A Cold Breeze On Your Hot Eggs Breadboard
$15.00
Contact: joel@joelgailer.com.au
Help Me Sustain You
$15.00
Contact: joel@joelgailer.com.au
The Truth Is A Copy
$15.00
Contact: joel@joelgailer.com.au
Triangle and Circles black
$15.00
Contact: joel@joelgailer.com.au
IHTAT
$15.00
Contact: joel@joelgailer.com.au
Christmas Tree
$15.00
Contact: Joel@joelgailer.com.au
Triangle and Circles white
$15.00
Contact: joel@joelgailer.com.au
This is the exhibition outcome for my Doctorate of Philosophy, titled; The copy as a paradox of change, copying and mimicry in social interaction.
My research explored the role of copying as an agent for change. I studied creative and social examples in which the act of copying was a revolutionary act that created change. I found this to be a paradox that undermined concepts of singular originality.
And here is my thesis - The copy as a paradox of change: copying and mimicry in social interaction.
Photography by Keelan O'Hehir
Installation view
The truth is a copy, 2012
stamp on gold leaf
20x20cm
The first reference... , 2013-2016
acrylic, oil and digital print
110x180xm
Performprint
Printing apparatus, 2014
car tyre, wood, print roller and ink
dimensions variable (detail)
Performprint
Printing apparatus, 2014
car tyre, wood, print roller and ink
dimensions variable (detail)
Performprint
Printing apparatus, 2014
car tyre, wood, print roller and ink
dimensions variable (detail)
Pacific mindedness, 2013-2016
acrylic and oil on canvas and prefabricated room
dimensions variable (detail)
Pacific mindedness, 2013-2016
acrylic and oil on canvas and prefabricated room
dimensions variable (detail)
Pacific mindedness, 2013-2016
acrylic and oil on canvas and prefabricated room
dimensions variable (detail)
Pacific mindedness, 2013-2016
acrylic and oil on canvas and prefabricated room
dimensions variable (detail)
Pacific mindedness, 2013-2016
acrylic and oil on canvas and prefabricated room
dimensions variable (detail)
Pacific mindedness, 2013-2016
acrylic and oil on canvas and prefabricated room
dimensions variable (detail)
installation view - Mirror state and The truth is a copy
Installation view
I began this performance in 2011 on a single soap box - a counterfeit of Andy Warhol's iconic Brillo Boxes. During this performance I rant about the importance of copying in art and social interaction, at the same time I hand out stamped copies of the text - The Truth Is A Copy.
Photograph: Gwen Gilchrist
Soap box oration De`Graves St Melbourne 2011
In 2012 I expanded on this work with Michael Meneghetti as part of our Performprint performance at the Fremantle Art Center.
Michael and I kept expanding Performprint and in 2014 we had a major exhibition at The Meat Market venue of Arts House in North Melbourne. The space is cavernous and we were thrilled to develop Performprint in this location. Among many other aspects of Performprint we exhibited a large scale Soap box performance. In which I stood on a small zigurat of Andy Warhol's Brillo Boxes and preached about the importance of the copy.
Vailla madness
acrylic on Magnani paper
110 x 76 cm
Prologo
acrylic and oil on Magnani paper
115 x 76 cm
Two of you
oil and acrylic on linen
90 x 90 cm
I will not cook
acrylic and oil on Magnani paper
76 x 110 cm
Grants
acrylic and oil on Magnani paper
76 x 110
Hairline
oil and acrylic on linen
35 x 45 cm
CCD
acrylic and oil on Magnani paper
76 x 110 cm
Bad father
acrylic and oil on Magnani paper
76 x 110 cm
The copy
acrylic and oil on Magnani paper
67 x 110 cm
Water overboard
acrylic and oil on Magnani paper
76 x 110 cm
In 2014 I held a studio in the Solomon Islands as part of an Art Haus Residency at the National Gallery of the Solomon Islands. This country (which is made up of hundreds of islands) is a truly remarkable and mysterious place. Despite my westernised view of the exotic, the experiences I had there have only re-inforced my view of the magic and astounding beauty of these Melanesian Islands.
Rock n' roll walking stick
carved iron wood and shell inlay
110 x 19 x 9 cm
This is a collaborative work with Solomon Island artist John Seda. John is an important figure in the Solomon Island art scene, he has work held in major museums and is often exported for the international market. He works primarily in wood carving.
detail
detail
John Seda and Joel Gailer
lino-cut on paper
35 x 35 cm
As well as collaborations I also produced some solo studio work.
