Friday, November 28, 2014

IMPRESSIONS 2014 at the Australian Print Workshop

Unfortunately I will miss the opening of this illustrious biennial event as I'm currently undertaking a residency at the Art Vault in Mildura (see previous three posts). Fortunately IMPRESSIONS 2014 runs until 28 February 2015, so there will be ample time to see the show.

There are some fantastic artists involved, as this flyer attests. (Click on it to enlarge).

To preview my own print edition for IMPRESSIONS 2014, scroll down to Blog Post October 18: Cotton Harlequin Bug Woman #1.

Wednesday, November 26, 2014

Moth Woman Vigilantes take Mildura

This mini-zine made an earlier appearance on the Art Blog in April, around the time of the legendary Clunes Booktown, for which it was created. But we believe it equally has a valid place in the Homo-insecta exhibition at the Art Vault in Mildura, which opens tonight.

The Moth Woman Vigilantes are arguably the most highly evolved of the Insect Women - indefatigable crime fighters and tireless righters of wrongs - although there are many who contend they are entirely on the wrong side of the law, with world domination firmly in their sights. Others (myself included) firmly believe we could do a whole lot worse, and that down here in in the depths of Australia, we already are.

Republic of Mothstralia - Coins of the Realm, 2014, mini-zine, photocopy, 10.5 x 7.5 cm, Edition: 100

To peek inside the zine, visit Moth Woman Press HERE.

Saturday, November 22, 2014

Zine launch at the Art Vault

Early on Monday morning Shane Jones and I will set off for the Art Vault in Mildura, our car laden with artwork and art materials in anticipation of the solo exhibitions and residencies we’ll be undertaking there over the next three weeks. (See also previous post). The last of the artworks for my own show, Homo-insecta, was collected from the framer earlier today.

In the meantime, I’ve been working on six eight-page mini-zines, all of which will be launched on opening night, November 26, 6 - 7 pm. The first three, Moth Women 1 – 3, hark back to some of the first insect women. Zines 4-5: Homo insecta 1 and 2, showcase more recent insect women. The sixth and final zine, The Yellow Butterflies, is based on a slightly re-edited version of a fairy story I wrote in 2013.

The zines are something of an experiment; they were created with the aid of iPad apps: Strip Design, Buttefly Cam, Pic Collage and Phoster.

For selected page views and to learn more about individual zines, visit Moth Woman Press, Blog Posts November 13 - November 21 inclusive.

The exhibitions Deborah Klein: Homo-insecta and Shane Jones: This Sporting Life run from November 26 - December 15. For full details, click HERE.

Pictured top: 
Mini-zines: 2014, photocopy, 10.5 x 7.5 cm
Moth Women 1-3, each signed and numbered editions of 100
Homo-insecta 1-2, both signed and numbered editions of 80
The Yellow Butterflies, signed and numbered edition of 100

Saturday, November 15, 2014

Homo-insecta: an exhibition of linocuts

Selected linocuts from my ongoing series of insect women will shortly be exhibited in the solo exhibition Homo-insecta:

My work will occupy the smaller of the two galleries at the Art Vault. In the main space will be This Sporting Life, an exhibition of recent paintings by my partner Shane Jones.

If you find yourself in Mildura between 26 November and 15 December, we'd love it if you stop by and say hello.

Thursday, November 13, 2014

Cotton Harlequin Bug Woman #2

Recalling the colourful Commedia dell’arte character from which she takes her name, Cotton Harlequin Bug Woman is a hybrid of Tectocoris diophthalmus, a bug with bright metallic colours. Found in northern Australia and also common in agricultural areas, it has a long proboscis that is used to pierce plants in order to feed on the liquid nutrients.

Cotton Harlequins are particularly prevalent at this time of year, which enabled the documentation of this never before seen sub-species.

The same homo-insecta was the subject of a linocut of the same name, made for the forthcoming Australian Print Workshop exhibition IMRESSIONS 14 (see blog Post October 18).

Pictured top: 
Cotton Harlequin Bug Woman, 2014, watercolour, pigmented drawing ink and pencil, 41.5 x 30 cm.

Pictured Below:
Developmental stages of the work.

Friday, October 31, 2014

Happy Halloween

In the spirit of if you can't beat them, join them, I give you my own Halloween Female Super Hero: St. Martha, the Patron Saint of Housewives (1993, oil on canvas, 1370 x 510, collection: the artist).

