G.W
Bot : Glyphmaker
On display at the Tweed River Art Gallery , Murwillumbah was G.W Bot's
"Glyphmaker" A specially chosen selection of her works
will be exhibited at Tweed River Art Gallery from Friday 5 October -
Sunday 25 November 2012.
According
to Aboriginal totemic belief, each member of a clan inherits a
totemic relationship with a particular plant or animal of the region.
I like this idea of oneness with the environment. Where I live
wombats are especially prevalent and they have become my totemic
animal. The earliest written reference to a wombat occurs in a French
source where it is called "le grand Wam Bot," and hence my
exhibiting name - G.W. Bot.
Printmaker
G.W. Bot was born in Quetta , Pakistan and currently resides in
Canberra.
GW
Bot studied art in London, Paris and Australia and graduated from the
Australian National University in 1982
She
has taught printmaking in Australia and India and exhibited in
Australia and internationally in London, Paris and Los Angeles. Bot’s
work has been included in group shows at the National Gallery of
Australia, Canberra and the Art Gallery of New South Wales, Sydney
Bot’s
work is held by the National Gallery of Australia, Canberra; the
Queensland Art Gallery, Brisbane; the Art Gallery of New South Wales,
Sydney; the Art Gallery of South Australia, Adelaide; Artbank,
Sydney; Parliament House, Canberra and internationally by
institutions including the Victoria and Albert Museum, London; Museum
of Modern Art, Osaka, Japan and the Central Academy of Fine Arts,
Beijing.
G
W Bot has earned an international reputation, with her extensive list
of exhibitions throughout Australia and overseas. Printmaking is
Bot's primary medium, and her name has become synonymous with
excellence in the linocut technique. Bot's work engages with the
environment in both a topographical and metaphysical sense, featuring
strong lines, complex patterns and a palette influenced by the
colours of nature.
Glyphmaker,
an initiative of Tweed River Art Gallery, combines prints, paintings
and sculpture specially selected for exhibition at the Murwillumbah
gallery. In all variations of her work, GW Bot marries a mastery of
technique with unlimited creativity and intuitive sensitivity.
Printmaking
is Bot’s primary medium, creating works which engage with the
environment in both a topographical and metaphysical sense. They
feature strong lines, complex patterns and a palette influenced by
the colours of nature.
For
some time, GW Bot has been recording the Australian landscape,
developing glyphs as a form of language to portray her responses to
the landscape. These glyphs have been expressed in her work as
drawings, relief prints, paintings and bronze sculptures.
The
glyphs are a direct response to the artist’s sense of place –
whether it is the grasslands of the Lower Molonglo Valley, close to
her residence, or the vastness of Lake George (Weerewa) located
between Canberra and Goulburn.
Bot’s
glyphs strike strong silhouettes and present complex and often
rhythmic patterns.
The
Tweed River Art Gallery had displayed Bot's artwork in a long ,
climate controlled, hallway .Comfortable seating is provided. The
prints themselves have black framing which compliments the imagery
and atmosphere against the stark white walls of the gallery space.
Information regarding the exhibition is readily available , pamphlets
and large plaques about the techniques used in the prints are found
alongside the prints. This space is brightly lit , with subtle lights
shone down apon the prints which are hung at eye level , creating a
bright, inviting atmosphere.
Everyone
was welcome to attend the opening celebrations on Friday 5 October
from 6pm, including an official opening by art consultant, curator
and writer Dr Anne Kirker.
The
successful exhibition of G.W Bot's work shows an extensive range and
depth of the artists mastery of techniques.
“GW
Bot’s work has become synonymous with excellence in the linocut
technique and we are lucky enough to hold four of her linocuts in the
gallery's collection," gallery Director Susi Muddiman said.
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