Saturday, 27 February 2016

News: Studio visits 2016; New series: The tree would only be found in higher altitudes

Sydney studio visits can be arranged on Fridays- and at other times- by appointment. **Please enter the words, 'Studio visit _March ( or respective month)' in the header of your note.

Autocartographical drawings: The tree would only be found at higher altitudes is the name of a new body of large scale automatic drawings that I am currently working on, 150cm x 105cm. The title of this body of work is also the title of the first work from this series that I have already completed. I am currently working on three new drawings on average 3-4 full days per week. I expect that these will be completed and professionally documented in late April/ early May.

An earlier object, 2014 (2015) marked the beginning of this new trajectory into colour. As I have mostly listened to minimal music for the last few years, it was inevitable that my audio habits would seep into my studio practice. This audio absorption results in a minimal palette of green and grey tones. 

India Zegan| The tree would only be found at higher altitudes [I] (2014-2016)| Materials: Pencil on archival Fabriano paper | Dimensions: 150x 110cm | Documentation: Felicity Jenkins

Note: I have taken a slight and inescapable detour with my Museum of Fathers work.

Thursday, 18 February 2016

Maquettes for new sculpture-drawings started on the 1st Jan 2016

Notes: Maquettes for new sculpture- drawings that I began working on the 1st January 2016. In this photo, the drawings have been put to sleep. The photographs that follow below document the works in a non-sleeping positions. Photography: Felicity Jenkins                                                                                

When the opportunity arises, I'd like to make these to scale for public exhibition. The tallest element would measure approx. 200cm and width would be scaled accordingly. The current permutation of these maquettes in this set of photographs reflects my need to rationalise my studio space. Photography: Felicity Jenkins

The presentation/permutation of this suite of works would change once the works are made to scale. Photography: Felicity Jenkins

Section detail. Photography: Felicity Jenkins

Materials: Archival pencils, Fabriano archival watercolour paper (200gsm), plywood, acid free glue and metal hinges. Photography: Felicity Jenkins.

Additional notes: I am also working on another suite of large scale drawings, 150x 110cm. The first completed drawing in this series is titled, The tree would only be found at higher altitudes (2014-2015). I am currently working on the next three drawings in this suite.

Tuesday, 9 February 2016

Walking in Berlin and Sydney


 During the period Jan- August 2015 I would regularly walk thought the Camperdown park, several times a week, on my way to and from my studio. Camperdown is an inner city park in Sydney, near Sydney University.

Documentation: Felicity Jenkins
India Zegan: 2014 (2015), Materials: Toothpicks, dowel, plywood, archival paper and pencils. Documentation: Felicity Jenkins. Notes: For additional info on this work, please see my entry dated 25 Jan: Documentation_backlog 2014-2015.

Wednesday, 3 February 2016

Interwoven strands: language, culture and identity

As a first generation Australian-Pole, I grew up in a bi-lingual home with Polish and Russian spoken as frequently as English. Subsequently, themes surrounding transplanted eastern European narratives often appear in the conceptual and feminist framework that underpins my conceptual studio-led practice. 

My practice currently has two trajectories. They are as follows:
The first is my Museum of Fathers. This self-directed project functions as a formal museum in my imagination. While the Museum of Fathers has no formal physical home, it now has a collection that now numbers some 60+ artefacts. Artefacts include objects, blind embossed prints, photographs, mixed media works and performance. My employment history with art and museum collections (AGNSW, ANMM, CoFA and UNSW Art Collections and White Rabbit) and with major art events (Biennale of Sydney and Kaldor Public Art Projects) informs my practice and the scope of my ambition for my museum. My works are often mis-en-scènes for both museums and domestic settings and are titled in a mix of the conventions of collection registration and of family law documents. The ongoing aims of this project are to explore constructs of gender and fatherhood.

The second trajectory is based around experimental carto-autographical drawings. These drawings hover gently between firm definitions of drawing and sculpture. Example: Die Papageien[1] (trans: the Parrots) drawings have been purposefully conceived to occupy both the wall and the floor when exhibited. I am interested in how these experimental drawings, in addition to more formal floorworks, mark the beginnings of space and the universal experience of being. As the floor is what separates and joins us to the earth, it is also a loaded zone of connection and loss. In contemporary urban city spaces we traverse a variety of metaphorical and material floors, such as pavements and laneways, on a daily basis. The floor is also a border space and a marker of our temporality. The floor also physically marks the beginning of agency.

[1] This suite of drawings is directly inspired by the green parrot that appears in the mid sections of each panel of Albert Tucker’s Arrival at Coopers Creek I-III (1968) which is held in the AGSA collection, Accession #: 993P15; 20012P4; 20023P13.