here. - Adelaide Central School of Art

Floor Sheet
Parallelo
2 September 2014 - 17 October 2014
Godwin Bradbeer and Christopher Orchard
Parallelo is an exhibition of drawings where parallel practices and concerns for figuration are both
observed and invented. The exhibition runs concurrently with Drawing Month, an exciting Adelaide Central School
of Art program of drawing, masterclasses, lecturers and other events. Parallelo is situated in Adelaide Central
Gallery and the Teaching & Studio Building.
Please be advised the exhibition depicts the nude human form.
Adelaide Central Gallery
No.
Artist
Title
Year
Medium
Dimensions (cm)
HxW
1
Christopher Orchard
Estragon & Vladimir
2008
charcoal on Arches Rives BFK
108 x 85 2
Christopher Orchard
Uneven Ground
2008
charcoal on Arches Rives BFK
155 x 107
3
Christopher Orchard
Subway 2
2013
acrylic, charcoal, chinagraph
198 x 141
on Arches Rives BFK
4
Christopher Orchard
Thrown (Fragment)
2012
charcoal on Arches Rives BFK
110 x 165
5
Godwin Bradbeer
Profile Intermezzo
2000
chinagraph, silver
123 x 123
oxide and pastel dust
6
Christopher Orchard
The Reader
2009
charcoal on Arches Rives BFK
108 x 85
7
Godwin Bradbeer
Profile in Exile #3 2009
chinagraph, silver oxide 118 x 118cm
and pastel dust
8
Christopher Orchard
Thrown (Twist)
2012
charcoal on Arches Rives BFK
108 x 165
9
Christopher Orchard
Thrown (Twist 2)
2011
charcoal on Arches Rives BFK
108 x 165
10 Christopher Orchard
Thrown (Weightless)
2011
charcoal on Arches Rives BFK
108 x 165
Version 1 September 2014
Price
$7,500
(+$900 framed)
$12,500
(+$1,200 framed)
$16,500
$12,500
(+$1,200 framed)
$9,500
$7,250
(+$900 framed)
$11,000
$12,500
(+$1,200 framed)
$12,500
(+$1,200 framed)
$12,500
(+$1,200 framed)
No.
Artist
Title
Year
Medium
Dimensions (cm)
HxW
11 Godwin Bradbeer
Abstract Man
2008/2010
chinagraph, silver
142 x 174
oxide and pastel dust
12 Christopher Orchard
Blindmans’ Bluff
2008
charcoal on Arches Rives BFK
155 x 108
13 Godwin Bradbeer
Preparatory Drawing #29
c2006
charcoal on paper
105 x 71
14 Godwin Bradbeer
Preparatory Drawing #03
c2004
charcoal on paper
155 x 71
15 Godwin Bradbeer
Preparatory Drawing #08
undated
charcoal on paper
172 x 66.5
16 Godwin Bradbeer
Preparatory Drawing #40
c2008
charcoal on paper
141 x 71 17 Godwin Bradbeer
Preparatory Drawing #37
c2005
charcoal on paper
131 x 66.5 Price
$18,500
$12,500
(+$1,200 framed)
$300
$700
$1,100
$400
$500
Administration
No. Artist
Title
Year
Medium
18 Godwin Bradbeer
Preparatory Drawing #42
c2008
charcoal on paper
19 Godwin Bradbeer
Preparatory Drawing #45
c2007
charcoal on paper
20 Christopher Orchard
Head 6
2005
charcoal on Arches Montval
21 Christopher Orchard
Bang
2012
charcoal on Arches Rives BFK
22 Godwin Bradbeer
Preparatory Drawing #27
c2011
charcoal and ink paper
Dimensions (cm)
Price
HxW
71 x 160
66.5 x 260
100 x 70
165 x 107
71 x 145
$900
$1,600
$7,500
$14,500
$1,200
23
Christopher Orchard
Weightless
2010
24
Christopher Orchard
Head 4
2005
25
Godwin Bradbeer
Transit of the Dragon Fly
2011
digital Giclee print on
29.7 x 21
photo rag paper
acrylic, charcoal, chinagraph 100 x 70
on Arches Montval
$185 unframed
$330 framed
$7,500
chinagraph, silver
$17,000
oxide and pastel dust
125 x 118
Teaching & Studio Building
This section of the exhibition Parallelo is located on the ground floor of the School’s Teaching & Studio Building,
adjacent to the Administration Building. This building is open for viewing during School hours, however it is a secure
building so please visit reception and a staff member can provide you with access.
No.
