Interview is for exhibition “Escale Australienne” starting in June 2021. The interview is with Gabrielle Baglione, Responsable du secteur des collections, Musée d’Histoire Naturelle, Le Havre.
Read moreJali
My art practice, over the years, has focused on the concept of the voyage, its transformations, attachments and associations, especially when place interconnects with memory and identity.
In 2009 I travelled in Rajasthan when in residency in Udaipur.
Read moreEarthlines: Exploring the limits of symbolic knowledge systems
Marks on paper, marks on the ground, marks anywhere can be indicative of an event or a significant change. They indicate boundaries, the intersection or meeting place of two different systems. The lines separating systems are the lace work making the fabric of the universe. They denote both the mutual interdependence and individual autonomy of systems on either side of the boundary.
Read morePassing by the tree, the skin of memory (artist statement)
This body of work is about my aunt who suffers from Dementia. She remembers very little of the past and to visit her is like entering another world. I wanted to remember our time together. When I see her or think of her I attach images which, to use Proust’s expression, “will break the spell”.
Read morePattenden, Rod. Passing by the tree, skin of memory 2012 (essay)
THE SKIN OF MEMORY
by Rod Pattenden
Memory begins at the fingertips. It is like a momentary prick of anticipation where ‘pins and needles’ stitch together meanings. Life is filled with edges and surfaces that brush up against us as the literal fabric of life.
Read moreHartog, Francois. Scanning Memories, travelling exhibition, 2009-10 (catalogue French)
D’abord regarder, laisser l’œil être saisi par ces formes et ces couleurs, passer d’une œuvre à l’autre, certaines immédiatement identifiables d’autres non, se faire réceptif à l’atmosphère qui s’en dégage et ainsi parcourir ce jardin de mémoire, que Nathalie Hartog-Gautier nous invite à visiter.
Read moreDr Lawrenson, Anna. Scanning Memories, travelling exhibition, 2009-10, ill (catalogue)
Any form of nature which moves us strongly by its beauty… is worthy of our best efforts… [but] the question comes, how much do we see and how much are our ideas… made up by comparison with those we have already known?
Nathalie Hartog-Gautier is constantly searching through archives, image banks, memories and landscapes looking for new ways to ‘see’ as an artist.
Read moreHartog, François. Scanning Memories, travelling exhibition, 2009-10, ill (catalogue English)
First and foremost, look, let the eye absorb forms and colours, moving from one work to another, some immediately recognisable others not, preparing to appreciate the atmosphere emanating from them, walking through this Garden of Memory that Nathalie Hartog-Gautier invites us to visit.
Read moreHartog-Gautier, Nathalie. Sighting the Whale, Mosman Art Gallery (exhibition statement)
Size : 3 panels, 134 x 67 cm each
Medium: hand made hibiscus paper, kozo paper, Jarrah frame and other things.
ARTIST STATEMENT
In Fragonard’s perfume museum in Paris there is a three panelled cabinet containing different jars of flowering extracts. The perfume’s composer, “the nose”, would seat at a desk in front of the cabinet to create a floral scent. 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.
This entry was posted in Catalogues and Statements on November 13, 2008
Davis, Rhonda. Transitions, Macquarie University Gallery, 2008, ill. (catalogue)
BOXES FOR MEMORY
Nathalie Hartog-Gautier’s “Boxes for Memory” expands upon the idea of memory as a fluid and retrievable modal that can be preserved as an archive. The constructed specimen boxes act as memory chambers, recording devices to protect and recall the artist’s childhood memories of her family’s property in Le Maine, France.
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