Female factory’s in Brisbane town and Eagle Farm postcard experiment, 2015
Female factory’s in Brisbane town and Eagle Farm postcard experiment, 2015
Over and Over,
Finalist The Laundrie National Emerging Art Prize 2015
Colonial settler women appear as spectres in Australian history, repeatedly depicted as mysterious bystanders. Over and over co-opts these long-standing practises of selective historicism to make visible how this myth
persists; obscuring how these women are imagined today.
Reorganizing Principles, 2015
This exhibition reconsiders the visibility of colonial settler women within historical narratives. Referencing colonial images and objects of jewellery, this experimental work will extend on existing knowledge of the era. By using the genre of jewellery to navigate the archives, connections can be created between diverse artifactual evidence concerned with the presence of women in Australian historical narratives. This process aims to visualise idiosyncrasies of the experiences of women through the use of new objects forms and photographic mosaics.
This exhibition reconsiders the visibility of colonial settler women within historical narratives. Referencing colonial images and objects of jewellery, this experimental work will extend on existing knowledge of the era. By using the genre of jewellery to navigate the archives, connections can be created between diverse artifactual evidence concerned with the presence of women in Australian historical narratives. This process aims to visualise idiosyncrasies of the experiences of women through the use of new objects forms and photographic mosaics.
Beau Allen, Glaring, 2015, Pickawall Paper, Dutch Gold Leaf, Gold Size, 160xm x 350 cm, Images from: Artworks on Display National Gallery of Australia. Maurice FELTON, A woman of NSW, c.1840; Henry MUNDY, Elizabeth, Mrs William Field, c.1842, paintings; Frederick STRANGE, Misses Isabella and Fanny, daughters of the Reverend William Browne; Benjamin DUTERRAU, Mr Robinson's first interview with Timmy, 1840, paintings, oil on canvas; Richard NOBLE, Mrs John Thomas, 1858, paintings; Robert DOWLING , Miss Robertson of Colac (Dolly) [Dolly Robertson], 1885-86; Tom ROBERTS, Miss Minna Simpson, 1886; Tom ROBERTS, 1888, An Australian native [Portrait of a lady];Julian ASHTON, c1889, Spring (Miss Helen Willis) [Portrait of Helen Ashton, Mrs James Ashton]; Benjamin Duterrau, c1832, Lady Eliza Arthur; Thomas Griffiths Wainewright, c1845, Martha Sarah Butler; John Linnell, 1825, Eliza Darling; Thomas Philips, 1829, Ellen Stirling; E. Phillips FOX, 1893, Mrs James Pirani; Augustus Earle, 1826, Mrs John Piper. Artworks on Display National Gallery of Victoria. Robert Dowling, 1882, Miss Annie Ware; Rupert Bunny, 1908, Chattering; Tom Roberts, 1888, Mrs L.A. Abrahams; E.Phillips Fox, 1893- 94, Portrait of My Cousin; Tom Roberts, 1888, Louise, Daughter of the Horn; John Longstaff, 1895, Ada Garrick (Mrs Bright); George W.Lambert, 1906, Lotty and Lady. Artworks on Display National Portrait Gallery. David Jones, 1853, Jane Mander Jones; Henry Mundy, 1841, Mary Ann Lawrence; Henry Mundy, c1841, Mary Ann Lawrence as a Widow; Unknown, 1857, Marianne Egan and her children Gertrude Evans Cahuac and Henry William Cahuac; Robert Dowling, c1854, Mary Ware; Unknown, c1873, Elizabeth Walford; Richard Read junior, 1830, Miss Elizabeth Roberts; Unknown, c1841, Fanny Jane Marlay; Maurice Felton, 1840, Miss Frances Samuel; George Baird Shaw, 1878, Annie Roberts; Unknown, 1853, Jane Mander Jones; Claude-Marie Dubufe, 1833, Portrait of Lady Eyre Williams (Jessie Gibbon); Thomas Phillips, c1828, Lady Ellen Stirling; Evelyn Chapman, 1911 Self Portrait; Florence Ada Fuller, 1908, Portrait of Deborah Vernon Hackett; Maurice Felton, 1841, Mary Tindale; Edwin Dalton, c1864, Portrait of Mrs Sarah Fairfax; Howard, Barron, c1930, Florence Austral; Richard von Marientreu, 1951, Dora Byrne; Jerrold, Nathan, 1929, Jessie Street; John Richard Tindale, 1841, Mary Tindale; Maurice Felton, 1840, Miss Frances Samuel; Unknown, c1840, Elizabeth Fairfax; Emanuel Solman, c1844, Cecilia Soloman. Artworks on Display Art Gallery New South Wales Tom Roberts, 1899, A study of Jephthah's daughter; Joseph Backler, 1861, Portrait of a women (Elisabeth Collings); Maurice Felton, 1840, Portrait of Mrs Alexander Spark; Marshall Claxton, 1851, The Dickson Family; Clewin Harcourt, 1911, One Summer Afternoon; Hugh Ramsey, 1902, The Lady in Blue, (Mr and Mrs J S MacDonald) ; Violet Teague, 1909, Dian Dreams ( Una Falkiner); Rupert Bunney, c1908, A Summer Morning; George Lambert, 1905, The Three Kimonos.
