Costume Drama- GAFFA Gallery

I keep drawing clothing as representing people, but universal ” people”. All of us. But the clothes are empty, they move around in the picture or are poised for some action, but it’s a pause that asks what next?
The objects and the environments are based on a real thing or place but then I leave that behind as I draw. A coat manifests into a feeling. A bogeyman. A wise ass on a street corner. An old bag becomes a head. James Deans roadside memorial slips into a site of debris. The moment when things are poignant never lasts. Like glimpses when a torch light shines on the cave roof. I like to jump out into the open space of the drawing.
Sometimes the movement of the pencil echoes the texture of the fabric, a smooth line; a fluid cloth. a tight mark;, a small stitch. The sensations are connected and the visual experience of the drawing mimics the actual object from life. But it’s the action that expresses the connection. Like a weird dance of the hands? The ideas, objects and the dance are reaching out.


Saga Saga The Vision Quest, Install Shot at Interlude Gallery (1)

Heidi Lefebvre’s SAGA SAGA exhibition series was born from a visit to the Caverne du Pont D’Arc in the Rhone-Alps region of France. A guide shepherded small groups through the recreated caves. The Lefebvre family held up the tour with too many questions. Lefebvre wanted to discuss her theory that the animals drawn on the cave walls would have appeared animated when viewed by flickering firelight. The guide recommended buying the book available in the gift shop at the end of the tour.
Confronted by the sensitivity of the artists who created the enigmatic imagery, Lefebvre embarked on a research rollercoaster. Parietal art, archaeology, archaeogenetics, weaponry, The Viking Sagas, The Emerald Tablet, The Egyptian Dream Book, Hammurabi’s Code of Laws, The Takenouchi Manuscripts, Cædmons Ballads, and the physics of time travel.
The Saga Saga exhibition series speaks of the huge history of human experience and our need to record our ideas and theories. Lefebvre is fascinated by the way fact is mixed with fiction and now, more than ever, stories slip through cultures and epochs.
SAGA SAGA The Vision Quest (Interlude Gallery, Sydney,  July 2017) was part one of a two part series. The vision quest deals with the brutal and frightening reality of humans’ destructive power and self obsession. Lefebvre assembles a cast of gods and monsters. But humans are the omnipotent force. Idols hurtle to their violent deaths. James Deans crash site appears in its fragile glory as roadside debris. Cowboys re-enact their death dives on a loop. Mine shafts collapse and entomb their ant workers. Bogeymen, hairy and bloodied are excavated from tombs of primal fear. The Vision Quest is born from darkness.
The second chapter, SAGA SAGA Imagination Time Machine (ANCA Gallery, Canberra, 2-20th  August 2017) is a body of work that explores optimism. It shines a light and the gods and monsters are laid to rest or at least shoved under the bed. What takes their place is a utopian vision where art is valued above all else.
Visiting the Caverne du Pont D’ Arc set a spark to the tinderbox of Lefebvre’s ideas; Imagination Time Machine brings together drawings, objects and writing that conclude that making art is the often overlooked force that unites all people.

The Vision Quest-Australian National Capital Artists( ANCA)

Saga Saga The Vision Quest, Install Shot at Interlude Gallery (2)

A narrative, a saga, a story that started with my first drawings. I am interested in the way drawing expresses the ancient and modern, side by side. It is a rebellious act to draw. To wage war on information. To slow it all down. But I am not old fashioned. I know that the tools in our lives are just that, tools. And we must  manipulate them in order to express our crafts. But I make these Saga Saga drawings to concentrate ideas and remind myself that I am modern but drawing is ancient. It’s a warm vision. Like starring into flames. A quest where I tighten my belt, grit my teeth as I sheath my dagger. Drawing, the action is violent but sensual. Sharpening a stake and the pride in the potential for harm. Joy in the tender give of the skin. The steam from the insides.
I remember watching a boy in a movie having blood from the fox smeared on his face. I felt it hot and exciting. I feel a version of this when draw. Imagine the blood dries on your cheeks. Cracks and flakes away. Fire. Blood. Body. Ancient. Hot. Exciting. To quietly and slowly look.

Looking at me, looking at you- National Self Portrait Prize

University of Queensland ( UQ Art Museum) The Curators Department

Past Projects

Dead Pan, Drawing = Happiness- ANU SCHOOL of Art Gallery
ventolin- Cementa installation 2015.png
Shirt Off my Back- CEMENTA15


PAPIER MACHE- Canberra Contemporary Art Space( CCAS)