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Posts Tagged ‘Toowoomba Regional Art Gallery

A RE-PHOTOGRAPHY PROJECT Revisited at TRAG

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Doug in the exhibition space PHOTO: Victoria Cooper

 

SAME SITES HINDSIGHT – Toowoomba Regional Art Gallery

 

For me rephotography is a way of re-viewing place and change through a comparative documentation using the perspectives of earlier photographers. I have always enjoyed the challenge to re-align the contemporary view with the past to see visual narratives of change either subtle or profound. At this time I discovered the work by Mark Klett and others published in their 1984 book Second View: The Rephotographic Survey Project. Their approach to the reimaging of the photographs of the American west by William Henry Jackson, Timothy O’Sullivan and others in the 1860s was methodical and scientific. Although I was informed by this seminal work as a record of social and historical change, in some of my work I also enjoyed questioning the notion of the original photographers as a kind of truth.

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In the mid 1980s I rephotographed tourist postcard scenes in outback Australia and reimaged tourist camera photos placing them in the context of a wider-angled view. These projects were presented at the Araluen Art Gallery in Alice Springs in 1986 in the exhibition Tourists Facts, Acts, Rituals & Relics.

Other projects emerged including a commission from Di Baker, Director of the Toowoomba Regional Art Gallery to locate the subject matter of artworks from the Toowoomba Gallery’s collection and to re-image the subject by photography.

The artworks that were my source reference covered a range of approaches to the artist’s vision imbued with the appearance of the painting techniques that they employed. Working with Victoria we travelled around the region to find the matching locations and met with some success finding the exact location. On occasion however we were only able to create a general locational view.

I chose a 4×5 large format camera and a black and white film made by Polaroid. Called Type 55 the film gave a black and white print and also a negative that, after in-field processing could be printed in a conventional enlarger.

The 1996 the exhibition NEW SIGHTS – SAME SITES was opened at the Toowoomba Regional Art Gallery and installation of the selected artworks were paired with our photographic interpretation of the same scene.

Now 23 years later the Gallery has re-presented the work for reconsideration by a new generation of art gallery visitors.

 

Don Featherstone (L) Golden Tree (Corner of Kitchener and Herries Streets)1959 watercolour Spowart+Cooper (R) Corner of Kitchener and Herries Streets 1996 silver gelatin fibre print

 

 

The Gallery wall sheet for the Same Sites Hindsights exhibition states:

In 1996 photographer Doug Spowart assisted by Victoria Cooper undertook a project called New sight-Same sites which re-imaged Downs landscapes and other regional sites depicted in selected works from the Toowoomba Regional Art Gallery Toowoomba City Collection.

The project compared and contrasted the direct recording of a site using photography with the painter’s vision of the same location. One of the biggest challenges for Spowart in making these images was to replicate the painters’ viewpoints and, in some instances, even finding the locations proved problematic.

From the time of the initial recording to now, almost 25 years later, these photographs indicate constants and change. Time is transformational. In 1996, the Gallery challenged the photographer to identify these locations and in 2019 we challenge the viewer to explore Toowoomba and surrounds in response to these works.

 

The exhibition is on show from 14 September to November 3, 2019.

 

A selection from the subjects presented in the exhibition

C. G. S. Hirst  The New Court House 1879 watercolour and ink on paper

Spowart+Cooper  The Old Court House 1996 silver gelatin fibre print

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Herb Carstens   Sunday Morning (Street scene Toowoomba) 1961 oil on comp board

Spowart+Cooper  Sunday morning 1996 silver gelatin fibre print

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Brian Williams Near Drayton 1960 oil on comp board

Spowart+Cooper  Near Drayton 1996 silver gelatin fibre print

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Ruby Spowart Clifford Gardens 1986 photograph Polaroid SX-70

Ruby Spowart Clifford Gardens 1986 photograph Polaroid SX-70

Spowart+Cooper  Clifford Gardens 1996 silver gelatin fibre print

 

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TRAG Display

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OTHER REPHOTOGRAPHY PROJECTS BY Doug Spowart & COOPER+SPOWART

