FOUR ZINES, 2017

BOUNDCONCERTINAZINES
Written By Gracia Louise
 
 
 
 

1/ Gracia Haby & Louise Jennison
Take a lesson from the ground
November, 2017

Digital print zine
Edition of 100

 
 
 

A 10cm X 42cm, six page colour concertina zine with B&W text on a paper belt held in place by a black or gold circle sticker.

Featuring a sextet of collages created for the exhibition The confessional, Mailbox Art Space, and the print exchange folio Imaginings, shown at Neospace Gallery, Melbourne, in 2017.

In 2022, held by our Ripples in the Open collage and a curl of text about a Snow leopard, within the cabinets of the Arts West Building, University of Melbourne,Take a lesson from the ground and A warmed pebble in my hand (2018) were exhibited alongside page details from our artists’ book, Because I Like You (2016). The works on display in the foyer were from the library’s collection.

 
 
 
ZINE: TAKE A LESSON FROM THE GROUND
sold out
ZINE: TAKE A LESSON FROM THE GROUND
$5.00
 
 
 
 
 
 

2/ Gracia Haby & Louise Jennison
It was a familiar pattern
October, 2017

Digital print zine
Edition of 60

 
 
 

A 5cm X 11.5cm, 253 page full-colour zine with single colour cover on grey card and a blue spine.

A flip book zine created from an animated collage exhibited as part of Unusual at Milly Sleeping, October 2017.

Liberated from their static position within our artists’ books, A warmed pebble in my hand et al., the inhabitants within the projection and in turn this zine include the green cat as sentinel, the sleeping boy, and a stowaway rooster too. Moths and birds from No longer six feet under can also be seen, and from the base collage beneath Disrupted and rumpled, a golden whaling ship upon the grey sea.

 

Unusual

ALEXI FREEMAN, ALICE HUTCHINSON, ALY PEEL, ANNA VARENDORFF, BIRGETTA HELMERSSON, ELISE SHEEHAN, ELIZABETH YONG, GRACIA HABY & LOUISE JENNISON, KATHERINE BOWMAN, IVETT SIMON, JESSILLA ROGERS, SEB BROWN, SUZAN DLOUHY, VIKKI KASSIORAS
CURATED BY LEAH MUDDLE
WEDNESDAY 11TH OF OCTOBER – SUNDAY 29TH OF OCTOBER, 2017
MILLY SLEEPING, 157 ELGIN STREET, CARLTON

Fourteen contributing artists, ourselves included, were invited to make new works that somehow differ from their usual output. This presented much potential for experimentation... perhaps the use of a different material, a different technique, or the chance to work towards a new form. Today was the first day that the finished works began to roll in to Milly. It was very exciting to see both diversity and synchronicity, and sort of astonishing to see how much quiet labour has been going on.

It was a familiar pattern
A little mesmerising flipbook, based on a moving collage of the same name. Let the pages flutter with pace and watch an unexpected assembly surface from the sea (and retreat again) afront a passing ship. Created for (and currently exclusive to) Milly Sleeping.
Printed in Melbourne; assembled and editioned by hand by Gracia Haby & Louise Jennison AKA Gracia & Louise.

PS. This work also relates to an exhibition called Looped, now showing in the Latrobe Reading Room at State Library of Victoria.

Milly Sleeping

 
 
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IT WAS A FAMILIAR PATTERN
IT WAS A FAMILIAR PATTERN
$15.00
 
 
 
 
 
 

3/ Gracia Haby & Louise Jennison
in collaboration with Deidre Brollo, Marian Crawford, Elaine Haby, Deborah Klein
Pattern
May, 2017

Digital print zine
Edition of 120

 
 
 

A 15cm X 10.5cm, 45 page colour and B&W zine with a B&W patterned cover and back and a colour spine featuring a drawing of Lottie by Elaine Haby.

Along with several new titles, this zine, featuring five images from each artist, was released into the wild at the 2017 NGV Melbourne Art Book Fair in the Great Hall.

Etched upon the scales of a butterfly’s wing, a series of fine lines. A repeated pattern to scramble light waves and in doing so reflect different colours. Small, intense, and marvellous. Under our very noses. In search of nectar, flitting about in the garden.

