"Drawings for a doctor"
Artist /creator Title Publication date Structure Medium/materials Paper stock Binding Dimensions (WXHXD) Number of pages Edition size Box/wrapper Signed and numbered |
Jacobus Oudyn
|
"new facebook" (sold)
Artist /creator Jacobus Oudyn
Title "New Facebook"
Publication date 2018
Structure folio bound with waxed cotton thread
Medium/materials mixed media with found text
Paper stock 100 gsm
Binding centre stitched
Dimensions (WXHXD) 120 x 135 x 3 mms
Number of pages 16
Edition size unique
Box/wrapper
Signed and numbered signed by the artist
"A prayer in hell" Libris 2018
Artist /creator Title Publication date Structure Medium/materials Paper stock Binding Dimensions (WXHXD) Number of pages Edition size Box/wrapper Signed and numbered |
Jacobus Oudyn
|
As you progress through the book, the text and other collaged personal detritus gradually changes from bloody, damaged and dirty materials and text, to cleaner less damaged ones, suggesting the possibility of hope and healing in the future. The imagery suggests a quality of life and conditions in these detention centres that we should all be ashamed of. Hopefully, these broken refugees will be resettled here in Australia to build a better life in safety and dignity.
"a road less travelled"
“A Road less travelled” is a small codex book (110 x 160mm) made for my daughter Katie Oudyn to celebrate her 40th birthday.
The images are made on rubbings of the didactic plinth for the memorial statue of Pastor Sir Douglas and Lady Gladys Nicholls in Parliament Gardens in Melbourne. They tell about these Dungula Wamayirr (River People) who are an eternal symbol of our ongoing history and commitment to human rights in Australia. They form a background for my images.
This book is informed by my daughter’s involvement in indigenous education and to her work in other educational areas of great need.
The graphite rubbings on 85gsm copy paper have been stained with turmeric and xanthorrhoea resin and wax to seal in the drawn mixed media images. Pages are interspaced with cut and perforated 95 gsm tracing paper.
Pages are sewn with waxed linen thread.
Cover is waxed 200 gsm Stonehenge paper with added mixed media images.
The book is unique but has been used to make a smaller limited, varied edition of 5 laser copied books.
Jacobus Oudyn 2017
The images are made on rubbings of the didactic plinth for the memorial statue of Pastor Sir Douglas and Lady Gladys Nicholls in Parliament Gardens in Melbourne. They tell about these Dungula Wamayirr (River People) who are an eternal symbol of our ongoing history and commitment to human rights in Australia. They form a background for my images.
This book is informed by my daughter’s involvement in indigenous education and to her work in other educational areas of great need.
The graphite rubbings on 85gsm copy paper have been stained with turmeric and xanthorrhoea resin and wax to seal in the drawn mixed media images. Pages are interspaced with cut and perforated 95 gsm tracing paper.
Pages are sewn with waxed linen thread.
Cover is waxed 200 gsm Stonehenge paper with added mixed media images.
The book is unique but has been used to make a smaller limited, varied edition of 5 laser copied books.
Jacobus Oudyn 2017
"Redacted in Limbo"
“Redacted in Limbo” Artist Statement
(I like to use stylised imagery and text to make artist books that examine our social and political anxieties. The artist book as an artistic medium has the potential of conveying a physical, immersive experience that is more powerful than just a visual experience.)
“[Redacted] in Limbo is informed by my concerns for refugees who to come looking for freedom from persecution and a new life as migrants in Australia.
The title of the book refers to source of the text which is from the “Nauru Files” published by the Guardian Newspaper in November, 2016.
The design uses some of the text from the “Nauru Files” and image repetitions of cut-out stencil people who are confused, damaged and mixed up as shown by the random crumpling of the paper, to a more ordered, peaceful one. The individual waxed pages of the book involve crumpling, and layering and repetition of images and text as metaphors for the mental health and physical damage caused by the harsh process used to settle our new citizens that came by boat. Although the crumpled marks can be smoothed they can never be removed.
