Moyra Davey Trust Me, 2011 sixteen chromogenic prints, postage stamps, painter's tape and ink, 45.7 x 30.5 cm each

"..the artist’s process, which involved folding each photograph, taping it closed with green masking tape, and mailing it to a predetermined recipient"

https://firstdraft.org.au/news/tactics-of-abstraction-and-embodiment-through-spence-messih

“Glass is vulnerable to weathering, particularly to heat and humidity, the very forces that helped to make it. It is also able to withstand sites of pressure, such as the small body of a bird, pelting rain or a rogue rock and shows no unsteadiness from the force of a persistent gaze” “Glass also contains memory – from the unique impressions made by the breath of the glassblower to the molecules around the site of a score” “liquid memory” “glass is about relation – to itself and to the external pressures of bodies, and its environments – the meeting, or withholding, of weather, an unwanted visitor, the reflection of one’s own face” “finding presence in absence, self-recognition in mis-recognition and opacity in obscurity“ “gestures, relations between forms”

https://www.e-flux.com/announcements/42675/strategies-of-desire/

“Desire responds to a perceived void in all its sincerity and attempts to fill this void.“

“Desire engulfs two contradictory poles: While one part of this emotion addresses something ambiguous and evasive, the other part is more focused and knows exactly what the object of desire actually is“ “While desire geared towards the past expresses itself as nostalgia, desire geared towards the future expresses itself as utopia”

Jeffery Gibson ‘they come from fire’, 2022 series of 12 kilnformed glass panels

interesting juxtaposition and use of outdoor space

thinking about glass and sculptures speaking to a space through simple contextual references

Abigail Reynolds A Rejuvenation of Mind, 2013 Glass, book pages, plywood

Lucy Whitelaw documentation of change-rooms, 2021 digital photographs

Abigail Reynolds Begin Afresh, 2013 Glass, book pages, plywood

thinking about using coloured glass as a lens, a filter, in combination with photography and embedded words

Rosemarie Trockel Prisoner of Yourself, 1998 silkscreen on wall

Ohne Titel ( Frau ohne Unterleib)

the photographic print on the glass, and standing ‘plinth’ like structure

       Kurt Roesch with Alastair Reid              In-text plate (folio 19) from 21 Etchings and Poems                    1960

                 Franz Kline with Frank O'Hara              In-text plate from 21 Etchings and Poems                    1960            

looking and thinking about text beyond the rectangular confines in etching

Pablo Picasso In-text plate (folio 33) from Chevaux de minuit, 1955

Jean (Hans) Arp with Camille Bryen In-text plate (folio 6) from Poésie de mots inconnus, 1949

Pablo Picasso In-text plate (folio 7) from Chevaux de minuit

Sandra Vaka Suge, 2019

Sandra Vaka t-shirt table, 2013 ARCHIVAL UV PRINT, EPOXY DRIPS, ALUMINIUM

Air surfer suffer, 2013 C-PRINT, EPOXY DRIPS, ALUMINIUM

Sandra Vaka Olsen Sunshield, 2014 C-print, developed by artist with suncream finger-paintings, acrylic frame and epoxy drips

Body Carrier, 2013 C-print, photo paper, sun block, frame

Paul Thek ‘avoid caesar and stylistic decisions’, 1979 ballpoint pen and watercolour on paper

‘I’m not going to use violence no matter’, 1987 acrylic on newspaper

Harold Cohen print made by artist-made computer software, AARON

Aimee Parrott Energy is eternal delight, 2017 vinyl on window

Matisse Chapel of the Rosary, 1947 stain-glass windows