Pineapple Rings, 2015.
Pineapples arrived in 1834 to Queensland, and have become a symbol to identify with a place and time. The pineapple shape has been distilled into souvenir forms made available as mass produced items as well as a locally crafted object. This experimental work Pineapple Rings treads the line between acquisition of a token and the sentiment that can inform what the objects socio-cultural significance could be. In this work I have intended to amplify thoughts and feelings that may be commonly invoked when a person is interacting with a souvenir; such as pride, curiosity, and suspension of disbelief. To do this I have displayed the pineapple ring attached to helium balloon, which is included with the purchase of the ring. Having a helium balloon can be joyful but it can also invoke worry by having to maintain the connection with the balloon, which can have an effect of restricting certain actions. It is my intention to draw a parallel line of thought with the experience of having a pineapple ring on a helium balloon, as been similar to the way we may maintain symbols of shared cultural identity.
Pineapples arrived in 1834 to Queensland, and have become a symbol to identify with a place and time. The pineapple shape has been distilled into souvenir forms made available as mass produced items as well as a locally crafted object. This experimental work Pineapple Rings treads the line between acquisition of a token and the sentiment that can inform what the objects socio-cultural significance could be. In this work I have intended to amplify thoughts and feelings that may be commonly invoked when a person is interacting with a souvenir; such as pride, curiosity, and suspension of disbelief. To do this I have displayed the pineapple ring attached to helium balloon, which is included with the purchase of the ring. Having a helium balloon can be joyful but it can also invoke worry by having to maintain the connection with the balloon, which can have an effect of restricting certain actions. It is my intention to draw a parallel line of thought with the experience of having a pineapple ring on a helium balloon, as been similar to the way we may maintain symbols of shared cultural identity.
Wild Waters Jewellers and Metalsmiths Group Qld Group Exhibition,
Beau Allen, 2014, Some wild rivers of Queensland, Brass, Aluminum, Polyester, Ink.
I am interested in how artefacts are locus for social and cultural narratives. In reflecting on the theme of Wild Waters, I used wild rivers as a search term to navigate the image collection held by the Queensland State Library archives. Save for one image of the recent Brisbane River flood only three images were located that depicting wild rivers in Queensland. A common point I see in these images are that the river is shown as supplemental or a background in these photos and never a subject for itself, (L-R) in Flooding at the Macintyre River near Goondiwindi Queensland 1890, flooding becomes an entertaining place to all meet, or in Macintyre River Bridge at Goondiwindi, ca.1890 a bridge becomes a feature of the area, or in Relaxing beside the Wild River, near Herberton, North Queensland, time spent by two girls is captured. Do the intentions described in these photographs that captured achievement and experience, frame how these rivers are known?
All images courtesy the John Oxley Library, State Library of Queensland.
Beau Allen, 2014, Some wild rivers of Queensland, Brass, Aluminum, Polyester, Ink.
I am interested in how artefacts are locus for social and cultural narratives. In reflecting on the theme of Wild Waters, I used wild rivers as a search term to navigate the image collection held by the Queensland State Library archives. Save for one image of the recent Brisbane River flood only three images were located that depicting wild rivers in Queensland. A common point I see in these images are that the river is shown as supplemental or a background in these photos and never a subject for itself, (L-R) in Flooding at the Macintyre River near Goondiwindi Queensland 1890, flooding becomes an entertaining place to all meet, or in Macintyre River Bridge at Goondiwindi, ca.1890 a bridge becomes a feature of the area, or in Relaxing beside the Wild River, near Herberton, North Queensland, time spent by two girls is captured. Do the intentions described in these photographs that captured achievement and experience, frame how these rivers are known?
All images courtesy the John Oxley Library, State Library of Queensland.
John Watts Necklace, 2013 Multi media, furniture, stationary.
A participative artwork were the audience is invited to choose one of the audio tracks that describes the John Watts Necklace, and then make a drawing of what they think the necklace looks like. Each track tells a complied historical account of the of the necklace and what it can tell us about the social context it was produced within.
Audio Available via:
A participative artwork were the audience is invited to choose one of the audio tracks that describes the John Watts Necklace, and then make a drawing of what they think the necklace looks like. Each track tells a complied historical account of the of the necklace and what it can tell us about the social context it was produced within.
Audio Available via:
Re-Imaging the John Watts Necklace, 2013.
Spot the Difference, 2013.
Works, 2010 - 2014.