SUPPORT MATERIAL - Collingwood Yards Room to Create Studio Program
Installation view: The Translation. / Çeviri., solo exhibition by Josephine Mead at Tasarim Bakkali TAB Gallery, Istanbul Turkey (August 31 - September 29, 2019)
Work pictured (left to right):
Ode to Menophila #2 / #2 Menophila için , 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame, 27 x 45 cm, Edition 1/3 + AP.
Ode to Self #2 / #2 Öz için, 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame,
27 x 45 cm, Edition 1/3 + AP.
Between Menophila and Self; a meeting place. / Menophila ile Ben arasında; buluşma yeri., 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame, 27 x 45 cm, Edition 1/3 + AP.
Image courtesy of the artist.
The Translation. / Çeviri. was the result of a body of work produced through the Tasarim Bakkali TAB Residency program in Istanbul, Turkey.
I drew inspiration from an ancient Hellenistic grave stone in the Istanbul Archaeological Museum, dedicated to a young woman named Menophila. Inspired by the poetic inscription on the stone, I created still-life photographs of flowers— images that act as mourning spaces / altar places for Menophila and hopeful spaces / votives for my own future. Five photographs were presented for the exhibition and a poetic text was produced and translated into Turkish.
Work pictured (left to right):
Ode to Menophila #2 / #2 Menophila için , 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame, 27 x 45 cm, Edition 1/3 + AP.
Ode to Self #2 / #2 Öz için, 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame,
27 x 45 cm, Edition 1/3 + AP.
Between Menophila and Self; a meeting place. / Menophila ile Ben arasında; buluşma yeri., 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame, 27 x 45 cm, Edition 1/3 + AP.
Image courtesy of the artist.
The Translation. / Çeviri. was the result of a body of work produced through the Tasarim Bakkali TAB Residency program in Istanbul, Turkey.
I drew inspiration from an ancient Hellenistic grave stone in the Istanbul Archaeological Museum, dedicated to a young woman named Menophila. Inspired by the poetic inscription on the stone, I created still-life photographs of flowers— images that act as mourning spaces / altar places for Menophila and hopeful spaces / votives for my own future. Five photographs were presented for the exhibition and a poetic text was produced and translated into Turkish.
Installation view: Relics of Survival, curated by Kari Lee McInneny-McRae and Zoë Bastin, at Bus Projects, Collingwood (August 7 - 31, 2019)
Work pictured:
"to utter aloud or render in speech", 2019, Josephine Mead, victorian ash, tasmanian oak and audio recording (00.11.54).
Image courtesy of Lucy Foster.
"to utter aloud or render in speech" consists of a voice recording where I recite a poetic essay that I wrote in 2018, titled The Marking. The recording device was hidden inside a specially built wooden box. Viewers were invited to listen to the recording through the headphones attached and to touch the carved letters on the shelf of the box that contains the recording device. This work was produced for Relics of Survival, a group exhibition at Bus Projects.
Work pictured:
"to utter aloud or render in speech", 2019, Josephine Mead, victorian ash, tasmanian oak and audio recording (00.11.54).
Image courtesy of Lucy Foster.
"to utter aloud or render in speech" consists of a voice recording where I recite a poetic essay that I wrote in 2018, titled The Marking. The recording device was hidden inside a specially built wooden box. Viewers were invited to listen to the recording through the headphones attached and to touch the carved letters on the shelf of the box that contains the recording device. This work was produced for Relics of Survival, a group exhibition at Bus Projects.
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Galaxy for Menophila / Menophila için galaksi , 2019, Josephine Mead, digital Inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame, 27 x 45 cm, Edition 1/3 + AP.
Image courtesy of the artist.
Galaxy for Menophila / Menophila için galaksi was produced through the Tasarim Bakkali TAB Residency program. The images presented consider the space between myself and Menophila — a woman from the Hellenistic period, whose gravestone I discovered in the Archaeological Museum in Istanbul.
Image courtesy of the artist.
Galaxy for Menophila / Menophila için galaksi was produced through the Tasarim Bakkali TAB Residency program. The images presented consider the space between myself and Menophila — a woman from the Hellenistic period, whose gravestone I discovered in the Archaeological Museum in Istanbul.
Installation view: The Conversation. solo exhibition by Josephine Mead at Bus Projects, Collingwood. (August 1 - 25, 2018)
Work pictured (left to right):
A tired ship with deflated sails, 2017, Josephine Mead
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame, 29.7 x 42cm, Edition 1/3 + AP.
Chair Sculpture, 2018, Josephine Mead
Tasmanian oak, glue, putty, screws, foam, eco polyester, cotton, 1.5 m x 0.6 m x 0.6m.
The Conversation. 2017, Josephine Mead
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame, 1.3 m x 0.9m, Edition 1/3 + AP.
