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Moved


Jodi Heffernan & Anita Iacovella


Gallery 4
19 March - 7 April 2013

Opening Tuesday 19 March, 6.30-8pm



Nature Circles 2 by Jodi Heffernan

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Two award-winning artists, two senior educators, both at the peak of their creative paths.

Jodi Heffernan has lectured at NMIT for several years in printmaking and drawing and her work explores the concept of enclosing nature in an exhibition environment. Nature is used as a metaphor for sensory experience and physiological states. Works depict real and invented environments in which the audience is asked to both take a distant and close view. Shadow, visibility and invisibility of images are explored to both conceal and find.

Jodi’s work is to be found in the collections of the Australian National Gallery, Canberra; the Art Gallery of New South Wales; the State Library of Victoria; the Museum Mastra Ostrawa, Poland; the London Print Workshop; the Edinburgh Print Workshop among others. In 2005, she was awarded the Geelong Print Prize and, in 2004 and 2006 won the Silkcut Acquisition Prize.

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“Geelong-based Anita Iacovella and her monotype prints are both intriguing and powerful. An interest in Eastern philosophy and spirituality has influenced Iacovella’s artistic practice. She trained in martial arts for 12 years and she applies meditative aspects of this to her work – both require discipline, practice, attentiveness and focussed thought. With a monotype print, the artist has only one chance at it – make a mistake and it is ruined – so the artist must approach the work with confidence and awareness. As Iacovella prepares her press, paper and tools, she enters a contemplative state and images from the unconscious form in her mind.

The Japanese philosophy and aesthetic, Wabi-sabi, has also informed Iacovella’s work. Anna Briers, writer and curator, explains: “Within her life and artistic practice, Iacovella is a proponent of the Japanese aesthetic and philosophical systems of Wabi-sabi, a movement whose fundamental tenets function in opposition to western classical notions of beauty and values such as symmetry, completion and monumentalism. By contrast, Wabi-sabi embraces asymmetry and imperfection, ephemerality and the constant flux, the regenerative processes of the natural world as well as its propensity towards entropy or decay. In Wabi-sabi ‘things are either devolving towards, or evolving from nothingness.’ Nothingness is conceived in Eastern terms, where the void is pregnant with primordial potential”.” (Artin’ Geelong, April 2013)



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