DECENNIUM

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DECENNIUM TEN YEARS OF THE IAIN TURNBULL MEMORIAL AWARD


Iain Turnbull, Untitled, 2005 Multi-plate Intaglia


THE IAIN TURNBULL MEMORIAL AWARD

WELCOME FROM THE DIRECTOR QUEENSLAND COLLEGE OF ART, GRIFFITH UNIVERSITY I warmly welcome you to Queensland College of Art (QCA) and the exhibition decennium. This year marks the tenth anniversary of the Iain Turnbull Memorial Award, and decennium celebrates the talents and impressive achievements of

The Award also keeps alive Iain Turnbull's love of printmaking and the time he spent as a student at QCA. The Griffith University

its recipients.

Art Museum includes several works by

For many years, QCA’s print program

studying at QCA, which are a treasured

has cultivated the careers of highly successful contemporary artists who have exemplified outstanding achievements. QCA’s comprehensive print program offers courses across a broad range of areas, including intaglio and relief printing, lithography, silkscreen and papermaking. It is exciting to see decennium reflecting

Iain that reflect his achievements while part of the collection. I want to acknowledge the tireless work of Dr Tim Mosely. He was himself a recipient of the Award in 2014 and since then has gone on to lead the print program at QCA. He has worked closely with the Turnbull family. I thank him for his ongoing

the range of practices fostered within QCA

dedication and commitment to the Award.

and the diversity of students who have

Thank you also to Professor Ross

received the Award over the last decade. With a proud history spanning 140 years, the College has a reputation for creating a supportive environment, with a studio

Woodrow for his catalogue essay, which provides an illuminating survey of the Award. The generosity of our donors has made this publication possible, and I want

culture that pushes the boundaries of

to again thank them for their support.

creativity. As the Director of QCA, I have

As the Iain Turnbull Memorial Award

witnessed our emerging artists leave as stronger individuals who have a sense of how they can contribute to the world and make a difference through their art practice. Supporting our students to the fullest relies on partnerships. The generosity of people such as Iain Turnbull’s family and friends is vital. Their ongoing support provides much welcomed funds and—maybe even more importantly—signals to our students that the broader community cares and believes in the work they are doing.

reaches this milestone of a decade, it will be renamed the Turnbull Award. Alongside the launch of Cobalt Editions, this marks a new and exciting era for both the Award and for the print program. Thank you to the Turnbull family and friends for your very special investment and commitment to QCA. As the Director, I am grateful for the ongoing care of our community, and the invaluable opportunities offered to our students. I am so very proud of the talent of our staff and students, and I know you will find them inspiring too. Congratulations to all the Award recipients; it is wonderful to see a selection of their work brought together in decennium. Professor Elisabeth Findlay


Iain Turnbull, Untitled, 2003 Multi-plate Intaglia


THE TURNBULL FELLOWS

THE IAIN TURNBULL MEMORIAL AWARD

2020

Dr Nicola Hooper

2019

Ana Paula Estrada

2018

Matthew Newkirk

2017

Dr David Jones

2016

Grace Collinson

2015

Dr Jude Roberts

2014

Dr Tim Mosely

2013

Paul Eves

2012

Elyse Taylor

2011

Liana Evans & Jessica Row


As hinted at in the exhibition's title, decennium presents a showcase of work made by recipients of the Iain Turnbull

ARS LONGA VITA BREVIS*

Memorial Award, a benefaction that has just notched up its 10th year. The Award was established in 2011 by the Turnbull family to honour the memory of Iain Andrew Turnbull (1965–2009), who had graduated with a Bachelor of Fine Art with first-class Honours from the Queensland College of Art (QCA), Griffith University, in 2004. The formal inauguration of the Iain Turnbull Memorial Award in 2012 established the “spirit and intent” of the Award, listing a broad range of criteria for consideration by a selection panel, made up of the Director of the Griffith University Art Museum, the Convenor of Printmaking at QCA, and another recognised expert in printmaking. In the foundational document, it was clearly articulated that this was not to be seen as the usual academic first-past-the-post, highest score, or most skilled award, but one with a selection criteria inclusive enough that “on occasion may result in selections that are at first glance surprising or even at

for individuals who attempt to enter or

times provocative.”

