MARTINA COPLEY | CURATED PROJECTS | WRITING | CV | LIST | CONTACT

 

SELECTED WORK


unworded sound poem
2018
sound, graph paper, graphite, ink.
29.7 x 42cm, 1:00min.
Sound assistance Mara Schwerdtfegher.

[Body of Sound, Cordite Online Poetry Review, 89: Domestic 2019. Curator Yasmin Heisler. Editor Kent MacCarter]


The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018

 


Enlightenment (drop curtain)
2018
hand sewn from remnant kimono silk, cotton
365 x 448cm

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018
Sound and moving image documentation of exhibition work by Martina Copley.
Photography by Martina Copley and Christian Capurro.
3:11min

 

 


I was reader now (E.D)
2015-2017
graphite on trace paper, paper, ink, 11 pages
27.9 x 21cm each

A nnotations by readers of publications of poems by Emily Dickinson sourced from Australian public libraries 

[Unhidden, 2017, Counihan Gallery Brunswick. VCA Art Space, 2018, Melbourne;
The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]
Photographs Christian Capurro

 


Final Harvest, Emily Dickinson’s Poems, Thomas H. Johnson (ed.), Little, Brown and Company, Boston, Toronto, 1961.


14 by Emily Dickinson (with selected articles), Thomas M Davis, Scott, Foresman Company, University of Missouri, 1964.


Selected Poems of Emily Dickinson, A.K.Conrad (Intro.) The Modern Library, New York, Random House, 1924. All poems reproduced with permission of Little, Brown and Company copyright 180, 1891, 1896)


The Poems of Emily Dickinson, Vol. 2, Thomas H. Johnson (ed.), The Belknap Press of Harvard University Press, Cambridge, Massachusetts, 1955. [Poems 495-1176, 1861-1870.]


Final Harvest, Emily Dickinson’s Poems, Thomas H. Johnson (ed.), Little, Brown and Company, Boston, Toronto, 1961.


Final Harvest, Emily Dickinson’s Poems, Thomas H. Johnson (ed.), Little, Brown and Company (Canada) 1961. Second print.


The Complete Poems of Emily Dickinson, Edited by Thomas H. Johnson, Little, Brown and Company, Boston, Toronto, 1960?1, (all copyright 1890, 1891, 1896) sixth printing.


Final Harvest, Emily Dickinson’s Poems, Thomas H. Johnson (ed.), Little, Brown and Company (Canada) 1961.


The Poems of Emily Dickinson, Volume II, ed. Thomas H. Johnson, Belknap University Press of Harvard University Press, Cambridge, Massachusetts, 1955. Poems 1177 – 1775 (1870-1886 and undated poems)


Unknown ref. I


Unknown ref. II


Unknown ref. III

 


Yellow painting
2018
remnant silk, cotton, thread
130 x 72cm, folded 26 x 14 x 5cm

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


Wallace Stevens' ‘Description Without Place’
2018
Perspex vitrine, paper, graphite, colour pencil, ink, tape, post it note, correction fluid, paint
10 pages, 84 x 65 x 8cm vitrine

A task of nothingness presents as the realization of something. Various impromptu drawings and rubbings on pages marked with the printed header, Wallace Stevens’,
Description without Place suggest themselves as part of an extended project of reconceptualization.

Wallace Stevens points to the unseen condition for seeing. The poem shows itself by creating, as the background of the phenomenon that it describes, a space of its own in a world in which seeming and being coincide.

It is possible that to seem — it is to be, / As the sun is something seeming and it is.
// The sun is an example. What it seems / It is and in such seeming all things are.

Wallace Stevens, “Description Without Place,” in The Collected Poems of Wallace Stevens (New York: Alfred A. Knopf, 1955) 339.

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]
Photograph Christian Capurro

 


Wallace Stevens' ‘Description Without Place’
2018
Perspex vitrine, paper, graphite, colour pencil, ink, tape, post it note, correction fluid, paint
10 pages, 84 x 65 x 8cm vitrine

 


[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]
Photograph Christian Capurro




An inkling of method
2018
Selected translator’s notes from Wittgenstein’s unpublished manuscript
Digital prints, 10 pages
29 x 21.7cm each

Wittgenstein, Ludwig. 1889-1951. Culture and Value: A Selection From The Posthumous Remains. (Vermischte Bemerkungen) Edited by Alois Pichler with Georg Henrik von Wright.  Translated by Peter Winch. Oxford, England and Cambridge, Massachusetts: Blackwell, 1998. First published in 1977.