(I like to use stylised imagery and text to make artist books that examine our social and political anxieties. The artist book as an artistic medium has the potential of conveying a physical, immersive experience that is more powerful than just a visual experience.)
“[Redacted] in Limbo is informed by my concerns for refugees who to come looking for freedom from persecution and a new life as migrants in Australia.
The title of the book refers to source of the text which is from the “Nauru Files” published by the Guardian Newspaper in November, 2016.
The design uses some of the text from the “Nauru Files” and image repetitions of cut-out stencil people who are confused, damaged and mixed up as shown by the random crumpling of the paper, to a more ordered, peaceful one. The individual waxed pages of the book involve crumpling, and layering and repetition of images and text as metaphors for the mental health and physical damage caused by the harsh process used to settle our new citizens that came by boat. Although the crumpled marks can be smoothed they can never be removed.
Artist /creator Jacobus Oudyn
Title "Redacted in Limbo"
Publication date 2016
Structure Triangular waxed felt covers with waxed pages bound with waxed cotton thread
Medium/materials waxed pages hand drawn with acrylic, wax, spray can enamel and shellac on Kraft paper bound with waxed cotton thread.
Cover made from recycled Army blanket waxed and collaged with canvas and thread with added bitumen.
Paper stock 80gsm Kraft paper
Dimensions (WXHXD) 210 x 210 x 15 mms closed
Number of pages 24
Edition size 2
Box/wrapper slipcase
Signed and numbered signed by the artist
Title "Redacted in Limbo"
Publication date 2016
Structure Triangular waxed felt covers with waxed pages bound with waxed cotton thread
Medium/materials waxed pages hand drawn with acrylic, wax, spray can enamel and shellac on Kraft paper bound with waxed cotton thread.
Cover made from recycled Army blanket waxed and collaged with canvas and thread with added bitumen.
Paper stock 80gsm Kraft paper
Dimensions (WXHXD) 210 x 210 x 15 mms closed
Number of pages 24
Edition size 2
Box/wrapper slipcase
Signed and numbered signed by the artist
"keer weer -turn again"
(acquired by State Library of Queensland -2016)
Artist /creator
Title Publication date Structure Medium/materials Paper stock Dimensions (WXHXD) Number of pages Edition size Box/wrapper Signed and numbered |
Jacobus Oudyn
"keer weer -turn again" 2016 Artist Book with signature binding with waxed thread. Book displayed on a wooden keel. Pages of handmade Vietnamese paper, waxed,stained with red gum resin, turmeric,bitumen and shellac,acrylic pigment,conte crayon, paint stick, waxed thread for binding. Vietnamese handmade paper 400x 300 x5 mms closed, 750mm open. 26 unique Wrapped around wooden keel and tied with cotton fabric Signed by the artist |
"future of an illusion"
a collaboration with Helen Malone
(acquired by State Library of Queensland -2017)
Artist /creator
Title Publication date Medium/materials Support Dimensions (WXH) OR (WXHXD) Number of pages Edition size Box/wrapper Exhibitions Collection/Location |
Jacobus Oudyn and Helen Malone
"the future of an illusion" 2016 Artist Book Transfer ink jet images on Arches watercolour paper. Sculptural tunnel book structure in a card box. Cover: 200gsm Cansons black card, waxed thread for binding. 295 x 260 x2 mms 2 x 8 double side 4 black card box with skull button fastener Between the Sheets Central Gallery, Perth, WA 2017 Australian Galleries, Collingwood,Melbourne Vic 2017 Manly Library Artists Book Award The Creative Space,North Curl Curl NSW 2017 Art on Show Awards Mackay Show Assoc - 2017 6th Artists' Books Fair, Griffith University, Brisbane - 2017 2/4 Robert Bolick, The Hague, Netherlands 4/4 Australian Library of Art, State Library Queensland |
THE FUTURE OF AN ILLUSION
The book is about the processes the body goes through after death and the belief systems associated with death.