re-enter the academy from a life in work

So far, no selections have been provocative or surprising, but a number have been made where the selection

or home duties, and they often have to continue to balance the ongoing demands of these with part-time study.

panel has used those “consideration

Before coming to QCA, Iain Turnbull

of others,” “contribution to community”

worked in a department store in Brisbane

or “obstacles overcome” clauses to split

long enough to pay off the mortgage on

close contenders. The gender division

his house. A job in a department store can

over the years favours females, which

be sustaining and fulfilling, yet it could

is reflective of the balance in the student

never define an individual’s identity except

cohort where males are in the minority,

in popular fictionalised television. Most

rather than any affirmative action. This

people who knew Iain Turnbull as an art

is not the case in explaining why the

student or artist, at least the ones I have

majority are mature-entry students, since

spoken to, didn’t know where he worked

they are in the minority in the QCA.

before University. This is because Iain,

Obviously, the various selection panels

who made art all his life, was one of the

recognised the particular difficulties

lucky ones who come to QCA as mature


THE IAIN TURNBULL MEMORIAL AWARD

students with the hope that the experience

last not just another decade but as long

in print and papermaking at Southern

will actualise their talent. For Iain, QCA did

as Griffith University does; indefinitely,

Cross University and to relocate his

just that, in crystallising the expression

in other words.

family to Brisbane so he could do justice

of a free spirit into a mature artist in the shortest length of time.

I’m hardly a disinterested observer,

In response to the dark clouds that

several times throughout its lifespan and

gathered over the QCA print workshop during the late 2020 funding crisis in universities, Iain's father Gavin Turnbull wrote a letter of support for retention of Print Media to the Vice Chancellor of Griffith. This eloquent piece of writing outlined how transformative the experience in the print workshop, with staff at QCA, had been for Iain, and how important it was to continue this legacy of life-changing and affirming teaching of material practices.

as I have served on the selection panel have taught or supervised a number of the awardees and shortlisted applicants. I also realise that this reflection on the past decade could read as far more, or less, significant in the year of the 140th anniversary of the founding of QCA. Having arrived at the University in the midst of the 125th anniversary celebrations in 2006, I know such anniversaries can promote selective recollection, adding to the usual dangers in rationalising the future of the Award by using the

to his PhD studies. Over two decades at Southern Cross, Tim had developed an international reputation for his innovative contributions to papermaking and artists books, in particular his pulp printing technique. His doctoral study was to extend understanding of the haptic aspects of image and material through the techniques he had developed. At the time, I advised him that such a dramatic move would be perilous, to say the least, but retrospectively the courage and commitment this, required can only be applauded. Since 2014, three more awardees have

evidence of the past.

completed doctorates, the most recent

At the time when the Turnbull Award

Nicola began work on her doctoral

foundational document was drawn up,

research on zoonoses, or animal diseases

the cohort of Higher Degree by Research

that can cross over to humans, nobody

(HDR) students enrolled in print media

could have imagined how timely and

was small, so setting the minimum two

relevant that topic would become in the

years full-time study in print media as the

pandemic year of 2020, proof if it was

basic qualification for the Award seemed

needed, that art images and objects

a positive inclusive move. With the rapid

accrue relevance and defy redundancy

rise in HDR graduates over the decade,

as they travel through time. Much of

Ten years has done nothing to dull

it has become much more unlikely that

Nicola’s work engaged with the negative

memories of Iain among his family and

meeting the two-year undergraduate

reputations or imputations humans have

friends, yet his good heart, intelligence

study is a realistic threshold to become

placed on host animals, such as rabbits,

and personality are beyond the reach

a candidate for selection. Undergraduate

mice and rats as signifiers for particular

of the rest of us. From my perspective,

candidates dominate the early awardees

viruses and infectious human diseases.

