Unleashing the zine habit onto the masses, The Undiscovered Press showcases the work of twelve dedicated zinesters from all around Australia. A mix of seasoned and new zinemakers have been set the challenge of expanding their A5 publications into large format artworks. Paper, pens, robots, envelopes, photos, ducks and textas are combining to explode these ephemeral works of stapled glory into full scaled artistic pieces. Unearthing their zine creations from their bedrooms, stealthy office photocopying sessions and dusty storage areas, these chronic zinemakers are an eclectic reflection of The Undiscovered Press.
Often the artistic merit of zines are overlooked by zine readers and collectors. In fact, when described, most people describe zines as literary works rather than realising they are also small works of very personal art. The Undiscovered Press focuses on showcasing the artistic side of zines. The zine makers from all around Australia have expanded their own zine making practices into twelve eclectic and contemporary artworks. A difficult challenge as zines are notoriously ephemeral but to display these artworks in such a public place will pique the interest of the public to the underbelly of the artistic world, The Undiscovered Press.
Featuring: Androniki Douramakos, Cameron Baker, Mary-Helen Daly, Sarah Foster, Brendan Halyday, Marc Martin, Arlene Texta Queen, Pat Grant, Michelle Vandermeer, On Wednesday and Fergus.
Opening Night Friday 12 February 6-8pm
A particular excess
The focus of my work is on the mistakes, errors, and the testing of limits. Painting is a medium which embodies ideas of perfection and consequently leads to a greater sense of mistake or failure. There are qualities within paint that speak about the human body and existence. Paint is both abject and awkward. Like our bodies, paint has a structure capable of both beauty and the grotesque. My work explores the melancholy aspects of human nature by using a combination of elements that glitter and drip, creating works that are pathetic, funny and sad. A particular excess is made by loading on more paint than a canvas can physically hold. Paint falls off, then is scooped up and placed back on the canvas. Black paint covers over surfaces which were once vibrantly coloured. The black surface hints at what is underneath, letting tiny pieces of colour and glitter float to the top. I like to think of this process as a conversation (or argument) with painting. When I pour paint onto a canvas it reacts (or rebuts) by emptying the paint off itself or collapsing altogether.
Jessica Herrington currently lives and works in Canberra. This is her second solo show in Melbourne. She has exhibited in group and solo shows throughout NSW, QLD, VIC and the ACT. Herrington has an eye for the awkward and the overlooked. Her practice spans video, objects, photography, prints and painting. Her work paradoxically plays up to and attracts the viewer through its seductive and voluptuous qualities yet simultaneously repulses with this complete excess.
At Vitrine throughout February - opening Friday 12 February.
Polaroid Spectra film emulsion in clear polyurethane resin
The language of analogue photography abounds with sensation. It refers to the bodily and the alchemical: gelatin, emulsion, silver and salt. These substances transform the plane of paper into the space of an image. The photographic negative is submitted to bursts of light inside the dark chamber of the camera. Emulsion, like a layer of skin, holds and protects an image. Composed of gelatin sourced from animal hide, bone and offal, it is unique for its ability to hold sensitive chemicals, to expand with water and to protect the silver nitrate and sensitive salts. This is a visceral process, one that uses material from the body of an animal and involves the senses of the human body to process. Both human skin and photographic emulsions share similar vulnerabilities and sensitivities. Under the red glow of the safe light, the body dances between the enlarger and the chemical baths; the tempo orchestrated by the clock's second hand. I have created casts embedding photographic detritus in clear resin. Upon reflection, I began to see that I had inadvertently created elemental lenses. Light is focused through these objects, projecting new images into space. I see this work as the reactivation of the analogue within the context of digital image making.
Tegan Lewis completed a Bachelor of FIne Arts (Honours) at Monash University in 2009. Her practice currently includes sculpture, analogue photography and camera obscura environments. Tegan has recently exhibited with Light Projects in Melbourne and is now embarking on her Master of Fine Arts by Research at Monash.