PRIMARY TRANSPORT FOR THE DISPELLING OF FALLACIOUS BELIEFS
Primary transport for the dispelling of fallacious beliefs (Museum of Applied Science of Victoria)
Six page artists’ book, unique state, featuring collage elements and pencil across the pages of a small book of Some Ship Models in the Museum of Applied Science of Victoria (Brown, Prior Anderson Pty. Ltd., Melbourne)
Two staples hold together this small collage book originally from the Museum of Applied Science of Victoria (formally known as the Industrial and Technological Museum, founded in 1870). The title is drawn from point C listed inside the cover, which states: This is an important field of public instruction. By clearly labelled and realistic models it is hoped to inculcate an appreciation of hygiene and dental health, dietetics and first aid treatments, and to illustrate the best methods of combating infection, reducing accidents and dispelling fallacious beliefs.
Shipping models photographed include, H.M. Bark ‘Endeavour’; ‘Thermopylæ’ Clipper Ship; ‘Nyora’ Screw Tug and Salvage Steamer; P.S. ‘Weeroona’; and ‘Mary’ Pearling Lugger (c. 1939). This artists’ book was made for and exhibited as part of A key to help make your own world visible (2009).
LOOKING ONLY FOR YOU (DER RHEIN)
Looking only for you (Der Rhein)
Twenty-eight page artists’ book, unique state, featuring collage elements and pencil across the pages of Der Rhein (Von Mainz bis Köln no. 524, Karlund Bremer & Co, Köln A.R.H)
This artists’ book was made for and exhibited as part of A key to help make your own world visible (2009), and is now in the collection of the State Library of Victoria.
On the pages of my collaged artists' books there feature many animals, many birds. My tailed or feathered protagonists often out of place, oft too large for their present surrounds. They scale rooftops, climb cathedral spires; perch high in treetops do my central characters. Sometimes they saunter nonchalantly past a city square. Sometimes they tiptoe or creep. And all the time they afford me chance not just to play with scale and humorous, I hope, foreign juxtapositions, but to convey feelings of awkwardness and oddness. They are out of place, not just in urban environment or strange land (the mountain lions home range is not Brussels), but also in feeling. Being animals, in form, they are easier to relate to. One is not distracted by the dissimilarities because there are so many. I am not covered in fur, with claws for fingertips and a tail to serve as rudder on mountain climb. I am so different that I look only at what the animal is doing in its new environment. It is on the sidelines, watching. It is looking for a safe place to curl. It is passing undetected. It is slinking through the city unseen. It, like me, feels the odd one out.