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Late 2014 I wrote an article based on an Artist-in-Residence (AIR) in Spain, titled a Tribute to Farrera.
Whilst in Spain, at least three times, I drove to the end of the road, usually up a narrow mountain road. Farrera is at the end of the road on the edge of a valley in the Catalan Pyrenees. A small village of houses and barns, built with local stone and slate, grouped around the 17th century church of Sant Roc, it is sited at an altitude of 1365 metres and is one of the highest inhabited villages in Catalonia. (extract from The Centre d’Art I Natura website)
In the following article I mention six weeks of exploring Spain. It was an amazing journey, however by the end of week five Walter did not want to see any more cities so I took him to the costa del sol where we idled for several days traveling to the end of the road at Capileira on a day trip.
Our one-week artist residency in Farrera was unique in our usual style of touring. It was Walter’s first residency and a week of sheer indulgence to create for both of us. We had the opportunity to stay in one place and really get to know that place. Tourist companies continually advertise the concept of seeing seven countries in seven days rushing guests to the must-see spots for them to tick the site on their bucket list before taking a bus or flight to the next spot.
We have an immense amount to gain by stopping the rush. Yes, there were many ‘must see sites’ in Spain that we did not see and may never see, but we will spend the rest of our lives talking about one week in Farrera; the people we met, the walks, the dinners, the changing weather and the joy of art making.
A Tribute to Farrera Denise Keele-bedford December 2014
Late in 2013 my husband and I decided that we would journey to Spain, a first for us both.
From early September to mid October 2014 we would have six weeks of exploring the Peninsula driving a Northern loop from Madrid to coast and down to Barcelona. A train from Barcelona to Seville then driving a second Southern loop to coast and back to Madrid, virtually a ‘figure 8’ form.
After looking at the resartis website to discover that Spain offers 22 different residencies I contacted two in Northern Spain then applied to one to undertake a one-week Artist-in-Residence (AIR).
In its 18th year The Centre d’Art i Natura (CAN) in Farrera offers workspaces and facilities to artists and natural scientists. It is directed by Lluis Llobet, his wife Fransesca is host and son Anau is chef.
Farrera is sited at 1361 meters above sea level in the Catalan High Pyrenees, close to the Andorra border. There are historical references to its existence more than 1,000 years ago.
Farrera is in a remote location at the end of the road. It is a small village set on a hillside, facing South opening to magnificent valley views to the West and with a fluxing population of 20/25. CAN is owned by the local council and administered by a non-profit association “Friends of the Centre d’Art i Natura de Farrera”.
The Centre d’Art i Natura has renovated the old village school l’Estudi, which was our accommodation, Casa Ramon, set beside l’Estudi and an old barn la Bastida into ateliers, kitchen, dining room and living studios. We had access to the Centre’s Library, Computer, Printer, Dry workroom and Wet workroom.
Llavorsi, 12 kms away is the closest center for produce and supplies and as we provided our own breakfast and lunches, we took supplies in the car with us. When we arrived, we were introduced to l’Estudi, the Art Centre and informed about the group evening meals.
Four other female artists in residence were from Denmark and Spain whose disciplines covered, writing, dance and visual arts.
My husband took paints, brushes, and paper with a plan to create a series of paintings based on the location. He produced 11 paintings approximately A4 size in gouache.
I took a small A5 sketch pad, pens and a small travel set of water colours for I did not know what I would produce as I usually prefer the place, environment, atmosphere and physical space to guide me.
On arrival I was most impressed with the slate roof tiles, old style (hand cut) and new (laser cut) that covered every roof, gateway, and stacked spares in case of breakage.
The first day I walked as far as I could past the end of the road turning back when it became a climb. The area sees many hikers and climbers especially in fine weather. Cutaways along the roadside revealed layers of fine slate. Scattered fragments laid along the roadside in a range of colours from dark charcoal, silver grey and raw sienna from light to dark. Lluis informed me that a clay could be made from the slate, showed me samples and I considered experimenting with this.
The second day I walked to a little village nook, that I had driven through, 1.5 kms from Farrera exploring the different architecture, laneways, steps and gardens. In this remote area, with rich soil, sheep and cattle, many vegetable and flower gardens flourish. Three non-denomination churches form the historic context, and in my eyes, slate was the dominant feature.