Photograph courtesy of Christo Crocker.
The Conversation. was a solo exhibition at Bus Projects in August 2018. The show consisted of 2 framed photographs, a chair sculpture and a printed essay. The photographs imaged sculptural assemblages, documenting the studio as a site of personal enquiry. The chair sculpture encircled the larger photograph, referencing curved seating found in ancient theatres. The sculpture provides the viewer with a place to sit, allowing for considered time to be spent looking at the larger photograph. Through the work I sought to locate myself within modes of theatricality— referenced through notions of the stage within the text and echoed by the “green-screen” green tone present throughout the work.
Work pictured (left to right):
A tired ship with deflated sails, 2017, Josephine Mead
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame, 29.7 x 42cm, Edition 1/3 + AP.
Chair Sculpture, 2018, Josephine Mead
Tasmanian oak, glue, putty, screws, foam, eco polyester, cotton, 1.5 m x 0.6 m x 0.6m.
The Conversation. 2017, Josephine Mead
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame, 1.3 m x 0.9m, Edition 1/3 + AP.
Photograph courtesy of Christo Crocker.
The Conversation. was a solo exhibition at Bus Projects in August 2018. The show consisted of 2 framed photographs, a chair sculpture and a printed essay. The photographs imaged sculptural assemblages, documenting the studio as a site of personal enquiry. The chair sculpture encircled the larger photograph, referencing curved seating found in ancient theatres. The sculpture provides the viewer with a place to sit, allowing for considered time to be spent looking at the larger photograph. Through the work I sought to locate myself within modes of theatricality— referenced through notions of the stage within the text and echoed by the “green-screen” green tone present throughout the work.
Installation view: The Marking. solo exhibition at c3 contemporary art space at the Abbotsford Convent by Josephine Mead (January 30 - February 24, 2019).
Sculptures pictures (background to foreground):
Ocular Looking Device (brass), 2018, Josephine Mead, brass, 185 x 74 x 64 cm.
Ocular Looking Device (copper), 2018, Josephine Mead, copper, 204 x 113 x 55 cm.
Ocular Looking Device (steel), 2018, Josephine Mead, steel, 231 x 155 x 66 cm.
Photograph courtesy of Aaron Rees.
The Marking. was a solo exhibition presented at c3 contemporary art space in 2019. Through photography, sculpture and text, I examined the ways I can be marked and am marking, positioning the body as a site of discursive practice. A suite of three metal sculptures became looking devices to frame and obscure the photographic works. An accompanying essay examined how one can move through different time periods, linguistically, in an effort to define and explore the self.
Sculptures pictures (background to foreground):
Ocular Looking Device (brass), 2018, Josephine Mead, brass, 185 x 74 x 64 cm.
Ocular Looking Device (copper), 2018, Josephine Mead, copper, 204 x 113 x 55 cm.
Ocular Looking Device (steel), 2018, Josephine Mead, steel, 231 x 155 x 66 cm.
Photograph courtesy of Aaron Rees.
The Marking. was a solo exhibition presented at c3 contemporary art space in 2019. Through photography, sculpture and text, I examined the ways I can be marked and am marking, positioning the body as a site of discursive practice. A suite of three metal sculptures became looking devices to frame and obscure the photographic works. An accompanying essay examined how one can move through different time periods, linguistically, in an effort to define and explore the self.
Installation view: The Marking. solo exhibition at c3 contemporary art space at the Abbotsford Convent by Josephine Mead (January 30 - February 24, 2019).
Works pictured (left to right):
The body has many a discursive function, 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
I am bounded by the curve, entirely and in parts, 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
The flower is fragile in the same way that my body is fragile, 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
The Marking., 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
Photograph courtesy of Aaron Rees.
Works pictured (left to right):
The body has many a discursive function, 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
I am bounded by the curve, entirely and in parts, 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
The flower is fragile in the same way that my body is fragile, 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
The Marking., 2018, Josephine Mead, Inkjet print on 310gsm Ilford Smooth Pearl paper, created from scanned film photograph, 29.5 x 43.2cm. Edition of 3 + AP.
Photograph courtesy of Aaron Rees.
Sin Puertas Visibles / No Visible Doors, 2018, Josephine Mead,
Digital Inkjet print on 310gsm Illford Smooth Pearl paper, 27.5 x 42cm, Edition of 3 + AP.
Sin Puertas Visibles / No Visible Doors is a meditation on the complexities, problems and un-definability of three human markers: language, images and bodies. Avocados symbolise fertility in Mexican culture and became a device through which I could explore my potential for fertility/growth and potential decay. This work was produced through the Arquetopia Foundation Residency in Puebla, Mexico.
Digital Inkjet print on 310gsm Illford Smooth Pearl paper, 27.5 x 42cm, Edition of 3 + AP.
