SITE 2018

Congratulations to our graduating students who participated in Dunedin School of Art’s SITE 2018 Kirsty Lewry (BVA Honours), Kipp Richards (BVA), Maisie Robinson (BVA) and to Michaela Joy who completed her BVA this year. You all put a lot of work into your final results and we will miss your busy and colourful studio presence. All the best for your future endeavors!

site studios

Kipp, Kirsty and Maisie’s studio spaces

Kirsty’s work draws on the art of ikebana but instead of flowers she uses vegetables. Her techniques involve digital still life using both the real and printed cutout to question notions of hyperreality. Digital light boxes made using finely crafted cardboard, including one with a moving image (TV screen) background are used to display her works.

Kipp’s practice engages with the historical Constructivist movement and his passion for photographing local modernist architecture. His photographs combine with geometric shapes, layers and colour that are screenprinted or stencilled to produce ‘street style’ works.

Wallpaper and the disruption of scale was the concept that drove Maisie’s project. The two wallpapers she produced at both full size and scaled within a dolls house used everyday objects of a comb and a teacup (a nod to Meret Oppenheim’s fur teacup), creating a surrealist vibe. The multiple full size wallpaper strips cascaded down the wall and onto the floor.

Keeping it hyperreal

Making their mark

 

Advertisements

Impact 10 Print Conference

Encuentro / Encounters, Santander, Spain 1-9 September 2018

Impact Santander

Neil Emmerson, Flight (370), 2018, screenprints on card at CASYC, Santander

Marion Wassenaar, Dream work, 2015 carbon remains of Sigmund Freud’s book ‘The Interpretation of Dreams’ in reagent bottle at MUPAC, The Museum of Prehistory and Archaeology, Santander

Marion Wassenaar, Refugio Shelter, 2018, digital text in emergency blanket packet for the mini print exhibition at the lighthouse, Faro Cabo Mayor Art Center.

As well as experiencing the many and varied exhibitions and venues, Marion also presented a paper at the conference. The conference included keynotes by Alicia Candiani, Juan Martínez Moro and Michael Kempson.

Image below from the keynote by Alicia Candiani shows work by Graciela Sacco, Portrait, from the Admissable Tension Series, 2011 – 2013

burst

There was even time to enjoy the sights of Santander with blue skies, beautiful beaches and captivating culture.

Our thanks to Andrea Juan and Gabriel Penedo Diego and their team from SM Pro Art Circle for organising the memorable event.

The Print Laboratory welcomes: The News Network

Invitation_TNNTheNewsNetwork_ForresterGallery

This slideshow requires JavaScript.

Installation views of the exhibition with works by Steve Lovett, Richard Harding, Alison Alder, Marian Crawford, Marion Wassenaar, Trent Walter, Neil Emmerson, Bon à Tirer and Emboss.

Included in the exhibition is a series of custom prints produced in the P Lab by Kipp, Maisie and BaT & Emboss as a fundraiser for the Forrester gallery. The prints are a response to the ornamental plaster ceiling rose in the main gallery.

 

TNNP at c3

The News Network Project at c3 Contemporary Art Space, Abbotsford Convent, Melbourne, 11 April – 6 May, 2018.

Alison Alder, Marian Crawford, BaT & Emboss, Neil Emmerson, Richard Harding, Trent Walter and Marion Wassenaar.

The News Network Project examines the dissemination and ubiquity of the News, and the relationship of this dispersal of information to the fine art print. This network of artists responds to current events and explore how the fields of the news, current events, the print and contemporary art intersect. Printed materials have a particular, historical relationship with current events that are made public in newspapers, magazines, websites and other media outlets. Responding to and recontextualising these materials, The News Network Project pairs the print’s capacity for sharing and spreading topical information with the special significance of the print as fine art object utilising strategies of repetition, authenticity and repositioning.

Works: Alison Alder Annotated News: Series 1-10, 2018; Marian Crawford Fake pearls, 2018; Emboss & BAT Panama Papers 2016-2018; Neil Emmerson The Picnic 2004; Richard Harding Pinkwashing 2018 & Silence and Boy Citizen 2017; Trent Walter Island Island  2018 and Marion Wassenaar 1/1200 Let’s Do This 2018.

This slideshow requires JavaScript.

 

SITE17

A huge congratulations to our graduating students and we wish you well for your future!

Catherine MacKintosh BVA – Dirty Laundry (2017) investigates the many layers contained within the human psyche through a series of printed figurative illustrations compiled into a fold out book and a drawing direct on the wall.

April Ojala BVA – Still Life series (2017) explores changing views on industrialisation and the use of finite resources through a series of six etchings with a contemporary take on the work of Giorgio Morandi.

Madeline Robberts BVA – PETIT GESTE (2017) explores the assumption that an image can express without fitting into a specific context. Through screenprinting the work responds to non-representational indexical marks.

Jennifer Hopkinson Graduate Diploma – BREXIT (2017) is a text based collection of etchings using layers of multiple plates that deals with the politically driven referendum about the departure of Britain from the European Union.

(text excerpted from artist statements in Yearbook 2017)

Year 2 exhibition

Congratulations to our two Year 2 students, Maisie and Kipp on their wonderful show upstairs at 140 George Street. Their works looked amazing in the space which was shared with two Year 2 sculpture students.

The show opened Wednesday night after their assessments were done and dusted and ran from Monday 6th – Thursday 9th November 2017.

Well done Kipp and Maisie and we’ll see you back next year for more exciting projects!

Art and Revolution

Print 6Art and Revolution Exhibition
9 – 21 October 2017
Dunedin School of Art Gallery
in association with the Art and Revolution Symposium.

Bon à tirer and Emboss staged a risograph print performance on the opening night of the Art & Revolution Exhibition. A multiple print run of B4 posters sped through the risograph and spilled from the balcony above the gallery door cascading over the opening night audience.

Eight posters originating from the May 1968 Paris student uprising and produced by Atelier Populaire were altered with additional collage elements to reflect today’s issues of capitalism, power and workers rights.