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Saturday, February 21, 2009

The Girl in the Tower



The Long, Long Braid, 2001, Acrylic on 4 canvases, 141.5 x 40.5 cm
Click on image to enlarge.

There was once a maiden who had lived her entire life in a tall tower in the middle of a dark and almost impenetrable wood. Her father had locked her in there many years before. No one could exactly remember why any more. It seems that fathers did that a lot in the olden days. At least he made sure that she had a substantial store of provisions before vanishing completely from her life. The tower had no door - just a window at the very top at which the girl would sit and dream of all the wonderful adventures she would have, if only she could escape.

With the passing of time it seemed her empty days grew longer and longer - and so did her hair. Just looking after it - washing, drying, brushing, combing and braiding it - became a full-time job, but certainly not one that relieved the tedium of her days.

Stories of her beauty and her lustrous locks spread far and wide until one day a handsome prince rode by on a milk white steed, curious to see if the rumours he had heard were true. A single glance at the figure in the tower told him they were. But it seemed he would forever be condemned to worship her from a distance.

Next minute there was a flurry of movement at the window. In no time at all the girl had lowered her braid - it was now the exact same height as the tower - and was beckoning him to climb.

In even less time he had clambered up and was by her side. The handsome prince was full of tales of his great adventures in the outside world, of vast armies he had defeated, of entire kingdoms he had conquered and of countless maidens he had wooed and won. But none of these maidens, he assured her, could compare to her, because not one of them had such long and wondrous hair.

The girl begged to be able to join him in his adventures. But of course her hair would be a hindrance and she would have to cut it off.

He begged her not to do so - it was what made her so uniquely beautiful. He could never feel the same way about her without her glorious long hair.

They argued late into the night until both fell asleep, exhausted. The prince awoke early the next morning, and to his disbelief, found he was quite alone in the room.

Then he noticed what looked like the end of his lover’s braid tied to the leg of a chair. The rest of it was trained out of the window.

He staggered across the room just in time to see the girl climbing to the ground. Her hair was cut short like that of a lowly pageboy. He couldn’t believe his eyes - she must have borrowed his sword while he slept.

Years of fighting to keep her increasingly unruly hair under control had made her something of an expert in knot and ropework techniques. She gave the braid a short, sharp tug. Immediately it loosened from the chair leg and fell noiselessly at her feet.

The prince’s heart leapt to his throat. “How on earth am I going to escape?” he cried.

“Grow your own hair!” answered the maiden as she mounted the milk white steed and rode off into the sunrise.

Friday, February 20, 2009

…a thousand words, Tweed River Art Gallery, NSW


Anon, 1998, colour linocut, 57.5 x 38 cm.
Click on image to enlarge.

Curated by Susi Muddiman and Gail McDermott, the exhibition features works selected from the Print Archive of the Print Council of Australia.

Tweed River Art Gallery
Cnr Tweed Valley Way and Mistral Road
Murwillumbah NSW 2484
Phone: 02 66702792

The exhibition will run from 27 March – 13 September.

Anon was originally part of a body of work called Private Collection. It was exhibited at Australian Galleries, Melbourne, in 2000 and comprised drawings, miniature multi panelled paintings and relief prints. This series, which marked a major change of direction in my work, evolved after a visit to London in 1997. In a small upstairs room in Kenwood House on Hampstead Heath I discovered an astonishing collection of mourning jewellery and portrait miniatures. Subsequently I investigated other similarly fine collections, most notably in London’s Victoria and Albert Museum and the National Portrait Gallery. But it is the contents of that modest room at Kenwood House which had the greatest impact, possibly because this was where what was has been a long, ongoing journey began.

A significant part of my previous work, namely the Tattooed Faces and Figures, had focused on women's sewing iconography, sometimes incorporating motifs such as lace and other textile-related patterns. This eventually led to a number of experimental works wherein linocuts were printed onto fabric, layered and hand stitched. The last, and most ambitious, of these was The Daughter of Time (1997, linocut on white and grey interfacing with hand stitching 200 x 76 cm.) The last-minute incorporation of two overlapping oval braids was quite intuitive, little more than a compositional device. Uncannily, however, it anticipated the next phase of my work, in which hair, particularly intricately patterned knots and braids, would take centre stage.

The motif of lace was also carried though in the majority of the relief prints that directly followed this work, including Anon. It is printed from two blocks onto semi-transparent Japanese Mending Tissue, which was chosen both for its sensitive and receptive surface and its resemblance to the fabrics with which I had previously experimented, particularly interfacing. As with the Fabric Pieces, the paper is an integral part of the visual language of the work.

Initially the manner in which the hair in mourning jewellery was painstakingly woven and patterned translated into my own work as an extension of the sewing iconography I had previously employed. But very soon hair, with its opposing qualities of seductiveness and creepiness (as in the context of mourning jewellery) assumed a significance all its own. For Anon and its companion works, I extended my research to an investigation of Celtic knots. In order to exploit the increasingly intricate knots and braids to the fullest, I was obliged to turn my protagonists’ faces away from the viewer. The title of this work best describes their subsequent fate.