Research revealed that the body goes through many changes of colour, some vivid and garish, as it begins to decompose and regress from Zoology to Botany. The side concertinas of the book explore these physical changes over a period of time and also include image transfers of scientific anatomical drawings.
The middle section of the book contains a void, a portal that leads nowhere.
Text used in the book was sourced from The Future of an Illusion by Sigmund Freud and Being Dead by Jim Crace. Freud argues that an afterlife has no basis in science and is wishful thinking and a disavowal of reality. Crace documents the natural changes that occur in a dead body left in nature, to return to nature.
A skull has been included as an art-historical reference to the Vanitas Still Lifes of the 17th century which reminded the viewer of the transience of earthly existence.
Acrylic, soluble carbon, gouache, ink and image transfers on Arches watercolour paper, Canson card, linen thread.
The book is about the processes the body goes through after death and the belief systems associated with death.
Research revealed that the body goes through many changes of colour, some vivid and garish, as it begins to decompose and regress from Zoology to Botany. The side concertinas of the book explore these physical changes over a period of time and also include image transfers of scientific anatomical drawings.
The middle section of the book contains a void, a portal that leads nowhere.
Text used in the book was sourced from The Future of an Illusion by Sigmund Freud and Being Dead by Jim Crace. Freud argues that an afterlife has no basis in science and is wishful thinking and a disavowal of reality. Crace documents the natural changes that occur in a dead body left in nature, to return to nature.
A skull has been included as an art-historical reference to the Vanitas Still Lifes of the 17th century which reminded the viewer of the transience of earthly existence.
Acrylic, soluble carbon, gouache, ink and image transfers on Arches watercolour paper, Canson card, linen thread.
"from a garden sculpture" GIFTED
Artist
Title Year Medium Support Length Width Depth Edition Size |
Jacobus Oudyn
"from a garden statue" 2016 Artist Book Ink-jet printed images of graphite rubbings on Fabriano Tiziano 160 gsm paper. Sculptural fold book structure in a card box. Cover: 200gsm japanese paper over card, waxed thread for binding. 110mm 110mm 1.5mm Unique |
The images attempt to convey my respect for the culture of our indigenous people and their contribution to a sense of place in a modern environment. The source of the images is a sculpture “Dungula Wamayirr” (River People) in Parliament Gardens, Melbourne of Pastor Sir Douglas and Lady Gladys Nicholls. River people who turned the tide of history and injustice to progress the rights of Aboriginal and Torres Strait Islander peoples. They are an eternal symbol of our ongoing history and commitment to human rights in Australia.
The rubbed text from this memorial has been united with textured rubbings of the bluestone flagging that cover pavements of the streets of Melbourne whose texture and patterns of the “cat’s paws” air holes are very reminiscent of a landscape of dried creeks and billabongs. The colour and form of the book when opened up are meant to convey a feeling of hope and optimism.
The rubbed text from this memorial has been united with textured rubbings of the bluestone flagging that cover pavements of the streets of Melbourne whose texture and patterns of the “cat’s paws” air holes are very reminiscent of a landscape of dried creeks and billabongs. The colour and form of the book when opened up are meant to convey a feeling of hope and optimism.
"still life"
Artist
Title Year Medium Support Length Width Depth Edition Number |
Jacobus Oudyn
"still life" 2016 Artist Book Kraft paper 95 gsm with mixed media drawings using pencil, gouache, ink, nylon mesh lino print and collage. Cover:300gsm arches paper,japanese paper and acrylic paint and graphite , waxed thread for binding. 130mm 140mm 4m 1 |
“still life” takes a light hearted look the age old theme of life and death from the point of view words and images. Abstract symbols taken from domestic and natural still lifes are juxtaposed with those referring to illness which can also lead to a very still life. It is deliberately ordinary and uses low cost materials to emphasise the universalityof the theme.
