Babette Angell

1. In Memory of Disposed Greyhounds

This work is bound as a collection of memorial plaques printed digitally on bonded allumium compound, with text taken from the Internet, to highlight the global cruelty to Greyhounds. Greyhounds deserve better treatment and need to be remembered, as we remember our loved ones.

The book, encircled by a plastic collar, part of a collection of old collars from rescued Greyhounds by Friends of the Hound Inc, Murwillumbah NSW, is the kind that Greyhounds wear in racing kennels. The plastic collar represents the easy disposal, like plastic, of Greyhounds when their careers are over.

The prints in the book were original works on paper, mono and stencil prints scanned and digitised as part of the printing process, and bound with a combination of Coptic stitched Moroccan binding.

Digital printing Steve Webb, Insight Image, Bogangar NSW Binding by Monica Oppen, ANTPress, Sydney www.antpress.com.au

2. In Memory of Disposed Greyhounds

This work is bound as a collection of memorial plaques printed digitally on bonded allumium compound, with text taken from the Internet, to highlight the global cruelty to Greyhounds. Greyhounds deserve better treatment and need to be remembered, as we remember our loved ones.

The book, encircled by a plastic collar, part of a collection of old collars from rescued Greyhounds by Friends of the Hound Inc, Murwillumbah NSW, is the kind that Greyhounds wear in racing kennels. The plastic collar represents the easy disposal, like plastic, of Greyhounds when their careers are over.

The prints in the book were original works on paper, mono and stencil prints scanned and digitised as part of the printing process, and bound with a combination of Coptic stitched Moroccan binding.

Digital printing Steve Webb, Insight Image, Bogangar NSW Binding by Monica Oppen, ANTPress, Sydney www.antpress.com.au

3. In Memory of Disposed Greyhounds

This work is bound as a collection of memorial plaques printed digitally on bonded allumium compound, with text taken from the Internet, to highlight the global cruelty to Greyhounds. Greyhounds deserve better treatment and need to be remembered, as we remember our loved ones.

The book, encircled by a plastic collar, part of a collection of old collars from rescued Greyhounds by Friends of the Hound Inc, Murwillumbah NSW, is the kind that Greyhounds wear in racing kennels. The plastic collar represents the easy disposal, like plastic, of Greyhounds when their careers are over.

The prints in the book were original works on paper, mono and stencil prints scanned and digitised as part of the printing process, and bound with a combination of Coptic stitched Moroccan binding.

Digital printing Steve Webb, Insight Image, Bogangar NSW Binding by Monica Oppen, ANTPress, Sydney www.antpress.com.au

4. The Hankie Project

This work remembers the 6000 greyhounds that go missing each year in New South Wales, Australia. Once their racing careers are over, or they are too slow to even make the grade to begin training they are dumped, shot or euthanaised. Some of the lucky ones are retired as family pets or help out in nursing homes, however a small number of trainers and owners keep their valued and loyal Greyhounds. When people die they are registered and this notation is in reference to remember my late brother which is another story.

Found hankie, mono stencil print of greyhound; stamped actual paw print of greyhound; digital text, stitching, stamp and covered in bees wax. objectsofthedead.blogspot.com

5. Notes from Mt Borradaile NT

Using prints based on memory of the Northern Territory I constructed little books to remind me of my time there and of my family?s misplacement while walking, drawing and photographing this ancient land where centuries of people went before me, taking the same paths over escarpments.

Etching, Mono print; collage; stitching on Dutch Etching Paper 2009

Unique
3 stitch stab binding
24 books closed in found wooden box
H 20 cm x 34 cm x d 11 cm
Book sizes 10cm x 8.5cm x 5cm closed

6. Notes from Mt Borradaile NT

Using prints based on memory of the Northern Territory I constructed little books to remind me of my time there and of my family?s misplacement while walking, drawing and photographing this ancient land where centuries of people went before me, taking the same paths over escarpments.