Artist
Title
Year
26 Christopher Orchard
Tower 1
2012
27 Godwin Bradbeer
Preparatory Drawing #31
c2000
28 Godwin Bradbeer
Preparatory Drawing #09
c2001
29 Godwin Bradbeer
Preparatory Drawing #07
c2002
30 Godwin Bradbeer
Preparatory Drawing #22
c2005
31 Godwin Bradbeer
Preparatory Drawing #24
c2010
32 Godwin Bradbeer
Preparatory Drawing #41
c2011
33 Godwin Bradbeer
Cartoon 1: “Terribilita”
1990-2014
34 Godwin Bradbeer
Preparatory Drawing #13
c2001
35 Godwin Bradbeer
Preparatory Drawing #44
c2002
36 Godwin Bradbeer
Preparatory Drawing #06
c2005
37 Godwin Bradbeer
Preparatory Drawing #11
c2007
38 Godwin Bradbeer
Cartoon 2: “The Episodes”
2013-2014
39 Godwin Bradbeer
Preparatory Drawing #16
c2006
40 Godwin Bradbeer
Preparatory Drawing #39
c2003
41 Godwin Bradbeer
Preparatory Drawing #32
c2001
42
Godwin Bradbeer
Preparatory Drawing #28
c2005
Medium
Dimensions (cm)
charcoal on Arches Rives BFK
charcoal and ink on paper
charcoal and ink on paper
charcoal on paper
charcoal on paper
charcoal on paper
charcoal and pastel on paper
pastel dust
charcoal on paper
charcoal on paper
charcoal on paper
ink and charcoal on paper
pastel dust
charcoal on paper
charcoal on paper
charcoal on paper
HxW
Price
165 x 110 140 x 66.5
71 x 145
143 x 68.5
154 x 71 144 x 64.5 71 x 284 271.5 x 301 163 x 71
158 x 66.5 155 x 71
117 x 71 271.5 x 301 148 x 71 130 x 71 142 x 68.5 $13,750
$1,100
$1,400
$500
$600
$700
$1,400
NFS
$600
$900
$600
$700
NFS
$400
$100
$900
charcoal on paper
176 x 66.5
$900
Artist Statements
Godwin Bradbeer
Christopher Orchard
The preparatory drawings in this exhibition, Parallelo, occupy a curious
place in my practice. For many years I have been uncertain if these, any of
these, are works of art. I have very rarely put them into any public context.
I trained at the South Australian School of Art, majoring in Sculpture
that became, along with Teaching, my dominant practice. This was
around 1973 and I was pursuing large-scale steel fabrication influenced
by Anthony Caro, Sol Lewitt and the serial motif/gesture. Increasingly
my work was built around the repeated thing, within the constructed
installation of welded steel, fabric, rope and stained canvas. While this
direction in my work was flourishing and gaining recognition I was
constantly longing for a language of image that, for me, only Drawing
could possibly deliver. So in 1976 I began a re-engagement with Drawing
and in particular Figurative representation, the weakest area of my practice
due to a limited training and experience. Travel to Europe for a year,
visiting major collections provided powerful encounters with Drawing by
Masters from 15th- 20th Centuries. They became my mentors.
In my several decades of teaching life drawing classes, I have retained the
many drawings that I made to articulate to my students the simplicities
and the complexities of human design and physiology. These drawings are
usually linear and somewhat schematic, but occasionally they manage to
be lyrically expressive. Despite my reputation for a brooding melancholic
darkness, my first love in art is line.
The initial purpose of these drawings was I admit, didactic, but not
instructional. Students could take or leave such information as suited
them. In their making I endeavoured a kind of formal diagrammatic
neutrality, but sometimes – mercifully - poetry would break through.
As a novice tutor in the early 80s my pedagogic enthusiasm must
have looked very un-cool. My eagerness to be both analytical and
demonstrative of things visual - while in-situ - was perhaps somewhat
lowbrow for that conceptual phase of academic modernism. But naivety
can be, and perhaps was, something of a safeguard against highbrow
intimidation.
All of these drawings are made on the studio floor, kneeling, usually in
crowded classes. Ironically, from this place the figure above me has a
certain grandeur. With each of the drawings I am reminded that drawing
is a humbling experience. In this context it is difficult to hide, the artist
ultimately more naked than the model. Every participant in a life class
knows this.
It is a curiosity that for me, technical data cannot be entirely separated
from the aesthetics of imagery, nor can aesthetics be separated from
conceptual purpose. Such works as these expose these disjunctions.
Most of the drawings are charcoal or conté, occasionally they are in ink.
Often they are made while talking, and they frequently carry notations in
relation to structure, the dynamics of movement or miscellaneous studio
memos. Many are made in the early phase of a session to orientate myself
to the class, to settle my own anxieties and to mutely signal a focused
artistic purpose.
While teaching at RMIT I was resident in a drawing studio that was
adjacent to a printers warehouse. The printers disposed of bolts of litho
paper when the heavy roll was almost finished. This selection of drawings
are torn from these industrial rolls. Most rolls retained a residue of
approximately 100 metres. I collected 100 rolls, I have two left.
The life drawings have been a practice parallel to my principle imagery.