however, ten years is long enough to see

but in recent years master's and doctoral

Perhaps because of the doubts over the

that the idealism, empathy, striving for

awardees are in the majority. The first

specific species origins of the zoonosis

excellence and commitment to material

doctoral awardee was Dr Tim Mosely

COVID-19, or maybe because of its

knowledge that Iain Turnbull embodied

in 2014, and it is difficult to see how any

obvious red flag aesthetic, a modified

has been refracted by association in the

panel could find a more suitable candidate

version of the cryo-electron tomography

Memorial Award—so much so, that stating

using any of the criteria. Tim initially

“memorial” in the title of the Award is

enrolled part-time in the PhD at QCA in

tautological, as the Iain Turnbull Award

2009, but after a year of travel up and back

has become a sustainable and dynamic

the highway from Lismore, he decided to

symbolic entity and functional bursary to

resign from his tenured position working

I’m not among those privileged to have known Iain, so I’m indebted not just to Gavin Turnbull’s letter but also to those witnesses who have described Iain’s life and art with such poignancy and insight in the catalogue of the Iain Turnbull Memorial Retrospective in 2010. These include Elizabeth Turnbull, Russell Craig, Professor Emeritus Pat Hoffie AM and Noreen Grahame.

being Dr Nicola Hooper in 2020. When


image is used almost exclusively by the

shifted away from traditional print towards

Her particular interest is the representation

media to signify the invisible virus, rather

more digital sound and image mediums.

of the way water interacts with the

than using an animal.

When Paul was at QCA, he had the same

environment—the record of traces,

interest in exploring how hard objects

forms and deformations it leaves behind.

were used to capture durational aspects

Often, these are indexical markers of the

of sound—vinyl records, particularly.

degradation by human use and mis-use of

I recall Paul’s prints that curator Richard

water. Over the years, Jude has undertaken

Hricko selected for the large Body Politic

several field trips to take direct imprints,

show in Crane Arts, Philadelphia in 2015.

often on large sheets of paper, from such

These enlarged intaglio translations

impacted creek beds and related sites

of broken fragments of vinyl records

above the Great Artesian Basin in inland

appeared as giant sound fossils.

Western Queensland. In her doctoral work

The work in decennium by Liana Evans, one of the dual recipients of the first Iain Turnbull Award, now living in Melbourne, also takes the viewer beyond the visible spectrum to explore the disturbing universe of electron microscopy. This work appears to be a direct highly refined development from the fine ink or paper works Liana completed ten years ago in Brisbane exploring the interior of human

As dictated by the original constitutional

anatomy with that dread and fascination

document for the Iain Turnbull Award,

that the best of such images always evoke.

each year the selection panel interviews

The other recipient of the 2011 duo, Jessica Row, also now lives in Melbourne and like so many other artists in COVID times, is making art in restricted “homely”

a shortlist of three candidates to discuss their career aspirations along with the intended purpose for the bursary and details of proposed expenditure.

circumstances. This work uses a quotation

A number of shortlisted candidates

from the first speech in Parliament by

over the years have outlined their desire

Dame Enid Lyons in 1943, warning the

to focus on a particular print medium or

all-male members that they would have

have suggested investment in specific

to get used to some homely metaphors

equipment or specialist tuition. Elyse

“rather than those of the operating

Taylor, awarded in 2012, was one of

theatre, the workshop, or the farm” and to

those who planned for the acquisition

someone, “more concerned with national

of equipment, with a clear aim to master

character than with national effort". For

engraving. No one could have predicted,

some time, Jessica has been exploring

however, her unerring upward trajectory

work that highlights the achievements and

to reach her current astonishing level

challenges faced by women in politics, and

of accomplishment with multi-colour

this small work is a component of a larger

engraving. Her highly individual technical

series with the same title 'Dame Enid

approach differs from traditional wood and

Lyons (new broom)'.

