tag:blogger.com,1999:blog-70811376717866116972024-03-12T19:50:49.012-07:00Jan HoganJan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-7081137671786611697.post-59738736434244014022015-07-17T18:20:00.002-07:002015-07-17T18:20:58.167-07:00Membrane of Memory: process<div style="text-align: right;">
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As I walk the track each week I collect materials that are scattered and dislodged. From the twigs, leaves and barks I boil up an ink that ranges from a light golden colour to a darker syrup and from the ochres I grind them up into a powder and mix them with water. <span style="font-family: 'Times New Roman';">The environment I walk in is not only the land beneath my feet it is also the pressures beneath that
surface, the cycles of death and decay, the other inhabitants, human and
non-human, my biological responses intertwined with my cultural
affinities.</span><span style="font-family: 'Times New Roman';"> </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-YIv8oBLtxOY/VamiF5zlq-I/AAAAAAAAAg0/3zfGXhndeZY/s1600/Jan%2Bwalking%2Bon%2Btrack.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/-YIv8oBLtxOY/VamiF5zlq-I/AAAAAAAAAg0/3zfGXhndeZY/s320/Jan%2Bwalking%2Bon%2Btrack.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walking the track, collecting natural debris for art materials</td></tr>
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On one side of the tack is Cartwright Creek making its way down to the Derwent River nearby and on the other side is the Dolerite rocks resisting the erosion at a slower pace.</div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-wquV7GjKb6s/VamiK8RNRnI/AAAAAAAAAg8/Y5rbcaoVHoM/s1600/Truganini%2Btrack%2Brock%2Bformations.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-wquV7GjKb6s/VamiK8RNRnI/AAAAAAAAAg8/Y5rbcaoVHoM/s320/Truganini%2Btrack%2Brock%2Bformations.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dolerite cliff face</td></tr>
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The ochre colours are surprisingly similar to some of the rock faces in the Kimberley, although they are hidden beneath or are seeping out from the dominating grey rock.</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-8O88oA6uJN8/VamiMzAdEwI/AAAAAAAAAhE/ZXTQhgLnAG0/s1600/Truganini%2BTrack%2Bochres.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-8O88oA6uJN8/VamiMzAdEwI/AAAAAAAAAhE/ZXTQhgLnAG0/s320/Truganini%2BTrack%2Bochres.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ochres in the rock face</td></tr>
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As I bring the membrane back each week I gradually add these layers of colours. When the red ochre is isolated and ground up it becomes a dominating force and I pause in my application and start to walk it over the paper.</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MONWfL6PKF4/VaGnMlFl3qI/AAAAAAAAAfc/smnwZ1vBVeA/s1600/Membrane%2Bwith%2Bred%2Band%2Bfeet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/-MONWfL6PKF4/VaGnMlFl3qI/AAAAAAAAAfc/smnwZ1vBVeA/s320/Membrane%2Bwith%2Bred%2Band%2Bfeet.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walking through the red ochre</td></tr>
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Whilst the red ochre was applied for its material links to the site, it has an unnerving resonance reminding me of the horrific history of this land. The track is named<span style="font-family: 'Times New Roman';"> in memory
of a Nuenonne woman, contentiously called the last Aboriginal Tasmanian. At the pinnacle of the walk is a memorial where you can look over the Derwent River to Bruny Island where Truganini originally lived and where her knowledge base came from.</span></div>
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<span style="font-family: 'Times New Roman';"><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-BBjc2A1khvk/VaJJYybfYEI/AAAAAAAAAgY/bjUmbFAUBCg/s1600/Membrane%2Bwith%2Bleaf%2Blitter.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-BBjc2A1khvk/VaJJYybfYEI/AAAAAAAAAgY/bjUmbFAUBCg/s320/Membrane%2Bwith%2Bleaf%2Blitter.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Red Ochre layer</td></tr>
</tbody></table>
</div>
<div class="" style="clear: both; text-align: left;">
<span style="font-family: 'Times New Roman';">I
place my roll of imported European paper in the land to act as a membrane between land and
culture, acquiring a memory of past events through the matter of the
environment.</span><span style="font-family: 'Times New Roman';"> </span><span style="font-family: 'Times New Roman';">Its porous nature shifts
from its cultural tradition as a neutral receptor of representation to a memory
of the interactions between multiple differences, cultural and material. In
working with art as a membrane of memory my aim is to allow a continual
performativity where memory brings forward the past to imagine a better future.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-249wTBWbino/VaJJWIWSitI/AAAAAAAAAgQ/q4OtasLNx38/s1600/Membrane%2Bon%2Bgrass.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://1.bp.blogspot.com/-249wTBWbino/VaJJWIWSitI/AAAAAAAAAgQ/q4OtasLNx38/s320/Membrane%2Bon%2Bgrass.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Looking at the marks</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
As I look at the marks, the red ochre becomes too opaque, obliterating the marks below, so I place the roll in a large tub, gently washing the paper. Through this the materials are taken off the surface but stain and seep into the membrane.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-kJKzrJ-uMUQ/VaJJRhqGrZI/AAAAAAAAAgI/xQj99Zwlsl0/s1600/Membrane%2Bcrumpled.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://2.bp.blogspot.com/-kJKzrJ-uMUQ/VaJJRhqGrZI/AAAAAAAAAgI/xQj99Zwlsl0/s320/Membrane%2Bcrumpled.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">After a wash</td></tr>
</tbody></table>
<br /><br /><br /><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
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<br /></div>
<br />Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-29680245623061888362015-07-11T17:09:00.000-07:002015-07-11T17:09:11.261-07:00Membrane of Memory: the Track<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-1ebDpWbPnYY/VaGnUiCOsZI/AAAAAAAAAfo/j8yFWVRHbt4/s1600/waterhole%2BTT.JPG" imageanchor="1" style="line-height: normal; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="240" src="http://2.bp.blogspot.com/-1ebDpWbPnYY/VaGnUiCOsZI/AAAAAAAAAfo/j8yFWVRHbt4/s320/waterhole%2BTT.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cartwright Creek waterhole</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="line-height: 115%;"></span></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Times, Times New Roman, serif;"><i>Membrane of Memory </i>explores a site on Mt Nelson in Tasmania. It is called Truganini Track in commemoration of a significant Aboriginal woman in Tasmania. I continuously revisit this site that follows Cartwright Creek, a meandering stream dotted with waterholes. Once again I take a roll of Rives BFK out to the site in order to learn about the many layers of history embedded in the land and also to find where I stand in this place.</span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="line-height: 115%;"><br /></span></span></div>
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="line-height: 115%;">In Western terms we don’t ‘see’ the ground, only the
marks and meanings placed on it. </span><span style="line-height: 115%;">On this ground, western tradition dictates that to see
anything a mark needs to be made. </span><span style="line-height: 115%;">This mark becomes a ‘figure’ on the ground, bearing
potential meaning.</span><span style="line-height: 115%;"> </span></span><br />
<br />
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="line-height: 115%;">Our visual conventions and our will or desire to see
form, separates the mark from the ground.<span style="mso-spacerun: yes;"> </span></span><span style="line-height: 115%;">This becomes the ‘significant’ figure and the
‘insignificant’ ground.</span></span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-size: 14pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-n83-H4V1zaA/VaGngiLHxtI/AAAAAAAAAf4/pVV47Cz3r6E/s1600/Membrane%2Bwet%2Bon%2Btrack.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-n83-H4V1zaA/VaGngiLHxtI/AAAAAAAAAf4/pVV47Cz3r6E/s320/Membrane%2Bwet%2Bon%2Btrack.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roll of paper, after being in the water hole</td></tr>
</tbody></table>
