Elizabeth Poole
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The first groups of works have been mainly based on sticks found in the bush as a support to other ephemeral materials. Most of this collection has decomposed back into the earth.

A fascination with innovation and experimentation has inevitably led to using anything at hand. Metals, wire, recycled plastics, papers, feathers, paint, string - all have been used separately and in combination.

In most of the works I am trying to say something that I deem to be worthwhile.

These words [which help to keep me on track] were written by a young friend after he viewed my recent solo at the University of the Sunshine Coast: 

Elizabeth  Poole you are in my view, an elder of the Australian arts. An artist and sculptor of immense spirit, history and integrity, you bring your considerable intellect and extraordinary intuition to explore and depict the wonder and beauty of the natural world. We are reminded of so much we take for granted.  And…  contemplation brings further reward. You utilise this deep appreciation and reverence for life in order to highlight the exploitation of land, animals and the environment. For this reason your works hold a great, simple, inherent beauty and a gentle, clarion call, ‘Be more aware…’.

 

 

 

 

      ESSENTIALLY EPHEMERAL [1.]     Experimentation with an array of basically ephemeral materials - many of them "found" and recycled 


wire
 

   ESSENTIALLY EPHEMERAL [2]    The fascination with transient materials is ongoing....                   

Installation

FLOATING LAND 2013 - "BIRDiView"  

From the Floating Land Program:

" Elizabeth finds inspiration from the fragile and visually fragmented Australian bush.    This project is created around spiderwebs, which are constructed in such a way that they are visible to birds, preventing them from flying into the webs. Her project was inspired by a German glass company which has imitated the spider’s natural intelligence by superimposing a special UV reflective, linear pattern coated into the glass. This is only visible to birds, potentially saving millions of bird deaths from collision. Her work represents the visible and invisible aspect of our landscape. BIRD iView explores how humans continue to utilise nature’s intelligence and use sustainable technology based on this information."

FL

           STICKS WITH METAL     In this group of works I am starting to experiment with metals, while still employing a framework of the beloved and unpredictable stick shapes.
 

   METALS and WIRE  These pieces probably evolved out of working with architects and steel fabricators at Studio Steel, coupled with earlier years of old sheds and paddocks where interesting shapes in metal and wire are everyday experiences. In the University exhibition pictured below I enjoyed combining ephemeral materials with industrial and bush detritus.     

ex 

 

  METALS with PAINT.   Drawing and Painting and Collage with 3 Dimensional coloured metal shapes present all sorts of possibilities -                     

yellow 

 WIRE COMMENTARIES - (speaking up for 'food' animals) 

animals are our fellow creatures – inferior to us in several important ways – but also superior to us in others – for instance their sensitivity to their environment.  this recognition implicitly refutes the arrogance of speciesism, and the view that we have an absolute right to dispose of other species as we see fit, because our own is the most intellectually developed

I suggest we all ask ourselves :
– not ‘can they reason?’ 
- Nor, ‘can they talk?’ but
– ‘can they suffer?’
…….and then “is it really necessary?”

 

t.a. 

     RECYCLED PLASTICS.      

Clear heavy vinyl is a very beautiful material.  Reflections on its constantly moving surface mean that it lends itself to ostensibly ephemeral installations.  Creative Canvas from Coolum supplies me with their discards, therefore assuaging my environmental conscience.


museum 

SMALL WORKS ON CANVAS     

The works on canvas are my response to living in the midst of cattle country for the past ten years, as well as the many & varied characters of the region. I am fascinated by my own immediate environment and the surrounding bony landscape.                                                                 

canvas                                                        


   

 Drawings on Paper.    

My best and favourite method of drawing is a Zen method, i.e. to become so engrossed in the subject that what is happening on the page is not observed until after the event. It is a process of un-learning.

In Frederick Franck's words:- from "The Zen of Seeing - seeing/drawing as meditation."  

"Seeing/Drawing is not a self-indulgence, a 'pleasant hobby', but a discipline of awareness" 

drawings 

11. ART + ARCHITECTURE - for some years I have been involved in my partner Gabriel's architectural practice through colour schemes, interiors, even landscaping and furniture design.  I enjoy the process of working together and seeing ideas manifest, often in ways that are light years ahead of my imagining. In some of the houses my art works have become a part of the whole.

Yee Hse 

"Souls At Play" [Funny Families series]

 

This was a joint exhibition with Gabriel Poole at Marks & Gardner Gallery.   While he explored briefing and manifestation of living spaces specifically encompassing three generations in a linked complex, I referenced  family groups and structures in sculptural forms, while celebrating "Souls At Play."

wire 

Exhibition: 2D & 3D Works - Tim Bennetton Architects present Elizabeth Poole

In October 2014 Tim Bennetton and his staff enabled me to take over their office space in West End - the theme for the exhibition was basically the study of fellow humans in various environments, and urban and rural studies in both 2D and 3D forms.  We had a wonderful opening night and great response generally.

  

Crows Nest Regional Gallery - "More Than Leaves" - April 2015

This solo exhibition was about communities and the environment of which these communities are an implicit part. In my mind, "the environment" consists of far more than the natural.  It evolves from everything and all of us who contribute to its make up. gallery entrance

Strand Ephemera Townsville 2015  

With this work the intention was to reflect the inherent ephemeral aspects, as well as the mystery and fragility of the natural environment - materials used were white cotton string [ spiderwebs - all made on site to fit the existing trees]  DVA mesh was used for the 100 handcut & molded silver birds strung onto wires.

sunset moonrise

Sculpture On The Edge - Spicers Tamarind Sculpture Award Finalists 2015 

".....and They Sailed Away For A Year and A Day" - powdercoated sheet metal & grid mesh with 180 small wire faces attached to the sails. Highly Commended by the judges.

close-up

Floating Land 2015 -

"Weyba Revisited" - my commissioned entry in Floating Land 2015 consisted of an installed grouping of eleven barely formed figures on the water's edge of Lake Cootharaba.   The smoothed and sanded sticks and branches were painted stark white to simulate memories of past inhabitants.    It was also my intention to lineally connect the figures to each other and subtly relate back to the landscape from whence they came.

deep purple

 

 TOOWOOMBA ART SOCIETY 2016:

"BEINGS & BIOSPHERES"  [A solo exhibition by invitation]

Usually we tend to think of ‘the environment’ as the natural environment only.  Considering that we humans are inextricably here, with the domestic and ‘food’ animals, structures, and infrastructures that we deem necessary to function, we are  essentially part of the holistic nature of the environment, where each component has unavoidable repercussions on all the other elements. 

This is the reasoning behind my choice of title for this exhibition  - “Beings and Biospheres,” - hopefully portraying multiplicity and interdependence

 

SIGNIFICANT COMMISSIONS 2016