Foreword to the Edition of 1977
“In the manuscript material left by Wittgenstein there are numerous notes which do not belong with his philosophical works though they are scattered among the philosophical texts… Some are autobiographical, some about the nature of philosophical activity, some concern subjects such as questions about art or religion. It is not always possible to separate them sharply for the philosophical text; in many cases, however, Wittgenstein himself hinted at such a separation – by the use of brackets or in other ways… Remarks are published in chronological order…
In absence of explanation some to the remarks will be obscure or enigmatic to a reader who is not familiar with the circumstances of Wittgenstein’s life or with what he was reading…
I ought to add that all the footnotes are the editor’s.
But see Note by Translator.”

Foreword to New Edition 1994
“Wittgenstein usually wrote his remarks in short sections, separated from each other by one or more blank lines… Variants are retained in footnotes (formerly the editor had made a choice)… In the originals many of the remarks are marked with working signs and lines in the margin, these marks were not included as their significance belongs to the context of a work process that is not present here. The same holds for brackets… (that) have a function of delimiting the context and so are meaningful only when the context is included.. Also omitted are deleted text and punctuation marks.”  xe.

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


Asylum bound 1, 2, 3, 4
2013, 2018
found pages from books/catalogues/guides, cotton thread,
dimensions various

 

 


Selected pages, and photocopies of pages from the artists working notebooks.
2014-2018
25 x 19cm each

 


Die lebensfreude (sic)
2014
transfer on wood veneer
17.5 x 10cm

 


ohh! woah! Uhh huh
2005 – ongoing
collated lightning script (booklet)
digital print, 5 leaves folded
25.7 x 16.5cm

Collated text excerpts that mention lightning noted by the artist reading.
The gathered material is sporadically reconfigured and presented to be read as a new form; booklet, poster, typescript.

 


Lunulae (Fire Sermon)
2015
digital print, 4 page transposition of punctuation from The Fire Sermon by T.S Eliot
34 x 20.5cm

 


Untitled (punctuation and sound from The Fire Sermon by T.S Eliot)
2015
digital prints, 7 pages
29.7 x 42cm each

 


Reader’s Marks
2018
paper, trace, graphite, 7 pieces of 2 pages each
tracings of hand written annotations by readers of  T.S Eliot The Complete Poems and Plays,
various publications including the long poem The Wasteland.
29.7 x 21cm each

 


Aside (diagram)
2014
digital prints from graphite on paper, 9 pages
29.7 x 21cm each

 


Aside (photocopy)

2014
digital print from graphite on paper, 7 pages
29.7 x 21cm each

 


Bewilder and Apprehense
2018
Choral recitation for unspecified number of female voices + worded score with annotations from Euripides’ choral odes for women in Ancient Greek tragedy in order of the poet’s thought.
Cassette player, C90 tape, stereo sound
5:35min

Voiced by Elba Balding, Bronwyn Calcutt, Jane Cocks, Anna Finlayson, Camilla Gough, Melanie Irwin, Robin Kingston, Gabrielle Leah New, Lynnette Smith, Deborah Stahle, Eliza Tiernan, Carmel Wallace, Elke Varga.

Euripides, Medea and Other Plays. London; Penguin. Translated by Phillip Vellacott. (MEDEA CHORUS of Corinthian women; HECABE CHORUS of Trojan Women held prisoners by Agamemnon; ELECTRA CHORUS of country women of Mycenae) Euripides, The Bacchae and Other Plays; Ion, The Women of Troy, Helen, The Bacchae. London; Penguin, 1954. Translated by Phillip Vellacott. (ION CHORUS of women slaves of Cruesa; THE WOMEN OF TROY CHORUS of captive Trojan Women; HELEN CHORUS of captive Spartan women; THE BACCHAE CHORUS of Oriental women, devotes of Dionysus).

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]



ELECTRA CHORUS of country women of Mycenae.
In Euripides, The Bacchae and Other Plays; Ion, The Women of Troy, Helen, The Bacchae. London; Penguin, 1954. Translated by Phillip Vellacott.


MEDEA CHORUS of Corinthian women. In Euripides, Medea and Other Plays. London; Penguin. Translated by Phillip Vellacott.


THE BACCHAE CHORUS of Oriental women, devotes of Dionysus.
In Euripides, The Bacchae and Other Plays; Ion, The Women of Troy, Helen, The Bacchae. London; Penguin, 1954. Translated by Phillip Vellacott.


THE WOMEN OF TROY CHORUS of captive Trojan Women.
In Euripides, The Bacchae and Other Plays; Ion, The Women of Troy, Helen, The Bacchae. London; Penguin, 1954.

