pieces of sheet  2009  1 of 120 artist proofs, screen printed acrylic paint on Hahnemühle paper and recycled cotton napkin, approximately 60cm x 45cm each
       
     
  When I grow up    I want to be a forester    run through the moss on high heels    that's what I'll do    throwing out a boomerang    waiting for it to come back to me    When I grow up , Fever Ray, Konichiwa Records, 2009     The lyrics float across the lounge room, unawares of their serendipity.  As she stands and wraps her own body in swathes of material, the hypnotic baseline serves as an anchor amid the unsual process; a living mummification, a preservation process of sorts. Swaddling herself in colour and line, she wonders what it is exactly that is being preserved? Tradition? Culture? A system of belief? Simply a moment in time and space?  The lines marked across her "dress" mirror the music's rhythms, each echoing the other in their patterns. She inhabits an unfamiliar role, a position of simultaneity where distinctions between creator and producer are blurred. As the cool black paint is traced along the length of her arms, she watches on, both participant and witness. The quiet sting of the white across her forehead builds, a corporeal reminder of the ritual to which she has surrended.  The lyrics shaping the air, shape her act; a conflation of ideas, rituals and cultural motifs jostling for space in the same room. The three dollar Spotlight face paint, sheets of cloth vaguely reminiscent of a Kngwarreye painting, the Tim Johnson catalogue opened on page 52, stacked copies of Cabinet, a makeshift headdress waiting to be crowned, serve as port keys within this displaced rite.  This ritualistic paraphernalia, laying prone about her feet, serve as testament to her role; she embodies the 'semionaut'. A collector of ideas, an archivist of techniques, and a curator of concepts, she traverses culture rootlessly, picking and choosing, wandering through iconography past and present, building her own native tongue. She becomes the pop-anthropolgist. A living museum.  Belinda Howden  exhibition text © Belinda Howden
       
     
  original pieces of sheet #2  2009  Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009   
  
 
  
    
  
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P1010326.jpg
       
     
P1010333.JPG
       
     
  untitled (wall work/pieces of sheet)  2009  Installation: hand painted acrylic wall work, approx. 250cm x 200cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009 
       
     
P1010329.jpg
       
     
  original pieces of sheet #1  2009  Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009
       
     
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P1010334.JPG
       
     
P1010319.jpg
       
     
  original pieces of sheet #3  2009  Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009
       
     
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P1010324.JPG
       
     
P1010316.jpg
       
     
  pieces of sheet  2009  1 of 120 artist proofs, screen printed acrylic paint on Hahnemühle paper and recycled cotton napkin, approximately 60cm x 45cm each
       
     

pieces of sheet 2009

1 of 120 artist proofs, screen printed acrylic paint on Hahnemühle paper and recycled cotton napkin, approximately 60cm x 45cm each

  When I grow up    I want to be a forester    run through the moss on high heels    that's what I'll do    throwing out a boomerang    waiting for it to come back to me    When I grow up , Fever Ray, Konichiwa Records, 2009     The lyrics float across the lounge room, unawares of their serendipity.  As she stands and wraps her own body in swathes of material, the hypnotic baseline serves as an anchor amid the unsual process; a living mummification, a preservation process of sorts. Swaddling herself in colour and line, she wonders what it is exactly that is being preserved? Tradition? Culture? A system of belief? Simply a moment in time and space?  The lines marked across her "dress" mirror the music's rhythms, each echoing the other in their patterns. She inhabits an unfamiliar role, a position of simultaneity where distinctions between creator and producer are blurred. As the cool black paint is traced along the length of her arms, she watches on, both participant and witness. The quiet sting of the white across her forehead builds, a corporeal reminder of the ritual to which she has surrended.  The lyrics shaping the air, shape her act; a conflation of ideas, rituals and cultural motifs jostling for space in the same room. The three dollar Spotlight face paint, sheets of cloth vaguely reminiscent of a Kngwarreye painting, the Tim Johnson catalogue opened on page 52, stacked copies of Cabinet, a makeshift headdress waiting to be crowned, serve as port keys within this displaced rite.  This ritualistic paraphernalia, laying prone about her feet, serve as testament to her role; she embodies the 'semionaut'. A collector of ideas, an archivist of techniques, and a curator of concepts, she traverses culture rootlessly, picking and choosing, wandering through iconography past and present, building her own native tongue. She becomes the pop-anthropolgist. A living museum.  Belinda Howden  exhibition text © Belinda Howden
       