I collected fragments of slate in a range of colours and tones and spent a warm afternoon washing and setting them in the sun to dry. I spent time in the Library mainly looking at historic cultural sketches and images of local flora and fauna.
By the third day I had decided that the slate fragments would become a diary of my time in Farrera. I had collected many pieces of slate and was able to be very selective in allowing aspects of the slate to direct the images that I painted on them.
I completed 43 pieces depicting the everyday objects and items about me. Several pieces referenced flora and fauna seen in the village and on my walks. A found feather, tadpoles in a nearby water trough, sheep and sheep dogs, insects that crawled in the apartment and art studio all represented my time in Farrera.
A slope to a stream in the valley is a depot for old slate roof tiles and an afternoon was spent collecting these, some quite large, pieces to from a base for my installation.
The last night in Farrera we had a display of our artwork with village people in attendance.
Due to the weight and delicacy of the slate fragments I donated most of the pieces to the Art Centre, gave several as gifts to Chinese friends on route to Melbourne and arrived with three broken and a few as mementos. Retaining the artwork is not important to me for I have the documentation. The experience of taking an Artist-in-Residence is just that, an experience. We grow and become richer as an artist through these experiences.
I highly recommend experiencing an Artist-in-Residence (AIR)
In 2016 my Artist residency was in Poughkeepsie on the Hudson River, two hours North of Manhattan in New York State. Poughkeepsie is a multi-cultural community and there I saw correlation with my community and topical aspects of immigration, trade and asylum seekers.
I created my first origami boat installation that represented the 315-mile length of the river, the assortment of vessels of trade and diverse cultures who have engaged with the river. An installation was again created in Warrandyte in January 2017 and featured in the Warrandyte Diary.
The Boat Project has continued since that time, in a diverse range of interpretations including Yellow Boats of Hope. Yellow stands for happiness, positivity, energy, remembrance, optimism and joy.
Dangerous boat travels, sinking vessels, deaths and authoritarian refusal to enter Australian waters are signs of desperation and the risks taken by asylum seekers for a better life. One can only imagine the plight, hardship and difficulty in being forced to seek asylum from your home in a strange other country, and the consequential risk to you and your loved ones lives on an unknown arrival.
The Hope Boats were first shown in the ‘CONNECTION 8000’ Exhibition at C + Space, Shunyi, Beijing PR China (2017). Curator Jingjing Jia. I also conducted a Children’s Workshop within the exhibition space for Tasun Creative Art.
Also in 2017 I was invited to participate in the 27 Degree Angle East Lake International Ecological Sculpture Biennale at Jiufeng Urban Forestry Reserve in Wuhan, Hubei, China. I created an installation titled ‘Golden boat: Golden Waterway’ in acknowledgement of the trading route along the Yangtze River that flows through Wuhan.
I was fortunate to create three installations of Yellow Boats in 2018. An invitation to participate in the Redgate residency open studio programme enabled me to show my work in the very studio where I had my first China residency in 2003. In September 2018 Curator Jingjing Jia extended an invitation to create a Yellow Boat installation at K-YARC Gallery Gwangju South Korea, as a fringe exhibition in conjunction with the Gwangju Art Biennale.
A series of silkscreen prints and collage titled SIEV: Titles of Positivity were exhibited with the installation A Gold Boat for a Gold Coin in the Adrift exhibition at Red Gallery in 2018; to assist in raising funds for Asylum Seekers.
In 2019 after traveling in Norway with a group of MG car enthusiasts Walter and I spent several weeks in the Lofoten/Vesteralen archipelago. I had taken a series of the Poughkeepsie boats and was thrilled with the installation opportunities by magnificent waterways.