Deborah Klein
Melbourne, February, 2009

Thursday, February 5, 2009

My New Blue Press


It finally arrived! Many thanks to Paul Compton and Shane Jones for delivering the press and carrying it up all those stairs.
Click on image to enlarge.

Wednesday, January 28, 2009

Magritte - The Eternally Inspiring



Viewing Rene Magritte's painting The Eternally Obvious at the Metropolitan Museum in New York, December 2008 (top). This work was the point of departure for The Daughter of Time,1997, linocut on white and grey interfacing, hand stitching, 200 x 76 cm (bottom). Click on images to enlarge.

Work in Progress


Lino blocks in progress for artist's books The Enchanted Hair Ornaments and Moth Masks. Click on image to enlarge.

Studio views, January 2009






Click onto images to enlarge.

Maroondah City Council Art Collection


Installation view: Sister Act (colour linocut)  photographed with Untitled #19 (oil on canvas) by Shane Jones. Curated by Damian Smith. Click on image to enlarge.

Maroondahartgallery
Maroondah Federation Estate
32 Greenwood Avenue
Ringwood 
The exhibition runs from 15 January to 28 March 2009.

Sunday, January 18, 2009

A visit to Susanna Heller's studio, Brooklyn, NY



December, 2008. Click onto images to enlarge.
Top: Susanna Heller with her painting On the Heel - Toe Express
Bottom: Students from RMIT New York Study Tour, 2008.

Friday, January 16, 2009

A visit to Harlan and Weaver, New York, NY









23 December 2008. Click onto images to enlarge.
From top:
(1) Printer Maggie Wright with Shane Jones, Kiki Smith etchings
(2) Kiki Smith etchings
(3 & 4) Kiki Smith etchings
(5) Studio view
(6) Louise Bourgeois spider
(7) Maggie Wright with Louise Bourgeois etching
(8) Plan cabinet with Louise Bourgeois etchings
Our thanks to Felix Harlan, Carol Weaver and everyone at Harlan and Weaver, with a special thank you to Maggie Wright for making our visit so memorable and inspiring.

Studio 889, Bronx, NY



Christmas exhibition, 6 December 2008. Click onto images to enlarge.
Top: Studio view with artists and print enthusiasts
Bottom: Deborah Klein.
Thanks to Alejandra Delfin and everyone at Studio 889 for a great exhibition, a wonderful evening, and for making us feel so welcome.

A visit to Crown Point Press, San Francisco



November 2008. Click onto images to enlarge.
Top: Shane Jones with Crown Point's Dana Zullo
Bottom: Deborah Klein and Shane Jones
Special thanks to Dana Zullo for a stimulating and enlightening tour of Crown Point Studios.

Wednesday, January 14, 2009

Plaster Moth Masks



A work in progress. The artist's studio, January 2009. Click onto images to enlarge.
Photographs by Tim Gresham.

Thursday, November 6, 2008

The enchanted forest at Shepparton Art Gallery


Installation view of Swarm and Moth Masks, Wednesday 5 November 2008.
Click onto image to enlarge.

Thursday, October 16, 2008

Facelift, Tweed River Art Gallery NSW


Installation view, October 11 2008. Left to right: Untitled (Crimson and Scarlet), Point of View and Untitled (Red). Click onto image to enlarge.

Facelift opened on 10 September. The exhibition is timed to coincide with the gallery's 20th birthday celebrations. It is a contemporary rehang of the gallery's Australian Portrait Collection.

Thursday, September 25, 2008

The Exquisite Palette 2008


Moth Mask Palette created for the group exhibition The Exquisite Palette, St Luke Artist Colourmen, 25 Smith Street Collingwood, 3065. The exhibition opens on 3 October and runs until 8 November.

Workshops at Warrnambool Art Gallery






Workshops with students from St Brendan's, Coragulac, South Warrnambool Kindergarten, St Patrick's Primary School, Port Fairy and a floor talk for VCE staff and students were held on 25-26 August. These public programs were coordinated by the gallery's Education Service in conjunction with the touring survey exhibition Deborah Klein - Out of the Past 1995-2007. Exhibition dates were 19 July - 31 August 2008.

Sunday, August 31, 2008

Blue Velvet 2007


Oil pastel 112 x 76 cm

This work is a finalist in the 2008 Jacaranda Drawing Prize, Grafton Regional Gallery, NSW, 24 October - 7 December 2008.
The exhibition will tour during 2009 - 2010. (At this stage the itinerary may be subject to change).

2008 Jacaranda Acquisitive Drawing Award Tour

University of the Sunshine Coast 26 March - 24 April 2009
Redcliffe Art Gallery 1 June - 4 July 2009
Gympie Regional Gallery 21 July - 30 August 2009
Mosman Regional Gallery 12 September - 11 October 2009
Coffs Harbour Regional Gallery 16 October - 29 November 2009
Latrobe City Gallery 13 December 2009 - 2 February 2010
Hawkesbury Regional Gallery 13 February 2010 - 7April 2010
Port Macquarie Hastings Regional Gallery 15 April 2010 - 9 June 2010

Saturday, August 23, 2008

Swarm 2002


Pictured above: Swarm, 2002, synthetic polymer paint on 32 oval canvases, paired. Large: 25 x 20 cm each; small: 15 x 20 cm each. Overall dimensions approximately 172 x 194 cm. Installation view from the exhibition the enchanted forest - new gothic storytellers. A Geelong Gallery and NETS Victoria touring exibition. 