 

 

LINK: SEEING DOUBLE Toowoomba Regional Art Gallery 2001

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COOPER+SPOWART EXHIBITION: Speaking About Place

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Gallery-layout JULY 2-72

Speaking About Place gallery layout

 

Speaking About Place: the Nocturne Project

Victoria Cooper & Doug Spowart

Cam Robertson Gallery, Toowoomba Regional Art Gallery, 19 July – 17 August 2014

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Our arts practice is informed by our ongoing and evolving connection with Place. Our Place-Projects are influenced by the context and the consequences of living within a constantly changing landscape. We work with a range of photographic concepts and techniques, from the camera obscura, through analogue processes to the digital forms of the medium. Our work is presented as visual narratives in artists’ books, photobooks, exhibition images and, more recently, blogs and social media.

Through our Nocturne documentary photography and Facebook social media projects, we have explored connections with Place in urban and regional communities throughout Queensland, New South Wales and Victoria. For us the phenomenon of nocturnal light transforms these everyday spaces. Buildings, busy street corners, quiet alleyways all become filled with the dramatic light of a movie scene. In 2013 and 2014 we were given the opportunity, through funded Artists-in-Residence (AIR) programmes, to undertake Nocturne projects in the regional communities of Muswellbrook, Grafton and Bundaberg.

In this exhibition we present a selection of images from three years of our Nocturne Projects. The work shown here adds to the recent Childers Art Gallery exhibition of this project, by the inclusion of social media elements. Therefore in this gallery we invite viewers to connect with the work in a forum outside the virtual space of Facebook. To enable this connection to take place we have created folios that contain transcripts of Facebook/Place/Storytelling from each of the three AIRs.

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About the photographs

We photograph in the early evening nocturnal light, a time of day where the afterglow of sunset and the glow of streetlights transform the everyday experience of place for the viewer. Images created at this time require long camera exposures and therefore produce photographs that can capture blurred movement of people and vehicles. Another important aspect of the Nocturne aesthetic is the effect of colour and the juxtaposition of coloured lights in the different situations of ambient daylight, artificial lighting, car head and taillights.

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Exhibition viewers reading Facebook responses

Exhibition viewers reading Facebook responses

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More than photographs

The photographs in themselves have no intrinsic meaning – it is the viewer, with their experience and memory that brings life to the image. In this moment of connection they may recount a personal narrative or connect with the historical significance of the place. This collaboration between photograph and viewer is exciting and vibrant – expanding the potential for the documentary image to go beyond the vision of the photographer.

As the Nocturne project has evolved, we have discovered the importance of sharing place stories through images, words, in person and online. Through Speaking about Place we have extended the potential for this project to share the transformative nature of lived experience and everyday life in each community.

The Western Downs town of Miles is scheduled for a social media Nocturne project later this year.

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CLICK HERE To download a PDF of some of the Facebook narratives Catalogue-Comments-interact-FP3

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Community comments about the photographs on Facebook

 

 

The online Nocturne Projects can be accessed at http://nocturnelink.com

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Link to The Toowoomba Chronicle online news story:

http://www.thechronicle.com.au/news/showing-cities-in-a-new-light/2323064/

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A selection of images from the opening and associated events

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Toowoomba Chronicle photographer get a Nocturne reverse-photo with us - From The Chronicle Instagram feed

Toowoomba Chronicle photographer Kevin Farmer gets a Nocturne reverse-photo with us – From The Chronicle Instagram feed

Exhibition invitation featuring the Toowoomba Town Hall Xmas 2012

Exhibition invitation featuring the Toowoomba Town Hall Xmas 2012

The opening of 'Speaking About Place by Ashleigh Campbell

The opening of ‘Speaking About Place by Ashleigh Campbell

Some attendees at the opening

Some attendees at the opening

Maureen Trainor and Kevin visit the show

Maureen Trainor and Kevin Scattergood visit the show

Jess Martin's 'Nocturne Cup Cakes...