Centuries before Buffy, there was St. Martha, who was responsible for slaying a bloodthirsty dragon (AKA the Tarasque) that was laying waste to the countryside of Tarascon, an ancient town on the Rhône, situated between Avignon and Arles. According to legend, St. Martha succeeded in capturing and taming the dragon, which the townspeople subsequently destroyed. For more about St. Martha and the Tarasque, click HERE.

The work was made in 1993 as part of a three-month Australia Council Residency at the Cite Internationale des Arts in Paris. Its key point of departure was the superb painting, St. Michael by Piero della Francesca (1469). Originally a side panel of an altarpiece, it is now one of the gems of the Sainsbury Wing of London's National Gallery. You can view it HERE.

Saturday, October 18, 2014

Cotton Harlequin Bug Woman #1

It's hard to believe that only this time last week I was heading to the Australian Print Workshop for the first day of the APW Print Fair.

Coincidentally, the project that followed closely on its heels (started pre-print fair but finished this week) is also for the APW: their biennial Impressions exhibition. Because I'm doing a residency at the Art Vault in Mildura from 24 November, I'll miss the opening of the show (this year it's on 28 November) an event I very much enjoy. It's also the reason I've had to get my edition done ahead of time.

Following are some key stages in the metamorphosis of my Impressions print, Cotton Harlequin Bug Woman, from lino block to completed edition, numbered, titled, signed and ready for delivery to the APW.

The Cotton Harlequin Bug is a member of the Jewel Beetle family. Like the linocut Jewel Beetle Woman made early this year in collaboration with APW Master Printer Simon White, I've used pigmented drawing inks to hand-colour the work. The inks have a marvellous transparent luminosity that captures the glowing colours of these glorious insects far more successfully than watercolours ever could.

Cotton Harlequin Bug Woman, 2014, hand coloured linocut,
20 x 15 cm, edition 10

Monday, October 13, 2014

APW Art Fair pics

A big thankyou to everyone involved in last weekend’s APW Print Fair. It has been pronounced a great success, with a new record set for visitor attendance. There was much lively conversation, both with visitors and exhibiting artists, and an overwhelmingly positive response to our work.

Fellow APW Print Fair artists were Elizabeth Barnett, Lauren Carter, Jazmina Cininas, Marisa Corral, Louise Donovan, Jonathan Guthmann, Kate Hudson, Kyoko Imazu, Nina Magee, Ellie Malin, Stephanie Rampton, Tom Sevil and Georgia Thorpe.

My stand at the APW Print Fair. Photograph by Shane Jones.

Pictured with my good friend, APW Print Fair Artist Jazmina Cininas. (Jazmina's amazing
Girlie Werewolf reduction linocuts can be glimpsed on the righthand side).
Photograph by Shane Jones. 

The print fair in full swing. Pictured far left: DK with APW Print Fair artist, Kate Hudson. Photo credit: APW.

APW Print Fair artists Marisa Corral and Georgia Thorpe share a quiet moment.
Photograph: DK.

Among the many visitors were three of my favourite people. From left to right: Euan Heng, Catherine Heng, and Shane Jones.
Artwork on the wall far left is by Jan Senbergs and background, right, by Andrew Browne.
Photograph: DK.

Thursday, October 9, 2014

Your Invitation to the APW Print Fair

Top: Enchanted Hair Ornament #3, 2009,
hand coloured linocut, 30.5 x 23.5 cm, ed. 30

Apparently the cutting, mounting, wrapping and labelling that currently consumes my waking hours has become compulsive (see also Blog Post Saturday, 4 October). I've added several more works to those I'll be showing at this coming weekend's APW Print Fair. As a result, there will now be complete sets of the Winged Women, Moth Masks and Enchanted Hair Ornaments linocuts. Pictured above, atop the invitation, is Enchanted Hair Ornament #3 (2009) and directly below are five additional Winged Women (2010).

Winged Women, 2010, linocuts, 32 x 32 cm ed. 30

All of the prints, particularly the Moth Masks and Enchanted Hair Ornaments, have had relatively little exposure in Melbourne. Their first and last appearance was in the 2009 group exhibition I saw and heard of none like me, curated by the inimitable Rona Green, so it's likely that many who visit the Print Fair will be seeing them for the first time. 

I'll be there on both days and look forward to seeing you.

APW Print Fair
Australian Print Workshop
Fitzroy, 3065
T: 03 9419 5466

Hours: Saturday 11 and Sunday 12 October
10 am–5 pm each day.

