Preamble
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
lo Rising II & Giza (Engaging New Visions) R. Benson
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Introduction
This is the last contribution to, ArtCloth: Engaging New Visions.
To view all contributions see the above links.
The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.
Synopsis of Artwork: Treescape
Treescape is a combination of drawings, painting and screen-printing on card and a digital print with reactive dyes on cotton. This was an opportunity to bring together some of the working processes that happen in the creation of Annie’s artwork. Annie has always created her imagery with traditional drawing and painting techniques with a very hands on approach to creating motifs. Any image that can be created on a computer screen using graphics applications or images from a digital camera or scanned from photographs or original artwork can be printed in seemingly unlimited colors. From there she will scan in the artworks and start arranging and ordering them in Photoshop. The structure of the grids are filled with her motifs with the freedom to resize, redraw, re-colour, texturize, change angles, rotate - seemingly endless possibilities in design to support the initial concepts. She enjoys the immediacy of designing this way with the freedom to change myriad elements many times.
Once she is satisfied with the arrangements she will save her image in a suitable format to send to a digital printing company. They will print her designs on a fabric of choice, either as a one off image or in repeat for a length of fabric.
Annie combines the traditional approach of designing for fabric with the historical and contemporary knowledge of textiles processes and techniques. She is able to create new works that incorporate new materials and new technology. This reinforces her confirmation of the handmade where she is able to intervene at different stages.
Annie is entering a new and exciting stage of her career with the broadening of her practice beyond a purely textile framework. Her skills as a designer will be applied to a more diverse range of substrates providing a wealth of new artistic output and sustainable practice.
Her way of working is always embedded in a textile framework. Her ability to both incorporate and move beyond this will always underpin and enhance her practice.
Techniques
Digital print with reactive dyes on cotton. Drawing, painting and screen-printing on cardboard.
Size: 120 cm (width) x 300 cm (length).
(a) Treescape (Annie Trevillian), left artwork.
Fairfield City Museum and Gallery, NSW, Australia.
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Gallery.
(b) Treescape (Annie Trevillian), second from right artwork.
Orange Regional Art Gallery, NSW, Australia.
Photograph courtesy Marie-Therese Wisniowski.
(c) Treescape (Annie Trevillian), second from right artwork.
Redcliffe City Art Gallery, Queensland, Australia.
Photograph courtesy Karen Tyler, Director, Redcliffe City Art Gallery.
Photography by Al Sim.
(d) Treescape (Annie Trevillian), right artwork.
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.
(e) Treescape (Annie Trevillian) a work in progress.
(f) Treescape (Annie Trevillian) the artist at work.
(g)Treescape (Annie Trevillian) - full view featuring seven of the ten rows.
(h) Treescape (Annie Trevillian) - detail view featuring one of the cardboard shapes.
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
lo Rising II & Giza (Engaging New Visions) R. Benson
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Introduction
This is the last contribution to, ArtCloth: Engaging New Visions.
To view all contributions see the above links.
The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.
Synopsis of Artwork: Treescape
Treescape is a combination of drawings, painting and screen-printing on card and a digital print with reactive dyes on cotton. This was an opportunity to bring together some of the working processes that happen in the creation of Annie’s artwork. Annie has always created her imagery with traditional drawing and painting techniques with a very hands on approach to creating motifs. Any image that can be created on a computer screen using graphics applications or images from a digital camera or scanned from photographs or original artwork can be printed in seemingly unlimited colors. From there she will scan in the artworks and start arranging and ordering them in Photoshop. The structure of the grids are filled with her motifs with the freedom to resize, redraw, re-colour, texturize, change angles, rotate - seemingly endless possibilities in design to support the initial concepts. She enjoys the immediacy of designing this way with the freedom to change myriad elements many times.
Once she is satisfied with the arrangements she will save her image in a suitable format to send to a digital printing company. They will print her designs on a fabric of choice, either as a one off image or in repeat for a length of fabric.
Annie combines the traditional approach of designing for fabric with the historical and contemporary knowledge of textiles processes and techniques. She is able to create new works that incorporate new materials and new technology. This reinforces her confirmation of the handmade where she is able to intervene at different stages.
Annie is entering a new and exciting stage of her career with the broadening of her practice beyond a purely textile framework. Her skills as a designer will be applied to a more diverse range of substrates providing a wealth of new artistic output and sustainable practice.
Her way of working is always embedded in a textile framework. Her ability to both incorporate and move beyond this will always underpin and enhance her practice.
Techniques
Digital print with reactive dyes on cotton. Drawing, painting and screen-printing on cardboard.
Size: 120 cm (width) x 300 cm (length).
Fairfield City Museum and Gallery, NSW, Australia.
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Gallery.
Orange Regional Art Gallery, NSW, Australia.
Photograph courtesy Marie-Therese Wisniowski.
Redcliffe City Art Gallery, Queensland, Australia.
Photograph courtesy Karen Tyler, Director, Redcliffe City Art Gallery.
Photography by Al Sim.
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.
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