 

 


eHya2222
2018
digital scan from 2-sided photocopy and drawing
29.7 x 42cm

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


Antiphonal
2018
notational drawings from sound of weaver’s movements as open score for voice, 46 pages
paper, ink, dressmaker chalk, graphite, carbon, tape, photocopy.
Drawings: 28.3 x 21cm each. Sound: 11:30min.

An open score – a weave to be sung, in which the erroneous, misheard and unshaped give form to speculative architectures that propose varying levels or intensities of accessibility.

[Artist residency, Australian Tapestry Workshop, 2018]
[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018 (drawings only); AIR18, Australian Tapestry Workshop, 2019]






















antiphonal
2018
selected notational drawings from sound of weaver’s movements as an open score for voice
paper, ink, dressmaker chalk, graphite, carbon, tape.
28.3 x 21cm each.
Australian Tapestry Workshop, 2018.

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018 (drawings only); AIR18, Australian Tapestry Workshop, 2019]

 


Martina Copley
five of one and six of the other <talkin’ bout a revolution>
2018
overhearing, worded score for simultaneous public reading, 7 pages
pages 2 & 6 of worded score + collective reading 2.08.18, Australian Tapestry Workshop, Melbourne, 1:21min

 


Martina Copley
Arrangement for a moss garden
2018
sound, 5:34min
Voice and Japanese translation Christine Natsumi

Fragments and variants from the writings of Mei-mei Berssenbrugge, Emily Dickinson, Clarice Lispector, Amy Lowell, Eileen Myles and Sappho are cast in the form of an Arrangement for a moss garden.

To find a way into the moss garden, although it is now covered with moss.

A recitation. A listening, Sound as shape in the soft margin between people and plants.
With translator’s notes.

 

 


Martina Copley + Francesca Rendle-Short
Song,
2017
found bible page, paper, transparency, bulldog clip, toner, card, tape, thread, oil paint, staples, needle, feather, chalk
29.7 x 42 x 1.5cm

 


Martina Copley + Francesca Rendle-Short
Sender,
2017
paper, transparency, bulldog clip, toner, thread, tape, staple, silk, plastic, ink, graphite, colour pencil
29.7 x 42 x 1.5cm

 


Martina Copley + Francesca Rendle-Short
X,
2017
paper, transparency, bulldog clip, toner, plastic, silk, ink, card, tape, thread, ink, glue, staples, needle
29.7 x 42 x 1.5cm

[BLINDSIDE B-side, Melbourne, 2017]

 


These flowers are coming up wild
2017
flat view, Sumi-e ink, chalk-board paint, ink and graphite on board
23 x 1.2 x 12.5cm

[9X5NOW, Art 150 Program, Margaret Lawrence Gallery, Victorian College of the Arts, The University of Melbourne, 2017. Curator Elizabeth Gower]

 

 


I was reader now (E.D)
2013-2014
installation detail, graphite on trace paper, paper, ink
11 pages, 27.9 x 21cm each.
photo - Theresa Harrison


Song of an unseen bird
2015, 2017
installation detail, hand cast aluminium
dimensions various
photo - Theresa Harrison

[Unhidden, Counihan Gallery, Melbourne. With Nickk Hertzog, Kouichi Okamoto, Lynette Smith, Naomi Troski, Elke Varga. Curator Kali Michailidis].

 

 


Between these worlds there is no ordinary continuity
2016
4 track sound installation, 15:07mins looped.

Weaving fragments of ritual sound from field recordings of Soto Zen, Shinto ceremony, Japanese Noh theatre and Gagaku, the threaded sound-silence structure is shaped by thresholds and the attention to entry and exit points they demand and mark.

[Commissioned response to Chiharu Shiota’s The Home Within, Melbourne Festival, 2016. Curators Anabelle Lacroix  + Anais Lellouche. Technical assistance Daniel Jenatsch. Presented with Anna Schwartz Gallery; The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 

 

 


No Notes (This is writing)
2017
artist publication with Francesca Rendle-Short
composed directly onto an iPhone 5S Notes app. using keyboard and fingers, 152 pages, closed 150 x 80mm.

[Communal reading, Dialogues and Atmospheres; Enquiries into knowing and making through creative arts research, R.M.I.T., Melbourne, Nov 2015: dual artist reading, Hares and Hyenas, Fitzroy, 2017: Launch +public reading, West Space, Melbourne, Sep 2017;[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 

 
Sappho, sing to us.
2015
sound installation & floor drawing, single speaker, wood, ikebana plate, clay slip, voice by Christine Daly, duration 1:20, dimensions variable.