Jess Martin’s Nocturne Cup Cakes…

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Visit http://nocturnelink.com to connect with our Nocturne Projects

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Nocturne-SITE-Logo-layers

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Installation photos and documentation of the artworks and text  ©Doug Spowart

Instagram photo and news story © The Toowoomba Chronicle and Kevin Farmer

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Creative Commons-by-nc-nd.eu

My photographs and words are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

http://creativecommons.org/licenses/by-nc-sa/2.5/au/

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MEMORY COLLECTIVE: Super Moon + Phoenix

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Eighteen months ago Toowoomba artist Damien Kamholtz began a project that was to bring together a team of local artists to participate in a conceptual artwork that would have many states and private and public iterations. The first public presentation of the The Memory Collective was at the Toowoomba Regional Art Gallery in August/September 2013.

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Two weeks ago a key element of The Memory Collective project was altered yet again into a new state. This took place near Cabarlah at a symbolic time for Kamholtz, the recent super moon…

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Here is part of the document made on that July evening.

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Damien Kamholtz @ the burning  Photo: Cooper+Spowart

Damien Kamholtz before the burning Photo: Cooper+Spowart

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The super-moon rising and the embers of the phoenix rising

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Aftermath of the fire

 

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Damien's Ash-Burn

Aftermath: ashes of the painting the next morning. Photo: Damien Kamholtz

 

…. this is not an ending for the Memory Collective…

 

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 THE BACKSTORY OF THE MEMORY COLLECTION

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An exhibition of the collaborative artwork as a singlarity

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Memory Collective image from the exhibition @ Toowoomba Regional

Memory Collective image from the exhibition @ Toowoomba Regional

 

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A painting and a performance

 

 

The Memory Collective painting by Damien Kamholtz

The Memory Collective painting by Damien Kamholtz

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The Memory Collective is a multi-disciplinary collaboration orchestrated by artist Damien Kamholtz. Kamholtz states: The Memory Collective Project is a creative collaboration between 12 artists across eight artistic disciplines exploring concepts and themes relating to the human condition such as change, constants, history, refection and memory. The artworks created during the project will make up an exhibition to be held at the Toowoomba Regional Art Gallery in September 2013.

There are different stages to the project. First Kamholtz created a large 2.2 metre square painting, while sculptor, Jessie Wright constructed the large vessel to hold the water. Kamholtz’s painting is embedded with personal meaning in the form of fragments of his past art, the ashes of diaries. In the presence of this artwork we are drawn into a poetic landscape where faces emerge; symbols and totems slip from passive dark spaces and come into conscious awareness.

The second stage of the work was the performance in the form of 9 responses to the painting by Kristy Lee. The painting and the pool created the reflective and reflexive performative space and the transformative process of the original painting then began. Integral to the space were David Usher’s delicate pots; these vessels contained the pallet of shades that then shrouded and clouded the memory of the work. Over the course of the day the painting’s physical form was transformed into something different loosing its current visual form as only a memory.

Our part of the collaboration was to witness, respond and record the transformation of the work over the day. The next stage of the Memory Collective’s work will continue over the next month our component will be to create 9 large collaged photograph memory states of the work for the show in September. Works by others include; a video art piece, a documentary video, a soundscape, interviews, prose and poems. It is a significant project and is being funded by the RADF and supported through the exhibition at the Toowoomba Regional Art Gallery.

 

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A fragment of photographic memories made by us for the MEMORY COLLECTIVE

 

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Kamholtz in the performance space with the painting and pool

Damien Kamholtz in the performance space with the painting and pool

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A performance

 

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Kirsty Lee and painting – in the early state…

Kirsty Lee performs before the painting

Kirsty Lee performs before the painting

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State 3 Kirsty applies paint to the paining...   Photo: Cooper+Spowart

State 3 Kirsty applies paint to the paining…

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Hand paint

Hand paint

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Kirsty Lee and her interaction with the painting   PHOTO Cooper+Spowart

Kirsty Lee and her interaction with the painting … around Stage 6

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Blue hand...