<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US" style="line-height: 21.466665267944336px;">To shift away from this structure and dichotomy I have started to consider the paper as a membrane to allow for a porosity between materials and meanings. </span><span style="line-height: 21.466665267944336px;">The material brings its history and lies on the ground retaining traces of geological history.</span><span style="line-height: 21.466665267944336px;"> </span>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">This interaction between the membrane shifts the work
away from ‘perception’ and our knowledge of our place in the world, where our
eye in our vertical body links directly to our brain and into ‘sensation’. I am being pulled into the horizontal field of the ground and begin to learn of the many different operations that occur in the world around me.</span><span style="font-size: medium;"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Membrane with previous Sumi ink drawing and a new Eucalyptus ink layer</td></tr>
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<span lang="EN-US" style="line-height: 115%;">By placing the paper directly on the land I use it as
a mnemonic device to record the traces of events above and below the
surface. </span><span style="line-height: 115%;">My aim is to test the ground and the materials to
address the psychological depths of settler Australians, to see if I can
further understand what I have grasped from the work of Aboriginal Australian Art and
implement it in a new visual language.</span></div>
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<br /></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-KSPwAlz_mjs/VaGm3X1YdcI/AAAAAAAAAe4/Yb-eZY5nVvg/s1600/edge%2Bof%2BMembrane%2Bon%2Btrack.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-KSPwAlz_mjs/VaGm3X1YdcI/AAAAAAAAAe4/Yb-eZY5nVvg/s320/edge%2Bof%2BMembrane%2Bon%2Btrack.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Edge of the membrane</td></tr>
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<span lang="EN-US" style="line-height: 21.466665267944336px;">The material of the paper takes on further meaning through stains and marks above and below the surface. </span><span style="line-height: 21.466665267944336px;">The ground of the paper loses its neutrality, its passive acceptance of meaning, and becomes active in the forming of meaning.</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-5lCa1FQPz7U/VaGm-peve_I/AAAAAAAAAfI/1HCk_zBEeKY/s1600/Membrane%2Bclose%2Bup%2Bin%2Bbackyard.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-5lCa1FQPz7U/VaGm-peve_I/AAAAAAAAAfI/1HCk_zBEeKY/s320/Membrane%2Bclose%2Bup%2Bin%2Bbackyard.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
I continuously revisit the track over weeks, bringing the roll with me to acquire new layers. <span style="font-family: Cambria; line-height: 115%; text-align: justify;">The realm between track and trees that I walk
though has its own atmosphere, its own conditions and its own history that can
be glimpsed and pondered on as I travel through.</span></div>
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<div style="margin-right: -0.35pt; text-align: justify;">
<span style="font-family: Cambria;"><span style="line-height: 115%;">The track is where I am gaining knowledge, it is
both the testing ground and the source of the knowledge. The </span></span><span style="font-family: Cambria;"><span style="line-height: 21.466665267944336px;">anthropologist</span></span><span style="font-family: Cambria;"><span style="line-height: 115%;"> Timothy Ingold writes about the track as an integral part of our knowledge base, it is the many paths we travel that we acquire experience and gain insights. He </span><span style="line-height: 20.700000762939453px;">points</span><span style="line-height: 115%;"> out that as we walk we are also in the world that surrounds us. </span></span><span style="font-family: Cambria; line-height: 115%;">The
weather influences the ground we walk on, and as we walk we breathe with every
step, we walk in both “the air and the on the ground” </span><span style="font-family: Cambria;"><span style="line-height: 115%;">He writes </span></span><span style="font-family: Cambria; line-height: 115%;"><o:p></o:p></span><span style="font-family: Cambria; line-height: 115%;">“This
walking is itself a process of thinking and knowing.</span><span style="font-family: Cambria; line-height: 115%;"> </span><span style="font-family: Cambria; line-height: 115%;">Thus knowledge is formed along paths of
movement in the weather world.”</span><span style="font-family: Cambria; line-height: 21.466665267944336px;">Ingold 2010 p. 12</span></div>
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In order to acknowledge the membrane quality of the paper, I begin to work on both sides of the roll. The paper becomes transformed by the materials that become ingrained from either side. I use yellow ochres along with red ochre, charcoal and eucalyptus ink in response to the glimpses of earth I see below the surface.</div>
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I am beginning to become more aware of the histories embedded in this land. It is so rich in its fossils, revealing the land's geographical formation. But there are also a myriad of tracks revealing the wealth of fauna that use the track when I am not present.<br />
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-34124730432433097522015-06-28T16:42:00.004-07:002015-06-28T16:50:26.204-07:00The Broken Line exhibition Darwin
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<span lang="EN-US">The Broken Line was a dialogue with Mirima National
Park situated on the edge of Kununurra. I lived near here for 6 months and gradually began to learn about the natural and cultural environment. The paper works were brought to the NCCA gallery in Darwin and were responded to in the gallery.</span></div>
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<span lang="EN-US">I aim to challenge the European landscape tradition of figure on ground and propose a new viewpoint of ground on ground. I use the paper, which is normally seen as a ground, to become a line in the environment. This line becomes covered in the ground of the site, acting as a membrane to record the events of my visit and the contours of the ground below. This ground is washed, ironed, folded and mended as I use my cultural language of care on the work.</span></div>
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The ground is taken into the gallery and placed on the ground of the gallery wall. There is a constant shift between what is the ground and where the viewer situates themselves. Like the ashes we will eventually become, the charcoal and ochre drawings shift between being under the ground or as a record of our presence over the ground.<br />
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-21341554367968850662015-06-28T16:26:00.003-07:002015-06-28T16:26:48.000-07:00The Broken Line in progress NCCA Darwin
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<span lang="EN-US" style="mso-bidi-font-family: Arial;">I arrived in Darwin with a
sequence of works on paper developed <i style="mso-bidi-font-style: normal;">in
situ </i>in the Kimberley, WA. The space in the gallery that I occupied was
normally used for inter-disciplinary exhibitions, often involving
projections.<span style="mso-spacerun: yes;"> </span>This lent itself to a sense
of enclosure that became very suggestive of both natural and cultural
environments as I drew on the walls. <o:p></o:p></span></div>
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<!--StartFragment--><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">My
initial idea was to draw across the walls and the paper integrating the two
surfaces, however as I lay out the paper works, they floated quite beautifully
in the space and I could not imagine drawing over them. </span></span></div>
<div class="MsoNormal" style="background: white; margin-left: 18.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-kkguR-PtfMQ/VZCB4yTTaOI/AAAAAAAAAdY/w30H8i4Evtc/s1600/12.%2BBroken-Line-paper%2Bdetail.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="http://2.bp.blogspot.com/-kkguR-PtfMQ/VZCB4yTTaOI/AAAAAAAAAdY/w30H8i4Evtc/s320/12.%2BBroken-Line-paper%2Bdetail.jpeg" width="320" /></a></div>
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<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br /></span></span></div>
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<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Instead, I outlined the paper on the side
walls of the gallery to suggest they had been peeled off these surfaces. I drew
with ink and pigments over the walls until they achieved a saturation equal to
