Adventures in Papergirl: A discovery of B-sides

Somewhere in the beginning of February, made. Creative Space [sic] put out a call-out for yet another fantastic project (and believe me, there are several). 
It was Papergirl! And I was intrigued by the concept of exhibition + free and randomised distribution of artworks + bicycles. At the end of February, I hadn’t gotten many works out for Papergirl in particular (theGRID, pincushions and knitting also vying for my attention), but I am having some fun revisiting B-sides that have been living in the folio for way too long. Where would we be without B-sides? We’d be without Modern Girls and Old-Fashioned Men, for starters.
Left to right: Necklace for a friend, Black/White (2012), A how-to (pincushions)

In Oct-Nov 2011, I learnt how to screenprint. I cannot really say that printing as a form of expression has gripped me in the same way as say, latch hooking has, but it was another skill in the kitty, another thing I can revisit when I have exhausted my patience with fibres.

I used a few different coloured inks and papers to test for different effects, and as I don’t usually exhibit in paper, I encountered some unforeseen issues. I found at the end of the printing run I had no other works to exhibit with it as a solo show, I had no real interest in exhibiting prints, and I honestly believe they would float incongruously alongside my textile works, not something that I want to happen at all.

After watching The Art of Giving and a bit of further research, I knew that altering these prints for distribution around Toowoomba during September was something that I was going to do.

Left to right – Pliny’s Cuckoo, Blue/White. Both 2012.
Here’s the couple that I have done so far. At this point, I am only using black ink as the other medium, but it’s early days yet.

About kellymarietheartist

I am an artist who, up until recently, was living and exhibiting within Toowoomba and the greater Granite Belt district. I have since packed up and left Australia, and am currently living and working in England. My work engages the craft involved in handmaking within a contemporary art context. I am drawn to the physicality of repetitive textile processes, and this is transcribed though the tactile quality of my forms. In particular, processes such as crochet, sewing and rug making serve as a proxy for growth within my personal environment. Many of my works imitate situations in nature, and they form organically as I create each individual piece, each addition both a continuation and re-enforcement of its predecessors. I enjoy using recycled materials for many of my works. Using crochet and other textile techniques to do this is an important part of my work as it celebrates a tradition of craft that has historically been relegated to 'women's work', with all the negative connotations that entails.
This entry was posted in Exhibitions, Experiments, Paper, Works in progress. Bookmark the permalink.

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