Where Arts meets Science - Part 4

Continuing on from my previous post.....


Day 4 of the Art-science BioBlitz at Mary Cairncross Scenic Reserve

The Sunday dawned without a cloud in the sky, absolutely gorgeous!

My tree for this final day of the BioBlitz was Tree 3 - 'Mook Mook', Jinibara language for 'Ghost Tree'.

It was very busy around the base of the tree, as it was one of the trees setup for climbing that day.  To get close to the tree, I had to wear a hard hat and keep away from all the noise and activity.   This forced me to look closer at the soil and around the roots, with my drawings focussing on the beautiful fungi sprouting from the strangler fig roots.

The rest of the morning was spent back at BioBlitz HQ working with the other artists.  We were all a bit frantic at this stage, trying to get as much done as possible before it was 'brushes down!' and time to go for the closing ceremony.

We all had a fabulous time, it was a highlight to work with both scientists and like-minded artists.  I feel like I've established some new connections that will enhance my art practice and help me to spread the word about forest conservation and the importance of retaining biodiversity.

The 5 visual diaries were handed over to the Reserve staff, to be scanned and documented, and then put on show at the Reserve until 25 August.

Wearing a hard hat whilst sketching at the base of
Mook Mook,  something different!

Beautiful fungi, captured on toned paper with
pencil

My watercolour kit, wet and muddy and well used

The art team at work at BioBlitz HQ - me, Kim, Jono, Jason and Leisa
(left to right around the table).  Paula was out in the forest at the time
this photo was taken.

At the closing ceremony, still working on our diaries!

My favourite drawing from the 4 days of BioBlitz -
the Bat Fly!  AMAZING!

Where Arts meets Science - Part 3

Continuing on from my previous post.....


Day 3 of the Art-science BioBlitz at Mary Cairncross Scenic Reserve

Saturday's weather was showery and humid but at least it wasn't continually raining, so presented more opportunities to get out into the forest.

My allocated tree for the day was Tree 1 - Gureya, the Jinibara name for 'fig', another beautiful and awe-inspiring strangler fig. 

However, I was keen to spend some time with the Entomologists - Dr Geoff Monteith and Dr Kathy Ebert.  They were doing studies of native dung beetles, collecting specimens around the trees, as well as at different levels up into the canopy.  They were very helpful and knowledgable, keen to share their scientific methodologies and findings with us.  I was able to spend some time examining dung beetle specimens through their microscopes, its amazing the detail and beauty of these little insects that play such a vital role in recycling forest nutrients.

I also went out into the forest with Geoff and Kathy as they checked their insect traps.  I made sure I recorded their activities and insects collected in my visual diary.  I managed to escape the leeches though I noted that Geoff had several hanging off his leg at one stage....!

During the afternoon,  I spent some time at the base of the Gureya tree, sketching the blackbean pods that had fallen within Gureya's dripline.  Due to an approaching storm, I had the tree to myself, its a lovely experience to be sitting on a low stool alone in the forest, with the drizzle of rain filtering through the canopy.  Finally though the thunder and a need to dry my watercolour washes drove me back into BioBlitz HQ to work some more with my gelli plate and paints.

After dinner, Leisa and I returned to BioBlitz HQ to see the insect light traps that Geoff and Kathy had erected.  There were some very interesting looking moths attracted to the lights.   We also enjoyed the song of frogs in the nearby pond.

Dr Kathy Ebert studying and identifying dung beetle specimens

I'm using a magnifier to sketch some of the insect specimens

The view through the magnifier...needless to say I now have one too!

Out with Geoff and Kathy checking the
insect traps.

Nighttime insect light trap.

Next Blog Post:  Day 4 - the final day to record the forest!

Where Art meets Science - Part 1

How long has it been since you were up a tree?  I mean, like REALLY up a tree.  Recently I had the privilege to sit in the canopy of a 48metre strangler fig in the middle of a rainforest.....

It was all part of an art-science BioBlitz at Mary Cairncross Scenic Reserve, which is an island of rainforest in the mountains in the Sunshine Coast hinterland (an hour from my home).  Ok, so they really aren't mountains like some cities have, but in flat coastal Queensland they're pretty impressive.

I was selected to be one of six artists-in-residence for the BioBlitz, held over 4 days.  Five huge Stranger Figs were chosen as our focus of the project.  We worked alongside tree climbers, scientists and lots of like-minded volunteers - a wonderful opportunity for collaboration and 'to look over the shoulder' at science methodologies and discoveries.

My fellow artists and I had a job to do though - each fig had a blank visual diary assigned to it, and our job as artists was to respond creatively in each book to the tree, its surrounds, its biodiversity, and the activity of the BioBlitz.

I've got so much to share with you, I'm going to blog about it in several posts.  I wasn't able to blog during the BioBlitz as I was busy focusing on the job at hand, and enjoying the amazing forest!

Day 1 

On the first day, it rained and rained and rained.  Wonderful because we seriously needed the rain and the fungi scientists were ecstatic.  Not so wonderful as the BioBlitz got off to a slow start due to safety issues. 

