Over the last 2 months I have been channeling a lot of my studio time into writing a new project proposal. Having bulked up my artist C.V to a sturdy degree and after winding down from the Assembling Worlds exhibition, I felt it was probably time to pop the grant application cherry. Sorry maybe that euphemism isn't quite appropriate. I am therefore preparing to submit an application for a mentor program overseen by the Australia Council and YAQ. Regardless of whether my baby makes it through, the whole experience will be (and has been already) a huge learning curve. If JUMP does not happen I will be setting my sights on the career development grant (Queensland Government initiative). This one...listen up all emerging artists...is open for application all year round and decisions are advised all year round. Aright innit? Anyway, the writing process has forced me to dedicate many hours revising my own ideas and the countless ways in which they could be realised and expressed. It's been going fine, but over the weekend I had a break from it with a little two-dimensional assemblage interlude.
I am still sifting through the many National Geographic magazines that my mum unearthed from under a pile of silver fish shit at my Grandparents' farm house. Over the weekend I cut up articles on Algeria and Parisian lifestyle in 1960. The advertisements for Cameras, Motor Vehicles, Coca-Cola, Airlines, Telephones and domestic appliances seem to be the most common I've come across in the editions pre-dating 1980. In a visual sense, when cut-up and re-contextualized with other contrasting materials - the dramatic documentary photography melds naturally and colourfully with the advertisement imagery. Strange, dreamlike and alien scenes can also come of this process as other outside and more subtle visual concepts come into play. Two of the pieces I made on the weekend:
Exotic Fruit
and
Poolside Voyeurs
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