A Home Among the Gum Trees exhibition with Max Thornton-Smith
A mother-son exhibition, A Home Among the Gum Trees celebrates the flow of time, the Australian landscape and the universal feeling of nostalgia for the place we call home. Comprised of a series of two-dimensional works along with a filmic animation experience, the exhibition explores generational perspectives ensconced in the visual language of memory.
Carrying two perspectives, and presenting a bonded conversation between works, this time-capsule exhibition covers the feelings, emotions and expressions related to the fleeting nature of childhood and the ensuing presence of parenthood, nurtured in a home set amongst the creative arts in the Perth hills.
Exhibition held at Midland Junction Arts Centre from Saturday 27 July to Sunday 1 September 2024. Kindly opened by Anna Louise Richardson.
“The view across my table of making, frames a wandering wisteria vine which has limbically ambled across the structural cross beams of this house. Planted sometime in the late 1950s, this wisteria is approaching its seventh decade. Being the fourth custodian of this rambling vine, I have witnessed its green growth spurts and flowering joys for nearly thirty years. As it snakes across the front door pathway, we have learned to adjust our walking pathways and posture as we navigate the overhanging vines. Pondering on the senescence of the vine, it took me to a moment of reflection on my time as a mother and a practising artist in this house. Many a time in the focused blocks of making during the day and in periods of solitude and silence in the late night, my gaze across this table of making, lands on the gifts of moments of creative endeavours. Curiosity and playful adventures would be strewn across this very precious space of making which has motivated practice of nearly a decade; all the while sharing a responsibility in rearing and nurturing our young son. As he ventures through life on his own journey and navigates through the joys and trials of learning, my practice equally reflects the growth spurts, tribulations and magic moments it presents. A Home Among the Gum Trees is an encapsulation of these feelings of inspired moments, immersion in the landscape and nature around this home whilst being intrigued by the underlying patterns that permeate our lives. In those focused blocks of time away from the throes of nurturing, my practice centres on quietening the mind, softly working with my hands, manipulating three dimensional forms in paper as if playing with time in some dimensionality itself. Gradating gouache from hue to hue and allowing the effect to keep its own meanders, requires a moment of relinquishing and acceptance – this is a lesson a mother learns early in her parenting journey. Through the process of making, it becomes evident, whilst toying with small ontological ideas of perception, that taking a moment’s second to truly sit with the minutiae of time is important. Trajectories on my search for meaningful conversations within the work would weave and meander through a temporal landscape of my own making, found scribed across the surface of the paper I work with. In this quietude, I can sit with moments of gathered memories, and celebrate the markings of time as an artist, and importantly as a mother. A Home Among the Gum Trees is a time capsule exhibition that holds within it the importance of grasping this especially poignant and precious moment.”
light, magic and shadows past 1 am (vandyke brown)
30.5 x 30.5 x 4cm 2024 Gouache on paper
Borne of the hour just past 12 , light, magic and shadows past 1 am (vandyke brown) journals the time of night where my energy levels suddenly revive. From burning midnight oil, the experience of art making and process is enhanced – breathing becomes slower, hands become coordinated, foldings gather momentum and hues gradate with increasing intensity.
light, magic and shadows past 2 am (magenta-violet)
30.5 x 30.5 x 4cm 2024 Gouache on paper
Outside the window where I work, a dark twisting wisteria vine overlays upon my reflection.
light, magic and shadows past 2 am (magenta-violet) is a work recalling the magenta-violet hued wisteria flowers of the day when it bloomed over summer. Gradated three dimensional paper foldings reach out into space as I work synonymously with the dark vine, cloaked in the night’s aura.
light, magic and shadows past 3 am (madder red)
30.5 x 30.5 x 4cm 2024 Gouache on paper
light, magic and shadows past 3 am (madder red) is a work completed in the bowels of the night – past 3am. Gradated hued madder red repeated paper foldings recall natural formations found in the bush nearby. A study in colour, caught in the three dimensions.
made for now I (cadmium scarlet)
48 x 62 x 6cm 2024 Gouache on paper
Attempting new processes, made for now I (cadmium scarlet) is my first foray into working with thinner strips of gradated paper that are inlayed to a paper base. Primarily, I was focused on the positioning of the paper slits (which house the strips). Each slit is positioned slightly differently from the rest, resulting in a contorted and turning form, fashioned from the tensile nature of paper. Like the twisting forms and its relationship to the grounding “slits”, made for now I (cadmium scarlet) chronicles the dimensionality of time itself, with each form representing timeline and moments, each affected by a grounding state, yet unpredictable into the future.
made for now II (indigo)
48 x 62 x 6cm 2024 Gouache on paper
made for now II (indigo) is the second iteration.
out of time (bengal rose)
61 x 86 x 4cm 2024 Gouache on paper
out of time (bengal rose) is a slow race scribed across the surface of the paper creating a temporal landscape of my making. Slowing time in the small saturated and gradated cuts and folds sitting on a background of mellifluous monoprinted motifs, recalling ancient lifeforms.
sensing the bush (indian ink)
46 x 33cm 2024 indian ink on hosho
sensing the bush (indian ink) is a homage to the landscape around me full of abundance and the blessings of moments. Gyotaku is a traditional Japanese art form of printing from the mid 1800s used by fishermen as a way to record their catch. Utilising the chokusetsu-ho method of gyotaku printing, where the subject is inked first and paper gently pressed on to it, I worked to capture the impressions of the jarrah bark and wisteria vine of the bush around the home as a way of recording and preserving the everyday.
dawn (sanguine) | dusk (prussian blue)
270 x 45cm 2024 etching inks on hosho
dawn (sanguine) is a 2.7m hanging with monoprinted motifs on hosho that encapsulate the natural elements around the home caught in the arrival of the day. The transparency of hosho is used to full effect with sanguine and green hued motifs printed on both sides to recall morning light as it breaks through the foliage.
dusk (prussian blue) encapsulates the natural elements around the home caught as the day passes with gradations of deep blue hued motifs evoking the silhouettes as the sun dips below the horizon.