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One Mile: One Boat at the Hudson River New York State 2016
One Mile: One Boat at Art Centro, Poughkeepsie, NY 2016
One Mile: One Boat installed at Art Centro, Poughkeepsie NY 2016
Warrandyte Diary 2017
The Hope Boats
Children’s Workshop, Making Boats
View from my installation onto the River of Boats 2017
Making a River of Boats at the Connection 8000 Exhibition
Golden Waterway: Golden Boat Installation
Denise with Installation and signing the giveaway boats 2017
Installation at 27 Degree Angle East Lake International Ecological Sculpture Biennale 2017
An ephemeral installation at 27 Degree Angle East Lake International Ecological Sculpture Biennale 2017
Redgate Open Studio installation Beijing China 2018
A waterfall of boats for Redgate Open Studios 2018
Paper Only exhibition Gwangju South Korea 2018
Paper Only exhibition 2018 Gwangju South Korea
Red Wave
Beauty – Unique State Silk Screen Prints, Collage, Acrylic on 300gsm Watercolour Paper 250 x 250mm
From the SIEV Series
Early in our isolation I had read statements that ‘we are all in this together’ and ‘we are all in the same boat’. Perhaps we are in the same boat, OR not. In that respect I created an artwork particularly relevant to COVID-19. This restrictive time has had many ups for some and many downs for others. As we ride the waves of our life journey it is encouraging to know that whatever type of vessel or deck that we are placed, our friends and family are supportive along the way. Thanks to the Beatles for the artwork title. And all our friends are aboard. The artwork will participate in the AT SEA exhibition 5 – 18 August at Southern Buoy Studios, Mornington. Denise Keele-bedford
The Enlightenment Project has been part of my art practice repertoire for over twenty years. The components of perforation, light, circles, reflection and mass have been pushed and pulled, inverted, punctured, suspended and shifted into many interpretations for many years.
I have been sorting through an immense amount of photos during isolation and creating a series of books for my library shelf, simply getting ‘my history’ into order. Until now these series of works basically came under The dot project however, they are not about dots. The work began looking at Gothic Rose Windows, taking out the glory of symbology and colour, then honouring the structure supporting the stained glass. The structure design, I think, has it’s own beauty. I wondered about light, not through the spaces where the stained glass was located, but light drifting through the structure. I made the structure lightweight through perforation and allowed light to create patterns.
I played with holes, with light patterns and looked at the hole itself having its own light. So my play of push and pull, of ephemerality, of solidity, of reflected light and colour continues.
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Bach. of Art Graduation Exh. RMIT (Royal Melbourne Institute of Technology 2000
Perforated Vinyl, Light
Bach. of Art Graduation Exh. RMIT (Royal Melbourne Institute of Technology 2000
Perforated Vinyl, Light
In the Blog Her Light in Native Colours the artwork is based on the tradition of Tea Drinking in my Western Culture.
All my years traveling to China, I have drank tea in many and varied environments; I have been fascinated with the Tea Ceremony. In 2006 I wrote an Article that was published in Women’s Art Register, The Bulletin No. 41 Summer 2006/7 and Victorian Artists Society, The Quarterly Journal DEC-JAN 2007. The article titled Tea and Teachings reflects on a specific period of time that I was in China in 2006. Tales of Tea is an extract from the article. In 2011 I was Artist-in-Residence at the Dapu International Art Centre in Daqing Northern China. The accompanying images were taken during that residency, drinking tea with the other International and Chinese Artists.
The Artwork Drink Tea 喝茶 was made during the residency, from found crates and Chinese Calligraphy Practice Paper.
TALES OF TEA
About 10 days after arriving in Beijing I met with an artist whom I had met in 2005. After the opening of his exhibition and a superb dinner we went to his studio to drink tea. The conversation was limited due to language difficulties but we drank tea, discussed his artwork and enjoyed the challenge. Lu Yunting and I and sometimes with others spent time drinking various teas that he collected. He would ritually wash the cups, pot and tea leaves exactly the same way each time we sat to drink. In Bo Shan we met with his favourite tea seller where I was introduced to aged tea. These teas were 5, 10, 20 years old and many formed into rounds similar to cheese rounds. Over time and tea our conversations expanded. At times my frustrations of not knowing the words I needed were calmed by Lu Yunting’s patience. If we didn’t know the words we would draw or check my electronic dictionary. I learnt many new words, gained confidence in the language, strengthened our friendship and returned home with a supply of 5-year-old tea.