Sin Puertas Visibles / No Visible Doors is a meditation on the complexities, problems and un-definability of three human markers: language, images and bodies. Avocados symbolise fertility in Mexican culture and became a device through which I could explore my potential for fertility/growth and potential decay. This work was produced through the Arquetopia Foundation Residency in Puebla, Mexico.
My Body Was Pushed and Pulled by Language, 2018, Josephine Mead
Digital Inkjet print on 310gsm Illford Smooth Pearl paper, 27.5 x 42cm, Edition of 3 + AP.
The photograph My Body was Pushed and Pulled by Language considers the relationship between language and images. Using my hair as a visible scratch on the surface of the photograph—akin to scratches found on film photographs—I am considering how I am marked by language. This work was produced while undertaking research in the Juan C. Mendez Photographic Archive, through the Arquetopia Foundation Residency in Puebla, Mexico.
Digital Inkjet print on 310gsm Illford Smooth Pearl paper, 27.5 x 42cm, Edition of 3 + AP.
The photograph My Body was Pushed and Pulled by Language considers the relationship between language and images. Using my hair as a visible scratch on the surface of the photograph—akin to scratches found on film photographs—I am considering how I am marked by language. This work was produced while undertaking research in the Juan C. Mendez Photographic Archive, through the Arquetopia Foundation Residency in Puebla, Mexico.
Installation view: a veritable (un) mooring, 2017, Josephine Mead, MADA Now, Honours BFA Graduate Exhibition, Monash University (November 14 - 25, 2017)
Sculptures pictured (left to right):
Curved Support Frame (Just Holding Up), 2017, Josephine Mead, tasmanian oak, glue, dowel, screws, wood putty, wax, vinyl, felt, sand, plastic sheeting, cotton thread, 181cm x 94cm x 94cm.
Tall Support Structure (Mirror Device), 2017, Josephine Mead, tasmanian oak, glue, screws, wood putty, wax, vinyl, felt, sand, plastic sheeting, cotton thread, 240cm x 138m x 107.5cm.
Photograph courtesy of the artist.
a veritable (un) mooring was a documentation of my relationship with my 91-year-old grandmother who had advanced Alzheimers and the dialogue between mourning and becoming that played out through our exchange. Through the work I sought temporal meeting points with my grandmother, passing into one another’s time and passing through one another’s image. Memory-loss is a productive force that consistently pushes one out of time. Through the work I pushed back against this force, resisting losing time and space with my grandmother. Amidst this struggle, I exchanged notions of futility for futurity and found moments of connection, self-realisation and care.
This work was produced for the graduate exhibition for the Fine Art Honours Degree at Monash University, which I completed in 2017. The work was re-shown in different iterations at Blindside, Craft Victoria and St Heliers St Gallery.
Sculptures pictured (left to right):
Curved Support Frame (Just Holding Up), 2017, Josephine Mead, tasmanian oak, glue, dowel, screws, wood putty, wax, vinyl, felt, sand, plastic sheeting, cotton thread, 181cm x 94cm x 94cm.
Tall Support Structure (Mirror Device), 2017, Josephine Mead, tasmanian oak, glue, screws, wood putty, wax, vinyl, felt, sand, plastic sheeting, cotton thread, 240cm x 138m x 107.5cm.
Photograph courtesy of the artist.
a veritable (un) mooring was a documentation of my relationship with my 91-year-old grandmother who had advanced Alzheimers and the dialogue between mourning and becoming that played out through our exchange. Through the work I sought temporal meeting points with my grandmother, passing into one another’s time and passing through one another’s image. Memory-loss is a productive force that consistently pushes one out of time. Through the work I pushed back against this force, resisting losing time and space with my grandmother. Amidst this struggle, I exchanged notions of futility for futurity and found moments of connection, self-realisation and care.
This work was produced for the graduate exhibition for the Fine Art Honours Degree at Monash University, which I completed in 2017. The work was re-shown in different iterations at Blindside, Craft Victoria and St Heliers St Gallery.
Installation view: a veritable (un) mooring, 2017, Josephine Mead, MADA Now, Honours BFA Graduate Exhibition, Monash University
(November 14 - 25, 2017)
Josephine Mead, Curved Support Frame (Just Holding Up), 2017
Tasmanian oak, glue, dowel, screws, wood putty, wax, vinyl, felt, sand, plastic sheeting, cotton thread, 181cm x 94cm x 94cm.
Photograph courtesy of the artist.
Curved Support Frame (Just Holding Up) is a sculpture that acts as a stand-in for my body. The precariousness of the structure, and the necessity of a sand-bag to secure the work, allows the work to consider my capabilities for support.