Etching, Mono print; collage; stitching on Dutch Etching Paper 2009

Unique
3 stitch stab binding
24 books closed in found wooden box
H 20 cm x 34 cm x d 11 cm
Book sizes 10cm x 8.5cm x 5cm closed

 

7. The Buyer Comes to Town

http://elsewhereelsewhere.org/
projects/show/the-buyer-comes-to-town/

My parents had a clothing factory in Brunswick in Melbourne, Australia, a centre that also had mills. It has now changed, like Greensboro in North Carolina, where, industry has gone offshore, and the buildings have undergone change. As part of the family business I made up the colour swatches for the buyers for fabric, stapling onto card. I also stacked and sorted rolls of fabric, making up bundles of cut out garment pieces for machinists to sew.

This work, whilst reflecting the ethos of Elsewhere, also pays tribute to the memory my parents, grand parents, and great grandparents who came to a new country from Europe and began their new lives in retail stores and clothing factories.

8. The Buyer Comes to Town

http://elsewhereelsewhere.org/
projects/show/the-buyer-comes-to-town/

My parents had a clothing factory in Brunswick in Melbourne, Australia, a centre that also had mills. It has now changed, like Greensboro in North Carolina, where, industry has gone offshore, and the buildings have undergone change. As part of the family business I made up the colour swatches for the buyers for fabric, stapling onto card. I also stacked and sorted rolls of fabric, making up bundles of cut out garment pieces for machinists to sew.

This work, whilst reflecting the ethos of Elsewhere, also pays tribute to the memory my parents, grand parents, and great grandparents who came to a new country from Europe and began their new lives in retail stores and clothing factories.

9. The Buyer Comes to Town

http://elsewhereelsewhere.org/
projects/show/the-buyer-comes-to-town/

My parents had a clothing factory in Brunswick in Melbourne, Australia, a centre that also had mills. It has now changed, like Greensboro in North Carolina, where, industry has gone offshore, and the buildings have undergone change. As part of the family business I made up the colour swatches for the buyers for fabric, stapling onto card. I also stacked and sorted rolls of fabric, making up bundles of cut out garment pieces for machinists to sew.

This work, whilst reflecting the ethos of Elsewhere, also pays tribute to the memory my parents, grand parents, and great grandparents who came to a new country from Europe and began their new lives in retail stores and clothing factories.

10. The Buyer Comes to Town

http://elsewhereelsewhere.org/
projects/show/the-buyer-comes-to-town/

My parents had a clothing factory in Brunswick in Melbourne, Australia, a centre that also had mills. It has now changed, like Greensboro in North Carolina, where, industry has gone offshore, and the buildings have undergone change. As part of the family business I made up the colour swatches for the buyers for fabric, stapling onto card. I also stacked and sorted rolls of fabric, making up bundles of cut out garment pieces for machinists to sew.

This work, whilst reflecting the ethos of Elsewhere, also pays tribute to the memory my parents, grand parents, and great grandparents who came to a new country from Europe and began their new lives in retail stores and clothing factories.

11. Memories of My Mother
Artist Book, mono print, collage, stitching, 3 stitch binding, 3 books closed with folded cover, 16 cm x 22 cm x 4 cm

On Top of the World: Book Artists from Australia November 7 - 22 Popcorn Gallery, Glen Echo Park, Maryland, Washington DC USA. Curated by Tara O’Brien, the exhibition features works by Monica Oppen, Peter Lyssiotis, Noga Freiberg, Ilse van Garderen, Anne-Maree Hunter, Julie Barratt, Jan Davis, Penny Evans, Babette Angell, Heather Matthew, Tim Mosely and Geraldine Connolly.

http://www.glenechophotoworks.org

12. Memories of my Mother Open Book
Artist Book, mono print, collage, stitching, 3 stitch binding, 3 books closed with folded cover, 16 cm x 22 cm x 4 cm

On Top of the World: Book Artists from Australia November 7 - 22 Popcorn Gallery, Glen Echo Park, Maryland, Washington DC USA. Curated by Tara O’Brien, the exhibition features works by Monica Oppen, Peter Lyssiotis, Noga Freiberg, Ilse van Garderen, Anne-Maree Hunter, Julie Barratt, Jan Davis, Penny Evans, Babette Angell, Heather Matthew, Tim Mosely and Geraldine Connolly.

http://www.glenechophotoworks.org

13. Kitchen Collection
Found objects with miniature artist books, glass jars.
H 30.5cm, W 22.5 cm x D 4 cm

Group exhibition Half Baked with Community Printmakers Murwillumbah, December 2009.

http://www.cpmprintstudio.com

14. Acid Sulfate Soils in Cudgen Lake
Perspex box, digital images on aluminium compound

The constructed box invites the viewer to examine images of Cudgen Lake if ASS from agriculture runoffs were not managed and monitored. Water surrounding the images evaporates during the exhibition.