the drawings. </span></span></div>
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<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br /></span></span></div>
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<a href="http://2.bp.blogspot.com/-8qLFs92snW4/VZB8fkQN-2I/AAAAAAAAAdI/TtPG3Cy-LNc/s1600/BL%2Bwall%2Bpainting%2Bin%2Bprogress.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-8qLFs92snW4/VZB8fkQN-2I/AAAAAAAAAdI/TtPG3Cy-LNc/s320/BL%2Bwall%2Bpainting%2Bin%2Bprogress.JPG" width="320" /></a></div>
<div class="MsoNormal" style="background: white; margin-left: 18.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; margin-left: 18.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">At the end I peeled away
the masking tape revealing the process of the drawing. This opened up an exciting new mark and
perspective to the work. </span></span></div>
<div class="MsoNormal" style="background: white; margin-left: 18.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-KWO7ceHGwJ4/VZCCQmBM8rI/AAAAAAAAAdg/yANvPc6QtYk/s1600/BL%2Bmasking%2Btape%2Bmarks.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-KWO7ceHGwJ4/VZCCQmBM8rI/AAAAAAAAAdg/yANvPc6QtYk/s320/BL%2Bmasking%2Btape%2Bmarks.JPG" width="320" /></a></div>
<div class="MsoNormal" style="background: white; margin-left: 18.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; margin-left: 18.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">This was a
totally new and unexpected development of my practice that I aim to pursue in
further works. There were strong references to caves and rock walls due to my
use of natural pigments but this was counterpoised through my use of the
masking tape to reference the drawings on paper that were hung on another
wall. </span></span></div>
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<a href="http://1.bp.blogspot.com/-jueXUeoDlJk/VZCCi0JiuTI/AAAAAAAAAdo/yss59slS3Xc/s1600/BL%2Btape%2Bmark.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-jueXUeoDlJk/VZCCi0JiuTI/AAAAAAAAAdo/yss59slS3Xc/s320/BL%2Btape%2Bmark.JPG" width="320" /></a></div>
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references that allowed the walls to appear as frescoes or church walls similar
to those found in Europe. I was pleased
with this cross-cultural referencing between Indigenous Australian experience
and my training in Western Art traditions.</span><!--EndFragment--></span></div>
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-11648185219737634992015-06-23T04:04:00.002-07:002015-06-23T04:16:41.565-07:00Becoming Memory<br />
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The drawings were torn into pieces, packed and transported to my new home in Hobart. The paper holds the traces of my drawing processes and also of ancient events. My time in the Kimberley and at Mirima National Park becomes a memory. I had thought the rough sandstone ochres would be strange in this new environment but there are very similar ochres in the hills around Hobart. The sedimentary layers of what was once a sea bed, forced to the surface, eroded and blown to a new site has once again gone through a major upheaval. The paper becomes loose leaf pages with a memory of materials and events.</div>
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<i>Broken Line</i> (in progress) TCotA Hobart</div>
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<i>Broken Line</i> (in progress) TCotA Hobart</div>
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-47376175732613440512015-06-22T04:03:00.002-07:002015-06-23T04:07:49.223-07:00Torn Line<div class="MsoNormal" style="margin-left: 18.0pt;">
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<span lang="EN-US" style="mso-bidi-font-family: Times;">The
roll of paper, initially the ground for an event, now shifts and becomes the
line.<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-bidi-font-family: Times;">It
has torn and broken into pieces. <o:p></o:p></span></div>
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<span lang="EN-US" style="mso-bidi-font-family: Times;">The
record of a continual event changes into fragments. <o:p></o:p></span></div>
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<span lang="EN-US" style="mso-bidi-font-family: Times;">The knowledge contained needs to
be both read in the pieces and imagined in the gaps between. </span><span lang="EN-US" style="mso-bidi-font-family: Cambria;">The paper is literally a
membrane bringing nature and culture into contact and retaining traces of both</span><span style="color: black; mso-ansi-language: EN-AU; mso-themecolor: text1;"><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-PgUbEY5xP68/VYfrerUoUxI/AAAAAAAAAcg/6ZSB0FPB2YY/s1600/First%2Btear%2BBL.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://4.bp.blogspot.com/-PgUbEY5xP68/VYfrerUoUxI/AAAAAAAAAcg/6ZSB0FPB2YY/s400/First%2Btear%2BBL.JPG" width="400" /></a></div>
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-91916820510165391502015-06-22T04:00:00.001-07:002015-06-23T03:46:29.507-07:00Ochres on the Line<div class="MsoNormal" style="margin-left: 18.0pt;">
<span lang="EN-US">Over time the
paper was worked on both sides with crushed ochre suspended in Japanese
glue.<span style="mso-spacerun: yes;"> The roll of paper was taken back to the site, </span><o:p></o:p></span>gradually acquiring new layers of ochre.</div>
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<span lang="EN-US">The ochre was
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land by continuing colonisation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-GQ4RkWKv5tQ/VYfqCxmZnWI/AAAAAAAAAcQ/2xwDSIPGEvI/s1600/Draped%2BBroken%2BLine.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-GQ4RkWKv5tQ/VYfqCxmZnWI/AAAAAAAAAcQ/2xwDSIPGEvI/s400/Draped%2BBroken%2BLine.jpeg" width="298" /></a></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
The paper
retains the traces of the elementary forces</div>
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<span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 18pt; text-align: center;">
<span lang="EN-US">forces that
impinge on us as living beings, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 18pt; text-align: center;">
<span lang="EN-US">forces like
“pressure, inertia, weight, attraction, gravitation, germination” (Deleuze
2003:48)<o:p></o:p></span></div>
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<span lang="EN-US">The drawing has
been washed, mended and folded.<o:p></o:p></span></div>
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<span lang="EN-US">Mirima National
Park lies on the edge of Kununurra.<span style="mso-spacerun: yes;"> </span>This
place is a shared commons with different groups negotiating its use including
Traditional Owners, tourists, the government and local community.<span style="mso-spacerun: yes;"> </span>The area has beautiful rock formations made
of layers of differing coloured ochres that were blown here from a mountain
range near Lake Argyle.<span style="mso-spacerun: yes;"> </span>The Land has
been mountains, seabeds, sand dunes and now eroding rock formations. The rocks
were once a layer, a mark of an event in time, now broken and reformed.<span style="mso-spacerun: yes;"> </span>It is a site of form and formlessness, a
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<span lang="EN-US">I believe that through working directly on
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<span lang="EN-US">The geological history and the social
histories interweave in a dialogue between artist and place.<span style="mso-spacerun: yes;"> </span>In this way there is a shift from the
landscape view that separates the viewer from the site and imposes a particular
history onto the land, to a view that is sensitive to the land’s subtle nuances.<o:p></o:p></span></div>
Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0Kununurra WA 6743, Australia-15.7735463 128.739196-16.7523913 127.4483025 -14.7947013 130.0300895tag:blogger.com,1999:blog-7081137671786611697.post-21672012280574289002015-06-22T03:39:00.000-07:002015-06-22T03:39:04.310-07:00The Broken Line in progressWhilst drawing at Mirima National Park I decided to commit to a lengthy investigation with a full roll of Rives BFK. I soaked the paper in a small waterhole at a fold in the rock face, laid the paper on the ground and drew with Sumi ink. The ink followed the folds and valleys in the paper negotiating rock formations and vegetation.<br />