     

When I grow up

I want to be a forester

run through the moss on high heels

that's what I'll do

throwing out a boomerang

waiting for it to come back to me

When I grow up, Fever Ray, Konichiwa Records, 2009

 

The lyrics float across the lounge room, unawares of their serendipity.

As she stands and wraps her own body in swathes of material, the hypnotic baseline serves as an anchor amid the unsual process; a living mummification, a preservation process of sorts. Swaddling herself in colour and line, she wonders what it is exactly that is being preserved? Tradition? Culture? A system of belief? Simply a moment in time and space?

The lines marked across her "dress" mirror the music's rhythms, each echoing the other in their patterns. She inhabits an unfamiliar role, a position of simultaneity where distinctions between creator and producer are blurred. As the cool black paint is traced along the length of her arms, she watches on, both participant and witness. The quiet sting of the white across her forehead builds, a corporeal reminder of the ritual to which she has surrended.

The lyrics shaping the air, shape her act; a conflation of ideas, rituals and cultural motifs jostling for space in the same room. The three dollar Spotlight face paint, sheets of cloth vaguely reminiscent of a Kngwarreye painting, the Tim Johnson catalogue opened on page 52, stacked copies of Cabinet, a makeshift headdress waiting to be crowned, serve as port keys within this displaced rite.

This ritualistic paraphernalia, laying prone about her feet, serve as testament to her role; she embodies the 'semionaut'. A collector of ideas, an archivist of techniques, and a curator of concepts, she traverses culture rootlessly, picking and choosing, wandering through iconography past and present, building her own native tongue. She becomes the pop-anthropolgist. A living museum.

Belinda Howden

exhibition text © Belinda Howden

  original pieces of sheet #2  2009  Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009   
  
 
  
    
  
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original pieces of sheet #2 2009

Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm

Installation photographs from the exhibition kól-la-mul-li-ko totémique (conceal totem) at Newcastle Art Space, 2009

 

P1010326.jpg
       
     
P1010333.JPG
       
     
  untitled (wall work/pieces of sheet)  2009  Installation: hand painted acrylic wall work, approx. 250cm x 200cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009 
       
     

untitled (wall work/pieces of sheet) 2009

Installation: hand painted acrylic wall work, approx. 250cm x 200cm

Installation photographs from the exhibition kól-la-mul-li-ko totémique (conceal totem) at Newcastle Art Space, 2009 

P1010329.jpg
       
     
  original pieces of sheet #1  2009  Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009
       
     

original pieces of sheet #1 2009

Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm

Installation photographs from the exhibition kól-la-mul-li-ko totémique (conceal totem) at Newcastle Art Space, 2009

P1010335.JPG
       
     
P1010317.jpg
       
     
P1010334.JPG
       
     
P1010319.jpg
       
     
  original pieces of sheet #3  2009  Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm  Installation photographs from the exhibition  kól-la-mul-li-ko totémique (conceal totem)  at Newcastle Art Space, 2009
       
     

original pieces of sheet #3 2009

Installation: hand painted acrylic wall work, hand painted recycled bed sheet/dress and stack of rags, approx. 200cm x 300cm

Installation photographs from the exhibition kól-la-mul-li-ko totémique (conceal totem) at Newcastle Art Space, 2009

P1010327.jpg
       
     
P1010324.JPG
       
     
P1010316.jpg