@misc{251125ceeae74431a8c6aed4f4b3402b,
title = "The Forest",
author = "Brook Andrew",
note = "Research developed from artist residency undertaken 1 February 2016 to 21 March 2016 awarded by the Recollets International Center, Paris, France and artist residency undertaken 6 April 2016 to 7 May 2016 awarded by Center Intermondes, La Rochelle, France. Exhibition included: {\textquoteleft}The Gift{\textquoteright} (2016) Linen, charcoal, spray paint, oil paint, paper, watercolour, ten books 187,5 x 130 x 17 cm (73 7/8 x 51 1/8 x 6 3/4 in.) {\textquoteleft}Remnants{\textquoteright} (2016) Linen, spray paint, ink, charcoal, wood, paper, ten books 187,5 x 130 x 17 cm (73 7/8 x 51 1/8 x 6 3/4 in.) {\textquoteleft}Stripes II{\textquoteright} (2016) Linen, acrylic ink, foil, neon 120 x 85 x 10,4 cm (47 1/4 x 33 1/2 x 4 1/8 in.) {\textquoteleft}Stripes I{\textquoteright} (2016) Linen, acrylic ink, neon 90 x 60 x 11 cm (35 3/8 x 23 5/8 x 4 3/8 in.) {\textquoteleft}The Snake{\textquoteright} (2016) Linen, cotton, acrylic ink, foil 167 x 110 x 5 cm (65 3/4 x 43 1/4 x 2 in.) {\textquoteleft}Group of Men: The Protest{\textquoteright} (2016) Linen, acrylic ink, foil, wood 146 x 214 x 6 cm (57 1/2 x 84 1/4 x 2 3/8 in.) {\textquoteleft}Afternoon at the Beach{\textquoteright} (2016) Linen, acrylic ink, oil pastels, foil, wood 148 x 216 x 6 cm (58 1/4 x 85 x 2 3/8 in.) {\textquoteleft}The Waterfall{\textquoteright} (2016) Linen, ink, acrylic, foil 186 x 260 x 5 cm (73 1/4 x 102 3/8 x 2 in.) {\textquoteleft}Memory{\textquoteright} (Triptyque) (2016) Linen, acrylic ink, white and black foil 240 x 410 x 4 cm (94 1/2 x 161 3/8 x 1 5/8 in.) {\textquoteleft}The Forest{\textquoteright} (2016) Linen, acrylic ink, oil pastels, foil, wood 303 x 150 x 6 cm (119 1/4 x 59 x 2 3/8 in.) {\textquoteleft}Back of Man II{\textquoteright} (2016) Linen, ink, acrylic, foil, neon 260 x 165 x 12 cm (102 3/8 x 65 x 4 3/4 in.) {\textquoteleft}Back of Man I{\textquoteright} (2016) Linen, ink, acrylic, foil, neon 260 x 165 x 12 cm (102 3/8 x 65 x 4 3/4 in.) {\textquoteleft}Sunset VII{\textquoteright} (2016) Press photography, photography, newspaper, Sapelli wood, neon 60,8 x 72,9 x 10 cm (23 7/8 x 28 3/4 x 3 7/8 in.) {\textquoteleft}Sunset VI{\textquoteright} (2016) Press photography, Sapelli wood, neon 46,6 x 55,1 x 10 cm (18 3/8 x 21 3/4 x 3 7/8 in.) {\textquoteleft}SUNSET V{\textquoteright} (2016) Press photography, 19th century Charles Kerry Sydney photograph, Sapelli wood, neon 46,9 x 67,3 x 10 cm (18 1/2 x 26 1/2 x 3 7/8 in.) {\textquoteleft}SUNSET IV{\textquoteright} (2016) Postal cards, Sapelli wood, neon 35,4 x 44,2 x 10 cm (13 7/8 x 17 3/8 x 3 7/8 in.) {\textquoteleft}Sunset III{\textquoteright} (2016) Press photography, postal card, visit card, newspaper, vinyl disc, book, Sapelli wood, neon 72,4 x 112,4 x 10 cm (28 1/2 x 44 1/4 x 3 7/8 in.) {\textquoteleft}Sunset II{\textquoteright} (2016) 19th century map, paper, press photography, postal card, Sapelli wood, neon 39 x 75,9 x 10 cm (15 3/8 x 29 7/8 x 3 7/8 in.) {\textquoteleft}Sunset I{\textquoteright} (2016) 19th century Catalan cane, postal card, photography, Sapelli wood 89 x 57 x 10 cm (35 x 22 1/2 x 3 7/8 in.) In 'The Forest' I presented a selection of artworks from original archival sources from my own collection and from reproductions of the Museum of Archeology and Anthropology of Cambridge, as well as the mus{\'e}e du Quai Branly. Source images were reproduced, manipulated and screen printed, and in some cases collaged and overlaid with neon. The outcome also included a series of new paintings of which are a new direction for myself in my oeuvre. The work drew upon my own experience, coming from Wiradjuri/Nanawal (Australian Aboriginal) and Celtic ancestry, and the manifested expectations formed within these so-called {\textquoteleft}immensely different{\textquoteright} cultures. This fascination with the {\textquoteleft}indigenous body{\textquoteright}, the adornment of totem animals and trance has fascinated the West and colonial history. As we understand, this fascination still pervades within the romantic view of the indigenous to a point whereby the friction and symbolic nature of how the West views these religious objects and adornments of the body in museums or in private collections is romanticised through both fear and desire. The desire therefore is to be {\textquoteleft}in the middle{\textquoteright} and this is the place from which the new work originated. The work related to France, its cultural and historical investment with African and other indigenous cultures and influence on contemporary society. I researched the cultural and historical division between France and African and other indigenous cultures. ; The Forest ; Conference date: 28-05-2016 Through 23-07-2016",
year = "2016",
language = "English",
publisher = "Galerie Nathalie Obadia",
}