Acid Sulfate Soils (ASS) is the term given to soils and sediments containing iron sulfides, where pyrite is the most common. ASS form naturally, but when exposed to air through excavation or drainage, sulfuric acid is produced, often releasing toxic quantities of iron, aluminium and heavy metals. Sometimes the acid runoff and acid products impact on aquatic flora and fauna. Recommendations in the Cudgen Nature Reserve Plan of Management (NSW Parks & Wildlife 1998), which reported low pH (below 3 and acidic) in Cudgen Lake, have been adopted by the Tweed Shire Council’s Natural Resource Management.

With co-operation from local farmers, the runoff from agricultural land has improved the water quality, creating a healthier ecosystem in Cudgen Lake.

15. Visual Voices
Etchings based on rock art sites Mount Borradaile, Northwest Arnhemland NT

These works were created after a visit with a group of artists, lead by printmaker Basil Hall and painter Mandy Martin, to Mount Borradaile in May 2008. This area is one of the largest rock art galleries in the world with layers of paintings dating back from over 50,000 years, recording ancient and modern stories. We walked in the silence of the outback, tracing the traditional owner’s footsteps, listening to stories and seeing many styles of rock art that mingled and overlaid with the natural flora on the rock faces. Out of respect for the traditional owners I have not reproduced the rock art images.

16. Visual Voices
Etchings based on rock art sites Mount Borradaile, Northwest Arnhemland NT

These works were created after a visit with a group of artists, lead by printmaker Basil Hall and painter Mandy Martin, to Mount Borradaile in May 2008. This area is one of the largest rock art galleries in the world with layers of paintings dating back from over 50,000 years, recording ancient and modern stories. We walked in the silence of the outback, tracing the traditional owner’s footsteps, listening to stories and seeing many styles of rock art that mingled and overlaid with the natural flora on the rock faces. Out of respect for the traditional owners I have not reproduced the rock art images.

17. Man Made Hand Made
Artist Book fence wire/reeds

Digital prints from Collagraphs printed on aluminium compound

The front cover of the book has the following text: As new, robotic technologies are developed to represent the textures and geometry of touch through a digital interface, the warmth and silence of baskets promise a continuing link with the primal realm of emotions, in a world that is always shaped by hands. (Reference Diana Wood Conroy, 2005, Woven Forms: Traces and traditions of Australian basket making, Ed. Brian Parks, 'Woven Forms - Contemporary Basket Making in Australia,' Object - Australia's new design centre p 15.)

Last winter I made a series of baskets from materials collected from the bush whilst walking my greyhound. I created collagraph prints of these woven and stitched baskets noticing that in this age we depend on computers, but still need hand made objects which trace journeys and bring the outside world to the inside. The digitised prints were collaged in a book form on aluminium compound, a material that is part of modern life. The pages also represent the plates from which the prints were made.

18. Man Made Hand Made
Artist Book fence wire/reeds

Digital prints from Collagraphs printed on aluminium compound

The front cover of the book has the following text: As new, robotic technologies are developed to represent the textures and geometry of touch through a digital interface, the warmth and silence of baskets promise a continuing link with the primal realm of emotions, in a world that is always shaped by hands. (Reference Diana Wood Conroy, 2005, Woven Forms: Traces and traditions of Australian basket making, Ed. Brian Parks, 'Woven Forms - Contemporary Basket Making in Australia,' Object - Australia's new design centre p 15.)

Last winter I made a series of baskets from materials collected from the bush whilst walking my greyhound. I created collagraph prints of these woven and stitched baskets noticing that in this age we depend on computers, but still need hand made objects which trace journeys and bring the outside world to the inside. The digitised prints were collaged in a book form on aluminium compound, a material that is part of modern life. The pages also represent the plates from which the prints were made.