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-70679381980889151142013-04-30T07:03:00.001-07:002013-05-05T20:10:15.020-07:00Slippages<a href="http://4.bp.blogspot.com/-u--Nvb7yCjk/UX_LV5NT-LI/AAAAAAAAASY/GWjiVDBhYZg/s1600/Mirima+slipping.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-u--Nvb7yCjk/UX_LV5NT-LI/AAAAAAAAASY/GWjiVDBhYZg/s320/Mirima+slipping.jpg" width="320" /></a>The rocks in Mirima are continuously moving and changing. What at first appeared to be a spectacular land formation reveals itself to be a land in flux. There are large 'wounds' on the walls of the formations where rocks slides have occurred and as I walk the tracks I can see the rocks on the paths become broken and gradually reduced to sand. The cycle of formation and disintegration seems far too rapid in country that is so ancient.<br />
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<a href="http://1.bp.blogspot.com/-Sr65uDvqdEo/UX_LEQ7WcSI/AAAAAAAAASI/kaSSuJX58rg/s1600/Mirima+rock+steps.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-Sr65uDvqdEo/UX_LEQ7WcSI/AAAAAAAAASI/kaSSuJX58rg/s320/Mirima+rock+steps.jpg" width="320" /></a>I have started doing ochre drawings about the slippages in the land and the feeling that the rocks could slide around underneath my feet. Rather than producing work about the formation of country I am interested in formlessness and entropy. As I draw I want to challenge the tradition of making forms through line or tone. However, I want to keep the tension of a desire for form, of a viewer's continuous looking for figures and references in a work. So whilst rock formations may be apparent to the viewer, the surface will deny any solid figure on a ground. The delineations will be broken by white erasures and black shadows that vie for dominance, a continual shift or negotiation for prominence.<br />
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I soak paper in the waterhole and then place it on a large rock, pushing the paper into the crevices in the rock. I pour sumi ink over the paper, allowing it to settle and dry in the crevices. I mix crushed ochres with a Japanese rice glue and paint two different colours on the paper and allow to dry. Back at home I try erasing the ochres with a rubber but it is very unpleasant as I get hayfever and sore fingers. I am also concerned with the painterly quality and strength of the ochre. They refer too strongly to the Indigenous Kimberley Art Tradition. I feel no right to paint country or have such a strong reference to the land so I wash the drawing in a tub and wipe back the ochres. I love this work and feel like I am caressing the country. The paper looks like beautiful drapes in Giotto's Italian frescoes and this link back to my art history and tradition reassures me. As I work on the drawings more and more, they begin to have even stronger memories of ancient frescoes, as if they are remnants from a lost painting. I feel I am beginning to find a process to develop an understanding of the land here.<br />
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<br />Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-32828923759796629432013-04-22T00:04:00.001-07:002013-04-22T00:04:17.047-07:00Ink and washingMy first approach to being in Kununurra was to immerse myself in the environment. Despite the extreme heat here in February I went walking in <a href="http://www.westernaustralia.com/en/Attraction/Mirima__Hidden_Valley__National_Park/9028274">Mirima National Park</a> to do sketches and get an understanding of the ground, the plants and animals and history of the land. I can laugh now but my first forays were filled with trepidation. The environment was so extreme, I packed carefully with water, phone, protective clothing and sketchbook. Every sound seemed so new and unusual, there was a constant scampering in the bush and undergrowth that sounded like a large animal tracking me. I have since found out that it is the small lizards and birds that make all the noise as they scamper out of my way. There is an amazing bird, a type of pheasant that tumbles, crashing through the undergrowth, barking like a small dog. Apparently it was mating season, but the recklessness and noise of the bird was startling during my walks until I realised it had nothing to do with my presence.<br />
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From these walks and sketches I found I was constantly drawn to the shadows caused by the fissures in the rocks. The instability and vertigo I feel in this land seem to be mirrored in the collapsing rock formations, or perhaps caused by it? I realise the lines and shadows come from the same pool or language about the land as the tree shadows and rhizomes of Gundaroo Common where I have been working for 8 years. They reveal the lay of the land, the fissures, dips and gaps that may be treacherous underfoot. They reveal the pathways of water that finds the quickest route down hill, carving away the softer layers and creating the significant land formations of the area.<br />
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<a href="http://3.bp.blogspot.com/-WTbgKELclhA/UXSvxNOdXfI/AAAAAAAAAPo/UgppcF7DILw/s1600/Kun+Kuts+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-WTbgKELclhA/UXSvxNOdXfI/AAAAAAAAAPo/UgppcF7DILw/s320/Kun+Kuts+6.jpg" width="320" /></a></div>
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<b>Rocks and shadows, Kununurra</b></div>
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However, once I started my test pieces I was drawn back to Kelly Knob. There was something unnerving about standing on that lookout on slabs of rocks that appear to be shifting and moving beneath my feet. I wanted to explore the vertigo that I felt in this place. My position as a settler in a place that was of significance to the local <a href="http://www.mirima.org.au/index.html">Mirriwoong</a> people and also to the many other language groups that visited Kununurra or worked at the base of the hill at Waringarri Art Centre. How do I pay respect to a place so active in the original owners culture? In Gundaroo I could rub back the land until I worked through the 2 cm of accumulated soil settled in the 200 years since occupation. But if I rub back here I rub into country, into another culture and their laws. This is the balancing act I wish to explore, how to have difference occupy the same space, whilst respecting Indigenous cultural privacy and deep knowledge of the country? As settlers in this land, we need to learn how to care for it sensitively, acknowledging Indigenous precedence but also our own history, as hard as that may be to face. It is the only way forward that I can think of, so I am using my culture and traditions to learn about the land and how I might share in its care and encourage others to acknowledge our responsibilities in this land.<br />
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<b>Ink sketches on Kelly Knob</b>,<b> Kununurra, WA</b></div>
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I dipped my paper in a local billabong and took them up to the lookout on Kelly Knob. I placed the paper in nooks and cranny's and in the shadows of overhanging rocks and applied Sumi ink with a brush to follow in the crevices to reveal the fissures and forms of the rocks. I also tried to rub the beautiful ochre colours into the paper like I had done in Gundaroo but soon found that the ochre was made of sandstone and cut and abraded my fingers and the paper. I realised I needed water to do any rubbings on the work.</div>
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<b>The Process</b></div>
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1. I drew with brush and ink on the horizontal ground, allowing chance to puddle the ink in the crevices of the rocks. However, when placed on the vertical wall, the work was too much like a traditional figure on ground landscape rendition. I wanted the marks to be more like a schism or a cut through the ground rather than suggesting any form.</div>
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2. I took the drawings back out into the country and worked with the mud from a drying waterhole. I wiped the paper with the mud a bit like applying ink to an etching plate.<br />
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3. I wiped back the mud with my hands to reveal the surface of the rock beneath. The sandy consistency rubbed my hands raw. A friend once said a drawing project needs to be so intense that your hands bleed! I'm certainly getting there. I was also getting several layers of ground. The ground of the rock, the paper as ground, the ground of the sumi ink and the ground of the mud. These are layers that add to the meaning of the work.</div>
