Pin Prints

2019

Toned cyanotype photograms

18cm x 26cm 

Impressions of ephemeral sculptural assemblages, cast onto paper as cyanotype photograms.

 

The assemblages were made from hundreds of store-bought, steel fork pins — conventionally used by knitters to join seams or to hold a garment in shape during the blocking process.  Experiments with the pins revealed that the ergonomic bend at the top allows for two to be connected, held together through tension.  By passing pin through pin, many different shaped forms can be assembled and re-assembled.

 

The photograms, a 1:1 scale image created through direct contact between the assemblages and the photo emulsion-painted paper, not only capture shadowy glimpses of the pins before their dismantlement, but also become ‘things’ in their own right — present, paper things — collapsing object and image.

Cover (timber, thread and beads)

2019

Timber milliner's block, glass beads, thread

16cm x 17cm x 21cm

Beads, draped and handwoven over an old hat block, following its form.  The beaded rows increase and decrease, are taken around and under, the block, beads and thread bound together, now belonging to one-another.

 

Cover describes a sensibility typical of recent works: what seems at first glance rigid and controlled, is actually borne of yearning for a kind of surrender—to materials, processes, and constraints.

Disc (glossy black)

2019

Glass beads, thread

Dimensions variable, 33cm diameter when flat

Glass beads, handwoven into a semi-malleable, radial form taken from the pattern of beading used in Cover (timber, thread and beads).  The pattern and rhythm of the beading is interrupted by half-anchored bead protrusions that can be flipped in different directions.

Disc prints 1-5

2019

Toned cyanotype photogram and pencil on paper

41cm x 27cm 

Cyanotype photograms—made by placing Disc (glossy black) onto paper treated with a photo-sensitive emulsion.  The symmetry and order of the object’s making is ‘thrown off’ by its malleability when placed on the paper’s surface.

Exhibition view, The Part and The Whole

2019

Side Gallery, Brisbane

The Part and the Whole explores parts, wholes and processes, in particular, the use of repetition as both a visual device as well as a process. The works highlight the formal properties of glass beads — their form, texture and geometric qualities, their pattern and repetition, as well as their ability to be assembled and re-assembled in multitudes of combinations.

Thread Drawing for Ribbon (matte black)

2018

Pigment on paper

38.5cm x 59cm (diptych)

 

Pigmented thread—common to jewellery-making and bead-stringing—is ‘drawn’ through layered paper, an image slowly built with hundreds of passes of the thread.  The repeated gestural action of the paper and the thread is physically demanding, labour-intensive: hours upon hours of process.