19. Schoenoplectus Litoralis (Sedgeland) Cudgen Lake fence wire/reeds

Schoenoplectus Litoralis (Sedgeland reeds) are part of a delicate ecosystem within Cudgen Lake which is the most extensive in the Tweed NSW region. The reeds are utilised by water birds for nesting sites and are extremely tolerant of acidic water.

This woven object, created from rusted fencing wire and Schoenoplectus Litoralis, found and harvested from private land in Tamarind Avenue beside the lake, reflects a sense of abandonment of the site and confusion with taking the next steps towards managing the area.

Selected Tweed Naturally 2008 Tweed River Art Gallery, Murwillumbah NSW

20. Schoenoplectus Litoralis (Sedgeland) Cudgen Lake fence wire/reeds

Schoenoplectus Litoralis (Sedgeland reeds) are part of a delicate ecosystem within Cudgen Lake which is the most extensive in the Tweed NSW region. The reeds are utilised by water birds for nesting sites and are extremely tolerant of acidic water.

This woven object, created from rusted fencing wire and Schoenoplectus Litoralis, found and harvested from private land in Tamarind Avenue beside the lake, reflects a sense of abandonment of the site and confusion with taking the next steps towards managing the area.

Selected Tweed Naturally 2008 Tweed River Art Gallery, Murwillumbah NSW

21. When the outback and the urban collide

reconfigured for the Inaugural show ARS, 3 April 2008

ARS (Artist Run Space) Upstairs @ The Napier Hotel is an artist run collective with core members who studied part-time painting and sculpture at RMIT. Shows are held monthly, openings second Thursday of each month. The Napier Hotel, 210 Napier Street Fitzroy Melbourne, Victoria. 

22. A rusted object, the dip tin, evokes readings that stand apart from the physicality of the object.

My work involves the etching of rusted, weathered steel plates in order to create images that suggest my sense of place within the scarred landscape of North Australia, referencing the dip tin.

23. Escarpment - Where the Urban and Outback Collide, 6' x 12 ' variable - 105 x 22 cm squares, etch and relief print.

This work involves the etching of rusted, weathered steel plates in order to create images that simultaneously suggest my sense of place within the scarred landscape from the North of Australia, and contemporary rusted steel clad buildings in the City of Melbourne.

24. Escarpment - Where the Urban and Outback Collide, 6' x 12 ' variable - 105 x 22 cm squares, etch and relief print.

This work involves the etching of rusted, weathered steel plates in order to create images that simultaneously suggest my sense of place within the scarred landscape from the North of Australia, and contemporary rusted steel clad buildings in the City of Melbourne.

25. Installation view of digital prints on canvas 20" x 16" "Sitting Shiva for Roger 1 - 7", shown at Death, Dying and Beyond, The Jewish Museum of Australia, 2005.

26. Etching polymer gravure 1/1 "Stawell 1", image size 28 cm x 20 cm. Solo show Babette Isaacson, Pioneer Mother Draper, shown at The Jewish Museum of Australia, 2004 Richmond Town Hall Gallery Space 2004, Melbourne, and Horsham Regional Gallery, Victoria, 2006. Acquired by Horsham Regional Gallery.

27. Etching polymer gravure 1/1 "Stawell 4", image size 14 cm x 20 cm. Solo show Babette Isaacson, Pioneer Mother Draper, shown at The Jewish Museum of Australia, 2004 Richmond Town Hall Gallery Space 2004, Melbourne, and Horsham Regional Gallery, Victoria, 2006.

28. Installation view of solo exhibition, Babette Solo show Babette Isaacson, Pioneer Mother Draper, shown at The Jewish Museum of Australia, 2004, includes display case, polymer gravure prints and costume installation.

29. Installation of photocopy and digital print on to transparencies, arrangement of various collars 31.5 cm x 4 cm, Babette Isaacson Pioneer Mother Draper at the Horsham Regional Gallery Victoria, 2006.

30. Digital print on canvas 119 cm x 84 cm "D24" images of the old Police Headquarters, Russell Street.

31. Digital print on canvas 119 cm x 84 cm "D24" images of the old Police Headquarters, Russell Street.

32. Digital print on canvas 119 cm x 84 cm "D24" images of the old Police Headquarters, Russell Street.