SLQ – 2016 SIGANTO FOUNDATION ARTISTS’ BOOK SERIES
CELEBRATING ARTISTS’ BOOKS @ THE STATE LIBRARY OF QLD
The Program: The Siganto Foundation Fellowship artist book series 2016 – April 17
From 10am-1pm – White Gloves Room, level 4. The Siganto Foundation Fellows presented a display that featured their research and creative works which included research papers, artist books, drawings, letterpresses and prints. The Fellows spoke with attendees about their work and research outcomes. Participating in the Fellows White Gloves event were Peter Anderson, Lyn Ashby, Julie Barratt, Victoria Cooper, Marion Crawford, Jan Davis, Clyde McGill and Doug Spowart.
At 1:30pm on the Knowledge Walk Stage on level 1 – Clyde McGill presented Looking for Place, a performance for his artist book.
At 2pm The lecture component of the event was opened by Chief Executive Officer and State Librarian, Sonia Cooper. This was followed by a presentation by guest, UK artist and designer, Guy Begbie who talked about his current interdisciplinary arts practice. Following on – Dr Victoria Cooper, the 2015 Siganto Foundation Fellow, talked about her research into the use of montage in the State Library of Queensland’s artists’ book collection.
From 3.30pm attendees enjoyed refreshments in the SLQ Boardroom on level 5.
HERE ARE SOME PHOTOS AND OTHER DETAILS OF THE EVENT:
CLYDE McGILL: Looking for Place, a performance for artist book (an extract)
Crossing the river under the Goodwill bridge, knee then neck deep in the warm water, not too salty, navigating around the mangrove roots, expecting to hear mud crabs clanking and whistling, curling my toes just in case, alloneword, who calls me fictivefriend, if only he knew, shows me another pressed flower (soggy) and a leaf. Then a pterodactyl feather he says was floating down from Mt Bartle Frere last night, I suggest it was the southern end of the Glass House Mountains. It looks like it’s from the ibisosaurus between GOMA and SLQ. We are dodging the rivercat (aow carrying our bag of sandwiches above his head), the tide is running. Finally making our way over to HMAS Diamantina to borrow her (alloneword thinks we’ll have to pay), in our bid to sail her along the Diamantina River (there is water). It’s an incredible resonance of names and place, isn’t it fictivefriend, he asks. Soon we’ll picnique (no replacements found, typeahead here) on the shores of the Inland Sea. We drip mud as we tell the man at the dock entrance about our project, it’s exciting, he raises his eyebrows, says what(?) looks away and closes the gate.
SLQ VIDEO of the performance: http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/clyde-mcgills-performance
THE GUY BEGBIE PRESENTATION
Guy Begbie is an interdisciplinary artist, bookbinder & university associate lecturer.
As an artist, he makes book works influenced by a core interest in parallels between bookbinding structures & architectural forms.
He works in a variety of media, that includes traditional bindery materials, drawing, painting, printmaking, sculptural casting and filmmaking.
His work uses non-linear narrative and sculptural forms to investigate further innovative structures for the book and the potential in its transition from a closed two dimension to an opened three dimensionality.
The notion of a contained space in the book is of particular interest, both conceptually and physically, with book works alluding to spatial qualities in architecture and the built environment.
Filmic and time based qualities are also examined in other book works, using painterly printmaking media to present visual distillations of memories of place and the the fleeting moment.
The relationship of the book juxtaposed with the solid non-paper based artifact is also of concern and is tested through placement and the filming of constructed books and cast objects that both share some common aspects in media and construction methodologies.
This dichotomy of the kinetic book structure and the static cast form, is re-scaled in projection and further informed by the sound of the book, captured through recording the making and placement processes, then configured to provide audio soundtrack supporting the moving visual image.
SLQ Video of Guy’s presentation: http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/guy-begbie
DR VICTORIA COOPER’s PRESENTATION
A segment from Victoria’s presentation follows:
Montage Readings: Informed by History
There is a long tradition of artists and designers creatively combining images.
Photomontage or combination printing has its origins in late-nineteenth-century pictorial photography, most notably in the work of Henry Peach Robinson and Oscar Rejlander.
Then in the early twentieth century, Russian filmmakers, notably Sergei Eisenstein, pioneered the practice of montage in motion picture films to present animated visual concepts and to record the passing of time. Also in the first part of the 20th century, there was the work of the German and Russian visual artists including Hanna Höch, George Grosz, John Heartfield, El Lissitzky and Alexander Rodchenko used the “cut and paste” mediums of photocollage and photomontage to create political and social commentaries.
The surrealists such as Max Ernst, and Salvador Dalí and many other artists of this movement used the montage/collage to create visual contradictions referencing the uncanny connection between psychology of dreams and familiar experiences of the world.
Bauhaus teacher, pioneering designer and experimental artist László Moholy-Nagy became well known for his creative use of photomontage with text and image to construct innovative posters and page designs for his visual narratives. In a 1925 text, Painting Photography Film, Moholy-Nagy described this work as photoplastics.
Rather than see the concept of montage limited to that of a special case of film editing, he argues that the montage … is a principle to be found underlying artistic construction of all kinds …
Geoffrey Nowell-Smith Eisenstein on Montage, in Towards a Theory of Montage, 2010 pp. xiii-xvi
From the research I was drawn to the montage as a way of thinking and making. In this Fellowship I am now engaged with the montage and its ‘reading”. In this project I intended to investigate the montage through the Reading the elements… their Edges, Borders and Intervals.. or their ‘collisions’ The act of cutting and splicing in the creation of the collage/montage assigns new meanings and readings to the individual fragments. Each element, fractured by tearing or careful cutting (whether physical or virtual) before the blending, overprinting, or collage construction phase, forms the basic structure, a mise-en-scène, or syntax, of the final visual composition and narrative work.
I am interested in the differences of reading that is created through of the visible edge As opposed to the Fused and the seamless edge of the elements in montage.
These edges, whether seamless or visible, always refer to the nature of its original content, as in the grafted fruit tree where the origins of the elements are still evident. The narrative then becomes embedded or montaged inside the reading of the image or the page.
More to follow in a subsequent post on this Blog. The SLQ will post a video of the presentation shortly
SLQ Video of the lecture: http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/victoria-cooper
We offer our thanks to the SLQ team: Christene Drewe, Sharon Nolan, Bec Kilner, and Janette Garrard and also to the Dr Marie Siganto and the Siganto Foundation for their support of this event.