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Penelope Davis
Penelope Davis employs a photogram technique on color paper to visualize the complex procedure with which she transforms her source material, “book.” The artist states: “The final images are… Read more
Intro Bio Exhibitions
Volume
Archive
CA$ 5,659
Volume
Archive
CA$ 5,659
Corpus
Archive
CA$ 4,289
Corpus
Archive
CA$ 4,289
Photoscribe
Archive
from CA$ 1,359
Photoscribe
Archive
from CA$ 1,359
Collection (green)
Archive
CA$ 1,189
Collection (green)
Archive
CA$ 1,189
Stockpile
Archive
from CA$ 1,209
Stockpile
Archive
from CA$ 1,209
Niche
Archive
CA$ 3,839
Niche
Archive
CA$ 3,839
Background Information about Penelope Davis
Introduction
Penelope Davis employs a photogram technique on color paper to visualize the complex procedure with which she transforms her source material, “book.” The artist states: “The final images are not simply photographs but rather the visible result of a process – a chain of transformations and inversions – whose completion represents an object far removed from its origin.”
Horst Klöver
TRANSFORMATIONS
In the beginning was the book...Penelope Davis (*1963) collects old volumes and “pours” them in silicon molds, filling these with a type of resin so that after the resin hardens the recreated books appear like glass objects. Davis subsequently treats each “glass book” with colored gels and adds additional color filters in the darkroom. Then Davis exposes the books with a photogram technique on color paper. Her densely atmospheric, mysterious images are thus created completely without the use of a camera. The artist says about her work: “The final images are not simple photographs but record a process – a chain of transformations and inversions – that creates the trace of an object many steps removed from its origin.”
Horst Klöver
TRANSFORMATIONS
In the beginning was the book...Penelope Davis (*1963) collects old volumes and “pours” them in silicon molds, filling these with a type of resin so that after the resin hardens the recreated books appear like glass objects. Davis subsequently treats each “glass book” with colored gels and adds additional color filters in the darkroom. Then Davis exposes the books with a photogram technique on color paper. Her densely atmospheric, mysterious images are thus created completely without the use of a camera. The artist says about her work: “The final images are not simple photographs but record a process – a chain of transformations and inversions – that creates the trace of an object many steps removed from its origin.”
Bio
1963 | born in Melbourne, Australia |
1985 | Bachelor of Arts, University of Melbourne |
1989 | Certificate of Illustrative Photography, Photography Studies College, Melbourne |
1997 | Post-Graduate Diploma in Fine Art, Victorian College of the Arts, Melbourne |
2007 | Master of Fine Art, Victorian College of the Arts, Melbourne |
Awards
2007 | ANZ Visual Arts Award |
1997 | Victorian Campus Art Prize and Exhibition, Award for Innovation |
VCA Student Union Exhibition and Award, VCA Student Union Award |
Grants
2005-2007 | Melbourne Research Scholarship, University of Melbourne |
2001 | Tokyo Studio Residency, Australia Council for the Arts (Feb-May 2003) |
1998 | Studio residency at Linden Gallery, Melbourne (1998-2000) |
Exhibitions
Solo Exhibitions
2007 | Index, Postgraduate Gallery, Victorian College of the Arts, Melbourne, Australia |
2005 | Tissue Issue. Nellie Castan Gallery, Melbourne, Australia |
2003 | Heavy Light, Nellie Castan Gallery, Melbourne, Australia |
2000 | Penumbra, Robert Lindsay Gallery, Melbourne, Australia |
1998 | Proof, Talk Gallery, Melbourne, Australia |
1996 | Photoelastic, Temple Studios, Melbourne, Australia |