It is an unique copy made from mixed media drawings on 95 gsm Kraft paper using recycled materials and subject matter found in the studio.
It is an unique copy made from mixed media drawings on 95 gsm Kraft paper using recycled materials and subject matter found in the studio.
"slim chance"
a collaborative book with Helen Malone
(acquired by State Library of Queensland -2017)
Artist
Title Year Medium Support Length Width Depth Edition Number Exhibitions |
Jacobus Oudyn and Helen Malone
"SLIM CHANCE" 2015 Artist Book Kraft paper 95 gsm with mixed media drawings using pencil, gouache, fresh turmeric, and collage. Cover: Kraft card with embossed design by Jack Oudyn. Red reflective tape, waxed thread for dos a dos binding. 205mm 150mm 5mm 4 Personal Histories artists Book Exhibition, University of NSW Canberra Campus,Canberra ACT -2015 Art on Show Awards, Mackay Show Assoc. ,Mackay, QLD 2016 |
Collophon: A collaboration by Jacobus Oudyn and Helen Malone.
Pencil, ink, gouache, collage and rubber stamps were used in the drawings on the pages of brown Kraft paper. Linocut on Kraft cover by Jack Oudyn.
"As a response to an inspiring talk given in 2014 at SLQ by two visiting German book artists, Uta Schneider and Ulrike Stoltz, Helen Malone and I decided to make a second collaborative book using ‘the laws of chance’ as our subject matter, but responding to the resettlement chances faced by refugees coming to Australia.
As in the previous book, our starting point was an alternate exchange of lines of text by email and each responded to that text with an unfinished drawing. Each line related to the previous one and we revealed one line at a time a couple of days apart. After the completion of ten drawings each, the booklets, which had not been seen by the other, were exchanged and we both worked on each other's drawings, making each page of the book a collaborative work.
Two most appropriate lines from the second verse of our national anthem which say:
For those who've come across the seas ,
We've boundless plains to share." were included as lines to respond to with images.
The two booklets were then sewn into a dos-a-dos binding and completed with a hand-coloured embossed print by Jack Oudyn sewn onto the Kraft card cover."
Pencil, ink, gouache, collage and rubber stamps were used in the drawings on the pages of brown Kraft paper. Linocut on Kraft cover by Jack Oudyn.
"As a response to an inspiring talk given in 2014 at SLQ by two visiting German book artists, Uta Schneider and Ulrike Stoltz, Helen Malone and I decided to make a second collaborative book using ‘the laws of chance’ as our subject matter, but responding to the resettlement chances faced by refugees coming to Australia.
As in the previous book, our starting point was an alternate exchange of lines of text by email and each responded to that text with an unfinished drawing. Each line related to the previous one and we revealed one line at a time a couple of days apart. After the completion of ten drawings each, the booklets, which had not been seen by the other, were exchanged and we both worked on each other's drawings, making each page of the book a collaborative work.
Two most appropriate lines from the second verse of our national anthem which say:
For those who've come across the seas ,
We've boundless plains to share." were included as lines to respond to with images.
The two booklets were then sewn into a dos-a-dos binding and completed with a hand-coloured embossed print by Jack Oudyn sewn onto the Kraft card cover."
"Yesterday"
acquired by Redland City Art Gallery -2015
Artist
Title Year Medium Support Length Width Depth Edition Number |
Jacobus Oudyn
"Yesterday" 2015 Artist Book in oyster clam box (173mm x 122mm x 32mm) 20 Post Cards 90 gsm paper, 150mm 100mm 43mm 1 |
Colophon :“Yesterday” A set of 20 laser copied images of handmade postcards on 250 gsm card with reverse side imaginary conversations. The cards are housed in a clam shell box of 1mm mount board covered with Japanese paper in a variant edition of 10.
The postcards are made from travel photos stitched together with red or white thread, suggesting the damage and healing we experience travelling through life. Images are made from collaged travel ephemera which were collected in our travels, often assembled synchronistically . They become the codes and symbols associated with travel, cultural change and personal experiences.