Deng Gaishan loves to drink tea on the mezzanine overlooking his latest paintings in his studio. When we first met and drank tea I was intrigued that his ritual was different to that of Lu Yunting. The tea equipment was also different and we drank 10-year-old tea. I endeavoured to ask at what point he knew that the tealeaves were past drinking. He broke out in full flight, talking about the qualities of the tea service, the importance of the teapot, the type of clay used, the colour of the pot, and the way to drink the tea. I did not get the answer I wanted and I did not understand all of his words but he was most intent in giving me a full explanation.
The second time I drank tea with Deng Gaishan I took along my Australian friend and Deng Gaishan invited several of his friends from other studios to meet us. As we drank tea Deng Gaishan showed all of us different teas. My friend Tony and I sat and listened for some 20-30 minutes as four Chinese men discussed the finer nuances of tea.
I expressed to Tony that in Australia we would never hear a group of males discussing tea as we had just heard in Beijing. “No,” he said “but is it any different to a group of Australian men discussing the finer qualities of wine.” Well that was true. I then decided that when I buy my teapot, I will ask Deng Gaishan to assist me.
Drinking tea with Zheng Xuewu and Sun Baijun in Zheng Xuewu’s studio with the door open to visitors or late at night usually consisted of trying at least two teas and Sun Baijun’s insistent that the tea be drunk as hot as possible and immediately it was poured into the cups. In all scenarios we drank from tiny cups about half the size of an eggcup. The teapot was constantly topped up with boiling water either from the water dispenser or in Deng Gaishan’s case the electric kettle that sat by the table.
Beijing is a city growing upwards and expanding outwards. High-rise developments and western style housing impinge upon the ancient Hutongs dwellings and outer suburban villages. The mechanical cranes fly almost 24 hours per day when the air is clear. Way out of town where our single storey buildings sit by the railway line that takes the train to Mongolia we discuss art, travel and the differences of cultures.
Anyone for coffee and cake?
A few Tea Quotes:
Find yourself a cup of tea; the teapot is behind you. Now tell me about hundreds of things.
Saki
Tea is drunk to forget the din of the world.
T’ien Yiheng
Drink your tea slowly and reverently, as if it is the axis on which the world earth revolves – slowly, evenly, without rushing toward the future.
Thich Nat Hahn
The first cup moistens my lips and throat. The second cup breaks my loneliness. The third cup searches my barren entrail but to find therein some thousand volumes of odd ideographs. The fourth cup raises a slight perspiration – all the wrongs of life pass out through my pores. At the fifth cup I am purified. The sixth cup calls me to the realms of the immortals. The seventh cup – ah, but I could take no more! I only feel the breath of the cool wind that raises in my sleeves. Where is Elysium? Let me ride on this sweet breeze and waft away thither.
Lu Tung
Drinking a daily cup of tea will surely starve the apothecary.
Chinese Proverb
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In Wang Shuli’s Studio.
Wang Yunqing, Emily Orzech (USA) and Jun Jun.
Denise (Australia), Reineke De Vries (Netherlands), Hayoon-Jay Lee (Korea), Wang Yunqing
Nearly one month of isolation and some rising melancholia in missing cuppas with my daughters, I found myself reflecting on an artwork I created several years ago.
Sandra Angliss, Chair for International Women Artists’ Association Australia Inc. extended an invitation to participate in Her Light in Native Colours: Her Presence in Colours VII Australian Chapter 2006
Artists were invited to create artworks reflecting their personal social and cultural backgrounds, culminating in an exhibition at Manningham Gallery in Melbourne in celebration of Cultural Diversity Week.
I am in possession of an Art Deco tea trolley that became the basis for the artwork. A description for TEATIME and my artist statement for the exhibition are below:
Tradition
Emigration
Australia
Transition
Influential
Mother/daughter
Endowment
TEATIME 2006
The Duchess of Bedford is credited with inventing afternoon tea about 1840. My ancestors emigrated to Australia in the late 1840’s bringing with them traditions from the ‘Mother Country’.
Although transition into a new life in Australia offered far reaching experiences and investigations; formed traditions were passed onto the next generations. Within my family, from mother to daughter the pleasure of enjoying each other’s company over a ‘cuppa’ continues to enrich our lives. During teatime we chat, discuss, inform, plan and grow.
