Thursday, November 3, 2016

What we got up to at Photoaccess in Canberra.


Photographs taken by Marina McDonald of Clayton Hairs, Malcolm Cayley and Bill Moseley at Photo Access, Canberra,
Our  v i o l e t  c r u m b l e  c a m r y was chewing up the bitumen last month, the O in October felt like   it had leaned sideways into the wind at times. I think we had something like 10 trips to Sydney and around  within the month.  I tend to do most of the driving because I prefer my driving to Bills', it's not that his not a good driver it's just my inner control comes into play and I find it really hard to hand over those keys, he gets a go every now and then. It's a boy girl thing.

We ate lots of chocolate and stopped in lonely lacking in vegetation little reserves along the way, you know those ones where in deciding where to pull over you end up passing all the green ones and end up at the bleached desolate one, because the next one is going to be better. This didn't really help as we spent 2 hours trundling along trying to get out of Oberon on the way to Canberra, but my oh my getting lost was crazy good, what great countryside that area delivers.

We had a teaching gig at Photo Access with a Wet Plate Collodion workshop down at our national capital Canberra, where all those politicians seem to plot one lost world against another. But Photo Access is no lost world, they are an inspiring world within themselves. We love going there to teach, entrench ourselves in dark rooms, photography potions and concoctions and red lights, it's all so ephemeral and magical. 

And the results are exquisite of this historical technique.



Having six students who were just so connected to the enthusiasm for antiquarian photography was terrific. For most of them they hadn't put their hand to this form of photography, producing  a negative image onto a piece of tin that when coated a certain way in the dark room, then off you go outside where one is set up for their shot, they then slide the plate into the back of the 
camera and the shutter is released. 

Bill showed them step by step a really informative guide to the history and method of coating these plates, which has to be done all very quickly so the plate doesn't have a chance to dry. How to pour photographic solutions onto the plates, it was handcrafted individuality and wet plates all round, far from my wet plates drying next to our kitchen sink in Hill End.

They all had numerous turns over two days shooting successfully an image on Bill's 8 x 10 very old wooden and canvas Kodak camera and brought their own cameras along too. (A friend recently described Bill as a freak of nature, a compliment to his go to of inventing, trouble shooting and artistic creating, it's so innately in him. He never ceases to amaze me, I call him my  w a l k i n g  g o o g l e !) askbill.com

Actor Bob Kingdom and artist Sandra Winkworth taken by Bill Moseley in the Hill End Press studio, using tin type wet plate collodion method.
Going on in that same week was Artisans in the Garden at the Royal Botanic Gardens in Sydney, where we had a stand with all our goodies, letterpress stationery inspired by our wild garden here in Hill End and Bill's tin types for sale. We were spoilt though by the ever enthusiastic volunteers of the gardens feeding us with homemade cakes and when we weren't there, they looked after our stand   while we dashed to Canberra.


 Now starting to pine for my kitchen sink from being on the road, we returned to Hill End and started on my installation for Artlands - Future / Public part conference, part festival, all arts, which was a very successful event on last weekend. 

I created a  line from a poem I'm working on and the artwork had an 
old fashion appearance to it and you can see it on our Instagram. 
It was set up in Victoria Park Dubbo for four days.

My poetry line read  

#T h e   w o r l d   n o w ,  n e e d s  e m p a t h y  l i k e  a 
 g o s s a m e r  t h r e a d  f l u n g.

It's all about a message to the world, which at the moment humanity and the environment seem to be creasing between itself within the landscape. I was out one late winter afternoon and I noticed at the Hill End cricket pitch which has long not been used, threads of fine webs covering all the grass, I can't tell you how intriguing it was, it stopped me, so much so that I approached the paddock/pitch and my curiosity made me bend down to see what it was. It was everywhere as far as my eye could see, with the light hitting it gently. I still didn't know what it was only that it felt like optimistic. 

After that I was reading a John Banville novel and he described it in there and wow that's what I had seen, now I had experienced gossamer, hundreds of little spiders over night weaving the paddock horizontally.

So I thought it was an apt metaphor to use to blanket the world at the moment, a thread of empathy that is strong but transparent, there but not persuasive, empathy if only it could just naturally happen.






So a full successful month, we met many inspiring people along the way, 
and creativity was abound, 
just how we like it.

