It was this book that really set me firmly on the path to Swarm. Was it a conscious decision to make both works distinctly opposite in that the Swarm portraits turn their backs on the viewer while the women in the Moth masks series face the viewer, and that there are butterflies versus moths, day versus night, as well as beauty versus mortality?
No, it was not a conscious decision, despite my longtime fascination with the idea of opposites. Having said that, I have to admit that for some time I had wanted to turn my subjects around to face the viewer once more. Swarm predates the Moth masks by several years and it was definitely a point of departure for the new work.
Revisiting it led to wider, more extensive research into spiders, bugs and insects. But it was the discovery of the moths that really fired my imagination. The markings on the wings of some moths already suggest a pair of staring eyes. To turn them into masks was, once again, almost a natural extension.
As an artist I also work very much on an intuitive level and if something potentially significant emerges — like the idea of opposites — it is important to try to reinforce it, build on it, and if possible, take it further — but never try to force it. My interest in butterflies began with Swarm. Their jewel-like colours and scale perfectly suited the ideas I was exploring in my imagery at that time, providing the means of further developing the idea of a trapped individual.
The moth mask paintings were made especially for this show and are a relatively new discovery that has enabled me to take my work in an entirely new direction. I find moths much more fascinating than butterflies, perhaps because we tend to think of them as creatures of the night, which for me adds further to their mystique.
Swarm evokes the notion of collecting from the thrill of the chase to the need to classify, label and display these trophies from the hunt. Can you please explain your intention for this work and the importance of the arrangement of the 32 canvases that make up Swarm. Like all my work it is open to individual interpretation. The 32 canvases were actually intended to form an oval, but instead look more like a diamond. While the work intentionally recalls a display of insect trophies on the wall of a collector, it could equally be a flight formation of winged creatures.
Until recently I had never seen the equally celebrated movie. It is a fine film — still very powerful — and powerfully disturbing. How did the Moth masks series evolve? Xoil Tattoo Artist Bio. Wendy Rapley Artist. Gospel Artist List. Trees Drawings Artist. Deborah Klein Australian Artist. Deborah Klein. Australian Artist.
Paintings, prints, drawings and book art by Deborah Klein. In she moved to London, where she lived and worked until her return to Melbourne in Between - her practice was divided between Melbourne and Ballarat in south-western Victoria.
She moved permanently to Ballarat in late Deborah Klein :: biography at - Design and Art Australia She spent her childhood and early adult years living in the seaside suburb of St Kilda before leaving Australia to live in London from to , also travelling to Europe and the US.
From she lived and worked in London, returning to Melbourne in How to share your images. Advanced search. Deborah Klein b. A printmaker whose woodblock and linocut prints have been widely published. Her contribution to 'Alice ', the exhibition celebrating Lewis Carroll's 'Alice in Wonderland' was a series of 29 woodblocks exploring the idea of 'the innocent abroad' - a tribute to two friends who died overseas. Tags: Printmaking , Printmaker. Biographical Data b. Biography 1 biography Associates Groups Works 8 works Exhibitions 6 exhibitions Collections 5 collections Recognitions 1 recognition References 4 references.
This record needs moderation. Biography words Deborah Klein, an established Australian painter and printmaker whose woodblock and linocut prints have been widely published, was born in Melbourne in
0コメント