metal engraving in that Elyse has been

I hope it is not an indication that Brisbane has lost its status as the cultural capital we know it to be, but Paul Eves, the 2013

driven by a desire to work with materials and processes that are ecologically and economically sustainable.

and more recently, Jude has achieved such command of the lithography medium that she treats the pigmented tusche as an active agent working across the surface of the limestone, exploiting its qualities as a porous rock rather than a drawing tablet. The COVID impact has been widespread and while most artists managed to isolate in a home studio setting, printmakers such as Jude, who depend on access to large lithography, etching or relief presses, were significantly impeded. For a number of Turnbull Fellows who have curatorial based practices or gallery work as part of their career profile, the impact has been even greater—none more so than Grace Collinson, 2016 Iain Turnbull Award, who opened Greaser Gallery in January 2018 to give emerging artists a venue to show their work in the heart of Fortitude Valley. Over the next two years, Grace curated over forty exhibitions in the unique space below the Greaser Bar. This all came to end with the COVID shutdown in 2020. The pandemic also had an effect on

recipient, also moved to Melbourne soon

Ecological awareness is a defining

the project of Ana Paula Estrada, who

after graduating from QCA. He continued

focus of the current generation but Dr

was awarded the Iain Turnbull in 2017

his studies there, as did the other

Jude Roberts, the 2015 recipient of the

for her master's work on the artists

beneficiaries of the Turnbull who moved

Award, has been working from or in the

book. The Turnbull bursary launched

to Melbourne, and his art production

environment for more than twenty years.

her project and the selection panel also


THE IAIN TURNBULL MEMORIAL AWARD

recommended that Ana enrol in a doctoral

concentrated vested interests that control

doctoral studies, The Australian Cook

degree at QCA, which she subsequently

the media. Matthew’s research is built on

Book and Gumnut Nation, are on display

did. The core of the project involved

the premise that the stultifying gaze of

in decennium. The Iain Turnbull Award

documenting end-of-life stories in aged-

the mass-media Medusa can be defeated

gave David breathing space to continue

care facilities. Luckily, Ana had established

with a mirror.

to make his own work as an artist who

a rapport with residents and staff in a care facility in Brisbane before the COVID lockdown in 2020, and she expertly and sensitively negotiated a transition to Zoom meetings. This alone would be a significant achievement, but during the lockdown, Ana also completed an online project for the IMA in Brisbane. Ana’s doctoral work is already contributing to an understanding of care practices as the first edition of six books titled The Flowers in Her Room is now published and gathering wide acclaim. This profoundly moving publication captures the momentary delight, insightful reflection, resilient acceptance that defines the human spirit and is exemplary in doing this without recourse to shallow sentiment. This impact has already reached well beyond the boundaries of Brisbane or Queensland as the volumes will be distributed by the Visual Studies Workshop in Rochester, New York. Ana was awarded the prestigious Visual Studies Workshop Residency for 2020 and when COVID rubbed that from the calendar, a trans-international transfer of printed material was suggested. Ana's proposal was well received by the Workshop, which was delighted to support and fund the six issues (each in an edition of 500) under the series title of 'I Am Here'.

The 2017 Iain Turnbull Award to Dr David

also happens to be a Master Printer.

Jones had significant symbolic and

This necessarily truncated survey of the

practical impact for David, who had just

eleven Iain Turnbull Award Fellows intends

completed his doctoral studies. Before he

to highlight their individuality, although

started his doctorate, David had already

this is at the cost of showing their shared

established a reputation as a Master

attributes and commonality. If the CV of

Printer. This status was one of the reasons

each is read in tandem, it becomes clear

he enrolled, since printing on demand for

that the majority of the Turnbull Fellows

other artists left him little time to make his

have also achieved traditional academic

own work, stifling his own development as

awards for excellence, along with art

an artist. As he rightly hoped, the discipline

industry accolades. In other words, the Iain

of his doctoral research did accelerate

Turnbull Award is not an alternative soft-

the critical production of his own work,

option bursary but recognition for those

although the doctorate also demanded

who have conquered the peak of academic

he write a substantial exegesis to support

excellence but who sometimes have taken

this significant body of work. This is where

the untested or difficult path to the summit.

