Keep an eye on
Through a glass eye
French Connections exhibition
Saturday 1st – Saturday 29th June, 2019
Australian Print Workshop Gallery
210 Gertrude Street, Fitzroy
eye
verb
1 she eyed the stranger warily: look at, see, observe, view, gaze at, gaze upon, stare at, scan, regard, contemplate, survey, inspect, examine, scrutinize, study, consider, glance at, take a glance at; watch, keep an eye on, keep under observation, keep watch on, keep under scrutiny, keep under surveillance, monitor, watch like a hawk, keep a weather eye on; spy on; informal have/take a gander at, have a squint at, get a load of, give someone/something a once-over, check out, gawp at, size up, keep a beady eye on, keep tabs on, keep a tab on; British informal have/take a butcher’s at, have/take a dekko at, have/take a shufti at, clock; North American informal eyeball; literary behold; rare twig, surveil. ANTONYMS ignore.
Through a glass eye is now open, and our museum specimens await your inspection. But with so many glass eyes looking back at you, perhaps you will discover that the watched are the watchers.
For those of you who can’t make it along to give our current exhibition, Through a glass eye, the once-over, please, allow us to bring our collection to you.
And while you are at it, feel free to print your own A3 catalogue (PDF download).
Here is a look at the eleven prints we created with APW Printers at Australian Print Workshop, as part of Australian Print Workshop’s French Connections project curated by APW Director Anne Virgo OAM, especially for you.
Each print is available through the APW’s online store.
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.
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.
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, 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, 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, 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, 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, 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, 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, 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.
From the heart we thank all at APW for their hard work and support. Thank-you Anne Virgo OAM for believing in our work and extending our wings. Thank-you Martin King for your beautiful printing and inking said wings. Thank-you Elspeth Pitt from National Gallery Australia for your joie de vivre. Thank-you to our fellow artists Megan Cope and Martin Bell for your friendship and candour. Thank-you to our dear family and dear friends for your love and encouragement. And thank-you to everyone who has followed this journey from start to finish.
Image credit: Through a glass eye exhibition opening by Janet Wrigley
