In French, embroidery stitches are called points. So Paris Points is a pun. These works were responses to Paris – some of the ‘points’ the city made to me, stitched in thread.
The work was made during my 2-month-long stay in Nov-Dec 2019 in the Moya Dyring Studio at the Cité Internationale des Arts, thanks to AGNSW.
Tricolor is a kind of slow news piece.
It records my observations from my studio window of emergency vehicles racing back and forth across the city on Saturday 16 November 2019, the night of the first anniversary of the yellow vest protests.
Triclour takes its cues from the Bayeaux tapestry (which I visited while in France). Like this medieval wonder, it records current affairs through a technique that takes a very long time. In this way, instead of just instantly posting a reaction online, I contemplated this event for an entire month; stitch by stitch.
Fromage en traduction (cheese in translation) is a cheeky meditation on how much gets ‘lost in translation’ between cultures. Despite my best efforts my rendition of this cheese changed a lot as I translated it!
Paris Points was on show to the public on 20 December 2019, atleier 8202 (bâtiment principal), The Cité Internationale des Arts, Paris.
Drowned World: Eckert Projection
WATCH Tracey Clement create Drowned World: Eckert Projection.
See my Drowned World maps in the group show Future Stratigraphy, 6-29 October 2016, at SCA Galleries, Sydney.
The Eckert projection was created in 1906. My map took approx 21 hours of drawing, February – June 2016
This the third map I’ve made as part of my Mapping The Drowned World project, inspired by JG Ballard’s novel The Drowned World.
Drowned World: Petermann Star Projection
WATCH Tracey Clement create Drowned World: Petermann Star Projection. 19 hours of drawing compressed into 1.5 minutes.
This map is part of my broader PhD project called Mapping The Drowned World, which has included a group exhibition of the same name and a sculptural installation, Post-Premonitionism 2.
In 1+1+=1, I have taken these drawings and reinterpreted them in embroideries (one of the several traditional “women’s work” skills handed down to me by my Mother) and digital prints.
I have also animated three of the drawings using very simple techniques including the construction of handmade flip-books and praxinoscopes.
Watch videos of the praxinoscopes here.
1+1=1 was a solo exhibition at James Dorahy Project Space, Sydney.
Photos: Embroideries photographed by Richard Glover. Flip-books, praxinoscopes and installation shots by Tracey Clement.
The target is an almost irresistible graphic image. All those concentric rings create a mesmerising visual vortex, drawing the eye dead centre, sucking you in. No wonder the target is a perennial favourite of both pop artists and marketing gurus. The target is also an iconic symbol of man-made violence.
The targets in Paper Trail are part of my ongoing project which explores the toxic legacy of the Enlightenment: the dangerous notion that it is both possible and desirable to dominate nature.
Using a razor blade, outlines of vines and vermin are ‘drawn’ onto ready-made targets, then allowed to spiral out. Breaching the picture plane and occupying 3D space, these organic forms embody nature’s vitality and patient omnipotence.
Paper Trail was first shown as a solo exhibition in 2008, at Peloton, Sydney. In 2009, several of the works were showcased in the emerging artists exhibition, Off the Wall, Art Melbourne, Royal Exhibition Building, Melbourne. They were exhibited in 2009 in Tracey Clement: Recent(Hard)Work, Elements Art Gallery, Perth, WA.
Photos: Richard Glover.