MY MONSTER: the catalogue

MY MONSTER: The Human-Animal Hybrid, published by RMIT University Gallery, Melbourne
Cover art: Kate Clark, Gallant, 2016 (detail)

Back in 2018, the merging of animals and humans into fantastical hybrid creatures was extensively explored in MY MONSTER: The Human-Animal Hybrid at RMIT University Gallery, Melbourne. Impeccably curated by Dr. Evelyn Tsitas, the exhibition ran from 29 June – 18 August.

Thanks to the recent publication of a handsome catalogue, comprising a foreword by Helen Rayment, Acting Director of RMIT Gallery, an insightful introduction by Professor Barbara Creed and an informative essay by Tsitas accompanied by exhaustive installation views, it’s now possible to revisit this remarkable show at will. 

Installation view of Ladybird Woman, 2014, watercolour, 41.91 x 29.72 cm, RMIT University Gallery, Melbourne, June 2018

Three of my watercolours, including Ladybird Woman (pictured above) were part of MY MONSTER.

To page through the e-catalogue, go here: https://rmitgallery.com/digital/my-monster-the-human-animal-hybrid-3/

My Monsters at RMIT Gallery

Shortly before My Monster: the Human-Animal Hybrid officially opened its doors (to a queue of 1,400 people, I'm reliably informed!) we were invited to a special curator's talk. During that relatively quiet time we seized the moment to take these photos. That's me above, pictured with two of my monstrous creations. (Photo credit: Shane Jones).

I'm delighted with the way my works are presented. Ordinarily I'm not a huge admirer of patterned walls in contemporary art exhibitions - they have a tendency to overpower the work - but in this case, I think it works brilliantly.

Actinus imperialis Beetle Woman, watercolour (installation view at RMIT Gallery)

Ladybird Woman, watercolour (installation view at RMIT Gallery)

There is a substantial article about the show in yesterday's Age newspaper (Saturday, June 30). My watercolour Actinus imperialis Beetle Woman (also pictured above, third from top) is reproduced, along with works by Kate Clark, Peter Ellis, Rona Green and a photographic portrait of My Monster curator Evelyn Tsitas.

Your Invitation to MY MONSTER: THE HUMAN-ANIMAL HYBRID

Deborah Klein, Ladybird Woman, 2014, watercolour on Khadi rag paper, 41.91 x 29.72 cm
Photo credit: Tim Gresham

Three of my watercolours from the ongoing Homo-insecta series, including Ladybird Woman (pictured above) are part of this upcoming show.

MY MONSTER: THE HUMAN-ANIMAL HYBRID explores our enduring fascination and revulsion with the merging of the human and animal, and coincides with the 200th anniversary year of the publication of Mary Shelley’s Frankenstein.

The hybrid is the ultimate metaphor. Its almost human image haunts us from horror films to mythology, fairy tales to folk lore, literature to all aspects of visual art. The trouble with hybrids is that they disturb our moral compass, reminding us that we are animals, and animals are like us. This is the power of the hybrid creature. When we look into its human eyes, we see ourselves looking back from the animal body we deny we inhabit.

Evelyn Tsitas

Curator, My Monster

Image on invitation: Kate Clark, Gallant, 2016, mixed media, dimensions variable

Bringing together work by more than 25 Australian and international artists in diverse media from public and private collections, including several new works created for the exhibition, My Monster: The Human Animal Hybrid is curated by Evelyn Tsitas, based on her widely published doctoral research in this field.

Opening speaker: Barbara Creed, Redmond Barry Distinguished Professor at the University of Melbourne and Honorary Professorial Fellow.

Creed is the author of five books on feminism, sexuality, film and media including the feminist classic, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Routledge). Her recent research is on animal studies, the inhuman and social justice issues; and her latest publication Stray: Human–Animal Ethics in the Anthropocene (2017) explores the relationship between human and animal in the context of the stray.

A number of Public Programs are scheduled throughout the exhibition's run. On Thursday, 2 August, from 5.30 - 6.30 pm, Jazmina Cininas and I will be speaking of Metamorphosis & transformation. For a full list of artist talks, see the invitation above.

Exhibiting artists include: Jane Alexander (South Africa), Peter Booth, Jazmina Cininas, Kate Clark (USA), Catherine Clover, Beth Croce, Julia deVille, Peter Ellis, Rona Green, Moira Finucane, Deborah Kelly, Bharti Kher (IND), Deborah Klein, Oleg Kulik (Ukraine / Russia), Sam Leach, Norman Lindsay, Sidney Nolan, Kira O’Reilly & Jennifer Willet (Ireland / Canada), Lisa Roet, Geoffrey Ricardo, Mithu Sen (IND), Maja Smrekar (Slovenia) and Ronnie Van Hout.

Opening night: Thursday, June 28, 6 pm - 8 pm

RMIT Gallery
344 Swanston Street,
Melbourne,
Victoria, Australia 3000

Open Monday – Friday 11am – 5pm

Thursday 11am – 7pm 

Saturday 12pm – 5pm 

Closed public holidays 

Free entry

The exhibition runs until 18 August.

Ladybird Beetle Woman (final version)

Started in 2014, but extensively reworked this year: Ladybird Beetle Woman, pencil and watercolour on Khadi Paper 41.91 x 29.72 cm. The changes are subtle, and not easily discerned in reproduction; the most significant difference is in her hair, to which I've added warmer tones. To see the earlier version of this work (including a series of progress views) go to Blog Post Tuesday 8 July 2014.

22-Spot Ladybird Woman #3: How the Ladybird Got Her Spots

Pictured above: 22-Spot Ladybird Woman (Psyllobora vigntiduopunctata Homo-insecta) 2015, acrylic on wood, 32 x 23 cm. (Artist’s impression).

To date, the exact measurements of this recently discovered Homo-insecta are unknown. Based on numerous eyewitness accounts, she is approximately 26 cm in length (even taller when she lets her hair down) x 13.5 cm in width. Miniscule by comparison, the European insect from which she evolved, Psyllobora vigntiduopunctata (abbr. Psyllobora 22-punctata) measures a mere 3-5 mm.

Pictured below (and also previous 2 blog posts): selected views of the documentation process.

Work in Progress: 22-Spot Ladybird Woman #2

22-Spot Ladybird Woman: gradually taking on colour and almost ready for her spots.

Pictured above: more developmental views of 22-Spot Ladybird Woman, 2015, pencil, gesso and acrylic on wood, 32 x 23 cm (see also previous post).

Work in Progress: 22-Spot Ladybird Woman

Beginnings of a new painting:  22-Spot Ladybird Woman (Psyllobora viginitiduopunctata Homo-insecta) pencil on wood (top image); pencil and gesso on wood (bottom image) 32 x 23 cm.

The transmutation of a Ladybird Beetle Woman

Ladybird Beetle Woman, 2014, watercolour, 41.91 x 29.72 cm