[FM[X]: What would a feminist methodology sound like? Curator Danni Zuvela & Liquid Architecture, WestSpace, Melbourne. 2015]


The sound of her voice
, transcript for artist reading
[FM[X]: What would a feminist methodology sound like? WestSpace, Melbourne, 2015]

 


Annotated score for Sappho, sing to us.
2015
Transcript excerpt with translation Christine Daly
34 x 20.5cm

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


A nnotated score for The Japanese closes his eyes, lowers his head, and sinks into a long reflection. The Inquirer waits until his guest resumes the conversation.
2015
digital print
Translator’s notes for recitation by Christine Daly
34 x 20.5cm

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


Scores in a listening attitude (The Japanese closes his eyes, lowers his head, and sinks into a long reflection. The Inquirer waits until his guest resumes the conversation.)
2015
digital print
29.7 x 21cm

 



Orange refrain (Responsory)
2015
Perspex ND filter, brass, copper, digital print (text with annotations)
11 x 9 x 18cm

[Unintended Refrains, George Paton Gallery, Melbourne, 2015 Curator Sandra Bridie]

 




Artist Pages A Listener’s guide to… bowing and Sappho, sing to us, 2015.

[This Building Absorbs People & What Would Feminist Methodology Sound Like? Liquid Architecture, 2015; The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 



The Listeners’ Guide to… Bowing
2015
HD video projection, colour, 4.23. stereo sound, amplifier, two speakers, Mp3 player,
Japanese translation & voice by Christine Daly.

[This Building Absorbs People, Melbourne School of Architecture & Design, Liquid Architecture, Nite Art Melbourne, 2015; The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


The Japanese closes his eyes, lowers his head, and sinks into a long reflection. The Inquirer waits until his guest resumes the conversation.
2015
HD video projection, colour, 4.23. stereo sound, amplifier, two speakers, Mp3 player,
33:52. looped
Japanese translation & voice by Christine Daly

[The Listeners’ Guide to… Bowing, 2015. This Building Absorbs People, Liquid Architecture & Nite Art Melbourne 2015, The Melbourne School of Architecture and Deisgn; The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


It’s Awkward Coming Down (Tokonoma), 2015, HD video, sound remix, 1:40min.
Exhibition documentation of sound installation, Japanese tea bowl, amplifier, two stereo speakers, Mp3 player, 33.28. Photography by the artist and Keelan O'Hehir.

[The Listeners’ Guide to… bowing, This Building absorbs people. Melbourne School of Architecture & Design. Liquid Architecture, Nite Art Melbourne, 2015]

 


It’s Awkward Coming Down (Reading Nietzsche)
2015
HD video projection from super 8 film, colour, silent
1.04min

A filmic notation of a first reading. Nietzsche, Friedrich. Thus Spoke Zarathustra: a book for everyone and no one. Translated by R.J. Hollingdale. Victoria: Penguin Books, 1969.

[A Listener’s guide to… bowing, installation detail, This Building Absorbs People & What Would Feminist Methodology Sound Like? Liquid Architecture, 2015; The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018; The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 





Selected hanging drafts
2015
[Bahktin, loophole, the practice of poetry, form of tension]
b/w digital prints on paper
84 x 59.5cm. each

[Victorian College of the Arts, March 2015;[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


Selected hanging drafts
2015-2018
blackseep (choir), Choruses from the rock, duckstartle., emptiness and temporality, mnemonic songs, rubbing, the practice of poetry, vertical bards - humming, Bahktin, eight plays for hand puppets, wat temple (is not a parergon)
b/w digital prints on paper from re-photographed / photocopied prints on paper
119 x 84.5cm

[The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


(dub) birds
2014- 2015
Golden Book, cast aluminium
20 x 33cm


(child dub) Bunny, Embarrassed, Superdog
2014- 2015
annotated drawings found in Golden books
19.5 x 31cm (open)

 


Lovers (instrument)
2014
brass tube, spring steel music wire, 20mm round silver bells
50 x 21 x 2cm. (work is to be handled)

 


Scores in a listening attitude (Fire Sermon)
2015
digital print, graphite
29.7 x 21cm

 


Aside Heap Fold
2015
digital print, graphite
29.7 x 21cm

 


Untitled (draft fall for piano, and voice)
2014-2015
stereo sound, amplifier, two speakers, Mp3 player
04:08. looped

 