Wednesday, October 8, 2014

Goldfields Printmakers opening event at Firestation Print Studio

Amidst the seemingly endless preparation for this weekend's APW Print Fair, I momentarily pause, catch my breath and recall the lively opening of Goldfields Printmakers last Saturday, 4 October at Firestation Print Studio. I'm very proud to be part of the GP group and this super show. It was fantastic to meet the Firestation Workshop Manager Edith May at long last, catch up again with many of the talented Goldfields Printmakers and see so many other faces, both familiar and unfamiliar.

Firestation Print Studio, Armadale

James Pasakos and fellow GP artist Jackie Gorring discuss James's work (far right)

Goldfields Printmaker and Treasurer David Pudney (centre). My two prints are on the far right, top row. Directly
underneath them are two superb prints by Loris Button

Firestation Print Studio Vice-President Myra Kaufman (in white shirt, third from left), James Pasakos
(fourth from right) and Antoinetta Covino-Beehre (third from right) were among the throng

Dr Carole Wilson delivers the opening address to an engaged and appreciative audience, including Annie Drum
(third from left)...

…Antoinetta Covino-Beehre (left) and (far right): Shane Jones, Jackie Gorring and David Pudnam

Fourth from left: GP artist Janette Wotherspoon, Nola with her sister GP artist Loris Button
and Antoinetta Covin-Beehre 

James Pasakos and DK

James Pasakos, Carole Wilson and DK

Far left: Firestation Print Studio Manager Edith May

It was an unexpected treat to see Geoff and Bronwyn LaGerche. Geoff was Head of Printmaking
at Chisholm Institute (now Monash University) in my undergraduate days. He hasn't changed a bit.

Thank you to the GP members who worked so hard towards this, with special thanks to our fearless leader, the tireless James Pasakos and to Dr. Carole Wilson for her terrific opening address. For those who haven't yet had a chance to see the show, Goldfields Printmakers runs until 18 October.

Saturday, October 4, 2014

APW Print Fair - a preview

The Australian Print Workshop's APW Print Fair opens next weekend, 11-12 October. As one of the participating artists, much of my time of late has been spent mounting, packaging and labelling my work (see below).

I’ll be showing selected prints from 3 separate, but related bodies of work, namely the Enchanted Hair Ornaments (2009) the Moth Masks (2009) and the Winged Women linocuts (2010).

The Enchanted Hair Ornaments, 2009, hand coloured linocuts, 30.5 x 23.5 cm, ed. 30

Moth Masks, 2009, hand coloured linocuts, 15 x 15 cm, ed. 30

Winged Women, 2010, linocuts, 32 x 32 cm, ed. 30

The insect women wrapped and ready for the Print Fair

We have high hopes for fine weather and a swarm of visitors. I hope some of you will be among them. If you can make it, be sure to come up and say hello.

APW Print Fair
Australian Print Workshop
210 Gertrude Street
Fitzroy, 3065
T: 03 9419 5466

Hours: Saturday 11 and Sunday 12 October
10 am–5 pm each day.

Tuesday, September 30, 2014

Goldfields Printmakers at Firestation Print Studio

Artist/educator James Pasakos founded Goldfields Printmakers in 2012 as a point of connection for printmakers whose practice is based in the Goldfields region of Victoria. In recent times the group has exhibited at the Art Gallery of Ballarat, Art at Wharepuke, Kerikeri Bay of Islands, Northland, New Zealand, and IMPACT 8, the International Print Conference in Dundee, Scotland.

On Saturday, October 4, the Goldfields Printmakers will make their Melbourne debut in an eponymous group exhibition at the Firestation Print Studio in Armadale.

Also making her Melbourne debut, if only in linocut form, is Moth Woman Vigilante #1 (pictured below).

Deborah Klein, Moth Woman Vigilante #1 (second state) hand coloured linocut, 15 x 15 cm, 2014

Exhibiting artists are:

Anne Langdon
Barbara Semler
David Pudney
Deborah Klein
Dianne Longley
Jackie Gorring
James Pasakos
Janette Wotherspoon
Josephine Walsh
Kim Barter
Loris Button
Melissa Proposch
Val McCann
Rosemary Eagle 

The exhibition will be launched by Dr. Carole Wilson, Honours and Research Degrees Co-ordinator – Creative Arts, Federation University, Ballarat.

Please join us at the opening event:

Saturday 4 October 3 – 5 pm,
2 Willis Street
Armadale Vic
Gallery hours: Wednesday-Saturday 11 am – 5 pm

The exhibition runs until 18 October.

Tuesday, September 23, 2014

Chrysochroa buqueti Beetle Woman

The Buprestidae family of Jewel beetles is named for their spectacular iridescent colours. In my opinion, Chrysochroa buqueti is one of the finest. This is no mean claim, as to date, over 15,000 of the species are known.