Blue hand…

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ertyu

Kirsty Lee in a frenetic stage…

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brushes

Kirsty Lee and brushes before the pool

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Paint fluid in the pool…

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Towards the final state…

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The final state …


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Memory Collective logo.

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Additional material

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Damien discussing movement with Kirsty

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Kirsty Lee towards the end of the performance

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Another creative work from the performance by Jason Nash…

Jason Nash - Time lapse video

Jason Nash – Time lapse video

CLICK HERE to see Jason Nash’s ‘Memory Collective’ time-lapse video

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The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling). Not present: Craig Allen & Jake Hickey

The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart
Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling).
Not present: Craig Allen & Jake Hickey

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Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

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© 2013+2014 Victoria Cooper and Doug Spowart for The Memory Collective

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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ADVANCE NOTICE: Memory Collective Exhibition to open @ TRAG

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The Memory Collective Invite

The Memory Collective Invite

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The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling). Not present: Craig Allen & Jake Hickey

The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart
Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling (weakling).
Not present: Peta Chalmers, Craig Allen & Jake Hickey

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Photographer Victoria Cooper reflecting on the Memory Collective project

Vicky photographs Kirsty

Vicky photographs Kirsty

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Both Doug and I, familiar with collaborative projects, were excited to have the opportunity to connect with the multidisciplinary space that Damien Kamholtz was creating in the Memory Collective. So it was on one day in May, that each artist would bring to the chosen site their insights, instincts and life’s experience.

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There was a painting – a very large painting; a sculpture filled with water, a ‘pond’ to reflect and dissolve the evolving performance; a movement artist to reconfigure the idea or memory of painting; seven white ceramic bowls to containing pigments and a singular bowl left empty to float across the dark water of the pond.

The physical space did not easily present itself at first–but as the project unfolded and discussion flowed from the practical, logistical to the intellectual, conceptual–the site itself also became a collaborator in the project: the stage, the remnants of its warehouse history, the idiosyncratic control over the method of entering the space (all us had to crawl under a jammed roller door)

Was the space asserting its role?

This day was not just a visual experience–it was a total sensory and psychological immersion.

Although a part of the documentary team, including video and still photography, I was compelled to cross beyond the voyeuristic role of witness. I was motivated by the tension created from: anxiety for the loss of the original painting with the frisson of anticipation for the evolving transformation.

The movement artist’s touch with the painting was sensual and slow.

We moved like moths; entranced by the night-light . . . circling . . . unable to land nor escape . . .

This was not a performance rather it was about life, unrehearsed and ephemeral. Only through technology were small parts recorded to be later pieced, montaged and sewn together in a kind of rich layered memory tapestry. And, like memory, there are gaps, fuzzy distortions of scale and time lines, loud visually busy moments together with quiet, serene and ethereal meditations.

I began this project with an intuition that it would be both inspiring and exhilarating to work with this creative group of Toowoomba based artists. Damien has, with delicacy and grace, enabled and cultivated a fertile collaborative space, which continues to extend the potential for the creative work.

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Kirsty

Kirsty addresses the painting in performance

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A recollection of the MEMORY COLLECTIVE collaboration from Doug Spowart.

Doug-documents the space ...... Photo: Victoria Cooper

Doug photographs the performace

Working as a regional artist can be an isolating experience. Your networks are often big city based, coastal and a long way from your home on the range. I am familiar with collaborative art-making but it has usually been with my artist partner Victoria Cooper.

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The Memory Collective was quite a different collaborative affair. As an individual artist I could never have thought up let alone coordinated, as Damien has, all of the interdisciplinary artists and artforms into one time–one space–one purpose–one artpiece. Meetings, Facebook discussions and site inspections enabled a real feeling of connection with the creativity of these fellow regional artists and their ideas, aspects of each discipline’s needs and potential for contribution.

