'Animals first entered the imagination as messengers and promises' John Berger
Read my essays on art and nature online at The Learned Pig journal
A lockdown project focusing on local, urban feral pigeons: the ubiquitous and overlooked, rather than the rare and prized. A different kind of unseen animal.
drypoint, 2021, 305mm x 305mm (edition of 20)
drypoint with hand applied watercolour, 2021, image size 140mm x 148mm, paper size 305mm x 305mm (edition of 20)
conte on drafting film, 2021, 297mm x 420mm
conte on drafting film, 2021, 29.7cm x 42cm
A collaborative artwork responding to artist Louisa Crispin’s graphite marked concertina strips, part of her Flightpath community project highlighting the importance of creating wildlife corridors where we live. My gold lines imagine the flight patterns of bees as they weave in and out of the urban environment formed by Louisa’s graphite markings.
graphite and gouache, Louisa Crispin/Louise Pallister, 2021
graphite and gouache, Louisa Crispin/Louise Pallister, 2021
graphite and gouache, Louisa Crispin/Louise Pallister, 2021
graphite and gouache, Louisa Crispin/Louise Pallister, 2021
The contradiction of looking for evidence of the living amongst the dead populations of the museum…
A series of ICM digital photographs inspired by Rachel Poliquin’s essay The Matter and Meaning of Museum Taxidermy and her own project The Breathless Museum. I attempt to conjure life into museum specimens through photography: a medium known for its veracity.
With thanks to The Dorman Museum, Middlesbrough, UK
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
ICM digital photograph, 2020
Migratory birds common to the North Sea coasts of Britain and Europe. Seafarers use navigation charts to find their way. Birds have no need of such maps, having the sun and stars to guide them.
In Common/Gemeinsam.
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
conté and graphite on drafting film, 2020, 297 x 420mm
What lies beneath? Drafting film is the perfect medium to show the bone beneath the flesh
2018, conté & coloured pencil on drafting film, size 29 x 21cm
2018, conté & coloured pencil on drafting film, size 29 x 21cm
2018, conté on drafting film, size 29 x 21cm
2018, conté on drafting film, 29 x 21cm
This book art describes continuity and stasis in the pacing of a caged tiger. It may be viewed in the round or linear. Stereotypical behaviours such as this indicate stress and mental disturbance in captive animals.
Made with the support of The Natural Eye bursary
2019, photopolymer/drypoint concertina artists book, 22.5 x 12.2 extending to 120cm, edition of 10
2019, photopolymer/drypoint concertina artists book, 22.5 x 12.2 extending to 120cm, edition of 10
2019, photopolymer/drypoint concertina artists book, 22.5 x 12.2 extending to 120cm, edition of 10
2019, photopolymer/drypoint concertina artists book, 22.5 x 12.2 extending to 120cm, edition of 10
Zoochosis is the term coined by The Born Free Foundation to describe stereotypical behaviours of captive animals of which continual pacing is one manifestation. These images are from the plates of my book abnormal repetitive behaviour
2018, photopolymer etching, 17 x 28cm
2018, photopolymer etching, 17 x 28cm
2018, photopolymer etching, 17 x 28cm
2018, photopolymer etching, 17 x 28cm
2018, photopolymer etching, 17 x 28cm
John Cotton: 'Tiger Caged' - 'The tiger treads his cage. / 400lbs of muscle, bone / And thwarted purpose rage.'
Plates and drawings developed alongside my artists book abnormal repetitive behaviour
2018, photopolymer etching, image size 17 x 28cm, paper size 38 x 28cm
2018, photopolymer etching
2018, photopolymer etching
2017, charcoal on drafting film
2017, conte on drafting film
2017, conte on drafting film
2017, ink on truegrain
2017, conte on drafting film
A caged tiger paces, repeatedly, making shadows in a cage, endless iterations of captivity
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype,variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
cyanotype, variable edition, 2016
John Berger: 'the narrow abyss of non-comprehension' - strange meetings - the event of the gaze - the pull of cave art - the scapegoat - artist as emissary
photopolymer, 2016
photolithograph, 2016
monotype, 41 x 59cm, 2014
mixed media on paper, 2013
Thylacine, charcoal on paper, 2014
charcoal, mixed media on paper, 2014
charcoal, mixed media, 2014
drypoint, monoprint, 2015
drypoint, monoprint, 2015
drypoint, monoprint 2015
'Who speaks for wolf?' Iroquois myth - absence as presence - traces - liminality in acrylic, ink charcoal - negative space, negative shapes
2016, photolithograph
2016, drypoint
2016, drypoint/carborundum, 38 x 28cm
2013, acrylic on paper,
2014, lithograph,
2014, drypoint,
2015, masking fluid, acrylic,
2015, masking fluid, acylic,
2015, masking fluid, ink,
2015, masking fluid, ink, graphite powder,
2015, masking fluid, ink, graphite,
2015, masking fluid, ink, graphite,
The Passenger Pigeon - the world's most abundant bird, extinct in 1914 due to hunting and habitat loss. Their massive flocks darkened the sky for many hours, making it easy to shoot them. Aldo Leopold dubbed them, a 'living wind' . Here I mark their passage from positive to negative.
detail, mixed media drawing, 2015
detail, mixed media drawing, 2015
mixed media drawing, 2015
detail, drypoint and monotype, 2015
drypoint and monotype, 2015
drypoint and monotype
drypoint/monotype, 2015
Chicago Zoo, 1st September 1914, Martha, the world’s last captive passenger pigeon died between midday and 1pm. Elegy, portrait, memorial.
drypoint, chine colle, 2016
masking fluid, ink, 2015
graphite on paper
pencil and eraser on paper, 2015
Flocking, schooling, swarming, herding - The safety of numbers - An impression in time - The spatter of shot - Snowflakes of dung - Disrupting an image - The 'dilution effect' - Ink, embossing, white spirit and French chalk - Separation, alignment, cohesion
relief etch, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
etching, variable edition of 11, 2015
Animated drawing (source material, 1933 footage) of the last captive thylacine in Hobart Zoo, described by early Tasmanian settlers as 'An animal of a truly singular and nouvel description'. Includes stills, print installation, and drawings from my MA show . These works reference Muybridge's 'Animal Locomotion', the flickering movement of cave drawings, early film, sunlit cage bars, night vision, camera traps.
charcoal and eraser on paper, final erased drawing,
charcoal and eraser, frame from stop-motion animation
photo-etching and drypoint, variable edition of 100
photo-etching and drypoint, variable edition of 100
chalk on blackboard paint on paper
chalk on blackboard paint on paper
chalk on blackboard paint on paper
chalk on blackboard paint on paper
chalk on blackboard paint on wall, later erased
charcoal and eraser on paper
charcoal and eraser on paper
