Nothing is so transient as a tree 2024. Artist Books X 4. Inkjet prints, and redgum. Each: 14.5 X 18.5 X 1.0cm. Exhibited: Re-embracing the Eucalypt, Print Council of Australia Gallery, Melbourne. 13 - 30 August 2024 (With Ruth Johnstone). Photos: Lesley Duxbury
At the end of each day, I run or walk 5kms of narrow tracks through the Briagolong Forest Red Gum Reserve, a remnant of what was once a vast grassy woodland of Gippsland Red Gum, (E. tereticornis sub. mediana) that stretched from the Strzelecki Ranges in the West to the Snowy River in the East. Here in this rigidly delineated reserve the trees are slowly regenerating from logging and land-clearing in the 19th century. However, alongside the densely growing trees, I also pass ghostly white fallen trunks, reminding me of the continuing, vulnerability of these critically endangered trees.
At the end of each day, I run or walk 5kms of narrow tracks through the Briagolong Forest Red Gum Reserve, a remnant of what was once a vast grassy woodland of Gippsland Red Gum, (E. tereticornis sub. mediana) that stretched from the Strzelecki Ranges in the West to the Snowy River in the East. Here in this rigidly delineated reserve the trees are slowly regenerating from logging and land-clearing in the 19th century. However, alongside the densely growing trees, I also pass ghostly white fallen trunks, reminding me of the continuing, vulnerability of these critically endangered trees.
Denizens 2024. Artist Book. Inkjet prints, and interference watercolour. 26 X 300cm. Exhibited: Embrace the Eucalypt, Benalla Art Gallery, Victoria. May - July 2024. Photos: Lesley Duxbury
DAM (Spring, Summer, Autumn, Winter) 2023. 4 Artist Books. Inkjet prints, relief print and screenprint with mica flocking. Exhibited: Terraqueous, Stephen McLaughlan Gallery, Melbourne 2023. Photos: Lesley Duxbury
Showcases of Artist Books 1991 - 2023 Australian Print Workshop, Melbourne, Victoria. 1 Aug - 11 Sept. 2023.
Some rarely look up at all 2023 Inkjet prints from drawings and photographs 18 X 12 X 1.5cm.
The Lost Forest of Briagolong 2022 Inkjet prints, redgum, carbon 18.5 X 15.5 X 750cm.
I live in the small community of Briagolong located in the foothills of the Great Dividing Range in Gippsland in the middle of what was once a vast, open grassy forest of Eucalyptus tereticornis mediana (Gippsland Red Gum) that stretched from the Strzelecki Ranges to the Tambo River valley. Now critically endangered, a number of remnant, more than 400-year-old, trees are scattered throughout the town, in backyards, at intersections and on verges. They have survived colonisation, widespread logging and vegetation clearance, and intensive farming, with fire being the main problem now. This book documents every surviving tree in the town with information about its location and size as well as endangered status information.
I live in the small community of Briagolong located in the foothills of the Great Dividing Range in Gippsland in the middle of what was once a vast, open grassy forest of Eucalyptus tereticornis mediana (Gippsland Red Gum) that stretched from the Strzelecki Ranges to the Tambo River valley. Now critically endangered, a number of remnant, more than 400-year-old, trees are scattered throughout the town, in backyards, at intersections and on verges. They have survived colonisation, widespread logging and vegetation clearance, and intensive farming, with fire being the main problem now. This book documents every surviving tree in the town with information about its location and size as well as endangered status information.
A Walk in the Redgum Forest 2020 Inkjet prints, silk, twine, brass. 15 X 40 X 16cm.
Everyday I walk more-or-less the same track through the Briagolong Forest Redgum Reserve. Although the track winds through the trees I’m not so much aware of the twists and turns but rather the way the track appears as a straight line. This book was a bit of an experiment into creating distance from a single viewpoint
Everyday I walk more-or-less the same track through the Briagolong Forest Redgum Reserve. Although the track winds through the trees I’m not so much aware of the twists and turns but rather the way the track appears as a straight line. This book was a bit of an experiment into creating distance from a single viewpoint
Through a Black Mirror Size: Closed 15.5 X 12.5 X 3.5cm. Open 15.5 X 600cm. Inkjet print, taffeta silk, acrylic lens 2020
Exhibited: Notes From the Field, Murray Art Museum Albury, 2021. https://field-not.es/ Photos: Lesley Duxbury
In 2020 I had an artist residency at Bogong Centre for Sound Culture at Bogong Village near the Alpine National Park. The book is documentation of my research there. I used a home-made Black Mirror, a slightly convex, hand-sized black lens, to view the landscape around Lake Guy. The Black Mirror was widely used by artists in the 18th and 19th centuries to contemplate, reconfigure and record the landscape. To use it one must turn one’s back on the scene of interest and look at it in the mirror that frames and transformes the view. I was fascinated that the mirror depicted one view of the landscape behind me while I looked at a completely different landscape or view in front of me. In the artist book I play with the concept of mirroring by manipulating the images to create opposites and reflections and the length of the book’s format repeats the walk around Lake Guy
Exhibited: Notes From the Field, Murray Art Museum Albury, 2021. https://field-not.es/ Photos: Lesley Duxbury
In 2020 I had an artist residency at Bogong Centre for Sound Culture at Bogong Village near the Alpine National Park. The book is documentation of my research there. I used a home-made Black Mirror, a slightly convex, hand-sized black lens, to view the landscape around Lake Guy. The Black Mirror was widely used by artists in the 18th and 19th centuries to contemplate, reconfigure and record the landscape. To use it one must turn one’s back on the scene of interest and look at it in the mirror that frames and transformes the view. I was fascinated that the mirror depicted one view of the landscape behind me while I looked at a completely different landscape or view in front of me. In the artist book I play with the concept of mirroring by manipulating the images to create opposites and reflections and the length of the book’s format repeats the walk around Lake Guy
Bogong Size: Closed 18.5 X 16 X 1.8cm. Open 18.5 X 540cm. Inkjet print, silk. 2020 Exhibited: Notes From the Field, Murray Art Museum Albury, 2021. https://field-not.es/
Photos: Lesley Duxbury
Photos: Lesley Duxbury
