Bonescape 63 - 2012, silkscreen & mixed media, 80 x 120cm
One of the many Bonescapes adorning the walls at home. A trick to store when you work large. I have spent the day making small works…
One of my favourite works from this series. Thank you for the support from Tumblr world…
Steph Houstein: Bonescape 72, 2013, silk screen & mixed media, 38 x 56cm
This print is currently available at PG Printmaker Gallery, Melbourne.
Representations of female figures with highly abstracted forms occur throughout most of the Predynastic Period. On statuettes of this period, the legs are usually not articulated and the faces are beaklike. This rare undamaged example, one of the oldest works in the Brooklyn Museum, was found in a burial excavated by the Museum’s first archaeological expedition in Egypt. The symbolism, function, and identity of the figure are not certain. However, similar female figures painted on Predynastic vessels appear to be goddesses, because they are always larger than the male “priests” shown with them.
- Medium: Terracotta, painted
- Reportedly From: Ma’mariya, Egypt
- Dates: ca. 3500-3400 B.C.E.
- Period: Predynastic Period, Naqada IIa Period
- Dimensions: 11 1/2 x 5 1/2 x 2 1/4 in. (29.2 x 14 x 5.7 cm)
via > brooklynmuseum.org
Had to reblog…just too fabulous
Back in January I posted images of boxes I was covering with proofing paper from my screen prints. This particular box I’ve had for years and I covered it for my friend Gaby. Back in the 80’s (?…the memory is such a haze) in my past life as an advertising art director, we had used Havana cigar boxes for a direct mail pack going out to a financial services list. One cigar was included along with a product brochure (yes, that would be bribery but isn’t all advertising?) in the pack but unfortunately it was the year that Australia introduced anti smoking stickers to cover tobacco product packaging.
All the same, I kept a couple of the boxes and they now have a new life covered with my prints. Unfortunately I had to use gaffa tape for the lid hinge.
The finished print ‘She found the cool kids far more interesting’ can be found on The Henry Jones Art Hotel website:
Steph Houstein: New life for old bones 5: detail2, 2 plate aluminium etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 4: detail 4, etching, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 5: detail 3, 2 plate aluminium etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 5: detail 2, 2 plate aluminium etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 8: detail 2, aluminium plate etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 8: detail 1, aluminium plate etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 8: aluminium etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 9: detail 2, 2 plate aluminium etch, mixed media, 43.5 x 57cm, 2009/14
Steph Houstein: New life for old bones 9: detail 1, 2 plate aluminium etch, mixed media, 43.5 x 57cm, 2009/14
Last night I went and photographed new framed work in-situ at The Henry Jones Art Hotel.
I completed Bonescape 81 earlier this year so it was interesting to see how it sat alongside works from 2011. The weekly tour the hotel’s art curator was giving appeared as I was shooting so I was able to talk about the progression of these works. Always interesting to articulate for the first time what I have been internalising to an audience who has never seen the work.
Hobart is currently in the middle of the winter arts and food festival ‘DARK MOFO’. On an average winter Thursday night only two years ago, Hobartians would be rugged up in front of the fire by 6pm and the city would be empty. Thanks to the vision of MONA the city is alive and bustling. Last night I ventured out into the cold for the second night of the Winter Feast… much fun but somewhat of a trick for a person with a disability. I would have loved to sample more of the fabulous foods and wines on offer but the crowds made this pretty much impossible for someone with mobility issues. All the same, a magical night to be out and about. I’m sure this festival will go from strength to strength. And with more disability parking.
Left to right: Bonescape 48, 2011, u/s, silkscreen & mixed media, 80x120cm Bonescape 81, 2014, 80x120cm Bonescape 35, 2011