Using my Aunty Nell’s tea trolley, I have included the names of my female ancestors, my generation and the next two generations of females in my family.
Their birth years and names reflect the influential history of my female line.
Thanks to my sister Carol for her genealogy expertise and Ian Graham (Glass art) for his etching and assistance.
Artist Statement
In creating my artworks, a major influence is history, being a combination of long and short-term collective events, rituals or personal memories.
Production includes working in multiples to form a series or a single artwork.
Major interests are in the diversity of people, cultures and environments, particularly regarding spirituality within personal and cultural belief systems.
I completed a Master of Fine Art in 2002 at RMIT Melbourne Campus and in the same year traveled to China. Since then I continue to work between my studios in Melbourne and Beijing where projects, research and influences from both cultures are integrated and reflected in my artwork production.
Mediums are varied to suit the particular installation with consideration for the site or environment. Indoor and outdoor installations, site-specific works and individual artworks include materials such as textiles, paper, organic elements, found objects, porcelain, glass or bronze.
Denise Keele-bedford
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Cartoon for Glass Etching Upper Tray
Cup, Saucer and Top Tray of Tea Time
Etched Jug with Birth Dates of Female ancestors
Tea Time in Situ at Manningham Gallery display window
Her Light in Native Colours Invitation 2006
Her Light in Native Colours Public Program
A Public Program was included with the exhibition and I was invited to present a talk on my 2004 Bundanon Artist-In-Residence experience. After two years I was very surprised to read the diaries written during the residency in preparation for the talk. I decided to read extracts from the diaries as part of the presentation and slide show which were well received by the audience.
Thanks Cecelia Bedford for photography: Two details (cup, saucer, jug) and promotional header images.
We are currently living in a world where self preservation has taken on an urgency not seen in my lifetime.
The toilet roll saga has lead to empty shelves of anything related to soft papers for delicate body areas.
It has expanded to a hunter gatherer mode where shelves that once held pasta, rice, flour, sugar and other deemed staples are emptying at express rates.
Over one hundred countries checking their options to lock down in self preservation against a microscopic bug.
All major venues closing until further notice and/or one month at the minimum.
World renowned museums and galleries are in shut down and most importantly YOU NEED TO KNOW:
Art at St. Francis is closed until further notice. The current significant exhibition namely: Marks in Time – my exhibition on a world scale cannot be viewed. it is with SINCERE APOLOGIES that I advise all that the best way to see my work is via the attached images.
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Denise will be showing recent artworks in an exhibition titled MARKS IN TIME at Art at St. Francis from 3 – 36 March
Address: 326 Lonsdale Street Melbourne
An open invitation for all to visit and view the work is extended and for a Personal Viewing with Denise please contact her through the contact page on this site.
10% of Sales, after Commission to St. Francis, will be Donated to Bushfire Relief
Artist Statement:
The term “shanshui” meaning mountain and water is the traditional form of Chinese painting using a very thin paper.
Whilst traveling to China I was introduced to the ink wash paper, particularly Anhui Red Star paper and calligraphic practice papers. They are tissue thin, can tear easily when wet, yet strengthen when dry from absorbing ink.
I have incorporated these special papers in my artwork for many years, experimenting with different mediums and manipulations to create contemporary artworks. I have used many layers of the papers, using staining and cutting methods to produce the artworks in the Marks in Time exhibition.
Denise was encouraged to submit an entry for the upcoming exhibition at Red Gallery.
It was lovely to receive the below email from the Gallery Director Elle Rusch Drakos.
Good Morning.
With over 300 submissions for our popular annual group show; Rock, Paper, Scissors we are delighted to have selected you as one of our 30 innovative artists with work that we feel express the overall theme and narrative of the exhibition.
POSTPONED UNTIL MARCH 2021
We invite all out artists to participate in our opening event, inviting your nearest and dearest for drinks and socialising amongst all the talented works and artists. It is a great atmosphere and a fantastic networking opportunity. Not to be missed. We will also be running a series of collage and paper workshops which we will announce closer to the date.
After much discussion with Elle I have decided to exhibit my artwork Beneath the Surface Revealed.
Keep watching for the exhibition promotion and updates. Denise
