charcoal and graphite on Il Torchio paper.
65 x 90 cm, 2017
Part of series HEAD
The drawings, like scientific renderings, come from the fascination/ obsession that each human head is different... and from within a different version of reality exists. Each hair is a thought .. each form an idea of life... each form an emotion and belief . The intentional use of the top of the head is to obviate the thought process as against a resultant facial expression/attitude. Discussion through omission. The eyes are the window to the soul.... what of the blind cap at the back protecting the critical matter carried around on our shoulders?
charcoal on Il Torchio paper.
65 x 90 cm, 2017
Part of series HEAD
The drawings, like scientific renderings, come from the fascination/ obsession that each human head is different... and from within a different version of reality exists. Each hair is a thought .. each form an idea of life... each form an emotion and belief. The intentional use of the top of the head is to obviate the thought process as against a resultant facial expression/attitude. Discussion through omission. The eyes are the window to the soul.... what of the blind cap at the back protecting the critical matter carried around on our shoulders?
57 x 45 cm
graphite and watercolour on Aquarelle Arches paper, 2016
From series SENSOR
This series of works plays with depiction of the limitless space of being a ‘self’: the emotional; the feeling between conscious and unconscious; the nature of thought; experience, strength and fragility.
The works have evolved using a combination of very defined, consciously applied drawn marks and the random reactions and meanderings of water-based media, which seeks its own form and shapes on the paper to express the ‘person’.
76 x 56 cm
graphite and watercolour on Aquarelle Arches paper
From series SENSOR.
This series of works plays with depiction of the limitless space of being a ‘self’: the emotional; the feeling between conscious and unconscious; the nature of thought; experience, strength and fragility.
The works have evolved using a combination of very defined, consciously applied drawn marks and the random reactions and meanderings of water-based media, which seeks its own form and shapes on the paper to express the ‘person’.
2.5 x 1.2 x 1 metre
graphite, watercolour and timber floating frame
Finalist Nillumbik Prize 2017
From series SENSOR
This particular work is precision and chaos in concert. It is a portrait of the artist from the inside. Confused by the notion and resultant opinions of art appreciators looking at art works; ‘watcher’ is the artist peering at that process. ‘watcher’ is a drawing, executed with days of precise pencil work combined with half an hour of manic water and paint splashing. The work remains in its roll as if to signify art’s continued unfinished state. A floating frame hovers in front enabling the ‘watcher’ to peer at those that look at her, moving in context as the viewer moves. A unique interpretation occurs in the space that hovers between them, the artwork and the viewer.
Exhibition install at Montsalvat, showing carved work 'beautiful torture'. 2016
embroidery deboss, graphite.
Wyndham Art Prize finalist
From series TIME'S TATTOO
Time’s Tattoo is a visual essay about the past’s effect on our personal presence. It examines our ability to fall back in to patterns and questions our ability to break through to newness.
The past’s ghost emerges in our present in hidden as well as overt ways – sometimes recognised sometimes silently from the wings; its invisibility bearing no relation to the depth of its effect.
Time’s Tattoo explores our right to look through it, to perceive it and to grasp its ability to smother and inform. Using the literature of ancestral lace to represent time, Jo draws her personal conclusions on the tattooed legacy of the past, in doing so allowing her to let it go. While there is nothing we can do about our past - we can feel it and know its place - not let it dictate our future.
It is not a political commentary but rather a personal expression of the complexity of presence.
57 x 76 cm
embroidery deboss, charcoal.
From series TIME'S TATTOO
Time’s Tattoo is a visual essay about the past’s effect on our personal presence. It examines our ability to fall back in to patterns and questions our ability to break through to newness.
The past’s ghost emerges in our present in hidden as well as overt ways – sometimes recognised sometimes silently from the wings; its invisibility bearing no relation to the depth of its effect.
Time’s Tattoo explores our right to look through it, to perceive it and to grasp its ability to smother and inform. Using the literature of ancestral lace to represent time, Jo draws her personal conclusions on the tattooed legacy of the past, in doing so allowing her to let it go. While there is nothing we can do about our past - we can feel it and know its place - not let it dictate our future.
It is not a political commentary but rather a personal expression of the complexity of presence.
graphite, paper, casting plaster 56 x 38 x 33 cm
From VCA year 2014
Part of my final portfolio. Drawings that think they are in the 'real world'
image transfer, graphite and charcoal on paper
102 x 76 cm 2015
Drawing as reaction to current affairs, the hopelessness of public demonstration to political will, the cradling of the illusion that opinion matters.