Attainment #6 (Paradise bird), 2014
acrylic on canvas
200x100cm
Attainment #7 (Ed's Island) unfinished
acrylic on canvas
90 x 200 cm
This is one of the lovely ladies who showed me how they use printing processes in the Solomon Islands to make the Lava Lava
A typical banana leaf hut
A roadside market in SI with my host family
This is my son, December Jack in the tube and my nephew Zac testing the durability of the sculpture!
H.W.Y dreams is an on going line of enquiry. In which I carve text and images into the rubber of a car tyre. The tyre is then inked like a traditional lino-cut print and printed directly onto the gallery floor. The text often links ideas about the repeat with popular slang related to driving and travel. Sentences such as You'll Go Far Baby are carved into the rubber of the tyre.
Installation view
H.W.Y (She's copying me)
car tyre relief print
dimensions variable
H.W.Y dreams (Give me some relief)
car tyre relief print
dimensions variable
Installation view
H.W.Y dreams (you'll go far baby)
car tyre relief print
dimensions variable
H.W.Y dreams 3
four car tyre relief prints
dimensions variable
Detail
I utilise various studio locations in Melbourne and abroad depending on the type of work I make. I have a Research Studio, a Painting Studio, and when making prints I utilise community print studios. I have had studios in different locations throughout the world during residencies and projects as well, my permanent studio in Brunswick is finally complete - Cozens Street - check it out!
Research studio
I am currently completing a PhD at RMIT University. This is my studio on the corner of Franklin St and Swanston St right in the heart of Melbourne. This studio offers me the contemplative time to experiment and write.
Research studio
Cozens Street. In 2015 I leased a place in Brunswick, Victoria that was basically an empty shell. I then, with the help of friends, began to build Cozens Street. We wanted to create a space where artists and creatives could work in a community of makers, sharing ideas and skills.
Building
SOLOMON ISLANDS
In 2014 I embarked on a residency in the Solomon Islands. This is my studio at the National Gallery in Honiara. I worked on a series of collaborations with artists I met there. This is Jimmy Sinumoana and Fred Oge, both well respected young artists in SI.
This is one of the lovely women who showed me how they use printing processes to make their famous Lava Lava
In the studio with a young student
Modes of copying in the collaborative work with Fred Oge and Jimmy Sinumoana.
All the artists outside the National Gallery
Painting Studio
painting and experimenting in the studio
Printmaking is largely miss-understood in a contemporary art context and generally confined to historical processes.
This is the departure point for these works. I see printmaking as potentially the most relevant form of contemporary art, it straddles both traditional and contemporary visual culture. Using a historical knowledge of print and visual production, I acknowledge that printmaking is the origin of our current visual world. All visual technologies derive from the historical processes of printmaking.
Looking towards mass production as a form of printmaking. I produce prints as published pages in popular visual art magazines.
The process of mass produced offset lithography is an updated version of the traditional stone lithograph with this insight I produce my own version of printmaking as mass produced unlimited print editions available at the cost of a magazine.
The aesthetic is text and basic forms, commenting on print and popular culture simultaneously.
I work outside the traditional concepts of unique object exclusivity limited edition and gallery.
My work is an attempt to democratise/inform/play/quote/humour and revitalise printmaking.
offset print on five separate pages of Art Almanac
22 x 150cm
Finalist in the East Gippsland Artist Book Awards
Hors de commerce
offset print on two pages of Art Collector
150 x 150cm
Finalist in the Hazelhurst Works on Paper Award
Unique state
offset print on two pages of Art Monthly
dimensions variable
Finalist in the Ex Libris Artist Book Awards
H.C
offset print in Art Collector
30 x 40cm
Finalist in the Archangel Art Award 2010
Hotmetal
offset print in Island literary magazine
22 x 12 cm
Finalist in the Burnie Print Prize 2009
Four panel form
offset print on two pages in Art Almanac
42 x 60cm
Finalist in the Geelong Print Award 2009
Hot process
offset print in Art Almanac
22 x 15cm
Winner of the Fremantle Print Award 2008
This is an ongoing series of works using gouache on paper. Attainment is the reach, the striving for something and the ladder is my symbol for this. I have painted and repainted Attainment in many different places from the Solomon Islands to Canberra and back to Melbourne. It is a motif I return to again and again. It encompasses all my ideas about print, repetition and the copy as well as having the psychological element of the ladder, striving and climbing.
Attainment #
gouache on paper
180 x 100 cm
Attainment # 5
acrylic and gouache on paper
180 x 120 cm
Attainment #6 (paradise bird)
acrylic on canvas
200 x 90 cm
Attainment #3
gouache on paper
220 x 110 cm
Attainment #5 (ladder to the islands)
acrylic on magnani paper
220 x 110 cm
Attainment #2
gouache on paper
220 x 110 cm
Over the years, as I experimented with new methods, my prints began to take on a more sculptural 3 dimensional quality. The lines between methods blurred as I realised print could extend into many other disciplines. Sculpture was an accidental outcome which came about when I looked closely at other forms of print, such as the car tyre print on the ground.
