it immediately. To communicate his heartfelt thanks, the musician presents an impromptu concert for a group of taxi drivers in a Newark taxi parking lot. 

Other dates: 
3 October: I have been invited to submit a work for the AGNSW Staff fundraiser for Leukemia Research at Chrissie Cotter Gallery. I have submitted one of the blind embossed prints. 
11 October: Nick Strike opens at 55 Sydneham Road, Marrickville 
15 November: 'Closer': Lynne Barwick and I at Articulate Gallery, 497 Parramatta road, Leichhardt, Sydney

17 August 2013: The silicon mould for 'O' is now housed in its own archival storage box, in order to keep it pristine until its next use. I'm currently alternating between 'O', '30 irregular minutes' and a new object in order to keep moving all objects slowly forward.  My current temporary multi-work stations set up is working well. My wheelie office chair allows me to 'pull up' and work at one object for a while and then glide over on to the next object. The arrival of two pristine white dust covers for objects, a present from a canny friend, could not have been better timed. 

'O' still exudes an unmistakeable chemical odour. It arrests me each and every time I open my studio doors. A few days ago, I took 'H' outside to gass-off. Towards the end of the day,  the bottom section of 'O' absorbed the pink light of the soon approaching evening sky. I had not anticipated this.

Ich habe zwölf minuten.

August 2013: '30 irregular minutes' (verso) work in progress

August 2013: '30 irregular minutes' (recto) work in progress

9 August 2013: 'O' is still gassing off- its approximately three weeks since it was extracted from its mould. The cocktail of chemical odours that I encounter when I open my studio doors is quite overwhelming and nasty. The carbon filter that I have inserted into my air purifier greatly helps to neutralise the air in my room (after its been on for a little while) and to also filter airborne mdf particles.
I'm currently editing '30 irregular minutes'. When I finish, I intend to never work with mdf again. 'M' is made up of multiple sections of recycled mdf that I laminated together to achieve its required depth.

1 August 2013: Special thanks to Russell at Carb-I-Tool for replacing router bits that were stolen in the post. I can now get on with finishing '30 irregular minutes'.

21 July 2013: 'O' has now been cast and removed from its silicon mould. This object was birthed on 19/07/2013.  Cast by: Ramie MoussaMy task is now to take the object to its next stage.

Ramie Moussa laying down materials. The wall mounted black object on the back wall of his studio is an object that Ramie made earlier this year for the M.O.S.T open studio, 2013.
Final clean of silicon mould prior to laying down first coat of polyester resin with white pigment.
14 July 2013: Polyester resin tester
Silicon mould being put to sleep. Mould maker: Ramie Moussa

12 July 2013: Presto! A section of Ramie Moussa's silicon mould, for my hand routed mdf pattern, preparing to be put to sleep the other night. Zero air bubbles are present. The two part mould for 'Deal #4' is now also complete. 

Waiting on router bit deilvery to make final adjustments to remaining two patterns. These should be complete and lightly spray sealed by the end of this coming weekend.

Currently testing polyester chemicals and other elements for surface outcomes for this suite of objects: 3x sewer caps and 'Deal #4'. Mindful of chemicals 'off gassing' time- testers are incredibly pungent 24 hours after 'safe handling' curing at 5pm yesterday.

Have ordered double-wall archival board. I am now just waiting for it to arrive so that I can make a storage boxes for all three silicon sewer cap moulds and the 'Deal #4'.

Sunday, 9 June 2013

Monday, 6 May 2013

Museum of Fathers: ACR/ MEJ testing woodcut plates. Completed.

11 June: All prints are now at studio and in their respective archival edition box. Special thanks to Mez Cornford, Robert Lake and Nick Summers, Plum Press.

Museum of Fathers
India Zegan, 'Site/Unseen', 2003. Exhibited: First Draft Gallery, Surry Hills. Photographer: Ian Hobbs.

18, May 2013: One of five concrete elements from a work I made as my memorial piece to the Gay men who were murdered at the River Torrens in Adelaide during the 1970-80s. This suite of works was produced: 2003 Materials: concrete, white sand, latex, mdf and aggregate. Dimensions: 20 x 30x  40cm.  Iphone photo: India Zegan

I've uploaded these two images to contemplate the ongoing presence of the bevelled line in my work and my want to sink things into a material substrate. Or as the following testers for the woodcut plates below suggest, the disappearance of the object. 

