Preamble
My artwork has appeared in a number of exhibitions which has been featured on this blog spot. 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
Codes – Lost Voices (ArtCloth Installation) M-T. Wisniowski
Unleashed: The Rise of Australian Street Art (Art Exhibition) Various Artists
Merge and Flow (SDA Members Exhibition) M-T. Wisniowski
The Journey (Megalo Studio) M-T. Wisniowski
Another Brick (Post Graffiti ArtCloth Installation) M-T. Wisniowski
ArtCloth Swap & Exhibition
My Fifteen Year Contribution to the '9 x 5' Exhibition
When Rainforests Ruled (Purple Noon Art & Sculpture Gallery) M-T. Wisniowski
When Rainforests Glowed (Eden Gardens Gallery) M-T. Wisniowski
My Southern Land (Galerie 't Haentje te Paart, Netherlands) M-T. Wisniowski
The Last Exhibition @ Galerie ’t Haentje the Paart
Mark Making on Urban Walls @ Palm House (Post Graffiti Art Work)
Fleeting - My ArtCloth Work Exhibited @ Art Systems Wickham Art Gallery
Timelines: An Environmental Journey
My Contribution to Lake Macquarie's Water Exhibition
The Effects of Global Warming - ArtCloth Exhibition@Rathmines Heritage Centre’s Boiler Room
ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I
ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II
ATASDA's 'A Touch of Gold’ 50th Anniversary Exhibition - Part III
Introduction
Every two years the NSW branch of the Australian Textile Arts & Surface Design Association (ATASDA) holds a themed fibre and textile Art Exhibition at The Palm House in the Royal Botanic Gardens in Sydney (Australia). The exhibition will be held between the 18th to the 30th May 2016 featuring the theme “Façade”.
ATASDA’s promotional poster for the Façade Exhibition @ The Palm House.
The organizer of the exhibition – Kirry Toose – wants textile and fiber artists to: “… explore its subtleties [of the theme], the cityscape and Garden's surroundings and events – think of colour, reflections, and the play of light on surfaces.... investigate unusual materials, in combination with traditional techniques.”
ATASDA Logo – Designed by Marie-Therese Wisniowski.
See ATASDA for rationale behind the logo.
This year’s exhibition is even more eventful since it is held in the year the Royal Botanic Gardens, Sydney, will celebrate its 200th birthday and it also coincides with Sydney’s "Light Festival". As a consequence the ATASDA exhibition will attract many more visitors due to these simultaneous events.
Moritz Behren light show in the Royal Botanic Gardens, Sydney.
Before we delve into my contribution to the exhibition we should give some historical information about the venue, namely, The Palm House itself.
The Palm House
The Palm House was built 1876 at a cost of 1,371 pounds. Colonial Architect James Barnet designed it. The building was to display a variety of tropical plants, which could not survive outdoors in Sydney (Australia). The building was originally heated by hot water pipes under the floor, fed by a boiler located in the adjoining Stoke House. Repairs in 1899 and more importantly in 1912 changed some features of the building, but it survived basically intact until the 1980s, when parts of the structure had become unsafe. In 1993 The Palm House was repaired and refurbished. It is believed to be the oldest surviving public glasshouse in Australia.
The Palm House before 1912, when it was extensively renovated with designs by the government architect, George McRae. The shape of the roof lights and the glazing pattern are different from the present structures (see image below).
Timelines of Changes to The Palm House
1876 - The Palm House glasshouse built in Middle Garden of the Royal Botanic Gardens Sydney by James Barnet.
1912 - The Palm House glasshouse had a new superstructure, designed by Government Architect George McRae.
1970-71 - Timbers replaced in The Palm House glasshouse.
1992-93 - The Palm House glasshouse was reconstructed to its 1912 form and adapted to become an exhibition space. About 50% of its original glazing was recycled on the south side, also c1920s patterned glass was reused.
2007 - The Palm House major renovations: timber and glazing repairs, painting, guttering, shade screens.
Present external structure of The Palm House, The Royal Botanic Gardens, Sydney, NSW.
Internal view of the present day The Palm House.
Mark Making on Urban Walls - Marie-Therese's Artist Statement
Wikipedia defines street art as: “…any art developed in public spaces - that is in the ‘streets’ - though the term usually refers to unsanctioned art as opposed to government sponsored initiatives. The term can include traditional graffiti artwork, stencil graffiti, sticker art, wheat pasting and street poster art, video projection, art intervention, guerrilla art, flash mobbing and street installations.” It can also include “hero/heroine” art but it definitely does not include territorial graffiti, vandalism or corporate art. Both men and women embrace street art. It is not gender centric.
This ArtCloth piece is themed on urban marks and mark marking wall imagery that I have reinterpreted and deconstructed to create Post Graffiti artwork. Deconstruction denotes the application of post-modern ideas of criticism, or theory, to a "text" or "artefact", based on architectural deconstuctivism. A deconstruction is meant to undermine the frame of reference and assumptions that underpin the text or the artefact.
This ArtCloth work reflects and interprets the use of the various techniques such as wheat paste that Graffiti artists use to secure paper images and/or stencils to create imagery on urban walls. Post Graffiti artists explore other media to produce similar art markings, thereby legitimizing the art rather than just rendering it as nuisance art showcased on public surfaces. My medium is cloth and so my mark making utilises the unique techniques and colors associated with that medium.
Mark Making on Urban Walls – Post Graffiti ArtWork
Full View.
