Arty Act: Subversion collage portrait
Using collage techniques and your family photos, create an artwork that subverts or changes the relationship of the members of your family..
You will need:
- Number 11 cutting blades, (I use Fiskars but there are other brands. They are the sharpest finest blades you can use on paper).
- A cutting Mat (if you don’t have one cut on top of old cardboard).
- A metal rule or sacrifice an old plastic rule but it will chip.
- A Barrel cutter (again Fiskars, but there are other brands and a snap off blade is okay).
- Glue Stick (these are wheat based and will not harm your paper).
- Good sharp tiny scissors for delicate work and big scissors for big areas (you can sharpen scissors by cutting aluminium foil).
Get to know Lee Bethel
Lee Bethel holds a Masters of Fine Art, Honours in Fine Art and a Bachelor in Visual Communications from Sydney University, Sydney College of the Arts. Lee Bethel has shown in many group and solo exhibitions including the Sulman Prize at the Art Gallery of NSW, the Rick Amor Drawing Prize, Ballarat Victoria, the South Australian Museum Natural History Art Prize, the Gallipoli Art Prize, Sydney, the Hazelhurst Works on Paper , Sydney, ‘ Beyond Books – a revolution’ at the East Gippsland Regional Gallery, ’Hidden’ Rookwood Cemetery Sculpture Walk, Sydney, Banyule Art on Paper, Victoria, Burnie Regional Gallery, ‘New Paper Old Land’, Tasmania and the James Kiwi Prize Wollongong Regional Gallery.
Lee was awarded a UNESCO Laureate to work in France, subsequently holding a solo show at Atelier Fourwinds. She has had a residency at Arthur Boyd’s Bundanon and two residencies at Hill End through the Bathurst Regional Gallery.
Bethel’s work draws on a love of paper, cutting and manipulating paper in a manner that utilizes shadow and reflection to create complex patterns and peripheral lightscapes. Her practise of applying watercolour to the back of the paper creates an ever changing intensity of shadow and colour through cast reflection. At times she treats the surface of the paper with encaustic covering and disguising the paper and allowing the gestural mark of the brush on the textured wax facade.
The layered and intricate work of her multi-faceted spaces explores the poetics of the grid while referencing particular objects and places. Bethel’s arts practise takes a critical view of the relationship between object, place and memory. Her subjects are carefully selected and show a precise intersection, where materiality meets imagining.
Image: Courtesy Lee Bethel.