Guest curated by Jazmina Cininas, the exhibition also includes works by James Morrison, Milan Milojevic, Louise Weaver, Louisann Zahra-King and Jazmina Cininas. Launch venue: Geelong Gallery, then touring to Bendigo Art Gallery, Shepparton Art Gallery, Latrobe Regional Gallery, Swan Hill Regional Art Gallery, Dubbo Regional Gallery and Tweed River Art Gallery during 2008-2009.

SWARM  
A fairy tale by Deborah Klein

Once in another time not so very long ago there were 16 sisters. They lived with their widowed father and younger brother in a fine, respectable townhouse in a fine respectable street in a fine respectable suburb in a fine respectable town. But none of them could honestly say that they were happy or content. You see, while their father and brother were able to venture into the great world outside to study, work for a living and even have wonderful and exciting adventures, they were confined to their home, aside from an occasional shopping trip downtown under the watchful eye of their governess. Until such time as they were able to marry they were expected to oversee the running of the house and always be well presented and polite, especially if called upon to assist their father when he entertained his friends and colleagues. Certainly they had lessons, but their governess was under strict orders that they perfect their cooking and sewing skills (which were frankly appalling) rather than advance their learning in the arts or sciences.

Their father and brother were respected entomologists whose butterfly collection was famous worldwide. The daughters begged their father to let them help with the collection. They longed to venture out and join in the hunt and maybe discover and name some new species, even though they knew the credit would ultimately be given to their father and brother. That’s the way it was in the olden days, you see. 

He finally relented and let them come along on a butterfly hunting expedition in the forest not far from their house. They had always longed to go there as they had heard that it was enchanted. When they arrived they had to admit there was indeed something magical and mysterious about it and longed to explore its hidden depths. But they knew they were there for a very specific reason and very soon they were completely engrossed in the task at hand. Their father was grudgingly impressed at their success. Well before the day’s end they had managed to capture a great many butterflies, every one of them a truly magnificent specimen. His daughters were thrilled, as it seemed that he might take them seriously at last.

They carried their prey home in jars with holes drilled in the lids. Late that afternoon, before hurrying off to the monthly meeting of the Entomological Society, their father and brother took the sisters upstairs to their laboratory and explained how to kill and mount their captives. Thousands of specimens already collected by their father and brother were fastidiously pinned and arranged in a series of glass cases lining a huge room that, along with the laboratory, occupied the entire second storey of their house. With a sudden pang, the sisters had to admit that they felt a certain affinity with them. 

Their eyes then turned to the butterflies still fluttering gamely in their glass prisons and they knew at once that they couldn’t bear to kill them. As one they moved to free them, knowing full well that their father would be furious and that in giving these beautiful creatures their freedom, they may have lost the chance to gain their own. 

The oldest girl opened the window to their father’s study, and one by one they unscrewed the lids of the jars. Instead of flying away, however, the butterflies flew madly around the room as if they had completely lost their bearings in the excitement of escape. But soon they gathered together to form a huge fluttering cloud of kaleidoscope colours. It was a marvellous sight. Over the gentle but determined sound of their beating wings, the girls could hear what sounded like a faint voice. They could not believe their ears. Ordinarily it would not have been audible to humans, but spoken collectively its sound was unmistakeable. ‘Join us’ they said. ‘Fly away with us and be free forever.’ 

The girls exchanged glances and in less time than the single beat of a butterfly’s wings their decision was made. One by one they followed the butterflies through the open window. But instead of plummeting downwards to almost certain death, they were wondrously, miraculously airborne, up, up, up into the orange coloured sky, a fantastical swarm, heading for freedom and happiness in the Enchanted Forest.

Tuesday, August 12, 2008

Moth Masks 2007-2008


Artist's studio, early 2008

Rhodogastia crokeri Moth Mask 2007

Rhodogastia crokeri Moth Mask, 2007, synthetic polymer paint on canvas 25 x 20 cm

This work is included in the exhibition Bias Bound, which features the work of artists and weavers associated with the Victorian Tapestry Workshop from 2005-2007.

Venues:
Victorian Tapestry Workshop
264 Park Street
South Melbourne, Vic.
03 9699 7885
5-29 August 2008
Monday - Friday 9 am - 5pm

Self Preservation
70 Bourke Street
Melbourne, Vic.
03 9650 0523
Open 7 days
6-31 August 2008

Stephen McLaughlan Gallery
Level 8, Room 16
37 Swanston Street
Melbourne Vic.
0407 317 323
Wednesday - Friday 1-5
Saturday 11-5
1-23 August 2008