(November 14 - 25, 2017)
Josephine Mead, Curved Support Frame (Just Holding Up), 2017
Tasmanian oak, glue, dowel, screws, wood putty, wax, vinyl, felt, sand, plastic sheeting, cotton thread, 181cm x 94cm x 94cm.
Photograph courtesy of the artist.
Curved Support Frame (Just Holding Up) is a sculpture that acts as a stand-in for my body. The precariousness of the structure, and the necessity of a sand-bag to secure the work, allows the work to consider my capabilities for support.
Installation view: a veritable (un) mooring, 2017, Josephine Mead, MADA Now, Honours BFA Graduate Exhibition, Monash University
(November 14 - 25, 2017)
Works pictured (left to right):
Leg of the Child, 2017, Josephine Mead, inkjet print (created from scanned film photograph) on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm. Edition 1/5 + AP.
Holding Position, 2017, Josephine Mead, inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition 1/5 + AP.
Mourning as a productive act, 2017, Josephine Mead, inkjet print (created from scanned film photograph) on 310gsm Canson Photographique paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition 1/5 + AP.
A lesson in holding oneself up, 2017, Josephine Mead, inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition 1/5 + AP.
Photograph courtesy of the artist.
These four photographs depict experiences of being in a body, of passing through, and of a regression and extension of age—a simultaneous movement towards infancy and death. Acting as visual access points to alternative temporal modes, the
photographs allow me to move backward and forward between different moments in time, seeking temporal meeting points with my grandmother.
(November 14 - 25, 2017)
Works pictured (left to right):
Leg of the Child, 2017, Josephine Mead, inkjet print (created from scanned film photograph) on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm. Edition 1/5 + AP.
Holding Position, 2017, Josephine Mead, inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition 1/5 + AP.
Mourning as a productive act, 2017, Josephine Mead, inkjet print (created from scanned film photograph) on 310gsm Canson Photographique paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition 1/5 + AP.
A lesson in holding oneself up, 2017, Josephine Mead, inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition 1/5 + AP.
Photograph courtesy of the artist.
These four photographs depict experiences of being in a body, of passing through, and of a regression and extension of age—a simultaneous movement towards infancy and death. Acting as visual access points to alternative temporal modes, the
photographs allow me to move backward and forward between different moments in time, seeking temporal meeting points with my grandmother.
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Left: a veritable (un) mooring, 2017, Josephine Mead
Digitial inkjet print on 310gsm Canson Platine paper, framed in custom-made Tasmanian oak frame, 60.5cm x 41.5cm, Edition of 3 + AP. Image courtesy of the artist. "‘a veritable (un) mooring’... I’m not sure where this phrase came from, but it has danced around in my mind. My tongue silently moving around the letters, sounding them out. I’ve been working my way through and around the phrase. Last time I visited Nan her eyes were closed. For years she has been beyond speech. Yet that day her lips were forming words. They were moving around silent syllables that couldn’t meet my ears. Phrases that were just for her. What is it that she was trying to say? I realised that we are both working through language, both trying to wrap our bodies up in words." |
Right: Act. Generational reflections: an investigation into acts of self-care (part 1), 2017, Josephine Mead
Inkjet print (created from scanned film photograph) on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition of 5 + AP. Act. Generational reflections: an investigation into acts of self-care (part 2), 2017, Josephine Mead Inkjet print (created from scanned film photograph) on 310gsm Ilford Smooth Pearl paper, framed in custom-made Tasmanian oak frame, 43cm x 27.2cm, Edition of 5 + AP. Images courtesy fo the artist. The two photographs presented show me, holding a vessel in front of my chest; and the wrinkled arms of my grandmother, crossed over her chest. In both images the subject is covering themselves in a gesture of self-protection— I, with young skin and smooth glass, and my grandmother, with flesh deeply marked by age. Both images function as self-portraits of myself. They are interchangeable. Through taking photographs of my grandmother, I am self-imaging. My grandmother carried the possibility of me in her blood before I was born. I now carries her legacy. We exist in each other’s image. |
EXAMPLES OF WRITING:
'The Specifics of a Poem' - collection of poems produced through the Arquetopia Foundation Residency in Puebla Mexico, published by Art + Australia in 2018.
'The Conversation' - poetic text produced by Josephine Mead in 2018 to accompany solo exhibition 'The Conversation.' at Bus Projects in Collingwood. (August 1 - 25, 2018)
'They were at once exfoliant and moisture' - poetic text produced through the Kings Emerging Writer's Program to accompany exhibition 'Deep, Dark, Desperate / Eat Your Saints' by Jess Toylor and Deb Prior at Kings Artist Run (August 4 - 25, 2018)
'The Marking.' - poetic essay produced to accompany solo exhibition 'The Marking.' at c3 contemporary art space in Abbotsford. (January 30 - February 24, 2019)