The images inside both lids of the clam-shell box are archival ink jet on 180gsm Fabriano – Tiziano ivory digital paper. They refer to travel and the passage of time.
The postcards are made from travel photos stitched together with red or white thread, suggesting the damage and healing we experience travelling through life. Images are made from collaged travel ephemera which were collected in our travels, often assembled synchronistically . They become the codes and symbols associated with travel, cultural change and personal experiences.
The images inside both lids of the clam-shell box are archival ink jet on 180gsm Fabriano – Tiziano ivory digital paper. They refer to travel and the passage of time.
"cut"
Artist
Title Year Medium Support Length Width Depth Edition Number |
Jacobus Oudyn
"cut" 2015 Artist Book 16 pages 90 gsm waxed paper, 150mm 130mm 43mm 1 |
“cut” is my first artist book referring to surgery and the treatment of melanomas and skin cancers which can occur anywhere on our body often catching us unaware.
Images are incised, waxed and scratched and filled with pigment to create layered translucent pages. Marks, scratches and symbols become codes associated with medical charts and personal experiences.
It is a 16 page single signature book of 90gsm waxed pastel paper in a 180gsm Fabriano, Tiziano embossed cover which in turn is wrapped in waxed Japanese paper . This is the first version dealing with melanomas, smaller and more visceral than the next book about the same subject - "blindspots"
Images are incised, waxed and scratched and filled with pigment to create layered translucent pages. Marks, scratches and symbols become codes associated with medical charts and personal experiences.
It is a 16 page single signature book of 90gsm waxed pastel paper in a 180gsm Fabriano, Tiziano embossed cover which in turn is wrapped in waxed Japanese paper . This is the first version dealing with melanomas, smaller and more visceral than the next book about the same subject - "blindspots"
"blindspots" SOLD
Artist
Title Year Medium Support Length Width Depth Edition Number |
Jacobus Oudyn
"blind-spots" 2015 Artist Book using wax and pigment waxed 90gsm paper pages in an embossed 180gsm cover, wrapped in waxed Japanese folder cover attached. 210mm 150mm 23mm 1 |
“blind spots” is an artist book referring to surgery and the treatment of melanomas and skin cancers which can occur anywhere on our body often catching us unaware.
Images are incised, waxed and scratched and filled with pigment to create layered translucent pages. Marks, scratches and symbols become codes associated with medical charts and personal experiences.
It is a 16 page single signature book of 90gsm waxed pastel paper in a 180gsm Fabriano, Tiziano embossed cover which in turn is wrapped in waxed Japanese paper .
miniscule islands
of pain and disease
silently spread
softly, secretly, silently
around our being
in hidden destinations
layers of fine tissue
microscopic cells
membranes
delicate skins
and body bits
"minus plus equals"
a collaborative book with Helen Malone
Artist
Title Year Medium Support Length Width Depth Edition Number |
Jacobus Oudyn
"- + =" 2014 Artist Book using lino block printing Two concertina books on 200gsm Canson paper, one black the other white, each 215 x 77mm in a perspex box Dimensions of box: 235mm 187mm 23mm 5 |
This collaborative project began as an exploration of positive and negative space, with each artist making ten small linocut blocks. Twelve images were chosen in the final composition from the twenty linocut blocks and were hand printed in black ink on white paper and white ink on black paper.