Un-folded thing
2015
two-sided, colour inkjet print, ed. 100
42 x 29.7cm

 


The Blind Task of Sleep (mere listening)
2015
HD video from colour super 8 film
01:54 looped

[BLINDSIDE PLAY, Melbourne, 2018; The movement of the aside ARTSPACE Victorian College of the Arts, University of Melbourne 2018]

 


Hotel Letterhead Drawings
2014
view
ink, graphite, gouache on paper, found photograph.
Installation across two glass topped tables in the hotel foyer.
[Marvel, award exhibition, Windsor Hotel, Melbourne, 29 August - 1 September 2014]

 

 


The Reader (He Stuttered GD.23)
2014
digital print
29.7 x 21cm

"He Stuttered”. In Constantin V. Boundas & Dorothea Olkowski (eds.), Gilles Deleuze and the Theater of Philosophy. Routledge. 23-29 (1994).

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


The crystal angle

2014
HD video from super 8 film, colour, mute
01:16. looped

[I always read by listening to the text, Platform Contemporary Art Spaces, Melbourne, 2014. Curated by Martina Copley.
Martina Copley, Renee Cosgrave, Anna Finlayson, Stephen Giblett, Heidi Holmes, Lou Hubbard, Bridie Lunney, Andrew McQualter, Sanné Mestrom, Viv Miller, Lynette Smith, Elke Varga

 


The crystal angle
2014
HD video from super 8 film, colour, mute
01:16. looped



black painting
2013
installation, detail
super 8 moving image projection, mute, 0:39:13. looped, box board, tacks
dimensions variable.
[seventh, project space, Melbourne, 25 June - 12 July 2014]
photography ~ Matthew Stanton

black painting (dark lens) text by Lynette Smith

 


black painting
2013
installation, detail
super 8 moving image projection, mute, 0:39:13. looped, box board, tacks
dimensions variable.

 

 


The body floats outside of thought
2014
still
HD video from super 8 film, text-generated sound, 29:31.
[BUS projects, Melbourne, 19 March – 5 April 2014]

 

 




Martina Copley & Michaela Zuge-Bruton
At dawn the image rings a dissonant tune that is inaudible to our ears and cannot be recalled
2014
283 colour page book, Ed. of 12, open 19 x 22cm, closed 19 x 11 x 2cm

[BUS projects, Melbourne, 19 March – 5 April 2014]


Martina Copley & Michaela Zuge-Bruton
At dawn the image rings a dissonant tune that is inaudible to our ears and cannot be recalled
2014
single-channel vdeo, sound, 19:55min

[BUS projects, Melbourne, 2014]

 


Martina Copley & Michaela Zuge-Bruton
At dawn the image rings a dissonant tune that is inaudible to our ears and cannot be recalled
2014
single-channel vdeo, sound, 19:55min

[BUS projects, Melbourne, 2014 & George Paton Gallery: Artist’s Books (reprised), University of Melbourne, 2014.
Sandra Bridie, Alice Mathieu and Craig Burgess, coordinators]

 


Untitled (draft fall for piano) Prop
2013
installation view, detail
graphite, ink, paper, box board, adhesive
approx. 100 x 70 x 15cm

Untitled (An element of blank [E.D])
2013
sound installation, speakers, wire, clay slip
27:32. looped


[Victorian College of the Arts, December 2013]

 


Untitled (An element of blank [E.D])
2013
installation with sound, speakers, wire, clay slip
27:32. looped
with Untitled (reflection), Untitled (draft fall for piano), Untitled (jot), Untitled (recipient), Untitled (E.D.), Ansochrome

[Victorian College of the Arts, December 2013]

 


Ansochrome
2013
installation detail, Lost Things 2013
hinged found transparencies, wood, adhesive, paint, card board
dimensions variable, approx. 18 x 60 x 46cm


[Victorian College of the Arts, December 2013]

 


Untitled (new ancestors)
2012
installation view
colour digital image projection
04.55. looped


[City Library Foyer Projection, Melbourne, December 2013]

 


Untitled (Mitla)
2013-14
colour digital moving image projection, silent
from super 8, Mitla, Mexico, 2008
00:26. looped
dimensions variable


[Victorian College of the Arts, December 2013; The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]


Lost Things

2013
3 installation views
Untitled (jot), Untitled (recipient) & Untitled (E.D.)
[Victorian College of the Arts, September 2013]

Untitled (recipient)
2013
3 greenware vessels, drafting tape
dimensions specific to site

Untitled (jot)
2013
moving image projection, wood, paint, adhesive
dimensions variable, image 45 x 60cm without spill