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<a href="http://3.bp.blogspot.com/-M3V34_8c6BI/UXTL9jNcOYI/AAAAAAAAAQM/bUTRxRtW548/s1600/IMG_6716.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-M3V34_8c6BI/UXTL9jNcOYI/AAAAAAAAAQM/bUTRxRtW548/s320/IMG_6716.JPG" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: left;">
4. What do you do when you get back from a camping trip? I always do the laundry washing. It is a job I enjoy, cleaning the linen and clothes, drying, ironing and folding. It is part of caring for my family and I love the smells and processes of cleaning and mending. I tried to rub back the dirt surface with a rubber but suffered terribly from grit in my eyes and hayfever so I decided to try washing the excess off. As I did this I made the link between caring for my family and caring for the land. It is my traditional way of caring and seems appropriate.</div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-emIrY74PNqo/UXTMRSdLtBI/AAAAAAAAAQU/sq7pwJoZR3Y/s1600/IMG_6713.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-emIrY74PNqo/UXTMRSdLtBI/AAAAAAAAAQU/sq7pwJoZR3Y/s320/IMG_6713.JPG" width="320" /></a></div>
5. I hung the drawings out to dry and to get that lovely smell of sunlight on laundry.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-70HHdg4g4EE/UXTMq_DGZCI/AAAAAAAAAQc/zeNhMakrFWU/s1600/IMG_6722.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-70HHdg4g4EE/UXTMq_DGZCI/AAAAAAAAAQc/zeNhMakrFWU/s320/IMG_6722.JPG" width="320" /></a></div>
6. I perused the stains and the remains of the drawings on the paper. I was pleased that the forms suggested in the initial drawings were now dissolving and becoming formless or oscillating between form and formlessness. The works were becoming active and showing me a process that would be appropriate for the land here. I was gaining knowledge of the country and my process was starting to echo the forming of the landmarks in the area. In Mirima National Park there is a sign from the Mirriwoong language group explaining the country: "About 360 million years ago in the Devonian period, wind and water eroded highlands in the vicinity of present day Lake Argyle. Sand was blown here forming dunes up to 30 metres high. Deposits accumulated to a thickness of several hundred metres. Today this sand makes up the layered sandstone rocks around you." My drawing, washing, redrawing and washing, is surprisingly similar to the land's creation.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-DhPk77PnEjg/UXTVP7IPKqI/AAAAAAAAARk/bJS0WcB976A/s1600/IMG_0065.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-DhPk77PnEjg/UXTVP7IPKqI/AAAAAAAAARk/bJS0WcB976A/s320/IMG_0065.JPG" width="320" /></a></div>
7. To complete the works I ironed and erased edges to make the work continue to dissolve and reform. The harsh lines are the cuts and divisions made by settlers that have little respect for existing natural or cultural boundaries. As I stumble my way around this country I know that I will inadvertently make transgressions as I know little of the traditions of this country. I ask advice and tread carefully.<br /><br />
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</div>
Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-71091635800963481642013-04-20T01:04:00.002-07:002013-04-20T01:04:15.289-07:00Rover’s line: Standing on the edge of a song
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I am standing on the edge of a rocky outcrop in Kununurra,
WA, looking down at pieces of paper that I have wedged in between rocks and
overhangs trying to activate soggy pieces of paper into a response to the
land.<span style="mso-spacerun: yes;"> </span>It is a process that I use in my
hometown of Gundaroo in NSW.<span style="mso-spacerun: yes;"> </span>I dampen
paper in the local dam, drag it around the common getting traces of mud and
manure. I then settle under the shadows of the remnant forest and start engaging with the
ground, drawing, smearing erasing the natural ochres and charcoal, allowing the
grasses below to reveal their pathways by embedding themselves in the paper.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-kOltwo0XyGU/UXJLEe1ea_I/AAAAAAAAAPE/M5uQWwCT0HY/s1600/IMG_6573.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-kOltwo0XyGU/UXJLEe1ea_I/AAAAAAAAAPE/M5uQWwCT0HY/s320/IMG_6573.JPG" width="320" /></a></div>
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Rocks at Kelly Knob, Kununurra, WA</div>
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I now find myself living in the Kimberley’s, the land of
ochre painting!<span style="mso-spacerun: yes;"> </span>My hero, Rover Thomas
sometimes painted at the Waringarri Art Centre just at the bottom of the hill I
am standing on.<span style="mso-spacerun: yes;"> </span>I look up from my paper
and feel severe vertigo as the flat plane of the land suddenly reveals its
distance from the plane of rock I was staring at. I doubt my right to be here
and my attempt at drawing ‘country.’<span style="mso-spacerun: yes;">
</span>Everything seems to be fighting against me.<span style="mso-spacerun: yes;"> </span>My paper has dried in the extreme conditions
and the beautiful sparkling ochre colours tantalising me in the rocks are
actually sandstone and any attempt to smear them on to the paper results in
tears and shredded fingertips.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"></span>I am teetering on
the edge of Kelly Knob, a terrible misnomer for a rocky outcrop of
significance to the local Miriwoong language group. There is a view of the Kununurra
area equal to an eagles hovering perusal.<span style="mso-spacerun: yes;">
</span>The ground is unstable as layers of sandstone exposed by weathering form rocky cliff faces.<span style="mso-spacerun: yes;"> </span>The water seeps into the stone
and erodes the softer layers causing breakages and collapses.<span style="mso-spacerun: yes;"> </span>The effect is of dry broken brush marks in a
shifting range of colours from pale yellow ochre, soft downy grey galah pinks,
rusty reds and a deep stormy sunset purple.</div>
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I have seen a painting of Rover’s about this site that had a broad line mapping around the edge of the canvas, swooping in to the middle and
looping around a black rounded triangular shape.<span style="mso-spacerun: yes;"> </span>Deep red brown ochre dominated the canvas
with the line a deeper, muddier brown.<span style="mso-spacerun: yes;">
</span>The white dots traverse the border of the canvas and the edges of the
line, accentuating the subtle shift between the land and the path through that
land.<span style="mso-spacerun: yes;"> </span>The mesmerising dots force the
viewer to keep following the track around the board and never coming to rest.
It is both an aerial map and a landscape view.<span style="mso-spacerun: yes;">
</span>Continuously shifting from the horizontal to the vertical, the viewer is
left unnerved.<span style="mso-spacerun: yes;"> </span></div>
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<a href="http://2.bp.blogspot.com/-kCnN8sxxkXA/UXJF4QjUiII/AAAAAAAAAOw/cPr6DzqdVZE/s1600/Sugar+bag+hill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="http://2.bp.blogspot.com/-kCnN8sxxkXA/UXJF4QjUiII/AAAAAAAAAOw/cPr6DzqdVZE/s320/Sugar+bag+hill.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Sugar Bag Hill (Ilulunja), c1986</span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Rover Thomas
(Joolama) (c1926—1998) </span></div>
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<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">natural
earth pigments and natural binder on plywood</span></div>
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<span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">80.0 x 100.0
cm</span></div>
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<br /></div>
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The dark brown line is the road that circumnavigates the
township of Kununurra and it continues up the path to Kelly Knob, surrounding
and accentuating the hill.<span style="mso-spacerun: yes;"> </span>It is a
simple mud map to the site, a prosaic description of an everyday manmade
path.<span style="mso-spacerun: yes;"> </span>When I first stand on the Knob and
realise that I can see this aerial mapping, I feel a sickening wrench in my
stomach and disappointment seeps in as I realised the secular nature of many of
Rover’s works. <span style="mso-spacerun: yes;"> </span>Living in Kununurra, I
now see the simplicity and obviousness of the subject matter and it jarred
against my previous relationships with Rover’s work.</div>
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However, it is both a mud map and something far more. It is part of a song, a dream and a warning that the land needed caring for.
