Through a glass eye

French Connections exhibition
Until Saturday 29th June, 2019
Australian Print Workshop Gallery
210 Gertrude Street, Fitzroy

Keep a beady eye on catalogue for Museum of Aphorisms and Platitudes exhibition
2019
Digital print catalogue
Edition of 10

For those of you who may not be able to make it along to see our suite of eleven prints at the Australian Print Workshop, please allow us to present you with a tour of Through a glass eye in the company of a Fawn hopping mouse and other museum specimens. These specimens, removed from action, animated, possibly, by your vantage point in the virtual gallery on the screen before you or resting in your palm, may afford a look at an animated afterlife.

Photographed (beautifully) by Tim Gresham. (Thank-you Tim.)

Please feel free to print your own A3 catalogue (PDF download). And you will find each print available for purchase through the APW’s online store.

List of works:
Gracia Haby & Louise Jennison, In the Trianon theatre, before a forest set, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in three colours from three plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, Halfway around the world and back again, hardground etching with hand-colouring. Image drawn directly on to the copper plates by the Artists and processed, proofed and printed in one colour from six plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, Grande Perspective in the memory of a swan, etching with hand-colouring. Image drawn directly on to the copper plate by the Artists and processed, proofed and printed in an edition of 20 (plus proofs), in three colours from one plate, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, A little palace of pink marble and porphyry, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in two colours from two plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, Contemplating marble, stucco, velvet, and gilding, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in two colours from two plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, Two views of a Gouldian finch, etching with hand-colouring. Image drawn directly on to the copper plate by the Artists and processed, proofed and printed in an edition of 20 (plus proofs), in three colours from one plate, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, As additional ornamental statues at Bois-Préau, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in three colours from three plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, The grounds of the Château de Malmaison, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in three colours from three plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, On a perch of “cheval usure des dents”, chirping, etching with hand-colouring. Image drawn directly on to the copper plate by the Artists and processed, proofed and printed in an edition of 20 (plus proofs), in three colours from one plate, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

Gracia Haby & Louise Jennison, At the Musée Fragonard d’Alfort, etching with hand-colouring. Image drawn directly on to the copper plate by the Artists and processed, proofed and printed in an edition of 20 (plus proofs), in three colours from one plate, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019. coll

Gracia Haby & Louise Jennison, Not a royal residence but a garrison fortress, lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in three colours from three plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.

#FrenchConnectionsAPW

Upon a related note, we have created a real but not real 24-page catalogue of Through a glass eye for Phil Edwards’ Museum of Aphorisms and Platitudes.

An edition of 10, Keep a beady eye on is a souvenir for a collection to file under Eye. And it is available through our online store, if you’d like to get your paws on a copy.

Gracia Haby and Louise Jennison, Keep a beady eye on, 2019, 24 page, digital print catalogue, 210mm x 297mm.

Museum of Aphorisms and Platitudes
Curated by Phil Edwards 
c3 Contemporary Art Space 
Gallery 5 
The Abbotsford Convent
1 St Heliers Street, Abbotsford

19th June – 14th July, 2019

Opening Wednesday 19th of June, 6–8pm

The Museum of Platitudes and Aphorisms is part of a series of exhibitions and events that explore how individual artists and audiences explore their thinking about the presence of art in a studio or a gallery environment. It seems that there is a kind of peripheral vision that occurs in all artist’s practices that, once recognised, avoids or extends the awareness of the role of art and galleries in our lives. The aim of the project is to ask both makers and observers to reflect upon their own values in the experiences of making, encountering and looking at art. The role of the museum or gallery as the psychological architecture used to reflect upon accepted knowledge is also in review. 

Participants include: Nada Polski, Fleur Summers, James Healey, Henry Law, David Dellafiora, Susan Hartigan, Gracie Edwards, Nico Tavella, Richard Harding, Peter Ellis, Chris Deakin, Louise Weaver, Shaun Wilson, Tammy Honey, Michael Vale, Greg Moncrieff, Fran Van Riemsdyk, Craig Easton, Simon Perry, Joyce Huang, David Thomas, Cat Polski, Adrian De Vries, Shane Hulbert, Tammy Hulbert, James Murnane, Jim Murnane, Kit Wise, Elouise Harper, Madeleine, Bronte Webster, Wilma Tabacco, Charles O’Loughlin, Peter Clarke, Colleen Morris, Peter Hill, David Thomson, Lesley Duxbury, John de la Roche, Lesley O’Gorman, Greg Fullerton, Tiffany Parbs, Ron Guy, Kristian Brennan, Ceri Hann, Jason Wade, Ben Sheppard, Rhett D’Costa, P J Hickman, Robin Kingston, Harry Hay, Simon Gardam, Paul Compton, Morris Edwards, Malcom Bywaters, Julian Goddard, Ben Harper, Rod Prohasky, Al Outchomsky, Rhonda Watson, John MacKinnon, Stephanie Kam, Gabriel Nielsen, Gracia Haby, Louise Jennison, Jim Ross, Guy Hughes, Raphael Buttonshaw, Nicholas Jones, Emma Neumann, Vicky Kanellouplos, Felicity Eustace, Enrique Toches, Andrew Tetzlaff, Tony Garifalakis, Stephen Armstrong and others.

Image credit: Gracia Haby & Louise Jennison, A little palace of pink marble and porphyry (detail), lithograph with hand-colouring. Image drawn directly on to the lithographic plates by the Artists and processed, proofed and printed in two colours from two plates, by APW Printer Martin King and hand-coloured by the Artists, at Australian Print Workshop, Melbourne, 2019.