SUPPORT MATERIAL - Australia Council
Surrealist Score #1, 2019, Josephine Mead, digital inkjet print on archival paper, 29.5 x 43.2cm, edition 1/3 + AP. Image courtesy of the artist.
The sound of the sirens call, 2019, Josephine Mead, digital inkjet print on archival paper, 29.5 x 43.2cm, edition 1/3 + AP. Image courtesy of the artist.
These two works have been recently produced while I have undertaken the Córtex Frontal Residency in Arraiolos, Portugal. This work constitutes a small portion of the work produced as part of Iteration #4 - a result of research into European and American Surrealist literature, photography and cinema.
The sound of the sirens call, 2019, Josephine Mead, digital inkjet print on archival paper, 29.5 x 43.2cm, edition 1/3 + AP. Image courtesy of the artist.
These two works have been recently produced while I have undertaken the Córtex Frontal Residency in Arraiolos, Portugal. This work constitutes a small portion of the work produced as part of Iteration #4 - a result of research into European and American Surrealist literature, photography and cinema.
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):
Image 1:
Ode to Self #1/ #1 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.
Ode to Menophila #1 / #21Menophila 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.
Image 2:
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.
Images 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, that constitutes Iteration #3 of my project, as outlined in my proposal. 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 an extensive series of 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):
Image 1:
Ode to Self #1/ #1 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.
Ode to Menophila #1 / #21Menophila 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.
Image 2:
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.
Images 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, that constitutes Iteration #3 of my project, as outlined in my proposal. 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 an extensive series of 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: The Marking. solo exhibition at c3 contemporary art space at the Abbotsford Convent by Josephine Mead (January 30 - February 24, 2019).
Work pictured:
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. Image courtesy of the artist.
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.
Images courtesy of the artist. Photograph courtesy of Aaron Rees.
The 5 photographs displayed in the above two images were produced while undertaking the Macfarlane Fund Residency in Kyneton, Victoria and constitute a small portion of the work produced as Iteration #2 of my project, as outlined in my proposal. Through this work I was examining how abstract photographic imagery can be utilised for self-portraiture. The photographs were shown in a solo exhibition tited 'The Marking.' at c3 contemporary art space in early 2019.
Work pictured:
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. Image courtesy of the artist.
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.
Images courtesy of the artist. Photograph courtesy of Aaron Rees.
The 5 photographs displayed in the above two images were produced while undertaking the Macfarlane Fund Residency in Kyneton, Victoria and constitute a small portion of the work produced as Iteration #2 of my project, as outlined in my proposal. Through this work I was examining how abstract photographic imagery can be utilised for self-portraiture. The photographs were shown in a solo exhibition tited 'The Marking.' at c3 contemporary art space in early 2019.
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. Image courtesy of the artist.
Sin Puertas Visibles / No Visible Doors is a meditation on the complexities, problems and un-definability of three human markers: language, images and bodies. This work constitutes a small portion of the work produced as part of Iteration #1 of my project, as outlined in my proposal. 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.
Sin Puertas Visibles / No Visible Doors is a meditation on the complexities, problems and un-definability of three human markers: language, images and bodies. This work constitutes a small portion of the work produced as part of Iteration #1 of my project, as outlined in my proposal. 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.
Further examples of previous bodies of work:
Installation view: The Distance. in'The Distance.' - exhibition by Josephine Mead and Mig Dann at St Heliers Street Gallery, The Abbotsford Convent. (July 1 - 25, 2019).
Works pictured (left to right):
A Lesson in Holding Oneself Up
2017, Inkjet print on 310gsm Ilford Smooth Pearl paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Mourning as a productive act.
2017, Inkjet print on 310gsm Canson Photographique paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Leg of the Child
2017, Inkjet print on 310gsm Ilford Smooth Pearl paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Holding Position
2017, Inkjet print on 310gsm Ilford Smooth Pearl paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Images courtesy of the artist.
The Distance. 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. The photographs presented 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.
Works pictured (left to right):
A Lesson in Holding Oneself Up
2017, Inkjet print on 310gsm Ilford Smooth Pearl paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Mourning as a productive act.
2017, Inkjet print on 310gsm Canson Photographique paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Leg of the Child
2017, Inkjet print on 310gsm Ilford Smooth Pearl paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Holding Position
2017, Inkjet print on 310gsm Ilford Smooth Pearl paper in custom-made tasmanian oak frame, 43cm x 27.2cm, edition of 5 + AP.
Images courtesy of the artist.
The Distance. 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. The photographs presented 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.
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
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame
41.5 x 25.6 cm
Chair Sculpture, 2018
Tasmanian oak, glue, putty, screws, foam, eco polyester, cotton
105 x 55 x 45 cm
The Conversation. 2017
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame.
121 x 80 cm
Photo courtesy of Christo Crocker.
The Conversation. - an exhibition at Bus Projects in 2018, considered modes of theatricality, staging and heartbreak as anchor points for points of conversation and self-realisation.
Work pictured (left to right):
A tired ship with deflated sails, 2017
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame
41.5 x 25.6 cm
Chair Sculpture, 2018
Tasmanian oak, glue, putty, screws, foam, eco polyester, cotton
105 x 55 x 45 cm
The Conversation. 2017
Digital inkjet print on 310gsm Ilford Smooth Pearl paper, framed in custom-made tasmanian oak frame.
121 x 80 cm
Photo courtesy of Christo Crocker.
The Conversation. - an exhibition at Bus Projects in 2018, considered modes of theatricality, staging and heartbreak as anchor points for points of conversation and self-realisation.
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 is a documentation of the artist’s relationship with her 91-year-old grandmother who has advanced Alzheimers and the dialogue between mourning and becoming that plays out through their exchange. The photographs presented move between different temporal registers. The wooden support-structures consider the ways in which the artist is capable of support. The artist is seeking temporal meeting points with her 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 the artist is pushing back against this force, resisting losing time and space with her grandmother. Amidst this struggle, she is exchanging notions of futility for futurity and is seeking and finding moments of connection, self-realisation and care."
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 is a documentation of the artist’s relationship with her 91-year-old grandmother who has advanced Alzheimers and the dialogue between mourning and becoming that plays out through their exchange. The photographs presented move between different temporal registers. The wooden support-structures consider the ways in which the artist is capable of support. The artist is seeking temporal meeting points with her 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 the artist is pushing back against this force, resisting losing time and space with her grandmother. Amidst this struggle, she is exchanging notions of futility for futurity and is seeking and finding moments of connection, self-realisation and care."
If you would like to see further examples of my visual work and / or writing, please click on the WORK and WRITING links at the top of this page.