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This painting and site is part of the <span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Kurirr–Kurirr (Krill
Krill) song that was composed by Rover Tomas in the 70’s.<span style="mso-spacerun: yes;"> </span>The song came to him after the death of a
senior countrywoman, close kin to Rover.<span style="mso-spacerun: yes;">
</span>In a series of dreams she took him on the path her spirit took after her
death in a car accident down the road near Halls Creek.<span style="mso-spacerun: yes;"> </span>She gave him many verses and showed him the
destruction of Darwin by Cyclone Tracey from this very spot.<span style="mso-spacerun: yes;"> </span>It took some time before this song was fully
recognised by Rover’s community but eventually, ceremonial boards were painted
up by his classificatory uncle Paddy Jumangi and taken around the country. It was the start of a famous art movement.</span></div>
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{page:WordSection1;}</style><span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">So, on Kelly Knob I am standing on the
edge of this song, the
destruction of Cyclone Tracey was shown to Rover by his kinswoman in a dream.<span style="mso-spacerun: yes;"> </span>I can easily remember Rover’s painting of
Cyclone Tracey with its large black vortices and bands of winds and country
feeding into it.<span style="mso-spacerun: yes;"> </span>It hangs in the new
Indigenous Australian galleries at the NGA in Canberra where I taught art
students each week.<span style="mso-spacerun: yes;"> </span>Now I am in the
place where Rover was shown the destruction caused by the Rainbow Serpent; a warning
to keep country strong, a powerful dream that has captured the imagination of
all Australians.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-29C1naM3_K8/UXJI2vfdVeI/AAAAAAAAAO4/PsTUlvUZlJM/s1600/148012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="http://4.bp.blogspot.com/-29C1naM3_K8/UXJI2vfdVeI/AAAAAAAAAO4/PsTUlvUZlJM/s320/148012.jpg" width="320" /></a></div>
<div style="text-align: center;">
<div class="ARTISTLBL">
<b><span class="TITLBL">Cyclone Tracy</span>
<span class="Lar">1991</span></b></div>
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<span class="Lar"></span><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> </span>
</div>
<br />
<br />
<br />
<br />
<br />
Rover Thomas (Joolama)<br />
Warmun (Turkey Creek), Kimberley, Western Australia, Australia<br />
Painting, natural earth pigments on canvas<br />
168.0 h x 180.0 w cm </div>
<br />
<br />
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<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The power of his work is to take everyday
life events, the mapping of a highway, a car accident, a hill above a
colonising township and make it into a cultural icon.<span style="mso-spacerun: yes;"> </span>As I continue to think about the painting and
its elegance, I realise the intelligence and insight needed to pare a story down
into elements.<span style="mso-spacerun: yes;"> </span>A mud map, ochres and a
dream are just the beginning of the way his paintings work.<span style="mso-spacerun: yes;"> </span>The sophisticated operation of the shifting
viewpoints from the aerial view above the land to the ants eye view looking up
at the hill from the place where he painted it.</span></div>
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<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">So where do I start in drawing this place? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-90446066359817745292013-04-15T02:15:00.001-07:002013-04-15T02:19:19.802-07:00Ground on Ground<style>
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<b style="mso-bidi-font-weight: normal;">Ground on Ground: </b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-size: 11.5pt;">negotiating
instability</span></b></div>
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<span style="mso-bidi-font-family: Helvetica;">In Kununurra I find myself on the edge
of other cultures.<span style="mso-spacerun: yes;"> </span>The land I stand on
is sung and painted by its traditional owners and the massive push of
colonisation is continuing its insidious path. The environment is harsh and
unforgiving and yet is painted in the famous Kimberley tradition with great
love and respect.<span style="mso-spacerun: yes;"> </span>My current project is
to negotiate my way on this precipice; to find a way to share the land whilst
acknowledging precedence of the traditional owners.<span style="mso-spacerun: yes;"> </span>The sandstone rocks continuously shift and
move and hold stories of great heartbreak that are better told by witnesses and
descendants.<span style="mso-spacerun: yes;"> </span>Scratch the surface and you
touch ‘country’, a term that carries the weight of Indigenous culture with
it.<span style="mso-spacerun: yes;"> </span>This project will record my careful
tread to find a space for communication across cultures whilst respecting
‘country’.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="mso-bidi-font-family: Helvetica;">The project will be through the process
of drawing, which I will use to find a common ground for negotiation across
cultures.<span style="mso-spacerun: yes;"> </span>Ground is a commonality that
brings us together and is also what is most contested and continues to cause
destruction and heartbreak.</span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="mso-bidi-font-family: Helvetica;">Paper is traditionally considered the
ground of drawing, the neutral receptor for an artist’s marks, which brings
meaning into the work.<span style="mso-spacerun: yes;"> </span>I consider paper
in the same way the philosopher Deleuze discusses memory; as ‘a membrane that
puts an outside and an inside into contact, makes them present to each other,
confronts them or makes them clash.’<span style="mso-spacerun: yes;"> </span>Paper
itself has a memory from its manufacturing process to the art historical
tradition that it carries.<span style="mso-spacerun: yes;"> </span>My job is to
continue to challenge and extend that tradition.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-tAUOTfYHuZU/UWvEnPvxKRI/AAAAAAAAAOg/BSPSbj1BeW8/s1600/Kun+Kuts+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="http://4.bp.blogspot.com/-tAUOTfYHuZU/UWvEnPvxKRI/AAAAAAAAAOg/BSPSbj1BeW8/s400/Kun+Kuts+1.jpg" width="400" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="mso-bidi-font-family: Helvetica;"><span style="mso-spacerun: yes;"> Kununurra Kuts, digital photograph, Kelly's Knob, Kununurra, WA</span></span></div>
Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-26373881043144966982013-03-09T00:04:00.001-08:002013-03-17T00:00:44.839-07:00Traces and Erasures <div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-AY5dmBPWl5w/UTrwQWsHGzI/AAAAAAAAAIo/RwFrNQhV-lw/s1600/Traces+and+Erasures+II+.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="http://3.bp.blogspot.com/-AY5dmBPWl5w/UTrwQWsHGzI/AAAAAAAAAIo/RwFrNQhV-lw/s320/Traces+and+Erasures+II+.JPG" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-NaErEKQB3hU/UTrwiDC-LsI/AAAAAAAAAIw/MXTuXQbJ6WI/s1600/Traces+and+Erasures+III.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="http://4.bp.blogspot.com/-NaErEKQB3hU/UTrwiDC-LsI/AAAAAAAAAIw/MXTuXQbJ6WI/s320/Traces+and+Erasures+III.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/--9UwsjL528Q/UTrr3XsZ3-I/AAAAAAAAAIY/ANAJyJJ_Yw0/s1600/IMG_0970.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="http://3.bp.blogspot.com/--9UwsjL528Q/UTrr3XsZ3-I/AAAAAAAAAIY/ANAJyJJ_Yw0/s320/IMG_0970.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: inherit;"><span lang="EN-US"><i>Traces and Erasures</i> continues the dialogue with Gundaroo Common exploring the subtle shifts and glimpses of past
and present revealed by the land.<span style="mso-spacerun: yes;"> </span>The
paper gradually accrues a history of events and begins to make connections
between people and place. The presence of the rhizomes below the paper start to dominate and energize the work, breaking the ground and making it fertile.</span></span></span><br />