On the day of the performance I found myself in the collaborative ‘doing’ mode and things changed. Before, everything was about the team and contributing to the dialogue, now it came down to my personal response to the idea and the performance. I concentrated on observing moments, time and space, movement, gesture and recognition – looking to see, looking to feel, seeking the spark that emanates from a sweet synergy – a concurrence of elements in the viewfinder that, when recognised by me – demanded the shutter’s click . . . click . . . click. Freezing from the continuum of time a moment to become a silicon memory.
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At first I worked deliberately and methodically. Years of art practice [practise] smoothing the transition between observation and capture – perhaps unemotionally, but none-the-less, a participant in the progression of the grander art-making project.
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As the performances progressed this in-control feeling, the comfort and ease of working, were transformed. I sensed a shift in the mode of my observation and response. Each shutter release signified my recognition of the quintessential moment. And each of these ‘clicks’ was the affirmation of my being witness to the performance and my receiving a special communication that it revealed — the very reason I’m a photographer, a kind of self-actualisation where the act of making photographs is akin to a Zen calligraphy master’s ink-dripping brush, intuitively moving over a surface leaving a memory of its touch – indelibly on paper.
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I remember now – in those moments, I was no longer an individual collaborating with others: we were all ‘one’ in that space — and that we were making something special and far – far greater, that the sum of all our individual, contributions, energies and imaginings.
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SEE SOME OTHER ARTIST’S CONTRIBUTIONS and Videos on the Facebook site here:
https://www.facebook.com/memorycollectiveproject
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Kirsty Lee – the paint portrait

Kirsty Lee – the paint portrait

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.© 2013 Victoria Cooper and Doug Spowart for The Memory Collective Project
.Creative Commons-by-nc-nd.euThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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Damien Kamholtz: ‘My Icarus’ @ TRAG the VIDEO

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My Icarus invitation

My Icarus invitation

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FROM THE ART GALLERY WEBSITE:

‘My Icarus’ is a culmination of one painting, one sculpture and one film. These three interrelated works delve into poetry and mythology and showcase the Gallery’s recent acquisition of Mr Kamholtz’s painting, ‘The Spit that Joins the Magic Together’.

The exhibition title refers to the artist’s fascination with Greek mythological figures, Icarus and Daedalus, and the works of 19th Century French poet Arthur Rimbaud.

Additional creative ‘spittle’ for the performance was delivered in verse by guest speaker and former USQ lecturer in literature Dr Brian Musgrove with a simultaneous performance by Toowoomba movement artist Kirsty Lee.

The exhibition works include the recently acquired painting, an assemblage and a collaborative film produced by Mr Kamholtz, Jason Nash, Kirsty Lee and Craig Allen.

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Toowoomba Regional Art Gallery attendees

Toowoomba Regional Art Gallery attendees witnessing the event

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Kirsty Lee performance

Kirsty Lee in performance

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Photos and Video © 2013 Doug Spowart 

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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MEMORY COLLECTIVE: A performance documentary project

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The Memory Collective painting by Damien Kamholtz

The Memory Collective painting by Damien Kamholtz

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The Memory Collective is a multi-disciplinary collaboration orchestrated by artist Damien Kamholtz. Kamholtz states: The Memory Collective Project is a creative collaboration between 12 artists across eight artistic disciplines exploring concepts and themes relating to the human condition such as change, constants, history, refection and memory. The artworks created during the project will make up an exhibition to be held at the Toowoomba Regional Art Gallery in September 2013.

There are different stages to the project. First Kamholtz created a large 2.2 metre square painting, while sculptor, Jessie Wright constructed the large vessel to hold the water. Kamholtz’s painting is embedded with personal meaning in the form of fragments of his past art, the ashes of diaries. In the presence of this artwork we are drawn into a poetic landscape where faces emerge; symbols and totems slip from passive dark spaces and come into conscious awareness.

The second stage of the work was the performance in the form of 9 responses to the painting by Kristy Lee. The painting and the pool created the reflective and reflexive performative space and the transformative process of the original painting then began. Integral to the space were David Usher’s delicate pots; these vessels contained the pallet of shades that then shrouded and clouded the memory of the work. Over the course of the day the painting’s physical form was transformed into something different loosing its current visual form as only a memory.

