Australian National Capital Artists - ANCA
Slideshow Curated by Patsy Payne 28th FEB - 19th MAR Ali Jane Smith, Karen Golland, Elly Kent, Rose Montebello, Hannah Bath,Heidi Lefebvre
Airspace Sydney A line around that which we cannot see Yvette Hamilton, Karen Golland, Heidi Lefebvre Kudos Gallery Sydney Les Miserable Katy B Plummer & Heidi Lefebvre Red Gallery Melbourne TBA Megalo Print Studio Residency Studio Drum Roll- Collaborative Project Patrick Larmour, Merryn Lloyd, Cathy Petocz, Heidi Lefebvre
Online Catalogue- https://www.artmuseum.uq.edu.au/current-exhibitions
Catalogue available – https://issuu.com/uqartmuseum/docs/nspp_2017
Catalogue Available including links to my complete artist statement; https://www.artmuseum.uq.edu.au/filething/get/16976/Lefebvre-Artist-Statement.pdf
Public Program( was streamed live on Facebook) 11.00 am Saturday 11 November
An introduction to the exhibition by co-curator Glenn Barkley, followed by talks by selected NSPP 2017 artists; discussion between artists and co-curator, Glenn Barkley. The other artists speaking were award winner Jenny Orchard, Vicky Browne, Karla Dickens, Ramesh Mario Nithiyendran, Kenji Uranishi and Robert Brain.
Sport’s legend Steve Haddan and comedian Matt Ford have just recorded Hangs Ep 4 in the National Self-Portrait Prize. ( TBA) https://soundcloud.com/hangs_uqart
Curatorial statement, participating artists and exhibition catalogue link – http://www.thecuratorsdepartment.com/national-self-portrait-prize/
Image of my work appeared on Artist profile website-
Photo courtesy of UQ – http://www.artmuseum.uq.edu.au
The National Self-Portrait Prize (NSPP) in a biennial invitation-only, $50,000 acquisitive prize guest curated by Glenn Barkley and Holly Williams this year. Erica Green, Director of the Anne & Gordon Samstag Museum of Art at the University of South Australia is the 2017 judge.
ABOUT THE 2017 PRIZE:
Look at me looking at you posits the roles that the spectator plays in the construction of an image, the exchange between the viewer and maker that drives an image or object. With the self as subject, this can be reduced to an intimate conversation that might take place in the gallery space itself or at some future time, as if someone has passed on a message to be later revealed and savoured.
The title is from the song (I’m) Stranded by The Saints. Recorded in suburban Brisbane in 1976, (I’m) Stranded quickly became an instant Australian cult and is now a classic. The Saints orbited around punk rock rather than being fully fledged members. Their intelligent, bombastic and pioneering attitude suits a more singular outlier vision rather than being part of any hip gang or fashionable style.
Most of the artists in Look at me looking at you are also in this spirit, revelling in aspects of the hand-made, the hand-me-down, the urgent and the everyday. They come from a diverse range of backgrounds and ages, are at different points in their careers, and create a variety of touchpoints, from celebrating the banality of the everyday through to pop music, family relationships and the nature of identity.
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.
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 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)
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.
Dead Pan, Drawing = Happiness- ANU SCHOOL of Art Gallery
Shirt Off my Back- CEMENTA15
PAPIER MACHE- Canberra Contemporary Art Space( CCAS)