Nick Summers, Plum Letterpress, India Zegan, Sydney
India Zegan, Museum of Fathers, ACR woodcut testers, 2013. All three tests destroyed 11/06/2013.

Nicholas Summers, Plum Letterpress, India Zegan

Nick Summers, Plum Letterpress
Notes: Testing ACR/ MEJ woodcut plates # 30 & 37 as blind embossed prints. Ghost forms are only visible in low light. Test destroyed 11/06/2013.
Printer: Nick Summers, Plum Letterpress
Iphone documentation: India Zegan

Thursday, 21 March 2013

Museum of Fathers: Performance: 'No more Bing Crosby Christmas'

Joseph Schenck, Fleur Camroux
Performance: No more Bing Crosby Christmas
Performer: India Zegan
Date: 9 March 2013
Duration: 30 minutes
Special thanks: Costume manufacture: Fleur Camroux
Assistants: Lynne Barwick and Filip Skorec
Photography: Joseph Schenck

Museum of Fathers: Introduction essay

‘[G]ambling can take possession not only of the future – in the form of feverish expectation – but also of the past… I sometimes believe that most gamblers are the stepchildren of love, whether of parental or sexual love, and that here at the gambling tables they are looking for fate to provide them with an adoption that ennobles them more than the origins that repudiated them.’ [i]

India Zegan has been creating her Museum of Fathers for the past two decades.  Her exhibits include her sculpture, installations and performance pieces, as well as documentary evidence. In a dialogue with conceptual art these works draw on autobiography, gender theory and literary narratives of masculinity and fatherhood.

Zegan’s employment in art institutions informs her practice and the scope of her ambition for her private museum. Her works are often mis-en-scènes for both museums and domestic settings. And they are titled in a mix of the conventions of collection registration and of family law documents. Her studio consists of a workshop and a mutable gallery of exhibiting spaces. In a series of conversations, personal and public, the walls and display units are reconfigured with each new installation.

Zegan is the product of three Eastern European parents who immigrated to an insular and uncomprehending Australia after their respective internments in World War 2 camps. The two men who served as Zegan’s fathers were both gamblers. Neither was able to sustain family obligations. One was a boxer and the other was a punting addict. Zegan had several stints in Children’s Homes and was fortunate to escape the forced adoptions still taking place at the time. In the tradition of artists such as Louise Bourgeois and Gregor Schneider who return obsessively to their formative sites and relationships, Zegan’s themes are renewed with each manifestation.

The French romantic painter Gericault is a key influence on this body of work. Of particular interest to Zegan is his Portrait of a Kleptomaniac (1822), one of five pictures commissioned to illustrate social and mental deterioration. For Zegan this portrait of an unkempt and disenfranchised man is a representation of the unsayable: of the truths we ignore or speak about in whispers. Another of Gericault’s works, Horses Hindquarters (c.1814-15), is an oil painting of the rumps of twenty-four horses. In Zegan’s reading there are connotations for the unpalatable facts of lineage, and an insistence that we stare down our histories to make visible what has been absent.

From the exterior of Zegan’s studio, viewers can look into a small showcase in which thirteen objects are laid out in the precise manner of museum display. Made up of a variety of builders’ fillers, Inverted Knuckle Busters: Deal Series #4-16, are individual, sculptural imprints of hand-grips. These moulds of the interior of the artist’s fist, also refer to the positions a boxer’s hand assumes in preparation for the sport. The materials evoke the domestic plugging of gaps, but the strangeness of the resulting forms suggest that our most intimate and familiar gestures might carry, and record, more than we can know.

The Deal works consider games of chance and the cards the gambler is given to wager with. Zegan is drawing parallels between her fathers’ betting and her own variety: the precarious finances, and the compromised paid careers and status, which artists stake, with their passion, against possible futures. Previous works in this series have included everyday objects sourced from the deceased estate of the artist’s estranged, biological father. These former possessions, now exhibits in the Museum of Fathers, are mementoes of past gambles. Together the Deal Series make up an investigation of ideas of inheritance.

Zegan’s research into the bequeathal of trauma is evident in works like the installation Playing Field, in which personal identity and responsibility is displaced into that of a gendered group. The bulging, stuffed Y-fronts are satirical portraits: sculptural caricatures of subjects who remain anonymous. In an accompanying performance, Raspberry Slurpee, Zegan assumes the guise of a toppled ‘corner doll’ in the installation space. Also known as ‘sorry dolls’, these are faceless, toddler-sized dummies, dressed in children’s clothes for the purpose of home ornamentation. Designed to lean shame-faced into corners, they too are effigies of unidentified scapegoats.