Pattern is decorative. Functional. An insects’ eye: an ordered appearance of hexagons. A warning, and a safe haven. It is how a tiger conceals their form at the grass-stalking close of day. It is a chameleon that assumes the markings of a neighbouring form, turning itself into a garden hose, fooling our eyes in the process. A recurring model, many and varied, from migratory patterns in nature to those a tailor follows. A set of instructions. A way of working. Give me dark patterns, blueprints, and Persian rugs, woven. Sleep sequences, fitful. A moon orbiting the earth. A wallpaper of stars and promise.

Patterns to follow. Or rewrite.

Patterns assembled in zine format. One, two, three, four, five.

 
 

Words to accompany our No day without a yesterday collages
Clang (you). Screech (me). Clatter (object). One collision in three onomatopoeic word. The patterned plates you break, they are always the best ones. The favourites, the treasures. The most irreplaceable, never the cheaply made or readily come by. But of course, what does that really mater? You can’t take it with you, they always say. You can’t take it with you. Better get out the ‘good’ crockery. Use it, enjoy it. Chip it, watch the design fade. For ‘Sunday best’ died long ago.

I dot the pieces along the fence line. A garden edging of broken blue and white shards. At least that way I can enjoy them still, those beautiful fragments for slugs and snails to glide over. Ornate walls for geckos to hide behind. A smooth surface, with a jagged tooth, for nature to reclaim. Part buried in the soil, reminiscent of an abandoned archaeological dig in suburbia and a nursery rhyme of cockle shells in want of bells.

The things I let you get away with. Were it not for the spots on your skin, ordered yet random, winsome and you. I look at my own. My own lack of spots, and I think: how much better things would be with a fine cloak of spots. My pelt, poor in comparison. My skin, plucked, bare, and sagging. As you bat another plate with your hind paw, making it clink, ding, jingle to the floor, I collect the remnants and return to the garden. Break and patch: our neatly blueprinted scheme. The price I have paid for inviting a Spotted hyena (Crocuta crocuta) to share my lounge.

(The Spotted hyena (Crocuta crocuta), cheetah (Acinonyx jubatus), giraffe (Giraffa Camelopardalis), Cape genet (Genetta tigrina), and Cape ram (Ovis canadensis) featured within the collages were drawn by Robert Jacob Gordon (1743–1795), from the Gordon African Collection: Quadrupeds, Rijksmuseum.)

 
 
 
 
 
 

4/ Gracia Haby
Round, circle, dot
March, 2017

Digital print zine
Edition of 100

 
 
 

A 10.5cm X 15cm, 31 page B&W zine with front and back colour covers on card, and a bright pink spine.

In the tradition of Misreadings (2014), which borrowed and misread with permission from the photo archives of Perspektivet Museum (PEM), Tromsø, Norway, comes Round, circle, dot, comprised of circular forms found within the digital collection of the Rijksmuseum, Amsterdam, Netherlands.

Round, circle, dot was released into the wild at the 2017 NGV Melbourne Art Book Fair.

 
 

Round like a beetle. Round like a ball. Like a plate, a coin, and a colour wheel. Round like the full moon, hanging high above. Round like a mouse’s ears. Like pie-baker, Herman Henstenburgh’s mouse in Still-life with Flowers, Fruit, a Great Tit and a Mouse, c. 1700 – 1710. Round, like a medal, a dish, and steel buttons polished to a high shine, boxed and tabled. An eclipse of the sun. A wreath on the door. A circle of text. A globe on a desk; in bronze, and anonymous, c. 1629 – 1699. Like a spin of a magic lantern slide. Or a ring of seeds. A softness of pom-poms. A circuit of hot-air balloons, ascending. Fern fronds, uncoiling. Pulley in a spinning wheel. Loop of rope. Coil of shell. Doodle whorls made with a biro on a scrap of paper. Hoop-shaped. Orb-shaped. Ring- and disc-shaped, globose. Round and round. A rotation of circles, from the collection of the Rijksmuseum. Curve your spine, and roll on. Form a ring around me. Turn.

 
 
 
 
ZINE: ROUND, CIRCLE, DOT
ZINE: ROUND, CIRCLE, DOT
$12.00
 
 
 
 
Gracia Louise http://gracialouise.com
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