Go-round
stencil on haybales
3 x 5 x 3m
Photo: Michael Meneghetti
Susannah's table (on view in the Fremantle Print Award)
Table top relief print
90 x 180 x 90cm
Photo: Fremantle Arts Centre
Gov't bend
screenprint on aluminium
180 x 250 cm
Untitled
wood and paper
2 x 3 x 1.5cm
H.W.Y dreams and between You and Me
Installation view
Photo: RMIT University
Hors de Commerce
Prima facie
hot iron brand on pig skin
12 x 12 50cm
H.W.Y dreams 2(Give me some relief)
HOTMETAL, 2016
Screenprint on reflective mylar
200x120cm
Don't stop - Pop!
colour etching and screen-print on paper
30 x 18cm
Artclub commission
R.S.I (the illustrated history of the lino cut)
linoleum and ink
detail
Unique state
wood block print on paper
120 x 90cm
Regional printmaking
digital print on paper
120 90cm
Collection of the National Gallery of Victoria
commercial poster
dimensions variable
Male ego
dry point and monoprint
dimensions variable
Between me and you
digital print and wood block print
180 x 120cm
Painting has always interested me, I studied painting before printmaking, it is a responsive medium that can yield surprising results. I often incorporate painting with print.
Morte (X)
oil, charcoal, rust, and ochre on canvas and three care tyre relief prints.
240 x 180 cm
Detail
America in Art
commercial sign writing
10 x 2m
(Untitled)
oil, charcoal rust and ochre on canvas
180 x 180cm
Fremantle Print Award 2012
RMIT University Project Space, 2011
Heterodoxia, Kyabram Rodeo and Next Wave Festival Melbourne
New Print, Michael Koro Gallery, Melbourne, 2010
New Print, Michael Koro Gallery, Melbourne, 2010
Solomon Islands National Gallery, 2014
Solomon Islands National Gallery, 2014
Stockroom Gallery, Kyneton, Victoria, 2012
This work explores the paradox of the edition of one. Titled Unique state, which is a print definition used to describe a 'one-off print', I was commissioned by Art Monthly to produce a print for their 250th edition of the magazine. I chose 1/1 as the image to explore the mass produced medium of commercial print production. This 'unique edition' was printed in the tens of thousands, I then placed 300 of the magazines with the pages open on the gallery floor.
Unique state was a finalist in the Mackay Art Space Libris Art Awards.
Read about it here:
http://blogs.slq.qld.gov.au/ala/2013/05/15/artspace-mackay-libris-awards/
For Christmas 2012 I decided to hitchhike up the east coast, I wanted the experience to be an extension of my art practice. I created a sign that could hang off my back-pack that would make motorists consider their role as emitters and offered an idea that exposed the irony of carbon trading.
The sign read: Let me reduce your carbon footprint. It is, at once, an irreverent humour pleading with motorists to pick me up – offering them a type of salvation for their guilt ridden east coast petrol guzzling journey- and on the other hand it discusses the irony that baffles popular interpretations of the carbon trading schemes. That is, that there is no real displacement, it is just a carbon neutral person allowing a carbon heavy person to use their neutrality to continue to exist in the same manner as before…
This work is an installation of the remnants of this journey. The sign itself, the photos I took and a cue card detailing some of the places I passed through.
You think yr green?
Performance vestige - tarpaulin, digital print on petrol station receipts and pen on card.
Dimensions variable
Bearings, beauty and irrelevance talks about the inconsequential nature of art, text, and performance. In this work we are trying to highlight the aesthetic and ephemeral qualities of such activities through the combination of printmaking and skateboarding. The performance of skateboarding and the art of text are two activities whose agencies are inherently purposeless though this is also their strength, their beauty. Bearings, beauty and irrelevance is an attempt to articulate this duality – the meaningful and the meaningless.
The work is performed within the gallery directly on the floor. A circular ink (thick ink) bed should be prepared in the centre of the 3mx3m performance area. The ink should be applied directly onto the floor with a spatula and rolled out using a print roller. We have supplied a circular stencil and ink for the ink bed, four carved skateboard wheels (which the skateboarder will have to mount onto his board in any formation) and an indemnity contract (in the form of a wearable T-shirt) which the skateboarder will have to sign with white ink and wear during each performance to clear Performprint and FAC of an liability. The T-shirt becomes the property of the skateboarder.
A skateboarder will ride through the circular bed of ink repeatedly for 10-20 minutes generally keeping within the square area creating the work. When the ink has sufficiently spread across the square the performance is finished and the print vestige is left.