Untitled (E.D.)
2013
book borrowed from Lenton Parr Library: Selected Poems of Emily Dickinson, The Modern Library, Random House, New York, 1924. opened to pages [138] [139]
box board, trace paper, graphite, adhesive
90 x 64 x 10cm

 


Untitled (jot)
2013
silent moving image projection
from super 8 film 2013
2:30. looped
installation detail, wood, paint, adhesive
dimensions variable, image 45 x 60cm without spill

 


Untitled (relinquishment of views - la chute d’eau)
2013
colour ink jet print
ed.10
153 x 107cm

 


rècit ding (W.H.)
2013
sound
30:00. looped

[site responsive work Luminescence 2013, Windsor Hotel, Melbourne]

 


rècit ding (W.H.)
2013
sound
30:00min. looped

[site responsive work recorded in situ, 2013, Windsor Hotel, Melbourne]

 


Untitled (stray moon stolen moon)
2014/2018
looped Super 8 moving image projection from artist’s archival footage modified Super 8 projector
00:21min

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]


Untitled (stray moon stolen moon)
2014/2018
looped Super 8 moving image projection from artist’s archival footage modified Super 8 projector
00:21min

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 



Untitled (orange)
2013-14
detail, stills, 00.10, 17.06, 20.19
SD digital moving image projection from Super 8 film, San Marco, Venice 2001, colour, silent
2:43min

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]


Untitled (orange)
2013-14
SD digital moving image projection from Super 8 film, San Marco, Venice 2001, colour, silent
2:43min

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


Untitled (orange score)
2014
film editing script marking entry and exit points, graphite and ink on paper
30 x 21cm

[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


Untitled (my path to this meeting was lit by lightning - lightningscript)
2011-2013
b/w digital print
118.9 x 84.1cm

 


Untitled (folded in my back pocket)
2012
installation views
wood, card, paper, clay, wire, polystyrene, chalk, thread, wood, carbon paper, mylar, 
book [GREEK SCULPTURE from the 16th to the 2nd century B.C., Francois Chamoux, 1953.]
dimensions variable


[that which lies beneath, 2012, SUBSTATION, Melbourne]

 





\
Untitled (new ancestors)
2012
stills
silent, colour digital image projection, wood, tripod
from 165 colour stills taken at Lenton Parr and home library , 14 & 15 September 2012
04:55. looped
dimensions variable, image 42 x 57cm

[New ancestors, 2013, City Library, Melbourne; Docklands Library, 2014, Melbourne.]


Untitled (new ancestors)
2012
silent, colour digital image projection, wood, tripod
from 165 colour stills taken at Lenton Parr and home library , 14 & 15 September 2012
04:55. looped
dimensions variable, image 42 x 57cm

[New ancestors, 2013, City Library, Melbourne; Docklands Library, 2014, Melbourne.]

 



Untitled (temple)
2012
moving image projection
PAL SD video from colour super 8 film taken in Laos 2006, silent
42:12min


Untitled (temple)
2012
moving image projection
PAL SD video from colour super 8 film taken in Laos 2006, silent
42:12min

 







Untitled (backlog)
2012
moving image projection
PAL SD video from black and white super 8 film taken in 1993, silent
02.46min

 


Untitled (backlog)
2012
moving image projection
PAL SD video from black and white super 8 film taken in 1993, silent
02.46min

 


Untitled (marks – Buddhism)
2012
digital photograph
118.9 x 84.1cm


[The movement of the aside, ARTSPACE Victorian College of the Arts, University of Melbourne, 2018]

 


[This is not a correspondence]
2011-13
b/w digital print
118.9 x 84.1cm
collaboration as transcription with artist Laurene Vaughan


[NON 2012 First Site RMIT University, Melbourne]

 

 


movement-notation (score)
2012
digital print, score


movement-notation (performance documentation)
September 2012
with Zac Jones

[Bracks Hallway, Victorian College of the Arts]

 


Martina Copley 
Notes for movement-notation
2012
+
Zac Jones
translation
2012


Untitled (post music N.J.P.&R.T)
2012
paper, graphite, ink, post marks, stamps
unfolded 84.5 x 59.5cm

[return to sender 2012, BLINDSIDE, Melbourne]

 


Untitled (bowl)
2012
colour digital halftone print
ed.10
118.9 x 84.1cm

[Victorian College of the Arts, 2012, Melbourne]

 


Untitled (August 2012)
2012
view
clay, carbon, linen, ink, graphite, cotton thread
dimensions variable