Hilarious, pathetic and creepy, the over-sized mannequin features in another performance: No More Bing Crosby Christmas. This is set in a second installation, H, which is only visible through the drain-hole of a sink mounted in an external studio wall. Inside is a corridor with a broken, haphazardly decorated Christmas tree, rotating on its side. The artist as sorry doll monopolises the viewing peephole for the duration of the performance, and the audience is only able to speculate as to what is being seen. This is the tragicomic territory of an especially warped family romance. And it is on this fraught and shifting ground of solemnity and tongue-in-cheek, of pathos and humour, that Zegan has constructed her Museum of Fathers.

Lynne Barwick, March 2013

[i] Walter Benjamin, ‘In parallel with my actual diary’ from Walter Benjamin Selected Writings, Vol2, Part 2, 1931-1934, Belknap Press of Harvard University Press, 1999

Wednesday, 20 March 2013

Museum of Fathers: Performance: 'Raspberry Slurpie'

India Zegan, Fleur Camroux, Joseph Schenck

Performance: Raspberry Slurpie
Performer: India Zegan
Date: 3pm, 10 March 2013
Duration: 30 minutes
Special thanks: Costume manufacture: Fleur Camroux 
Assistants: Rini Fokas
Sponsorship: Rivers Edge Turf, Sydney
Photography: Joseph Schenck

India Zegan, Fleur Camroux, Joseph Schenck

India Zegan, Fleur Camroux, Joseph Schenck

India Zegan, Joseph Schenck, Fleur Camroux

Monday, 18 March 2013

Museum of Fathers: Installation: 'H'

India Zegan, Sculpture Performance and Installation, 'Museum of Fathers', Eamonn McLoughlin
Installation title: H 2013

Materials: sink, windscreen wiper motor, found Christmas tree with ornaments and dripping water
Event: MOST @ Salmagundi Studios, 9-10 March 2013
Assistants: EMcLoughlin and Filip Skorec
Photographer: EMcLoughlin

India Zegan, Eamonn McLoughlin
Installation title: H 2013 (and viewing window for 'Museum of Fathers: Deals #4-16', 2012-2013 at proper left)
Materials: sink, windscreen wiper motor, found Christmas tree with ornaments and water
Notes: H required viewers to place their heads within the ovoid cavity of the sink in order to view the interior kinetic elements of this installation. On placing ones head in the the sink, viewers witnessed  a broken oscillating Christmas tree at the end of a 3.5m hallway.
Additional information: The dark ovoid form at proper left is the viewing window for Zegan's Museum of Fathers: Deals # 4-16 (inverted knuckle busters) 2012-2013. Assistant: Filip Skorec.
Event: MOST @ Salmagundi Studios, 9-10 March 2013
Photographer: EMcLoughlin
India Zegan, Eamonn McLoughlin
Notes: The interior kinetic elements of this installation were only hinted at by the light that was visible through the sink's drain hole.

Museum of Fathers: Deals #4-16

21 July 2013: Silicon mould for Deal #4. Mould maker: Ramie Moussa

India Zegan Sculpture Performance and Installation Eamonn McLoughlin

Museum of Fathers: Deals # 4-16 (inverted knuckle busters), 2012-2013
Materials: epoxy resin, resin, builders' bog, wood filler, polymer clay, recycled chipboard
Object studies: Bronze cast one Deal to follow in a limited edition of 5
Event: MOST @ Salmagundi Studios open day, 9-10 March 2013
Assistant: Filip Skorec
Photography: EMcLoughlin

Museum of Fathers: Installation: 'Playing Field 2'

India Zegan, Sculpture Performance and Installation, Museum of Fathers, Eamonn McLoughlin
Installation: Playing Field 2
Date: 9-10 March 2013
Materials: Y-fronts, turf, sand, ethafoam, ply wood 

Notes: Mixed media installation in Zegan's studio
Event: MOST @ Salmagundi Studios open day, 2013
Photographer: EMcLoughlin
Sponsorship: Rivers Edge Turf

Museum of Fathers: Installation: 'Playing Field 1'

India Zegan, Sculpture Performance and Installation, Museum of Fathers, Eamonn McLoughlin
Installation: Playing Field 1  
Date: January, 2013
Materials: Y-fronts, sand, ethafoam and ply wood
Notes: Mixed media installation in Zegan's studio. 
Photography: EMcLoughlin