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stuartgeddes
Stuart Geddes
Design, mostly books.
Lecturer, at RMIT.
Member, AGI.
It’s Tuesday morning, 8am. It’s the 25th of February.
Made this short film with @testen.studio and @will.neill for Deep Time Real Time, which opens today at RMIT Design Hub Gallery.
Brilliant to work with @somethingtogether @simulaa_ and the @rmitgalleries team on this great exhibition.
So much thought and work goes into the design of a book, and especially if it's a document of a lifelong practice... impossible to describe in a few portfolio images!
This has been on our minds for the longest time, how difficult it is to document this kind of work, so we turned it into its own project, with the book we designed for Shelley Lasica and MUMA.
So we asked writer and editor Laura Gardner to write something about the book. And we asked artist and film-maker Kate Meakin to capture the book somehow. And we asked Matthew Stanton to document the book in his meticulous way.
Laura brings insights about paper, archives and dance; and Kate mixes together film of the MUMA performance-exhibition with footage of us documenting the book with Matthew, juxtaposing our awkward hand gesturing and book handling with the deliberate and considered movements of the performers.
It's all online now on a small dedicated website that we worked on with Jake Bonin.
https://a-see-through-archive.gdw-pty.ltd
Link in bio!
-
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex book.
This project was supported by the Sustaining Creative Workers Initiative, by the Victorian Government through Creative Victoria and Regional Arts Victoria.
-
So much thought and work goes into the design of a book, and especially if it's a document of a lifelong practice... impossible to describe in a few portfolio images!
This has been on our minds for the longest time, how difficult it is to document this kind of work, so we turned it into its own project, with the book we designed for Shelley Lasica and MUMA.
So we asked writer and editor Laura Gardner to write something about the book. And we asked artist and film-maker Kate Meakin to capture the book somehow. And we asked Matthew Stanton to document the book in his meticulous way.
Laura brings insights about paper, archives and dance; and Kate mixes together film of the MUMA performance-exhibition with footage of us documenting the book with Matthew, juxtaposing our awkward hand gesturing and book handling with the deliberate and considered movements of the performers.
It's all online now on a small dedicated website that we worked on with Jake Bonin.
https://a-see-through-archive.gdw-pty.ltd
Link in bio!
-
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex book.
This project was supported by the Sustaining Creative Workers Initiative, by the Victorian Government through Creative Victoria and Regional Arts Victoria.
-
So much thought and work goes into the design of a book, and especially if it's a document of a lifelong practice... impossible to describe in a few portfolio images!
This has been on our minds for the longest time, how difficult it is to document this kind of work, so we turned it into its own project, with the book we designed for Shelley Lasica and MUMA.
So we asked writer and editor Laura Gardner to write something about the book. And we asked artist and film-maker Kate Meakin to capture the book somehow. And we asked Matthew Stanton to document the book in his meticulous way.
Laura brings insights about paper, archives and dance; and Kate mixes together film of the MUMA performance-exhibition with footage of us documenting the book with Matthew, juxtaposing our awkward hand gesturing and book handling with the deliberate and considered movements of the performers.
It's all online now on a small dedicated website that we worked on with Jake Bonin.
https://a-see-through-archive.gdw-pty.ltd
Link in bio!
-
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex book.
This project was supported by the Sustaining Creative Workers Initiative, by the Victorian Government through Creative Victoria and Regional Arts Victoria.
-
So much thought and work goes into the design of a book, and especially if it's a document of a lifelong practice... impossible to describe in a few portfolio images!
This has been on our minds for the longest time, how difficult it is to document this kind of work, so we turned it into its own project, with the book we designed for Shelley Lasica and MUMA.
So we asked writer and editor Laura Gardner to write something about the book. And we asked artist and film-maker Kate Meakin to capture the book somehow. And we asked Matthew Stanton to document the book in his meticulous way.
Laura brings insights about paper, archives and dance; and Kate mixes together film of the MUMA performance-exhibition with footage of us documenting the book with Matthew, juxtaposing our awkward hand gesturing and book handling with the deliberate and considered movements of the performers.
It's all online now on a small dedicated website that we worked on with Jake Bonin.
https://a-see-through-archive.gdw-pty.ltd
Link in bio!
-
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex book.
This project was supported by the Sustaining Creative Workers Initiative, by the Victorian Government through Creative Victoria and Regional Arts Victoria.