When I address sustained reflective work in the private studio context I
rarely use a model or source image, paradoxically I need both the liberty
and the limitations afforded from this discipline in order to find my
credible subject. A subject that for me can provide constancy of both form
and content, design and concept, my imago, or what my friend – artist in
Parallelo - Christopher Orchard calls his avatar.
When I first began teaching in an art school I briefly but nevertheless
seriously, considered showing swift dismissive judgement for these
demonstrative works by plunging them routinely into rubbish bins. I chose
not to and I am glad now that I granted that reprieve.
As time passed I began to search the role of Imagination/Memory in the
construction of Figurative Drawings and in particular the freedom to create
an archetype, a figure that could be repeated. The “Avatar” gradually
arrived. An important element underpinning this development was, and
remains, the variance in repetition, the fact that one can never make the
exact same thing twice and that, to me, this became a mimicry of DNA,
the oscillation of acts of representation like a double helix. The act of
making a mark as an increment of representation always crosses the path
of predecessors but never in exactly the same manner, thus leading to a
kind of evolution of the Avatar in my Drawings.
The central character of my work, the Bald Man, is an accretion of
experience, memory, amnesia and reinvention. To some extent he is
Vladimir and Estragon in Waiting for Godot and as such has forgotten that
Godot has passed, by thereby necessitating the constant repetition of acts
and the inevitable question, “what shall we do now?”
In the studio I begin Drawings without predetermined outcomes, maybe
at times a broad context. Usually I begin with a figure somewhere in the
rectangle at a certain scale. From this point all is improvisation, error,
correction and potential narrative, very much in the manner of a writer
of fiction. Almost without fail what emerges is a tilt at the dominant
concerns I may have about the world and the human engagement or
otherwise with it. More often than not I have an overwhelming sense of
Pathos and/or Compassion and the Avatar stands genderless, just a being
in all being.
January 2014
This floor sheet accompanies the exhibition Parallelo, at the Adelaide
Central Gallery and Teaching & Studio Building
2 September - 17 October 2014.
The artist statements on this floorsheet have been provided by the artists.
Godwin Bradbeer is represented by James Makin Gallery, Melbourne and Annandale Galleries, Sydney
Christopher Orchard is represented by BMGArt, Adelaide and Wagner Gallery, Sydney
Opening hours of Adelaide Central Gallery &
Adelaide Central School of Art
Mon, Thurs & Fri 9am - 5pm
Tues & Wed 9am - 7pm
Sat 6 September 1 - 4pm
July 2014
cover Godwin Bradbeer, Abstract Man (detail), 2008/2010,
chinagraph, silver oxide and pastel dust, 142 x 174cm
PO Box 225 Fullarton SA 5063
Glenside Cultural Precinct | Carpark C
7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road]
T 08 8299 7300 [email protected] www.acsa.sa.edu.au
2014
Drawing Month
Christopher Orchard drawing in his studio
Drawing Month 2014
Friday 29 Aug - Friday 3 Oct 2014
Developed by Adelaide Central School of Art and supported by the Helpmann Academy, Adelaide College of
the Arts (TAFE SA) and South Australian School of Art (UniSA), Drawing Month is a program of exhibitions,
events and workshops exploring contemporary Australian drawing.
The School invites you to experience the work of 13 local and interstate artists during Drawing Month.
Participating Artists
Roy Ananda
Godwin Bradbeer
Thom Buchanan
Johnnie Dady
Joe Felber
Rob Gutteridge
Jessie Lumb
Jess Mara
Christopher Orchard
Annalise Rees
Yve Thompson
Luke Thurgate
Pei Wu
Drawing Week
Monday 1 – Friday 5 Sept, 9.00am – 4.30pm
Visit the School in the first week of September and engage with Drawing Month artists as they produce new
drawings directly on the walls of the School’s Teaching & Studio Building (T&S). For access to the T&S Building
visit the staff in the School’s Administration Building.
ArtSpeak - Artist Talks
During Drawing Month the School invites you to experience a series of artist talks which focus on drawing.
Godwin Bradbeer | Friday 29 Aug, 6.00 – 7.00pm (bookings essential)
Annalise Rees | Thursday 4 Sept, 12.15 – 1.00pm
Christopher Orchard | Thursday 11 Sept, 12.15 – 1.00pm
Drawing Masterclasses
DISEGNO INTERNO with Godwin Bradbeer | 30 & 31 Aug
Seeing is Believing with Christopher Orchard | 23 – 26 Sept
Open Day 2014 | Sunday 14 Sept, 10am - 4pm
All Welcome, no bookings required.
Information Night | Tuesday 16 Sept, 6 - 7.30pm
Bookings essential!
Drawing Month supported by
PO Box 225 Fullarton SA 5063
Glenside Cultural Precinct | Carpark C
7 Mulberry Road Glenside SA 5065 [via Gate 1, 226 Fullarton Road]
T 08 8299 7300 [email protected] www.acsa.sa.edu.au