<span lang="EN-US"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">The series of works explore the possibility of an inspirited site. The pre-historian John Mulvaney suggests that the concept of an inspirited landscape may be one of the greatest gifts that indigenous people have given to civilization. It is important for settler and migrant Australians to find their way in the land, to find a spiritual connection to the land and accept the rights and responsibilities that go with that.<br />During the process of drawing the world becomes unstable, it is in the process of flux, particles change states from water to solid, solid to gas, ground to image, breath to mark. There is a constant shifting ground as I search for a new way to live in this land. By rubbing the land and caressing it with my fingertips I immerse myself in the environment, searching with my body what the land can reveal to me. I am going below the horizon, challenging the vertical, objective view offered by Landscapes. The Land is not secure, I feel nausea and anxiety about my place in the world so I sit and learn by immersing myself in the land, both physically and metaphorically. By having finger marks and dirt I aim to get the viewer back in to the soil, to remember its feel, smell, texture and what it is like to play with it. I want the work to be its own reality, the event is happening now at the time of viewing. The artist, the work and the viewer are for a few moments linked in an event, a relationship in which we are all linked to the country. The multivalent shape-shifting marks link us body and spirit to the Land. </span></span></span> </span></div>
Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-89198867512325766392013-03-08T23:45:00.002-08:002013-03-09T00:13:09.089-08:00Emergence<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-lEx7fTxS-YA/UTrn-6tstjI/AAAAAAAAAHw/inZHldKQXUU/s1600/IMG_3471.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-lEx7fTxS-YA/UTrn-6tstjI/AAAAAAAAAHw/inZHldKQXUU/s320/IMG_3471.JPG" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Q1N41WEWeC4/UTroMc28lFI/AAAAAAAAAH4/zAx8V_6OnuM/s1600/IMG_3483.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-Q1N41WEWeC4/UTroMc28lFI/AAAAAAAAAH4/zAx8V_6OnuM/s320/IMG_3483.JPG" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-8Ls2oG4dOWw/UTroRVhF-8I/AAAAAAAAAIA/btobyDP4qag/s1600/IMG_3469.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-8Ls2oG4dOWw/UTroRVhF-8I/AAAAAAAAAIA/btobyDP4qag/s320/IMG_3469.JPG" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ugJmcbWrAy0/UTroigcI1SI/AAAAAAAAAII/rgHT2bBHqVU/s1600/IMG_3478.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-ugJmcbWrAy0/UTroigcI1SI/AAAAAAAAAII/rgHT2bBHqVU/s320/IMG_3478.JPG" width="320" /></a></div>
<br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;">In the far back corner of Gundaroo Common is a stand of
remnant forest.<span style="mso-spacerun: yes;"> </span>In the shadows of these
trees a mark is made, the shadow responds and the dance begins.<span style="mso-spacerun: yes;"> </span>The tree becomes a matrix and helps to
develop forms and images.<span style="mso-spacerun: yes;"> </span>The paper
becomes a membrane over the ground, responding to the pressures from above and
below.<span style="mso-spacerun: yes;"> </span>Events and people leave traces on
the land and the paper reveals and erases glimpses of the past and a possible
future.<span style="mso-spacerun: yes;"> </span>The play between black and
white, mark and surface, figure and ground becomes a source of revelation. </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;">These are the first works in an ongoing series with a working title of
80 x 80's. They started as full sheets of Arches paper (120 x 80 cm)
that I regularly took out on to Gundaroo Common. The paper would be
soaked in a dam and drawn on with Sumi ink, often following the shadows
on the land and being influenced by the structure of the land below<span style="font-size: small;">. </span> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">As the paper was repeatedly taken back to the common over time, it would accrue the detritus of the common, along with dirt, charcoal and cow manure. Eventually I tore the paper down to 80 x 80 cm with the remnant becoming another series titled 40 x 40. I was addressing the constant landscape / portrait reading that occurs with the rectangular format of paper. It was important that the drawings can be worked on from every angle on the ground. The paper was taken back in to the studio and erased and worked on some more. For the Emergence series the works were considered finished when they acquired a smell of burnt ashes and an active shifting surface. My aim was to show the ground as an active force in our lives. Whilst I had hoped for a positive engagement with the land, the overall sense of the works was one of grieving and loss. The works contain traces of events from colonization to the present day and convey the losses that have occurred during that period.</span></span></div>
Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-69158409285694967502013-03-08T22:14:00.001-08:002013-03-09T00:25:06.413-08:00Phonemes<style>@font-face {
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<span style="mso-bidi-font-family: Arial;"><i style="mso-bidi-font-style: normal;">Phonemes</i><span style="mso-spacerun: yes;"> </span></span><span style="mso-bidi-font-family: Arial;">are a series
of small drawings, 20 x 20cm in sumi ink, charcoal and Gundaroo dirt on Rives BFK. </span><span style="mso-bidi-font-family: Arial;">In linguistics a phoneme is the smallest
distinctive unit of sound and in sign language it refers to the “basic elements
of gesture and location”.<a href="http://www.blogger.com/blogger.g?blogID=7081137671786611697#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""></a><span style="mso-spacerun: yes;"> </span>I was attempting to devise a visual language
around a linguistic system.<span style="mso-spacerun: yes;"> </span>The drawings
were useful to me in developing marks and processes that were suitable for my
investigation but I found myself struggling with the language metaphor.<span style="mso-spacerun: yes;"> </span>The more I looked into how language was
structured, the more I found how culturally specific it was and how it seemed
to operate quite differently from the visual arts.<span style="mso-spacerun: yes;"> </span>The further I worked on the drawings in the
land I realised I was actually trying to break down the signs and symbols which
structured my thought processes.<span style="mso-spacerun: yes;"> </span>Rather
than building a new language I needed a new way of thinking.<span style="mso-spacerun: yes;"> </span>The metaphor of language broke down for my
research and I searched for another way of thinking about the visual arts that
would be more appropriate for a cross-cultural dialogue. These were important works to an ongoing series of works that continuously morph over the years but are broken down into paper sizes, 80 x 80 cm and 40 x 40 cm. They are continuously worked on 'in situ' and back in the studio until they become 'active'.</span></div>
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<a href="http://1.bp.blogspot.com/-tbIEqdA4r0M/UTrS8uri4wI/AAAAAAAAAHg/BtZHXO3ang8/s1600/sc001c0bd1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="http://1.bp.blogspot.com/-tbIEqdA4r0M/UTrS8uri4wI/AAAAAAAAAHg/BtZHXO3ang8/s200/sc001c0bd1.jpg" width="200" /></a><a href="http://4.bp.blogspot.com/-yRxWv_jI3m4/UTrxvKjIp9I/AAAAAAAAAI8/1CC0vfkNxeg/s1600/sc001bc6ce.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-yRxWv_jI3m4/UTrxvKjIp9I/AAAAAAAAAI8/1CC0vfkNxeg/s200/sc001bc6ce.jpg" width="196" /></a></div>
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Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-25116457101987613942011-12-07T03:33:00.000-08:002011-12-07T03:34:49.249-08:00To Shadow<div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="font-family: inherit;"><a href="http://4.bp.blogspot.com/-Tu_3MCAJ9nk/Tt89OP3M4zI/AAAAAAAAAFU/kstUGRZi57Y/s1600/IMG_3958.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-Tu_3MCAJ9nk/Tt89OP3M4zI/AAAAAAAAAFU/kstUGRZi57Y/s320/IMG_3958.JPG" width="320" /></a><span lang="EN-US" style="font-family: Times,"Times New Roman",serif;">In this work for the Installation Space at Canberra Museum and Art Gallery I was exploring how process, materiality and place interact to develop meaning in a work. The work was based on the shadows of trees on Gundaroo Common. My interest was not in representing the trees but rather acknowledge the space between the tree and the ground that the body occupies. The shadows are on the horizontal and as we gaze at them they shimmer and shift with the breeze revealing the spaces and gaps in the canopy above and the undulating ground below our feet. We are reminded of our vertical stance in the world and of our eventual decline back on to the ground.</span></div><div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;"><span lang="EN-US"><br />