"traces"
Artist
Title Year Medium Support Height Width Depth Edition Number |
Jacobus Oudyn
"traces" 2014 Artist Book using mixed media and collage Handmade waxed and stained paper book by Trace Willans. Mixed media and collage on paper. Coptic binding with stained calico straps 40mm 95mm 20mm unique |
"age marks"
Artist
Title Year Medium Support Height Width Depth Edition Number |
Jacobus Oudyn
"age marks" 2014 Artist Book Handmade waxed and stained paper book by Trace Willans. Mixed media and collage on paper. 85mm 65mm 10mm unique |
"petit dessins"
Artist
Title Year Medium Support Height Width Depth Edition Number |
Jacobus Oudyn
"petit dessins" 2014 Artist Book Kraft paper with mixed media drawings on 70gsm Kraft paper. Cover : Mixed media on 200gsm arches. Waxed thread for stab binding. 215mm 160mm 2mm unique |
"train lines" SOLD
|
Artist
Title Year Medium Support Height Width Depth Edition Number Colophon |
Jacobus Oudyn
"train lines" 2014 Artist Book Kraft paper180gsm cover with ink drawingson 70gsm Canson tracing paper. Waxed thread for binding. 215mm 160mm 2mm unique “train lines” is a continuous drawing of time and distance done on a train from Ormiston to South Brisbane. The drawing lasted 53 minutes under the influence of variations in train speed, railway track, corners and train driver. It was done on 75gsm transparent paper. |
"chance" (a collaboration with Helen Malone) SOLD
|
Artist
Title Year Medium Support Height Width Depth Edition Number Colophon |
Jacobus Oudyn and Helen Malone
"CHANCE" 2014 Artist Book Kraft paper 95 gsm with mixed media drawings using pencil, gouache, collage and rubber stamps. Cover: Kraft card with Linocut design by Jack Oudyn. Waxed thread for dos a dos binding. 205mm 150mm 5mm 1 A collaboration by Jack Oudyn and Helen Malone. This collaborative book was inspired by a talk given at the State Library of Queensland by two German book artists, Ulrike Stoltz and Uta Schneider who work collaboratively as Usus. After a number of chance happenings on the day, it was decided to work on a book about chance,making reference to the style of early 20th century German art. Lines of text about Chance were exchanged by email and each of the artists responded to that text with a drawing. When each had finished ten drawings their booklets were exchanged and they worked on each other’s pages. Pencil, ink, gouache, collage and rubber stamps were used in the drawings on the pages of brown Kraft paper. Linocut on Kraft cover by Jack Oudyn. "As a response to an inspiring talk given in 2014 at SLQ by two visiting German book artists, Uta Schneider and Ulrike Stoltz, Jack Oudyn and I decided to make a collaborative book in the style of early 20th century German art, using ‘the laws of chance’ as our subject matter, also a response to a number of chance happenings on that day. The text was to be invented and the materials used were also to be in keeping with this style of art and the only decision made re materials was to use A5 brown Kraft paper. Our starting point was an alternate exchange of lines of text by email and each responded to that text with an unfinished drawing. Each line related to the previous one and we revealed one line at a time a couple of days apart. After the completion of ten drawings each, the booklets, which had not been seen by the other, were exchanged and we both worked on each other's drawings, making each page of the book a collaborative work. ‘By chance’ we had used similar materials, techniques and styles of drawing and the two booklets complemented each other. The two booklets were then sewn into a dos-a-dos binding and completed with a hand-coloured linocut by Jack Oudyn sewn onto the Kraft card cover." |
"transparent" SOLD
Artist
Title Year Medium Support Height Width Depth Edition Number Colophon |
Jacobus Oudyn
"Transparent" 2012 Artist Book Transparent 95 gsm drafting paper. Cover: waxed and scratched 245 gsm StonehengeWaxed thread for stab binding 145mm 110mm 3mm 13 Transparent is informed by issues of identity. You can read him like a book. You can see straight through her. Just how transparent can you be? If only you could see yourself. How important is outward appearance? How do we change over time? How well do we know ourselves? BookArtObject,Edition 4,Group 1 http://bookartobject.blogspot.com Transparent Title no 85 of 100 stories taken from An Exercise for Kurt Johannessen (2010) With permission from the author, Sarah Bodman Transparent 95 gsm drafting paper Cover: waxed and scratched 245 gsm Stonehenge Waxed thread for stab binding |
“Transparent” 2012 Group 1 Book Art Object
“Transparent” is an A5 book of transparent drawings about the different aspects, the sum of many individual bits that keep changing continually and are impossible to pin down, a shifting, impermanent persona.