-
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Shelley Lasica WHEN I AM NOT THERE
ISBN 978–1–922633–3–47
Edited by Hannah Matthews
Designed with Žiga Testen, this was one of the more ambitious and complex commissions we worked on this year. Below is a small extract from Laura Gardner's essay on this publication –
"Light travels easily through the internal pages of ‘WHEN I AM NOT THERE’. The book is printed on paper with high ‘show-through’—the visibility of printing on one side of a sheet of paper on the other side. The stock, notable for its uniquely low opacity, is designed by book designer Irma Boom. It has the rustle of tissue paper wrapping a recent purchase and the fine, lightweight handle of a bible paper. The book’s designers Stuart Geddes and Žiga Testen sourced the gossamer paper stock for its capacity to create unexpected moments between pages, inviting light through its fibres and layering the images and text of the book, blending them together, confusing its topography.
The lightness of the pages is a metaphor for the books’ subject: the fugitivity and ephemerality of a contemporary dance practice. The book anthologizes the work of dancer and choreographer Shelley Lasica and arrives in Melbourne in August, just in time, to close its coinciding performance-exhibition at MUMA. As a counterpart to the performance-exhibition, the book reflectively documents Lasica’s career and work, and can also be understood as archival."
Laura Gardner in 'WHEN I AM NOT THERE, a see-through archive' coming soon!
Thank you to Shelley Lasica and Zoe Theodore, Hannah Matthews and the entire MUMA team for their support and trust on this complex project!
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
Vivienne Binns. On and through the Surface. ISBN 978-0-6481529-9-6. Edited by Hannah Matthews and Anneke Jaspers. Coinciding with joint exhibitions @mumamonash and @mca_australia. Designed with @testen.studio under our joint practice @g______d_____w___pty.ltd
"Binns is one of those artists that Australian art history can’t really handle—her work, her professional career, her personal biography, is too polymorphous for us. This show has a hefty catalogue with five provocative essays, which together do an extraordinary job of coming to terms with Binns. But, nevertheless, a central section of over 150 pages of illustrations, a selection of vintage interviews and a forensic biography by researcher Penny Peckham is also required to explain the artist’s lush malleability."
Victoria Perin in Vivienne Binns: On and Through the Surface, MeMO Review
"Her practice is profoundly collaborative, distributed, decentred: what Kyla McFarlane, in her essay for the catalogue, describes as a kind of “open-hearted messiness”."
"Leafing through the exhibition’s exquisitely designed catalogue echoes [the] sensation of memory being raked up. Action shots of Binns and her various collaborators – photographed knitting around a communal table, sketching en plein air, or painting a mural on the side of a community hall – rise off the pages. They interpolate colour plates of artworks that are now held in many of Australia’s most esteemed collections."
Helen Hughes in Artist Vivienne Binns, The Saturday Paper
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
This last three weeks I’ve been making a native meadow courtyard garden. It’s been a hell of a couple of years; this feels like it was a necessary change of pace. Last 📷 by @staynervous
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
Over the past few years I've been designing this book with Paul Mylecharane and Kim Mumm Hansen — the first major monograph on the work of Robert Owen. This Saturday @heidemoma I will be joining @p_mylecharane @robertowenartist and @fiercelatitudes to discuss the making of this special book. The discussion will be facilitated by Dan Rule of @perimeterbooks
Book Talk:
Robert Owen, A Book of Encounters
This Saturday 8th of May at 5:30–7pm
Booking is required @heidemoma
Book:
Robert Owen, A Book of Encounters
Perimeter Editions 059
ISBN 978-0-6486801-5-4
Print production and Lithography by Jos Morree Fine Books @josmorreefine and Sebastiaan Hanekroot at @colourandbooks
This weekend @t.or.rents and I are having a small exhibition of NIRIN NGAAY. This is a book we made with @jessycahutchens and @brook_andrew_artist, commissioned as a work for last year's 22nd @biennalesydney, with contributions from many artists and writers.
As part of the exhibition we will be screening a film directed and produced by @amzobrownie centred on the making of NIRIN NGAAY.
Exhibition details: @negativepress
8/102 Henkel Street, Brunswick
Sat Feb 6 & Sun 7 12-5
Drinks Sat 3-5
Please come, but in limited numbers of course.
This weekend @t.or.rents and I are having a small exhibition of NIRIN NGAAY. This is a book we made with @jessycahutchens and @brook_andrew_artist, commissioned as a work for last year's 22nd @biennalesydney, with contributions from many artists and writers.
As part of the exhibition we will be screening a film directed and produced by @amzobrownie centred on the making of NIRIN NGAAY.
Exhibition details: @negativepress
8/102 Henkel Street, Brunswick
Sat Feb 6 & Sun 7 12-5
Drinks Sat 3-5
Please come, but in limited numbers of course.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
I bought a 1984 Heidelberg GTO with @negativepress for a special project we’re doing. This is day one of refurbishing.
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