I managed to escape into the forest in the afternoon.  My first tree was BarrBarr (Tree 2).   This was a tricky one, involving a log crossing over creek, then through the tangle of forest for 20 metres.  I spent a rewarding couple of hours in the rain, sketching at the base of the tree, before heading back to BioBlitz HQ to use my mini gelli plate to work in my visual diary.

The BioBlitz team

Standing in the rain, checking out the trees on
the first morning.
Leeches were an issue, they kept dropping
from the trees above us!

Misty in the rainforest.  Its the first time I've
walked through a rainforest in the rain - beautiful!
(except for the leeches)

Selfie with BarrBarr

Drawings, watercolour and gelli prints inspired by
looking through a microscope at mosses

Detail

A double page spread in the visual diary
using leaves from BarrBarr - gelli prints and drawings

Next Blog post:  Days 2 & 3 of the BioBlitz

Research and Reading

Its been a month since I returned from my residency in Tasmania, and since then I've been busy finalising artworks for my upcoming exhibition.

I'm exhibiting 'Big Smoke Little Smoke' with fellow artist Jo Taylor at the Dogwood Crossing Art Gallery at Miles during February and March this year.  This is a follow up to our exhibition at Tambo early last year.  The exhibition space at Miles is bigger than Tambo so Jo and I have both been working on new artworks to make the most of the new space.

My focus for the exhibition is on my favourite theme of urbanisation of nature.  I've been reading a lot of books relating to introduced animals and historical accounts of how today's Australia was shaped by a lot of bad behaviour by colonial settlers.  I've been blissfully diverted by tales of Tasmanian Thylacines (extinct or roaming Tassie somewhere?) as well as reading about how our national identity is linked to the animals around us, both native and introduced species.

As part of my art practice, I read a lot of books that focus on the conceptual side of my art. Gone are the days where I just read novels and technique based books.  A wide range of reading sources have really helped me to develop the ideas or conceptual side of my art practice.  I've been able to use my research to spark interesting ideas and lines of investigation which I then develop further into artworks.  I learnt this from attending workshops with artist/writer/educator Ruth Hadlow.

As I read my books, I flag interesting paragraphs and sentences. Then after I finish reading the book, I refer back to the flagged pages and write notes in my ruled A4 notebook, its nothing flash or visually exciting.  I write down details of the book, where I got the book from (eg local library or my bookshelf), and the page numbers of each note that I make so I can refer back to that section of the book if I need to.

These notes then become my resource when developing artworks or writing exhibition/grant proposals.

Ruth Hadlow also had another great tip which I use frequently - read the references section at the end of each book, it gives hints on other sources and books to look at on related topics.  Its almost like a rainy day spent on the internet, where you go from one YouTube video to the next, drift along happily in Pinterest etc.  You never know where it may lead you.

For me, I don't just want to make an artwork that may be decorative or pretty.  I now take the time to research and read widely to broaden my thinking and develop my ideas from external influences.  Its not just all about technique, which of course is the fun bit, but I also want to have a story worth sharing with my viewer.

A4 Notebook and books I'm currently reading

Sample page from my Notebook

You can see the flags I use, like
mini Post-It notes

Invitation for my exhibition (front)

Invitation - reverse side

Big Smoke, Little Smoke Exhibition - Road Trip to Tambo and Beyond

Craig and I have just returned from a road trip to Tambo in Central Western Queensland to install my exhibition 'Big Smoke Little Smoke' with fellow artist Joanne Taylor.

Not much time for art and unfortunately too hot to do any monoprinting (of course I took my gel plate!), but we enjoyed a week of camping in the outdoors and seeing plenty of interesting things along the way.

And the exhibition looks great too!  Images of some works from the exhibition are on my website http://www.sandrapearce.com.au/2016-big-smoke-little-smoke.html

Joanne and I are planning to exhibit the exhibition closer to Brisbane some time in the next 12 months, so that it gets some time in the 'Big Smoke'...!

Camping at the Bunya Mountains....misty and cool.
A stark contrast to the rest of the week.

Myall Park Botanic Gardens -
ticked off my bucket list!

On the road

A shower of rain over pasture lands.  The grass is
thick from previous rain but drying out quickly
in the hot temperatures.

Grasslands Art Gallery at Tambo,
where 'Big Smoke, Little Smoke' will be held
until the end of April

I'm installing 'Interconnection' - 200 handcut hexagons
arranged in a stingless bee hive pattern.
Surprisingly fun to install and all done by eye, no
pencil marks to guide me.
For the hexagons, I cut up maps and old prints - the process
of sorting, revisiting and cutting up prints connects my
previous bodies of work with one of my current themes - pollination.

Me again... installing 'Dispersal' - 50 monoprints of weeds
on the inside of envelopes, attached to the wall
with tacs and magnets.
The weed plants were sourced from my own garden,
turning something unwanted into a plant to be
cultivated and pressed like a valuable museum specimen.
Its interesting that this kind of unexpected meaning
develops during the process of creation.
Also, this form of installation with prints flowing down the wall
was something I've been keen to do for some time,
but I had to find the right venue for it.