If your interested in catching us for a workshop, contact us for more information on alternative photographic process at www.hillendpress.com.au 
Genevieve Carroll



Monday, July 18, 2016

Bill Moseley - Finalist for the prestigious Fremantle Arts Centre Print Award 2016


Oh so very nice to have good news come by as your defrosting your fingers and toes. News to keep us going creatively, make it all seem worthwhile, warm and inspired!

And Hill End artists having a great July, with three of our artists being accepted into the Archibald and Wynne, we're all fired up here.
You can view the artists on http://www.hillendartscouncil.blogspot.com.au

You all know Bill's great love of antiquarian photographic processes and how he just keeps chipping away, tweaking, polishing old methods to bring them up to contemporary times.

Arts & Science that sums up Bill.

Well today we had an email to say!

Bill has been accepted into the Fremantle Arts Centre Print Award in Perth Western Australia.
To be held on the 23rd September - 12th November 2016. A premier print award that showcases fine art prints and artists books, it presents the best works from established and emerging artists across Australia.


Cool Burn Laura - Photogravure Copperplate

 Bill's evocative entry Cool Burn Laura is a photogravure of the landscape of Cape York, Queensland which we experienced through an artist camp organized and created by The CORRIDOR project. The cool burns on country is all about the Aboriginals managing and maintaining their vast landscape by the ancient method of fire.  Bill developed and printed the image here at our studio at Hill End.

As Bill says


You can purchase this beautiful print from us at Hill End Press
 $1,200    
Edition of 10, signed by Bill Moseley
Printed on archival Somerset paper 
Width 59cm x Height 51cm

or 

you might like to learn how to create your own Copperplate photogravures, 
if so, we run workshops on the process!


CONTACT US
for more details or go to our website for more information on all the creative endeavours we get up to!
at 
info@hillendpress.com.au 

For more information on the CORRIDOR project,
an ingenious creative think tank 
go to  
 www.thecorridorproject.org/ 

Bill Moseley cranking through our hand built etching press a Copperplate photogravure.



H I L L   E N D


t h e   m o s t   u n i q u e   l i t t l e   p l a c e   t o   l i v e













Thursday, April 28, 2016

Cool Burn exhibition - Ancient light.



C O O L   B U R N
 at

the CORRIDOR project
Curated by Phoebe Cowdery and Aleisha Lonsdale


As Bill heads out to the back verandah to have his morning cigar and coffee he informs me of the meaning of ancient light. It's meaning he conveys with a jovial enthusiastic urgency is one of an old English law.

(That's what I love about Bill, I'm constantly learning, his like having your own walking breathing google on tap.) 

It goes like this.... that if a person is to live in a dwelling, that the person has the right to be able to see the sky in the upper part of a window from the base of the opposite wall.

It made me think about how subjective that thought for our idea of habit and co-existence is, of the vast contrasts of cultures.

It made me rethink about last June when we were invited by Phoebe Cowdery of the CORRIDOR project, a creative think tank, along with 8 other Central West artists to take a group journey to Cape York. Starting from Sydney, flying to Cairns and heading to Laura & Old Mapoon in two troopys, right up to the very tippy top of Queensland, on the Gulf of Carpentaria.

Fire Earth Water
 

 The trip was all about the landscape and fire and we participated in fire workshops taught by aboriginal people using traditional fire management on country at Laura. Rural fire services from around Australia participated and a group from an American university were there as well. The only thing not there was a  firetruck or fire extinguisher.




The event extruded an ancient confidence in knowing ones land.


 

Our ingrained mindset of bush fire as a threat and not as an organic tool to use, to be comfortable with fire and it's advantages other than the fireplace, 
to imagine fire as cool, was such a revelation for me.  

To stand in this landscape of Cape York with fires burning all around you, a paddock of fire rings, to walk amongst, to hear dingos howling in the distance responding to whirly whirlys dancing through the fire rings and to be calm was such an extraordinary experience.

Why a cool burn?

 It's where the land is constantly maintained in rotation, mosaic burning. It's understanding the growth patterns and vegetation of the land and when to burn. So if the land is burned on a regular seasonal basis when the grass is low, then the animals and insects under the earth, in their burrows such as goannas, termites in mounds and in the trees, birds and the native bees are kept safe. 

The temperatures of the fire is controlled between cool and hot burn (where an undesirable plant is totally eradicated). 
 