Rather less is known about the recently discovered hybrid pictured here, one of two homo-insecta that I managed to capture on paper in between attending screenings at the recent Melbourne International Film Fesitval. (See also blog post Tuesday, August 19).

Despite her flamboyant colours, the Chrysochroa buqueti Beetle Woman proved to be very reticent; she was hard to pin down, metaphorically speaking. Several additional sightings were required before an accurate likeness could be captured and the image finally published.

Pictured above: Chrysochroa buqueti Beetle Woman, 2014, watercolour, 41.91 x 29.72 cm. 

Pictured below: a sequence of developmental images, followed by the homo-insecta's not-so-distant forbear, the Malaysian Chrysochroa buqueti beetle. 

Tuesday, September 16, 2014

Stigmodera jewel beetle woman

It seems like a year, rather than just a couple of weeks, since Shane and I were in Adelaide and longer still since Stigmodera jewel beetle woman first saw the light of day. In fact, the work was completed just before we left for South Australia. It was only after we returned that I remembered the species of jewel beetle (Classification: Coleoptera: Buprestidae) from which the Stigmodera jewel beetle woman evolved is from the Adelaide Hills, where Carrick Hill House is located. (See previous post and scroll down). It's very likely that clusters of Stigmodera beetles were observing us (at least, if they had nothing better to do) as we explored its sweeping garden. Most adult jewel beetles feed on the nectar from flowers and those at Carrick Hill are currently blooming in all their springtime glory.

Pictured below: completed Stigmodera jewel beetle woman, 2014, watercolour and pigmented drawing ink, 41.91x 29.72 cm, followed by two images of the work in progress:

Tuesday, September 9, 2014

A visit to Adelaide, Part 2

Following are more pictorial highlights of our recent sojourn in Adelaide.

Shane in the Morgan Thomas Gallery of the magnificent Art Gallery of South Australia

DK admiring the J. W. Waterhouse painting Circe Invidosa, 1892, oil on canvas

The Arts and Crafts movement is showcased in the Art Gallery of South Australia's basement,
including the Morris & Co. tapestry The Adoration of the Magi, purchased by the gallery in 1917 

The original State Library of South Australia

Some of the library's treasures

Shane admires the view from the first floor level of the State Library of South Australia

Back in bayside Brighton, their art deco cinema seems to have a more secure future than our Astor Cinema in Melbourne

Shane and wooden companion awaiting coffee outside one of Brighton's delightful cafes
that have sprung up in recent years

One of our favourite places in South Australia is the historic property Carrick Hill, located at the foot of the Adelaide Hills in suburban Springfield. Carrick Hill House was completed in 1939. It was the home of Sir Edward Hayward and his wife Lady Ursula (née Barr-Smith). The house, its contents and grounds remain largely intact. For me, Carrick Hill’s greatest draw card is its extraordinary permanent collection, especially the twentieth century British art, including works by Stanley Spencer, Augustus John, Gwen John and Jacob Epstein. After Sir Edward Hayward’s death in 1983 (his wife had predeceased him) the house was bequeathed to the state. You can read about the property HERE and its collection HERE.

Part of Carrick Hill's superb garden

Robin Rogers and Shane Jones approaching Carrick Hill house

Carrick Hill entrance hall

Paintings by Stanley Spencer: Monkey Puzzle Tree and Sunflowers

Bust of George Bernard Shaw, 1934, by Jacob Epstein

Albert Einstein sculpture captured in a linocut by Australian artist Eric Thake
paired with the original work (1933) by British sculptor Jacob Epstein 

Robin and Shane viewed from Carrick Hill's fine oak staircase

Setting off to explore Carrick Hill's garden 

On the way home from Carrick Hill my uncle was keen to show us the grave of composer Percy Grainger. I’ve always found old cemeteries fascinating, but had never before visited Adelaide Cemetery. By sheer accident, I discovered the grave of Adelaide born writer and artist Barbara Hanrahan. Back in the 1980s I met her on a couple of occasions, once at the Print Council of Australia, where I worked as an administrative assistant, and some time later when I was printing in the access workshop of the former premises of the Australian Print Workshop in Fitzroy. She was a warm gentle, person, and it was a thrill to meet her. I’m a longtime admirer of her books and artwork, which had a considerable influence on my early work so coming upon her grave was especially poignant.

Barbara Hanrahan's family grave, Adelaide Cemetery

A small selection of Barbara Hanrahan’s work can be viewed HERE and there is a short biography HERE. To hear Hanrahan herself speak about her work, click HERE.