David contradicted a common prejudice inside and outside the art world—the “good with their hands” implication that those with highly developed technical, or in David’s case superlative, skills have the inverse ability with writing. David’s work had always explored the intersection of his European and Indigenous traditions and his doctoral project drew from his Dalungbarra, and Dalungdalee heritage. He flipped the usual discussion of Indigenous affairs as a resolution of the “Aboriginal

This is not the only feature that sets the Iain Turnbull Award apart from other university academic awards anywhere. For all these Turnbull Fellows are still working or studying in the arts field, which in itself is extraordinary, but it is the Award that prospectively or retrospectively validated their status as artists. That is “artist” used in the purest academic sense of an individual who creates for the common good.

problem” to an examination of the “Settler

*Ars longa vita brevis (Art is long,

problem”. His final exhibition and exegesis

life is short) was the first and now

were titled Australian Anosognosia, which

forgotten motto of QCA.

Matthew Newkirk, 2018 Iain Turnbull

gives a hint of the daring (read scary, for

Award, majored in both sculpture and

me, his main supervisor) ploy that David

print media in his undergraduate studies,

used to formalise the writing style of his

although when he progressed to his

exegesis by including arcane and archaic

Honours year, he decided to focus on his

language in keeping with the journals

special aptitude for print. Matthew has

of Cook and other colonial observers of

accrued an impressive array of skills; a

First Nations culture. My trepidation was

consummate screen printer, he is equally

unfounded; his examiners awarded his

at ease with high-quality screen image

doctorate with merit, meaning it was one

production or outdoor projection. This

of those rare error-free submissions where

comprehensive graphic astuteness is to

nothing needs changing. Two of David’s

facilitate his main mission to critique the

disquietingly subversive works from his

Professor Ross Woodrow


8.10.1965–18.9.2009

IAIN TURNBULL...

BIOGRAPHICAL NOTES & REFLECTIONS ON A BRIEF LIFE

Born in Sydney in 1965, Iain Turnbull moved to Brisbane when he was five and, apart from spending 1976 to 1981 travelling Europe with his family as an adolescent, he spent the rest of his life here until his untimely death from cancer in 2009 at the age of forty-three. From an early age, he showed quiet determination, strong individualism and a firm belief in himself as an artist. As his brother Matthew says of him: He did things his own way and in his own time ... We had set up a studio in the family garage and were making monoprints. Two things are important to me in this memory. Firstly, the younger brother was teaching the older brother what to do ... by simple

Iain opted out of formal education in the

and quiet example. He was the leader

UK during the family’s travels, but these

and I was the follower. Secondly, I had

years—particularly more than a year in

a very early resolution to the notion

Spain—were tremendously important to

(about abstract art) amongst those

his overall development. He acquired an

too ignorant to understand, that ‘surely

impressive general knowledge through

anybody could do that—because, quite

a wide-ranging interest in books, language,

simply, Iain could and I couldn’t.

history, music, cinema, theatre and the natural world and, of course, his deep love of art. Visiting most of the major art galleries and museums in Spain, France, Holland, Scandinavia and the UK , Iain was in his element, with a spongelike ability to soak up atmosphere and information. Of this time, his father recalls: Iain’s passing left a great hole in the fabric of the family—he was the “go to" boy whenever some obscure point required resolution. Even now, I still find myself thinking “Iain will probably know the answer to that”.


