Passage 1981-2008 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
FOOTPRINTS ON THE WATER
Footprints on the water 2005 Photography by Jenny Carter
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
ANY NEWS OF LAPÉROUSE?
Any News of Lapérouse? 2005 selected images State Library of New South Wales, Sydney
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
Olfactus I, II, III, 2008, hand made hibiscus paper, kozo paper, Jarrah frame and other things, 3 panels, 134 x 67 cm each
Photography by Jane Allen
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.
Ex-île, 2007/09 Work in NSW, Victoria, Queensland, National Library and Stanmore University Library, USA
Collaboration Nathalie Hartog-Gautier, Penelope Lee and author Daniel Maximin.
Read catalogue essay >>
Photography by John Lee
Wood cover with leather straps, Japanese book binding, 23 pages hand made cotton rag paper, 5 watermarks, 7 prints, 31 x 31cm.
INVISIBLE PATHWAY OF WORDS
Invisible Pathway of Words 2000-01 Photography by Janny Grant and Nathalie Hartog-Gautier Perspex, 120 x 233 cm
OF GLOBAL APPEARANCE
Of Global Appearance 2001 Photography by Marinco Kojdanovski and John Lee
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.
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