</span></div><div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;"><span lang="EN-US">Printmaking requires working on the horizontal as the matrix needs to be printed by an even flat pressure either by hand or by a press. This work was developed on the ground outside my studio and eventually hand printed in an adaptation of Japanese printmaking techniques. I am fascinated by the flip from the horizontal to the vertical that occurs when a work is peeled off the matrix. I often think of the space between matrix and paper in a similar way to the space between tree and shadow. It is a rich and fertile area that appears to stir the imagination. In my installations I like to maintain this tension by installing the matrix along with the print.</span></div><div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;"><br />
</div><div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;"><span lang="EN-US">For me the shadows are the traces of time that shimmer across the surface of the land, revealing and concealing what lies beneath. As I walk around the common my shadow merges with those of the trees and the clouds and occasionally breaks free to be seen moulding itself to the undulations of the land. The ground affects the shadows making them into shape shifters, at times identifiable and at others a puzzle that may echo with a deeply held memory. These shifting forms were traced at a moment in time and made into woodcuts and printed onto Japanese paper. The shapes are part of an interconnected network of what is horizontal, vertical and in-betweeen.</span></div><div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;"><span lang="EN-US"><br />
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</div>Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0tag:blogger.com,1999:blog-7081137671786611697.post-61666393845596523662011-12-06T03:55:00.000-08:002011-12-06T03:55:17.606-08:00On Becoming<style>
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</style> <table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="border-collapse: collapse; mso-padding-alt: 0cm 5.4pt 0cm 5.4pt; width: 100.0%;"><tbody>
<tr style="height: 103.8pt; mso-yfti-firstrow: yes; mso-yfti-irow: 0;"> <td style="height: 103.8pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 80.18%;" valign="top" width="80%"> <div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">Becoming</span></i><span lang="EN-US" style="font-family: "Times New Roman";"> is a print installation that uses a rhizome model to investigate the site of Gundaroo Common.<span style="mso-spacerun: yes;"> </span>The Common is a remnant from an older way of life that has remained relevant and integral to community life.<span style="mso-spacerun: yes;"> </span>Through its continuance it is now a site for the preservation of rare native grasslands and fauna. The print encourages an immersion in the numerous intertwined connections on the common.</span></div></td> </tr>
<tr style="height: 272.2pt; mso-yfti-irow: 1; mso-yfti-lastrow: yes;"> <td style="height: 272.2pt; padding: 0cm 5.4pt 0cm 5.4pt; width: 80.18%;" valign="top" width="80%"> <div class="MsoNormal" style="margin-bottom: 10.0pt; mso-hyphenate: auto;"><a href="http://4.bp.blogspot.com/-kqe0q413T-E/Tt337dylo3I/AAAAAAAAAEE/hKWvTvCFJO4/s1600/3.+Becoming.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="311" src="http://4.bp.blogspot.com/-kqe0q413T-E/Tt337dylo3I/AAAAAAAAAEE/hKWvTvCFJO4/s320/3.+Becoming.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Times New Roman";">Becoming </span></i><span lang="EN-US" style="font-family: "Times New Roman";">is a print installation investigating the possibility of a rhizome model to communicate ideas on identity and belonging. My print follows Deleuze’s concept that a rhizome is similar to a map. It can be detachable, connectable, reversible, modifiable and have multiple entryways and exits. </span></div><div class="MsoNormal" style="margin-bottom: 10.0pt; mso-hyphenate: auto;"><span lang="EN-US" style="font-family: "Times New Roman";">I have developed the work from meandering through long grasses following animal tracks on Gundaroo Common.<span style="mso-spacerun: yes;"> </span>This site, set aside for villagers to raise cattle on as well as for the preservation of native flora and fauna, shows the potential for continuing negotiations between people and place.</span><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> </span></div><div class="MsoNormal" style="margin-bottom: 10.0pt; mso-hyphenate: auto;"><span lang="EN-US" style="font-family: "Times New Roman";">The prints are based on Japanese woodblocks and are hand printed from jigsaw woodblocks. The thin Japanese paper reveals the traces of the printing process accentuating the horizontality of the technique. When this is placed vertically it questions our own vertical stance in the world. Are we above or below ground, floating or buried? The work can be pasted to the wall and floors with rice paste. Or they can be pinned, hung, slung or laid over the floor in an interaction with the space allocated for the work. </span><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"></span></div><div class="MsoNormal" style="margin-bottom: 10.0pt; mso-hyphenate: auto;"><span lang="EN-US" style="font-family: "Times New Roman";">Importantly for me, the work enters into the real space as it takes on the wall of the gallery; it is not an illusion.<span style="mso-spacerun: yes;"> </span>The rhizomes travel up the wall, hinting at the walls eventual demise back into the earth. As with Deleuze’s rhizome theory, this work has multiple offshoots, each section can break away and become a new one, there is not a linear progressive path but many possibilities in many different dimensions. </span></div><div class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman";"><b>The work in progress at the Canberra School of Art, ANU</b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-TJWyco-zTFM/Tt3_FF98gSI/AAAAAAAAAEM/C2_scxEnhS4/s1600/IMG_3061.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-TJWyco-zTFM/Tt3_FF98gSI/AAAAAAAAAEM/C2_scxEnhS4/s320/IMG_3061.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-GItQJDqJZLo/Tt3_aGTjpXI/AAAAAAAAAEU/sDh6hgEAvDI/s1600/IMG_3068.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-GItQJDqJZLo/Tt3_aGTjpXI/AAAAAAAAAEU/sDh6hgEAvDI/s320/IMG_3068.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-pXiAETi1hbE/Tt3_xDJBgbI/AAAAAAAAAEc/ceBXxlrvWGQ/s1600/IMG_3073.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-pXiAETi1hbE/Tt3_xDJBgbI/AAAAAAAAAEc/ceBXxlrvWGQ/s320/IMG_3073.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-HuvROvuIyQE/Tt4AAWTl1iI/AAAAAAAAAEk/3NN4J06k6WY/s1600/IMG_3398.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-HuvROvuIyQE/Tt4AAWTl1iI/AAAAAAAAAEk/3NN4J06k6WY/s320/IMG_3398.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-Ob537dZ5zrM/Tt4ARsFD_DI/AAAAAAAAAEs/lFjqaaB10vk/s1600/IMG_3414.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-Ob537dZ5zrM/Tt4ARsFD_DI/AAAAAAAAAEs/lFjqaaB10vk/s320/IMG_3414.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-PD37HcS6juQ/Tt4AonjWJiI/AAAAAAAAAE0/S12cZOyMzxg/s1600/IMG_3433.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-PD37HcS6juQ/Tt4AonjWJiI/AAAAAAAAAE0/S12cZOyMzxg/s320/IMG_3433.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-7QVKf1hXtSE/Tt4A3sOwuoI/AAAAAAAAAE8/6Zu2IuoMIA0/s1600/IMG_3511.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-7QVKf1hXtSE/Tt4A3sOwuoI/AAAAAAAAAE8/6Zu2IuoMIA0/s320/IMG_3511.JPG" width="320" /></a></div> The work installed at the Faculty Gallery, Monash University, Caulfield campus as part of the Impact7 printmaking symposium, 2011. It is next to work by Rebecca Mayo who did a performance in front of the work.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-Jbag_rGtCls/Tt4BjedokZI/AAAAAAAAAFE/NikUg4lRtkA/s1600/IMG_4208.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-Jbag_rGtCls/Tt4BjedokZI/AAAAAAAAAFE/NikUg4lRtkA/s320/IMG_4208.JPG" width="320" /></a></div><div class="MsoNormal"><span lang="EN-US" style="font-family: "Times New Roman";"><b> </b> </span></div><div class="MsoNormal" style="margin-bottom: 10.0pt; mso-hyphenate: auto; text-align: justify;"><br />
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<span lang="EN-US" style="font-family: "Times New Roman"; mso-bidi-font-size: 11.5pt;"></span><span lang="EN-US" style="font-family: "Times New Roman";"></span>Jan Hoganhttp://www.blogger.com/profile/15332171210423645264noreply@blogger.com0