Untitled (cast)
2012
clay, carbon
dimensions variable, approx. 60 x 38 x 12cm

[Victorian College of the Arts, 2012, Melbourne]

 


Untitled (calling all ancestors|martina says ‘mmm…’)
2012
detail
linen, ink, graphite, cotton thread
dimensions variable, each approx. 28 x 24cm

[Victorian College of the Arts, 2012, Melbourne]

 


Untitled (wooden abstracts)
2012

detail
(studio)
plywood, nails, paint, chalk
dimensions variable

 


Untitled (5 hours)
August 2012
clay, water, printer’s ink, carbon, cardboard, paint, 225 x 200 x 200cm

[The Grid Show: a structured space with articulations, Sandra Bridie & Craig Burgess, George Paton Gallery, Melbourne, 2012]

 


Untitled (drawing investigation and repair work, July 2012)
site-responsive drawing
paper, clay slip, wood, paint, cardboard, graphite, ink, charcoal, colour pencil,
Texta, tape
(includes drawing from Untitled gathering surface 2, 2012)
Dimensions specific to site

[Victorian College of the Arts, 2012, Melbourne]

 


Untitled (gathering surface June 2012)
2012
views


[Victorian College of the Arts, 2012, Melbourne]

 


Untitled gathering surface 1
2012
detail
cardboard, paper, gouache, stone, rose stems, clay, carbon, Perspex, foil, plate
101 x 76cm


Untitled gathering surface 3
2012
detail
cardboard, paper, film, gouache, graphite, paint, chalk, sticks, thread, film, gouache, charcoal, postcard, wood, printing ink
101 x 76cm


Untitled gathering surface 2
2012
detail
cardboard, paper, ink, gouache, coloured pencil, plastic, carbon paper, tape, wood, postcard, metal head
101 x 76cm


Untitled gathering surface 4
2012
detail
cardboard, paper, monoprint, ink, carbon, chalk, clay, thread, wood, graphite, stone, wire
114 x 76cm

 


Untitled absorption drawings 1-4
2012
detail, ink , carbon on paper
42 x 30cm each

 


I love you and have done so for a long time
2012
monoprint, ink & chalk on paper
100 x 70cm

 


Untitled (we came home after dark)
2012
monoprint, ink on paper
78 x 108cm

 


Untitled (cardboard abstracts 1-3)
2012
found cardboard, 3 pieces
17 x 34 x 3cm each

 


At no time in the dream did I look like myself
2012
ink on paper, two pages
42 x 30cm each

 


Untitled (we came home after dark)
installation views May 2012


[Victorian College of the Arts, Melbourne]

 


[26]
2011
detail from Untitled (lightnings 2005 – ongoing)
typewriter ink on found envelopes
24 x 22cm


[Linden Postcard Show 2011 Melbourne
]

 


Untitled (line drawing 2)
2012
graphite on paper
71 x 100cm

 


Untitled Word Pictures (humming as the sun sets / the words come into song)
2012
front and reverse view, ink on paper, 2 pages
60 x 84cm each

 


Untitled (papancha – swamp)
2012
ink, chalk, gouache, watercolour, graphite on paper
150 x 216cm

 


Untitled yoke (chalk)
2012
chalk, thread
length 292cm

Untitled (crystal)
2012
chalk
2.5 x 2.5 x 3cm

 


Untitled (meditation on bones)
2012
detail,
gouache on paper, book
25 x 19cm



Untitled (meditation drawing)
2009-2011
graphite on paper
135 x 94cm


[Undergraduate Toyota Spirit Art Award 2011 Melbourne]


Untitled (Flower Pictures) after Georgia O’Keeffe
19 – 30 January 2012
saucer, gouache
10 pieces
(19.0.11 – 30.01.11)
14 x 14 x 2cm each 
and 
Untitled (Flower Pictures) after Georgia O’Keeffe
2012
inkjet print, edition 5, A1.
Untitled (Flower Pictures for G.O.)
19 – 30 January 2012
saucer, gouache
10 pieces, 14 x 14 x 2cm each
inkjet prints, edition 5, 84.1 x 59.4cm

[Victorian College of the Arts, 2012, Melbourne]


Untitled Photographs (colour stills 1-8)
2011
ink jet print on 180 gsm Bond paper from hand made pieces, A/P ed.5
58 x 41cm each

 


Word Drawings (Untitled 1-40)
2009
detail
Ink, watercolour, felt tip pen, graphite on paper
76 x 51cm each

 


