Sketchbooks and dinner drawings
My habit of keeping a sketch book at the dinner table proved productive. In a shared house with other artists this was not an unusual thing to do. While I ate I worked. The images below are selected from some of the hundreds of random visual notes filling those books.
."For the orthodox, such a book as Genesis could only be written on Vellum with a specified ink, in a state of awareness induced by ritual and sustained by special rules. This was enacted to ensure accuracy and longevity of the document itself. The functional aspects of being a scribe have now slid across to editors, dseigners and proof readers. Once the plate is right the print will be too. But to print the same text in dust? The scribal rules also have an effect on the scribe. This aspect is amplified in Poulton's version, made visible to the observer and even extended to the observer's role when in front of the work. Now that accuracy of the text is guaranteed by the plates, the printing process itself, in this case the use of dry powder subject to even the smallest deviations in proceedure or the smallest lapses in concentration, is given all the emphasis. Printed in this way, the 'Book of Genesis' becomes a vehicle for creation for the attention associated with the act, and the hubris as well"...
....." All art is a trace of the artist, but in permanent art, this trace becomes the artist. We speak of a Raphael or a Boullee. All installations are temporary too, regardless of their materiality. But in the case of Poulton's light grey print, the fact that it was unfixed and part of an architectural rather than pictorial space meant that it's presence as a trace of a temporary installation was secondary. Rather it pointed to the ritual of making, towards doing rather than keeping. In Poulton's map, this ritual, while not explicit, was there to know about. Apart from the care with which the dust had to be placed, each segment was printed on the overturned block used to print the previous segment, locking the sequence into a one-way flow. In Poulton's terrain, time is a vector, where there is no going back, where you can't, to paraphrase Herekleitos, step on to the same dune twice."
'Dust to Dust' Alex Selenitsch
Imprint, (The Journal of Australian Contemporary Printmaking) Autumn 1995, Vol 30 , Number 1
The above extracts are from a three page article dealing with works that I installed in the Drill Hall Gallery in Canberra 1993. This consisted of a 35sq metre print in unfixed powder and selected pages from the 'Book of Genisis' on aluminium plates in unfixed powder. These were supported by a 7 metre print on acetate, a 21 segment print on laminated sagami paper panels, 10 zinc plate engravings and a 6 block wood engraving.
I was offered a scholarship for Post Graduate Studies and took that up in 1990. It. Was an extraordinarily productive year and I shared my Post Graduate Exhibition at the Drill Hall Gallery with the incredibly talented electronic media artist Maria Stukoff. Documentation of that show exists but it's remnants are scattered.
Work from that exhibition was written up in 'Imprint', the Australian Print Journal in a three page spread by Melbourne writer Alex Selenitch.
digital Graphic Works
Mobile Graphic Works 2012-2015
Work with procedural and mobile drawing tools began after seeing Graphic works by artists using 'Processing' and wondering whether there was a way to produce images without having to code. This took me on a long and tedious search that eventually led to a website that used a procedural drawing algorithm. It was called "Live Sketch".Even with a graphics tablet, beginnings were cumbersome. However it was not long before it became available for iPhone and iPad and the images below are from those first investigations with that app.