THE IAIN TURNBULL MEMORIAL AWARD

Following the family’s return to Brisbane in late 1981, Iain spent some time in an informal art scholarship at Brisbane Institute of Art and later had studio access there to work independently at printmaking. After an absence of almost twenty-five years, he returned to formal education at the age of thirty-five, going on to enjoy distinguished academic record at QCA and being elected president of the Printmaking Club, before graduating in 2004 with a 1st Class Honours Degree in Fine Arts, majoring in Printmaking. Concerning Iain the artist, two of his QCA tutors wrote as follows: Professor Pat Hoffie AM (QCA): These small prints of Iain Turnbull hover between representation and abstraction ... their scale invites us closer, to peer into and beyond the surfaces, to trace the outlines of the tiny marks and small forms as they lie somewhere in a state of becoming. If there is a sense of visual play in the work, then there is also a sense of tension—one that seems stretched taut right beneath the surface. (2004 Group Exhibition, Metro Arts)

Russell Craig (QCA senior lecturer & close friend): Iain Turnbull had great admiration for Ian Fairweather ... he showed comparable

... we are left with painted, etched and

attributes of reserve, contemplation

scrawled clues about journeys made,

and wide intellectual interests ... he had

places entered, thoughts toyed with

a passion for reading and music but

... the artist has been well aware of

also for collecting curios as thoughtful

the limitations and insubstantiality of

gifts for friends or inspiration for his

the tools he has chosen to suggest

visual ideas. These quiet obsessions

his experiences of life, ... he is also as

and intellectual pursuits contributed to

aware that these most humble means

his refined facility for connecting the

of suggesting anything of value are

beauty of form with a spiritual aesthetic.

sufficient. He has left the task of tracking for clues to us. (2010 Memorial Retrospective, QCA)

The stoic and courageous way Iain faced his destiny will always be with me. Iain was deeply loved by all.

Iain Turnbull, Untitled, 2003


And Noreen Grahame (grahame galleries & editions): Iain Turnbull was a vibrant person. Always ready to discuss his interests in art, books, collecting ‘things’, philosophy and making art ... rarely attending openings at grahame galleries, he preferred instead to visit on quieter days, when he could take time with each image and study techniques ... Influences point to some of this country’s leading printmakers/artists, from Fred Williams to Ken Whisson. But Iain had his own voice, a voice that, in this body of etchings, shows the maturity of his quiet reflections. It doesn’t matter that I (had) known Iain for over twenty years.It certainly wasn’t long enough. (2010 Memorial Retrospective, QCA)

From 1982 to 2006, Iain worked part-time in retail at Myer and, this, coupled with his frugal lifestyle, enabled him to achieve ownership of his own home in Annerley, where he lived from 1992 to the time of his death. Merv Wynne (Myer fellow employee) Iain, It has been an honour to have had you as a friend and a work mate.

Iain was diagnosed with advanced colo-rectal cancer in late 2006 and, as a chemotherapy outpatient over the next three years his gentle manner and quiet good humour in the face of his illness made a deep impression on all the Mater Hospital staff with whom he came in contact. Shona Anderson (Mater nurse) Iain, ... you fought a huge fight. You will be missed greatly. His father says, "Twelve years on, Iain is still deeply missed by the family. He was loved and admired by all who knew him and we were amazed and touched how powerful an impact such a quiet unassuming person had on those around him.' Iain left his artworks to his parents with the wish that they be retrospectively exhibited, and they donated a large number for sale at two Memorial Retrospective Exhibitions in 2010. Proceeds were shared equally between the Mater Foundation (to enhance patient comfort in the Oncology Outpatients area) and the newly created Turnbull Award, the tenth anniversary of which is being celebrated in the current exhibition.