I describe the way and meanwhile I am proceeding along it (for Hilma 1862-1944)
2011
balsa wood, gouache, watercolour, graphite, medium, ink
9 pieces, 92 x 10 x 0.1 each

[LaTrobe College of Art and Design, 2011, Melbourne]


Unnamed Ceremonial Object [BIG W]
2011
found cardboard, thread, foil, ink, gouache, wire, cotton ribbon,
15 elements including cardboard shelves
275 x 250cm (installation, variable)


[
ARTECYCLE Sculpture Award 2012 Incinerator Melbourne]


Papancha
2011
detail, blown ink on paper
book
31 worked pages
closed 18 x 13 x 0.5cm


[The Sketchbook Project 2011-13 Brooklyn Art Library New York & international tour
] view book

 


Untitled (recordings, collections, portraits)
1993-2011
various
L-R, top: eidetic 1998; Untitled (Brooklyn Bridge air) 2009; Compendium 2003; Word drawings 2003-2009;
L-R, lower: Untitled (vials) 1990-2010; Untitled Portrait I (mother) 2006; Untitled Portrait 2 (family) 1993; Mrs Campbell and the transported African (detail) 2011

 


Untitled (portrait totem a-muse)
2011
detail
cardboard, archival tape, mirrors, letttraset, printer’s ink, wood, found postcard, glue
dimensions variable

 


Unnamed Ceremonial Object (yoke)
2011
shells, ribbon
20 x 20 x 5cm approx.

 


I spoke to her and she to me (no-one-you-know)
2011
ink on paper
book
80 pages, 38 drawings (also visible in reverse)
closed 21 x 13 x 0.5cm

 


The hidden order, the fallen away (no-one-you-know)
2011-2018 & ongoing
balsa wood, ink, medium, pins, paper, plastic
28 x 20.5 x 2cm




Life is made of disconnected things I & II
2011
blown ink on paper, graphite, gouache
76.5 x 55cm each




Untitled Recordings (books)
2004-2011
various
L-R, top: Untitled Recordings 2004-2010; (as listed below)
Recording New York City - abstraction 2008, book, felt pen, graphite, 25 worked pages, closed 9.1 x 14.2 x 1.3cm;
Recording India 2008, book, inkjet prints, 106 worked pages, closed 9.5 x 15 x 1.5cm;
Recording Laos 2005, inkjet prints, 115 worked pages, closed 15.8 x 12.2 x 1cm;
Recording Mexico-Cuba 2004, book, inkjet prints, 19 worked pages, closed 10.5 x 15 x 0.3cm

L-R, mid: Recording New York City 4 – 20 June 2008, 2008, inkjet prints, 54 worked pages, closed 10.5 x 15.5 x 0.8cm;
Recording Parole Venezia Guigno Settembre 2001, book, ink, 96 worked pages, closed 14 x 9 x 1.2cm; Recording Bald Hill – Hindi body 2008, book, charcoal from tree bark, chinagraph pencil, 58 worked pages, closed 9.1 x 14.2 x 1.3cm;
Recording blind drawings, 2006-7, book, ink, graphite, coloured pencil, closed 14.2 x 9.1 x 1.3cm

L-R, lower: Recording Cobbobonnee Forest 2007, concertina book, charcoal from tree bark, 32 worked pages, closed 14.2 x 9.1 x 1.3cm;
Colour that seeps you astray 2010, book, 35 worked pages, closed 14 x 9 x 1.2cm

 


I have much to do – unresolved Mar 2011 (book)
2011
stamp pad ink, graphite on found paper
8 worked pages, closed 12.5 x 17.5 x 0.3cm

 


Untitled Pages
2004 - 2011
reworked pages of art history texts
collage, ink, watercolour, glue
various dimensions

various
L-R Top : Longhi & Stain 2006; Temple 1& 2 2004; Virgin & Madonna 2006; Musidora & Gilles 2004
L-R Below: Idyll 1& 2 2006; Hendrickje Stoeffels Blue & Rembrandt 2006; Rupert & Lady 2006; Mask &Temple 3 2011.



blot book
2008
ink on pages torn from unknown book
17 x 10cm each




Untitled Pages (lexicon)
2006
ink, printer’s ink, 4 pages
each each 26.5 x 18cm

 


Untitled (closed-eye night drawings in found carbon books)
2004-5
ink on paper. 3 books
each approx. 25 x 19 x 1.5cm

 


Medusa I,II,III
1997
silver gelatin photographs
each 42 x 42cm A/P

 

 

 

COPYRIGHT all rights reserved MARTINA COPLEY 2012 AUSTRALIA