Our part of the collaboration was to witness, respond and record the transformation of the work over the day. The next stage of the Memory Collective’s work will continue over the next month our component will be to create 9 large collaged photograph memory states of the work for the show in September. Works by others include; a video art piece, a documentary video, a soundscape, interviews, prose and poems. It is a significant project and is being funded by the RADF and supported through the exhibition at the Toowoomba Regional Art Gallery.

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A fragment of photographic memories made by us for the MEMORY COLLECTIVE

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Kamholtz in the performance space with the painting and pool

Damien Kamholtz in the performance space with the painting and pool

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Doug-documents the space ...... Photo: Victoria Cooper

Doug documents the space …… Photo: Victoria Cooper

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OLYMPUS DIGITAL CAMERA

Kirsty and painting – in the early state…

Kirsty Lee performs before the painting

Kirsty Lee performs before the painting

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State 3 Kirsty applies paint to the paining...   Photo: Cooper+Spowart

State 3 Kirsty applies paint to the paining…

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Hand paint

Hand paint

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Kirsty Lee and her interaction with the painting   PHOTO Cooper+Spowart

Kirsty Lee and her interaction with the painting … around Stage 6

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Blue hand...

Blue hand…

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ertyu

Kirsty Lee in a frenetic stage…

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brushes

Kirsty and brushes before the pool

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rrrrr

Paint fluid in the pool…

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ffh

Towards the final state…

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dfghj

The final state …


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Memory Collective logo.

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yghjk

Damien discussing movement with Kirsty

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fghjk

Kirsty Lee towards the end of the performance

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Another creative work from the performance by Jason Nash…

Jason Nash - Time lapse video

Jason Nash – Time lapse video

CLICK HERE to see Jason Nash’s ‘Memory Collective’ time-lapse video

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The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling). Not present: Craig Allen & Jake Hickey

The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart
Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling).
Not present: Craig Allen & Jake Hickey

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Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

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© 2013 Victoria Cooper and Doug Spowart for The Memory Collective

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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COOPER SCROLLS @ Toowoomba Regional Art Gallery

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Victoria in the 'Off The Wall' installation

Victoria Cooper in the Off The Wall installation of three scrolls from the series of five

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ABOUT ‘THE STORIES OF THE GORGE’ ON SHOW @ TRAG

Victoria Cooper’s digital montage Stories from the Gorge scrolls, made over ten years ago were included in Toowoomba Regional Art Gallery show. The exhibition was entitled Off the wall and was on show in Gallery 2 and Amos Gallery in May 2013.

The information about the exhibition that follows comes from the exhibition room sheet prepared at the time by Toowoomba Regional Art Gallery Exhibitions Officer, Ashleigh Bunter:

The works in the exhibition have been selected from the Toowoomba Regional Art Gallery’s City Collection. They have been placed simply together due to their three-dimensional nature and to highlight their derivation from the traditional two-dimensional picture plane.

This exhibition demonstrates the way that artists manipulate physical depth within their works which can often create a greater engagement between the object and the viewer. Interestingly, many of the works in this exhibition focus upon environment, whether it is the natural, public or the domestic environment. Materiality is also a common consideration. Throughout this exhibition one can see the influence of ‘the collector’, artists who gather images or common materials, reusing and reinterpreting them to create their art.

Victoria Cooper’s Stories from the Gorge: Order, chaos and the story of the hillside is a Chinese-landscape-scroll inspired series that represents “the last bastion of a natural chaos and order, an anti-culture, occurring on the fringes of agriculture.”[i] Human effects on the natural environment are central to Cooper’s practice and her prints and artists’ books in various formations lead the view from a flat two dimensional plane into the landscapes she investigates. These printed scrolls rise up from handmade acrylic boxes like the tall gum trees on their surfaces.

Other artists in the Off The Wall show include; Michael Schlitz, Marieke Dench, Tiffany Shafran, Judith Kentish, and Brigid Cole-Adams and the exhibition will be on the wall until May 26, 2013.


