Christine Willcocks' solo exhibition, Objects of Interest from the Museum of nothing Special, is on at FLG from 26 February - 16 March.
work evokes visual beauty in a troubled landscape. The artist successfully translates
to paper the beauty, quiet and meditative stillness of objects that no longer
have life. She responds to a transient space which hovers between life and death.
The addition of delicate etched glass museum domes raises questions about our
need to collect things. Willcock's silent, lifeless birds and trees are presented
as scientific artifacts - as tools for research - but they also suggest that our
rituals of collecting are attempts to retain a physical connection to all things
Susi Muddiman, Director Tweed River Gallery
Over the past years
my work has focused on the demise of the natural world and its renewal, often
as objects or artifacts within an institutional setting. My prints 'Bird Skins'
initiated an exploration of the rituals of collecting and how this act plays a
key role in the preservation of our memories. My fascination is not
just with collections but also with the psychology of display. How the vitrine
actually relates to the object, what they reveal about the work of constructing
and reconstructing history. While my work takes in cross disciplines
such as drawing, photography and 3D, it is the printmaking that is the backbone
of my practise. I wish to expand the possibilities of drypoint etching from cardboard,
a process that suits a non-toxic environment.'
Willcocks is represented in numerous major Australian collections, such as Artbank, Print Council of Australia, and Queensland State Library. She has been the winner of the Wilson Visual Art Award (2012), The Fremantle Print Award (2007) and The Jacaranda AcquisitiveDrawing Award (2000) as well as being a finalist in The Waterhouse Natural History Art Prize (2008) and The Conrad Jupiters Art Prize (2006).
|Splendeur dans l’herbe #7
hand coloured etching
20 x 20cm