SUPPORT MATERIAL - Australia Council Career Development Grant
EXAMPLES OF VISUAL WORK:
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.
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.
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.
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.
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.
This work was produced through the Arquetopia Foundation Residency in Puebla, Mexico. Image courtesy of the artist.
Digital Inkjet print on 310gsm Illford Smooth Pearl paper, 27.5 x 42cm, Edition of 3 + AP.
This work was produced through the Arquetopia Foundation Residency in Puebla, Mexico. Image courtesy of the artist.
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.
This work was produced through the Arquetopia Foundation Residency in Puebla, Mexico. Image courtesy of the artist.
Digital Inkjet print on 310gsm Illford Smooth Pearl paper, 27.5 x 42cm, Edition of 3 + AP.
This work was produced through the Arquetopia Foundation Residency in Puebla, Mexico. Image courtesy of the artist.
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.
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.
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.
(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.
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.
(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.
|
|
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.
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.
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.
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.
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 exfoliate and moisture' - poetic essay produced to accompany exhibition by Jess Taylor and Deborah Prior at Kings Artist-Run. Produced through the Kings Emerging Writer's program in 2018.