1995 | Penelope Davis, FAAS, Melbourne, Australia |
Group Exhibitions
2007 | Josephine Ulrich and Wynn Schubert Photography Award, Gold Coast City Gallery, Queensland, Australia |
ANZ Visual Arts Award, Victorian College of the Arts, Melbourne, Australia | |
Fremantle Print Award, Fremantle Arts Centre, Fremantle, Western Australia | |
William and Winifred Bowness Photography Prize, Monash Gallery of Art, Melbourne, Australia | |
Penelope Davis, Stephen Haley, Joyce Kohl, La Artcore, Los Angeles, USA | |
2006 | Light Sensitive: Contemporary Australian Photography from the Loti Smorgan Fund, The Ian Potter Centre: National Gallery of Victoria Australia, Melbourne |
20/20, 18th Street Centre for the Arts, Los Angeles, California, USA | |
2005 | Julie Millowick Photography Award, Castlemaine, Australia |
Paper Chase, Nellie Castan Gallery, Melbourne | |
Recent Acquisitions City of Port Phillip, Linden Gallery, Melbourne | |
A4 Art, Westspace, Melbourne | |
Fundraiser, Ocular Lab, Melbourne | |
2004 | Floranova, Nellie Castan Gallery, Melbourne |
Josephine Ulrick and Win Schubert Foundation for the Arts Photography Award, Gold Coast City Art Gallery, Australia | |
Selected works, Nellie Castan Gallery, Melbourne Art Fair, Exhibition Buildings, Melbourne | |
2003 | First Impressions, The Ian Potter Centre: National Gallery of Victoria, Melbourne |
2nd Sight, The Ian Potter Centre: National Gallery of Victoria, Melbourne | |
Boogy, Jive and Bop, Academy Gallery, University of Tasmania, Launceston, Australia | |
2002 | White and Black Photography, Nellie Castan Gallery, Melbourne |
2001 | 31st Alice Art Prize, The Araluen Centre, Alice Springs, Australia |
City of Hobart Art Prize, Tasmanian Museum and Art Gallery, Hobart, Australia | |
Salon Exhibition, Penthouse and Pavement, Melbourne | |
2000 | The Hutchins Art Prize, The Long Gallery, Salamanca Place, Hobart, Australia |
‘F’: Divergent Abstraction and the Photographic Project, Casula Powerhouse, Sydney, Australia | |
1999 | Moet and Chandon Touring Exhibition, Art Gallery of South Australia, Adelaide; Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; RMIT Gallery Storey Hall, Melbourne |
‘F’: Divergent Abstraction and the Photographic Project, Glen Eira City Gallery, Melbourne | |
BAab/ talk exchange, Hanover Gallery, Liverpool, Britain | |
1998 | Focus #4: Click, Robert Lindsay Gallery, Melbourne |
Deacons Graham and James/ Arts 21 Award and Exhibition, The Ian Potter Museum of Art, Melbourne | |
Post-Postcard Show, Linden Gallery, Melbourne | |
Anniversary, Talk Gallery, Melbourne | |
taken, Project Space, RMIT, Melbourne | |
F’: Divergent Abstraction and the Photographic Project, Plimsoll Gallery, Hobart | |
1997 | “Disclosure”: new photo artists ‘97, Australian Centre for Photography, Sydney, Australia |
Introduction, Aalk Artist’s Initiative Gallery, Melbourne | |
ANZ Fellowship Exhibition, ANZ Bank, Melbourne | |
Work, Westspace Gallery, Melbourne | |
Victorian Campus Art Prize and Exhibition, George Paton Gallery, Melbourne | |
Proud, VCA Student Union Exhibition and Award, VCA Gallery, Melbourne | |
A4 Art, Westspace Gallery, Melbourne | |
VCA Graduate Show, VCA Gallery, Melbourne | |
Ashton, Raggert, McDougal Exhibition, Ashton, Raggert, McDougal Studios, Melbourne | |
1996 | times five, First Site, Storey Hall, Next Wave Festival, Melbourne |
Some Slips Don’t Show, VCA Gallery, Melbourne | |
A4 Art, Westspace Gallery, Melbourne | |
Agfa Summer Salon, Centre for Contemporary Photography, Melbourne | |
1994 | Four Photographers, Linden Gallery, St.Kilda, Melbourne |
A4 Art, Westspace Gallery, Melbourne | |
1993 | Graduate Show, Photography Studies College, Melbourne |
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