Acknowledgements
The 1996 B.A. Honours (Visual Arts) students wish to thank Andrew McNamara, Daniel Mafe, Toni Ross, AD.S. Donaldson, Ian Hutson and J.M.J. Armstrong for their encouraging support and assistance.
Thanks to
Jill
Barker for curating the show.Special thanks goes to Sue Hildebrandt, Soraya Oslington, Paul McNamee, Dick Bradley and Ross Rowell.
And a big thanks to all the Honours students.
Catalogue designed by Kathleen Horton, Jenny Sawley and Kylie Rose. Lay-out by Kylie Rose and Jenny Sawley.
Post card invitation designed by Kylie Rose.
Photography by Rod Buckholz and Jodie Cox.
Cover photo by Jodie Cox.
22nd -27th November 1996 H Block, QUT Kelvin Grove
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an exhibition by the B.A. Honours (Visual Arts) students
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Foreword
A student at a particular University once wrote a wonderful thesis that set out to prove, beyond a shadow of a doubt, that there was no such thing as reality. The student got very angry and disappointed when nobody would take it seriously.
The works presented in this exhibition mark the endpoint of a period of formal study that has stressed autonomy and self reliance. Hence the diverse nature of the work of these emerging artists is the outcome of each different component of experience that has been negotiated and each different and shifting intention that has been articulated. This is the beginning point for the works to come and there is no doubt that these artists are well positioned and well equipped to be central to the cultural development of our region.
The Staff of Visual Arts at the Academy are thankful that we have students such as these and we have enjoyed the time they have spent with us. As the whole University sector undergoes profound change we shall be watching the careers of these people to allow us to retain a sense of quality in this time of quantity.
There is a Middle Eastern story of Mullah Nasrudin who went one day to a shipyard. Here he saw a fire, which he had not expected to be associated with the sea, so he asked a worker what it was for.
"We melt tar" said the worker, "and cover the cracks in the underside of
the boat. That makes the vessel go faster."
The Mullah went straight home and made a bonfire. Then he tied up his donkey and melted some tar in a pan.
As soonas he brought the smoking tar near the animal, it broke loose and ran like the wind
"It works all right" said Mullah Nasrudin.
I congratulate the exhibitors and I urge a close viewing of their work.
JMJ Armstrong Head of Visual Arts
Artists
Craig Baker Ann-Louise Buck
Allie Cameron Jodie Cox Kathleen Horton
Chris Howlett Belinda Parslow
Kylie Rose
Jenny Sawley
Craig Baker
Untitled White gloss art paper I 35gsm
Ann-Louise Buck
Underlying my work resides a firm belief that art should not only be found in a gallery. The limitless number of sites which exist, and the unique histories and structures contained within each, constantly activates my practice.
As the work often remains at the site, the gallery is used as a place to exhibit the residue of the work, where an echo of what took place may be heard.
Enjoy your letterbox Photograph and envelope
Allie Cameron
I am a collector of symbols, fragments and icons.
Elements are categorised and combined in a melting pot of possibilities as though part of some alchemy.
It began with automatic poetry and developed into a personal language. My symbols are not replicas or signs representing a culturally specific idea but are indicators of recurring parts of a visual language.
Motifs are gathered, catalogued and reframed, mirroring characteristics and systems operating within the museum structure. The paintings and objects undergo a metamorphosis where notions of display and presentation act as a catalyst in a chemical reaction. Images become icons, found objects become precious treasures and poetry takes on the form of notations from a magical spell.
Surfaces are worked and recovered to get closer and closer to gold - or the golden myth - then the alchemy is complete.
Icon: Build me a castle Mixed Media
The work strives to locate/
Jodie Cox
construct/ represent/
unravel a mystery {its source).
The work acts as a vessel, a path, and a form for this source,
to contain it, to lead to it and to
present it.
Formlessness Brass rod, wollen thread, Estapol
Kathleen Horton
The last room was devoted to some obscure art form of the twentieth century.
The work was all stacked up against the wall or kept in boxes Apparently, there had been some confusion as to whether the boxes could also be considered art.
Most of the work existed as notes, plans, models, miniatures, excuses, etc.
Plan for a private artist's house (detail) Foamboard and glue
Bi rt ha
DX
ie ty de pr es si on pr es
SU
re st re
SS pa ni cf ea ra pp re he ns io nl
OS
sa ng er ho rr or tr au ma hu mo ur SU
ic id eh el pl es sn es sh op el ac km em or yf ri en ds pa in de at
ChrisHowlett
Composition with lines NO. I Mattress fabric, orifice opening/exiting, regression and pulse
Belinda Parslow
1757*
* (1758 - a date generally regarded in conchology - the study of shells, as the moment of disenchantment, when a halt was put to magical or extravegant interpretation)
Shell Shocked, 1995
The Lovers of Neptune's Cabinet Stainless steel and silver plated butter dishes
Kylie Rose
The frame of the mirror makes its surface into a very rudimetary work of art, since it helps us to attain to the artistic vision.
An Essay in Aesthetics Roger Fry
Where art the subject?
Pen on cartridge paper
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