 For the aboriginal people their landscape view is vast and dependable, there is always a view, be it physical or within sacred myths.






It's a curious landscape within the Cape, it reveals itself in jewels that are scattered here and there among the vastness. One moment you can be navigating the bulldust, the next you can be in a tropical waterhole, then turn the corner and there's sand and mangroves. 

The long kms are teased with these pockets of contrasts.

We were spoilt in the best possible way by the Old Mapoon community and with our guides Dianne and Marda Nicholls and Jason from the Land and Sea Rangers. Showing us their country, bringing with them a deep understanding of their country. 

#Laura Dance Fest #dilly bags and water  #no fear of fire #long kms in bulldust #termites #camping with crocodiles #circular fires #dingos whirling howling  #school workshops #ghost nets #a whole lot of art #rangers and mangroves #plastic flotsam adrift #still life in new forms #green ants for afternoon tea.

I came back thinking it's all about views and viewpoints.

It's about making new friendships.

And that as much as we think the future is going to deliver the goods it's often about our ancient history that gives you the views and to give ones mind a shakeup in the best possible way.


A r t i s t s

Aleisha Lonsdale, Rebecca Dowling, Genevieve Carroll, Nyree Reynolds, Irene Ridgeway, Phoebe Cowdery, Jo Marais, Heather Vallance, Bill Moseley, Dianne Nicholls, Marda Nichols 





Our trip was sponsored by
the CORRIDOR project
Foundation for National Parks and Wildlife
REGIONAL ARTS NSW
Mapoon Land and Sea Rangers
ARTS OUT WEST
Cowra Council
THE GREAT EASTERN RANGES
Kanangra = Boyd to Wyangala Link  







                                                       B I L L   M O S E L E Y 

Image courtesy of Regional Arts NSW
Bill's response to the Cool Burn.

  In 'Burning at Laura', a flock of Kites wheel and dart amongst the flames picking up insects and small animals that fleet before the fire front of an Aboriginal land management fire.
Recent studies support Aboriginal contention that the birds will pick up burning twigs dropping them elsewhere in apparent symbiosis with the human inhabitants.



"White man's grave" shows a burial ground set within a bushy grove. Centrally, a stark concrete plinth supports a rusted cross that has been wrought from steel water pipe. Possibly that of a missionary to Old Mapoon, this grave significantly stands apart from the unmarked sites that surround it.

Ambrotype by Bill Moseley "White Man's Grave"

 Bill has used the nineteenth century techniques of Ambrotype and Photogravure to record his Cape York experience from our artists camp expedition in 2015.

Bill's interpretation of Aboriginal land management on country, was greatly informed by Bill Gammage's book, "The Biggest Estate on Earth" and found it invaluable in it's thorough analysis of historical evidence.

Photogravure by Bill Moseley "Burning at Laura"



 G E N E V I E V E C A R R O L L
 

T H E   W A T T L E   R O O M
 

Chapter 9
 

My thoughts are walking round the table.
 


My art is an ongoing visual memoir called THE WATTLE ROOM and each one of my
exhibitions is a chapter of my life.
 

My art circumnavigates self, still life and eccentric abstraction of the world that I live in.
 

This installation is inspired by my journey to Cape York, which experiments with
expressing semi whimsical states of mind, organic associations and psychological moods
through painting and installation. Reactions to this new environment transpired into a
suspended vigilance of learning a new and different strange world that I hadn’t
experienced before.
 

Worlds within worlds, natural and man made.
 

What I know.
 

Supermarkets and growing my own food.
 

What I didn’t know.
 

Cool Burns, Aboriginal food, how to use a dilly bag and eating green ants.
 

Anxiety and absurdity was drawn from my new experience of different ways of seeing
food on the table, outback isolation, sleeping near crocodiles, green ants that hang from
cocoons in the gum trees, sleepless nights and long distance driving in bulldust.

.



 
Ceramics and rubber bands, ceramics handmade at La Paloma Pottery Hill End were inspired by the green ants that live in built cocoons from gum leaves and hang from the trees.


Oil on board painting, looks at colliding worlds of how we view still life and food on the table. The painting depicts traditional European jugs and bowls juxtaposed with aboriginal dilly bags and the landscape of Cape York.

My thoughts are walking round the table, sculpture using paper mache and found table.

You can see more of our artwork at