The covers of the book are all slightly different in the way the waxy surfaces have been gently scratched and marked. This hints at how we all rub up against the world and are affected differently. Only gentle scrapes were made and certainly no evidence of being rubbed up the wrong way (that would be a whole new area to explore). The torso, a symbol of the person used throughout the book, is empty but a Ned Kelly visor gives an Australian glimpse of the facial features made by individual dots. The title “Transparent” is transparent and emerges from a scratching made on the reverse side in mirror image.
The misty writing on the interleaving transparent pages is about some of the problems of being transparent but is not meant to be read in a consecutive, sequential, rational way. This would imply that the unravelling process is easy and well understood. Rather the pages are meant to give confusing hints and glimpses of possible meanings.
The different mugshots are filled and surrounded by with ideas and symbols which are all part of my persona. Using transparent paper allows the separate images to interrelate, layer and confuse the final snapshot. The transparent pages also allow us to look both ways, to the future but also the past.
Although the outside shape of the form is always the same, the different contents reflect some of the various layers that together go to make me who I am. The contents and backgrounds include x-rays, drawings, collaged text, maps, stamps and other symbols referring to my world. The book is an attempt to promote understanding by being transparent.
"clear tea" teabag book (sold)
Artist
Title Year Medium Support Height Width Depth Edition Number |
|
"first files " (sold)
"eenie meenie"
Artist
Title Year Medium Support Height Width Depth Edition Number |
Jacobus Oudyn
"Eenie Meenie" 2013 Turkish Mapfold, ink jet on 180gsm Fabriano Paper Artist Book bound in Chinese paper covered boards painted with acrylic and earth pigment 130mm 115mm 8mm 10 |
“Eenie Meenie ” is a book inspired by a recent visit to Central Australia. It refers in a small way to the many deep complex meanings of the Tjukurpa which are the foundation of an indigenous culture we can only begin to try to understand. It also uses some of the conventions of maps and symbols of our culture. The folded format is reminiscent of a child’s folded game involving choices, hence the title.
"step by step -dancing"
"paper, scissors, Uluru " SOLD (a collaboration with Helen Malone)
Artist
Title Year Medium Support Height Width Depth Edition Number |
Jacobus Oudyn and Helen Malone.
Paper, Scissors, Uluru. 'Respect our laws and culture' 2013 Laser printed copies of artwork by Jack Oudyn in sculptural book by Helen Malone. Artists Book 9.5 cm 10.5 cm 1.5 cm 4 + 1 A/P |
A collaborative book by Jacobus Oudyn and Helen Malone which attempts to convey our respect for the laws and culture of the Anangu people based on the complex meanings of the Tjurkurpa, the foundations of an indigenous culture we an only try to understand. The pages suggest the glowing changing colours of Uluru and also contain some of the conventions of maps and symbols of our culture. The local Anangu people do not climb Uluru and ask visitors to also respect their laws and culture - Wanyu Ulurunya Tatintja Wiyangku Wantima.
tiny Japanese books -
"Blind"
"training"
"the very first book of fish" (sold out)
"fish book three"
"kew" (sold)
"face to face" tea book
tiny Japanese book "undercurrent"
Artist
Title Year Medium Support Height Width Depth Edition Number |
Jacobus Oudyn
"Undercurrents" 2011 Artist Book Japanese Rail ticket envelopes. Cover:Handmade recycled paper, Inserts 200gsm Arches paper,Waxed thread for stab binding unique |
"Undercurrent" is a tiny stab bound book made from Japanese Rail ticket envelopes with inserts of mixed media drawings on 200gsm Arches paper with found text and collage. The rail envelopes have an oval aperture to give a glimpse of what's inside the envelope. The found text is from a text book on electricity and the images are a visual interpretation of the snippets of text on each card using a range of mixed media including ink, gouache, pencil and collage.