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PRIZES AND AWARDS

2001 The Gorge was purchased by Australian Library of Art at the State Library of Queensland

2001 – Photographer and gallery director Sandy Edwards awarded The Gorge, First Prize in the Muswellbrook Photography Award

2001 – MCA Director Elizabeth Ann Macgregor awarded The Cliff, First Prize for Works on Paper, Martin Hanson Memorial Art Awards, Gladstone Regional Art Gallery and Museum

2002 – Five Stories from the Gorge was a Finalist in the 2002 Josephine Ulrick & Win Schubert Foundation for the Arts Photography Award at the Gold Coast City Art Gallery was selected by Isobel Crombie Curator at the National Gallery of Victoria

2002 –The triptych was acquired during its showing in the Toowoomba Biennial Acquisitive Award selected by Julie Ewington, then Curator at the Queensland Art Gallery..

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Stories From the Gorge triptych as presented @TRAG

Three images of the Stories from the Gorge triptych as presented @TRAG

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THE BACKSTORY OF THE SCROLLS AND THE SERIES OF 5 WORKS

Cooper’s scrolls were presented for the TRAG exhibition as a triptych, however in the original exhibition, entitled Searching for the Sublime, there were five scrolls. Searching for the Sublime was a collaborative project with sculptor Jim Roberts, fellow artist Doug Spowart and curator Deborah Godfrey. The inspiration for the project was a wilderness area in the Helidon Hills a mere 20 kilometres north-east of Toowoomba. Supported by an RADF Grant, the show featured Roberts’ sculptures, Spowart’s abstract water photographs, and Cooper’s scrolls and was shown at 62 Robertson Gallery in Brisbane in August 2001.

Searching for the Sublime @ Gallery 62 Robinson

Searching for the Sublime @ Gallery 62 Robinson   PHOTO: Courtesy of 62 Robertson

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Five Stories Fom the Gorge installation at SQIT Gallery

Five Stories from the Gorge installation at SQIT Gallery

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The images were assembled as a photomontage in the tiny, by current sizes, Blueberry iMac computer. At times Victoria juggled 200 layers in one Adobe Photoshop document to create the fiction panoramas. Seeing the whole image was a problem as most of the time Cooper’s view was no bigger than the iMac screen requiring her to ‘scroll’ the image up and down–just as you will do in looking at the images in this post. Saving the files took 20-30 minutes and the system often crashed. The images were printed in pigment inks on an Ilford Novajet printer onto Hahnemühle Japan ‘rice paper’ by IMT on the Gold Coast. Victoria worked with artist Wim de Vos to design the bespoke handmade acrylic boxes. The design featured the ability for the box to not only serve as a container, but also act as a device to display the scrolls.

The complete set of scrolls, Five Stories from the Gorge, was shown in many venues and awards (see prize list at the end of this post), including Photospace at National Art School, Australian National University, Canberra. Canberra Times arts reviewer Myra McIntyre commented that Cooper’s works are:

Most elegant and fascinating photographic objects are Landscape stories, a series of five Asian-inspired scrolls. Cooper crawls, wanders and flies through the Australian landscape gathering hundreds of objects, patterns, and perspectives that she digitally intertwines, creating a continuum of almost imperceptibly diverse perspectives and a physical sense of vertigo in the viewer.

Review, Canberra Times, May 10, 2002

In 2002 the triptych was acquired during its showing in the Toowoomba Biennial Acquisitive Award selected by Julie Ewington, then Curator at the Queensland Art Gallery. Interestingly the rules of the competition at the time restricted entries to work that had not previously won an art award–as such only the three scrolls The Story of the Hillside, Chaos and Order were entered. When purchased the two other scrolls were orphaned from the set.

So here in this blog, we reunite the Five Stories from the Gorge presented in a form for you to scroll/stroll through …  Enjoy.

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By Doug Spowart

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Story of the Cliff

Story of the Cliff

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Story of the Gorge

Story of the Gorge

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Story of the Hillside

Story of the Hillside

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

 

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