Here I am with fellow artist Joanne Taylor
at our exhibition opening.

One of the Bottle Trees in the main street of Tambo.
I love their unique sculptural quality.

And only in Australia,
 this portly Green Tree Frog was occupying more than
his fair share of room in a toilet bowl at a public loo in Augathella.
FYI - I found another toilet to use!  

Pedestrian Artist Book

One of my final projects for my upcoming exhibition 'Big Smoke, Little Smoke' was a set of 5 artist books titled 'Pedestrian' primarily using photographic images - something quite different from my usual printmaking techniques.

The title 'Pedestrian' alludes to the banalness of the urban environment from a bicycle point of view. I often ride my bike along local roads and bike paths to go shopping etc.  One day I realised the extent of urban structure around me - road markings, signage, poles, bins, drains etc. There's so much of it, pointing us in the 'right' direction, guiding us through our journeys, and modifying the natural environment.  So banal, so much sameness, it all just becomes a blur in the background.  They are the stage props against which we act out our daily lives.

To create the layout for the 5 concertina books, I engaged the services of a graphic designer, Wendy Clark.  I had originally intended these to be circle accordion formats with a self-cover but a hiccup in the printing process meant that I had to change plans slightly and so my first books in the edition have self-made covers from box board and binding tape.  I also made a simple slipcase to house the books.  The low-tech cover and slipcase contrast nicely against the semi-gloss of the monotone photographs.

'Pedestrian' is designed to look a bit urban grungy and this first version certainly fits the bill.  

Collagraph Plates and Prints

Fellow artist Joanne Taylor and I are collaborating on an artist book for our joint exhibition "Big Smoke Little Smoke", opening at Tambo's Grasslands Art Gallery in March.

For the book, we have each prepared 2 collagraph plates.  Collagraphs are bits of cardboard and other materials collaged with glue onto another piece of cardboard, then sealed to create a printing plate.

Yesterday I spent the afternoon printing the plates multiple times in blue, black and brown colours. When dry, the prints will be sliced up and attached to a Venetian-blind style artist book to be hung on the gallery wall.  The book will be approx 60cm wide by 150cm long.

The book's title is 'Viewpoint' - referring to the idea of looking out of a window and seeing the landscape.  From Jo's viewpoint, its the landscape of wide open spaces, gidgee trees and her local wildlife.  From my viewpoint, its fences, buildings and geometric patterns.

The book will come together in the next couple of weeks.... a very basic technique to create a unique artist book.

One of Jo's collagraph plates in progress

The collagraph plates

Inking up one of the plates

Printing Joanne's plate

Joanne's Emu Feather print

My Studio Etching Press - a Hill Dav, I
bought second hand a couple of years ago

The finished prints...now just have to wait until they dry before
I start assembling the book!

Collaboration and Exchange

In late October, I attended a workshop at Noosa Regional Gallery, facilitated by artists Susan Bowers and Fiona Dempster in conjuction with their exhibition 'pas de deux'.  Their exhibition featured a series of artists books that they had created in a collaborative partnership.  I traveled up to the gallery to attend their very inspiring artist talk and workshop, making a full day of 'me time'.....a bit of luxury.

The project for the workshop was to 'collaborate' with either Susan or Fiona to make an artist book - they provided some of their own precious artwork plus some blank papers, and we were given permission to use their work in our books.  They also supplied inks, graphite, glue, thread etc for us to play with. Heaven!  I also took along some of my own prints so I could include them if needed.

There wasn't enough time to fully complete my book on the day, so I took my 'work-in-progress'  with me on holidays to Kangaroo Island a couple of weeks ago to continue working on it.

I did some drawing, stitching, and of course, gelli plate printing.  I discovered some wonderful bird netting at a local handware store on Kangaroo Island, bought 90c worth, and had a ball printing with it.  Definitely my new favourite toy!

The book is now finished, many thanks to Susan for allowing me to work with her etchings.  Her blog is here http://trace-marks.blogspot.com.au/, she creates beautiful, sensitive work.

I very much enjoyed being on the receiving end of a workshop where I could play freely with someone else's materials and work.  It has opened my mind to other possibilities.

The restricted colour pallet was definitely a deviation from my normal choices so it was a challenge for me to keep it muted and earthy.  Hmmmm, I suddenly feel the need for some bright aqua blue and olive green!  I'd better get back to the studio  :-)

Printing using the gelli plate and bird netting

Printing in my 'studio' in our motorhome

Loose drawing to echo Susan's markmaking on her etchings

Some of the book pages - stitching, layering, printing, painting

Susan's work on the left, mine on the right

A piece of Susan's work stitched to mine

I stitched a couple of pieces of Susan's work
with crosses to echo the crosshatching of her etched lines

One of my favourite pages - gelli print with watercolour and pen

This page opens up to Susan's work

I used the gelli plate to echo Susan's lines

The finished book

I added some 'bling' on the coptic binding