Today I went a talk at the Wollongong City Gallery by Dr Dougal Philips representing the 17^th Biennale of Sydney. I am here for this year’s plethora of international and Australian art at 12 locations in the Sydney CBD. Amazing! It will be like Germany’s ‘Documenta 12’ which I attended. Perhaps I will do performance here too. Speaking of which…there seems to be a lot of performance as part of the art offerings this year – a resurge, no doubt. Good fodder for my article for Art Monthly which I should be researching now.

One of the artists, Marcus Coates, is described as a ‘Radio Shaman’. His performance includes wearing the actual real ‘head’ of a dead animal and striking up conversation to consider human response to the animal’s situation. He finds this leads into attitudes people are otherwise out of ouch with….

This gives me a performance idea using my dog’s recent experience….might have to think about it but I am not saying here…

Related Website: frieze

I visited an exhibition called Women’s Work at Project: Wollongong’s Contemporary Artspace. It represented the work of numerous local women artists publicized by Sue Bessell. I liked the double meaning suggested by the title. Interestingly, the ‘domestic domain’ was omitted almost entirely. I would be the last person to expect women have the corner on this topic but neither do many women get away without some sort of response to this important ‘internal area’ – especially women artists! I certainly struggle with being and artist and being a homemaker. Am I alone in this?

Libby Bloxham set a very high standard with her intuitive recycled sculptures

I have the idea to write a few sentences on each of the 14 handcrafted aprons in HANDMADE. They were crafted by keen and skilled friends who have skills which I lack. The Aprons highlight the importance of often traditionally ‘women’s work’. These skills often are downplayed as time-fillers or home craft and not valued for the beauty and creativity they express.

By the Way, Whoever thought that aprons are not ‘NOW’. Look at this website…

Someone told me they were asked point blank, ‘What do you want to happen after you die?’ It was not their minister, or a friend who inquired so personally, but their Financial Advisor! Makes sense, of course, but why do the rest of us shy away from discussing questions like these – even with our closest friends or parents for that matter?

Gives room for consideration…

Hello Flossie,

We have one comment for you from one of our volunteers who made the comment that the exhibitor was

‘…..quite good as it relates to family & life, the ordinary living people.’

Kay noted that one person spent at least a half an hour looking at the exhibition while another basically walked in and walked out.

Cheers Jill

Talk about bed, breakfast and belief……. Jean and Erwin, welcomed us with many years of a home away from home at their place in Kybunga and Clare. As for countless others, they took us in thirty-five years ago when we had ‘nothing and no one’, as new immigrants to Australia. Now Aunt Jean came to visit us from S.A. It has been three years since we have been together. We talked of old times and looked at old photos.

Still, I wonder if we are more than just ‘people who needed support’ to them. They were ever so, so much more to us……our adopted Australian parents. Thank you, always.

Week 9, Day 052 BBBBlog it!

Hello Flossie,

In reference to your work Handmade and the comment that the past can conceal a future bias – Is this to be understood as meaning that once one has taken up the domestic identity and ‘adorned the apron’ then one is always connected to that past and decisions will be coloured through the domestic identity? or could you perhaps mean that the apron has figured in both a positive nurturing light in addition to the domestic drudge that some see as a product of womanhood?

I am interested in the inspiration behind the work, so please explain.

Cheers Jill

I like both your interpretations of this assertion! I hadn’t thought of either idea specifically when I wrote what I did but yours make just as good sense to me!

I can only add this additional thought…by putting on the metaphorical ‘apron’ of our cultural heritage (as in doing ‘the correct thing for a particular reason’) we show others what we are made of, that is, our outlook learned from childhood. This is not something we can hide, it is out there being seen by others. But at the same time as we ‘put on’ our behaviour, we cover up part of ourselves. This private side, under the ‘apron’ dictates attitudes and actions we may not realize that we have learned from home. Some people do not look behind their cultural upbringing – for better or worse. In this way the aprons are not gender or domestically based but are used as a metaphor for the workings of society.

Image: Handcrafted aprons

Caption: HANDMADE, 2005, 15 hand crafted, Victorian aprons (Detail)

Women’s work often goes unnoticed but it joins the generations with a specific lettering of culture. Wearing one’s history – like putting on an apron – is easier and harder than may be realized. But the past can conceal a future bias.

Week 1, Day 002 Blogging with a theme

So, the idea with this year-long Blog is to draw a portrait of BED, BREAKFAST & BELIEF: Seeking The Spiritual Self In Community Relationship ….Who it involves, What it delivers, Where it goes, When it connects/fails, Why it is of interest, and How it changes. Of course, creating the majority of the exhibition has already taken over ten years which will not be documented but more installations will immerge over the year.

This Victorian Tour is unique in that though it represents a large body of work, each gallery was encouraged to pick installations which suited its particular preferences, gallery space and clientele. With great enthusiasm, these choices were enacted. So what seemed like a good idea at the time is proving to be a complicated process. Effectively, each gallery chose very different work and six groupings of Peitsch art will be installed throughout the Tour. The good thing of course is that each gallery director will have exactly what she/he wants and people visiting more than one location will expand their experience of the work.