Format/Techniques/Materials: Wall Hanging. Multiple silkscreens, stamped, stencilled, discharged, hand painted and hand drawn employing transparent, opaque and metallic paints, glazes, silicate and foil on paper and cotton substrates.
Size: 70 cm wide x 120 cm high.
Price: $800.00.
Detail View 1.
Detail View 2.
Detail View 3.
Detail View 4.
Detail View 5.
Detail View 6.
My artwork has appeared in a number of exhibitions which has been featured on this blog spot. 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
Codes – Lost Voices (ArtCloth Installation) M-T. Wisniowski
Unleashed: The Rise of Australian Street Art (Art Exhibition) Various Artists
Merge and Flow (SDA Members Exhibition) M-T. Wisniowski
The Journey (Megalo Studio) M-T. Wisniowski
Another Brick (Post Graffiti ArtCloth Installation) M-T. Wisniowski
ArtCloth Swap & Exhibition
My Fifteen Year Contribution to the '9 x 5' Exhibition
When Rainforests Ruled (Purple Noon Art & Sculpture Gallery) M-T. Wisniowski
When Rainforests Glowed (Eden Gardens Gallery) M-T. Wisniowski
My Southern Land (Galerie 't Haentje te Paart, Netherlands) M-T. Wisniowski
The Last Exhibition @ Galerie ’t Haentje the Paart
Mark Making on Urban Walls @ Palm House (Post Graffiti Art Work)
Fleeting - My ArtCloth Work Exhibited @ Art Systems Wickham Art Gallery
Timelines: An Environmental Journey
My Contribution to Lake Macquarie's Water Exhibition
The Effects of Global Warming - ArtCloth Exhibition@Rathmines Heritage Centre’s Boiler Room
ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I
ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II
ATASDA's 'A Touch of Gold’ 50th Anniversary Exhibition - Part III
Introduction
Every two years the NSW branch of the Australian Textile Arts & Surface Design Association (ATASDA) holds a themed fibre and textile Art Exhibition at The Palm House in the Royal Botanic Gardens in Sydney (Australia). The exhibition will be held between the 18th to the 30th May 2016 featuring the theme “Façade”.
The organizer of the exhibition – Kirry Toose – wants textile and fiber artists to: “… explore its subtleties [of the theme], the cityscape and Garden's surroundings and events – think of colour, reflections, and the play of light on surfaces.... investigate unusual materials, in combination with traditional techniques.”
See ATASDA for rationale behind the logo.
This year’s exhibition is even more eventful since it is held in the year the Royal Botanic Gardens, Sydney, will celebrate its 200th birthday and it also coincides with Sydney’s "Light Festival". As a consequence the ATASDA exhibition will attract many more visitors due to these simultaneous events.
Before we delve into my contribution to the exhibition we should give some historical information about the venue, namely, The Palm House itself.
The Palm House
The Palm House was built 1876 at a cost of 1,371 pounds. Colonial Architect James Barnet designed it. The building was to display a variety of tropical plants, which could not survive outdoors in Sydney (Australia). The building was originally heated by hot water pipes under the floor, fed by a boiler located in the adjoining Stoke House. Repairs in 1899 and more importantly in 1912 changed some features of the building, but it survived basically intact until the 1980s, when parts of the structure had become unsafe. In 1993 The Palm House was repaired and refurbished. It is believed to be the oldest surviving public glasshouse in Australia.
Timelines of Changes to The Palm House
1876 - The Palm House glasshouse built in Middle Garden of the Royal Botanic Gardens Sydney by James Barnet.
1912 - The Palm House glasshouse had a new superstructure, designed by Government Architect George McRae.
1970-71 - Timbers replaced in The Palm House glasshouse.
1992-93 - The Palm House glasshouse was reconstructed to its 1912 form and adapted to become an exhibition space. About 50% of its original glazing was recycled on the south side, also c1920s patterned glass was reused.
2007 - The Palm House major renovations: timber and glazing repairs, painting, guttering, shade screens.
Mark Making on Urban Walls - Marie-Therese's Artist Statement
Wikipedia defines street art as: “…any art developed in public spaces - that is in the ‘streets’ - though the term usually refers to unsanctioned art as opposed to government sponsored initiatives. The term can include traditional graffiti artwork, stencil graffiti, sticker art, wheat pasting and street poster art, video projection, art intervention, guerrilla art, flash mobbing and street installations.” It can also include “hero/heroine” art but it definitely does not include territorial graffiti, vandalism or corporate art. Both men and women embrace street art. It is not gender centric.
This ArtCloth piece is themed on urban marks and mark marking wall imagery that I have reinterpreted and deconstructed to create Post Graffiti artwork. Deconstruction denotes the application of post-modern ideas of criticism, or theory, to a "text" or "artefact", based on architectural deconstuctivism. A deconstruction is meant to undermine the frame of reference and assumptions that underpin the text or the artefact.
This ArtCloth work reflects and interprets the use of the various techniques such as wheat paste that Graffiti artists use to secure paper images and/or stencils to create imagery on urban walls. Post Graffiti artists explore other media to produce similar art markings, thereby legitimizing the art rather than just rendering it as nuisance art showcased on public surfaces. My medium is cloth and so my mark making utilises the unique techniques and colors associated with that medium.
Mark Making on Urban Walls – Post Graffiti ArtWork
Format/Techniques/Materials: Wall Hanging. Multiple silkscreens, stamped, stencilled, discharged, hand painted and hand drawn employing transparent, opaque and metallic paints, glazes, silicate and foil on paper and cotton substrates.
Size: 70 cm wide x 120 cm high.
Price: $800.00.
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