TOP TO BOTTOM

Iain Turnbull, Untitled, 2003 Iain Turnbull, Museum view, 1982


THE IAIN TURNBULL MEMORIAL AWARD

THE TURNBULL FELLOWS ▶


Concerning Cats and Toxoplasmosis, 2019-21 Installation, lithography (hand coloured), post digital print and artist book, variable dimension


THE IAIN TURNBULL MEMORIAL AWARD

20 20 NICOLA HOOPER

I recently completed a Doctor of Visual Art at QCA, and was awarded the 2020 Iain

Turnbull Memorial Award. My studio work is

predominantly carried out using lithography, which I use as a narrative tool to explore concepts surrounding zoonoses.

A zoonosis (zoonoses pl.) is classified as an infection, virus or infectious disease that is transferred from an animal host to human. Up to 70 percent of all new viruses have their genesis in animal hosts, including

the zoonosis COVID-19. My work draws parallels between the representation of

animals in fairy tales, myths, and rhymes while considering human fear of these

hosts in the context of their association to disease. The Concerning Cats works

explore the zoonosis Toxoplasmosis. They re-tell the story of the same name penned by Lady Francesca ‘Speranza’ Wilde in her book Ancient Legends, Mystic Charms, and Superstitions of Ireland (1888). These works have been created by combining lithography and digital methods while focusing on the narrative possibilities associated with this parasitic virus and its feline hosts. I use fairy tale iconology to both discuss and educate about zoonotic viruses and various animal hosts in a way that generates less fear and a greater understanding of the natural world. This Award has enabled me to further explore the method of lithography with my own press and by extending my practice.


THE IAIN TURNBULL MEMORIAL AWARD

ANA PAULA ESTRADA I Am Here is a printed periodical that aims to facilitate dialogue and connectedness between aged-care residents and the rest of the community. The first issue, The Flowers in Her Room, features conversations between Ana Paula Estrada and Esta Ziviani, which took place in Esta’s care facility in Brisbane

20 19 during the COVID-19 pandemic in 2020.

This is the first of six issues published in

collaboration with Visual Studies Workshop in Rochester, New York.


I Am Here | Issue 1. The Flowers in Her Room, 2021 Published by: Visual Studies Workshop Ed. 500, 100gr Uncoated White, Tabloid Size, 28 pages, Soft-Cover, Unbound


INoffensive, 2021 Commercial light box with printed acrylic sheet


THE IAIN TURNBULL MEMORIAL AWARD

20 18 MATTHEW NEWKIRK

In our COVID present world where

we are spoon-fed fears and insecurities along with illusionary wants and needs, art should be our shining light, not our sugar-coated placebo.

Our digital, smart phone era has spawned a glut of rushed concepts and rehashed ideas that were better told the first time

around. Art today often reflects the lack of critical consideration necessary to

make layered, sophisticated statements. People don’t see things anymore.

Commodification of art stagnates creative growth like it would a relationship where

a lover only tells you things they think you

want to hear. Add to this a government that looks to diminish the creative sector and

you have a field ripe for manipulation and

control. The artists have been house trained

by money (or lack of it), thrown into an arena and forced to fight head-to-head for the

limited opportunities and funding available. I hope that regardless of these hurdles, artists and curators choose to continue to engage with topics and messages that challenge or upset the status quo; that these same creatives refuse to bow to the weight of the almighty dollar; and that art continues to be the catalyst for ongoing critical dialogue.


THE IAIN TURNBULL MEMORIAL AWARD

20 17 DAVID JONES

Using printmaking, drawing and jewellery, David explores Australian culture and

society from a perspective incorporating his Dalungbarra and Anglo-European

heritages. His art, though at first aesthetically seductive, becomes more disturbing,

until the viewer is left with uncomfortable

questions regarding the ‘peaceful settlement’ of ‘Australia’. Incorporating dark humour, historical figures are re-imagined, re-

presented in visual narratives meant to

instigate reflective moments in the AngloEuropean Australian viewer, by which a

greater empathy for Indigenous ‘Australians’ could be fostered. David runs Corvine Art, which provides limited edition prints to

professional artists. Beginning any fine arts business and maintaining one’s own art practice can be a challenge. Being awarded the Iain Turnbull Memorial

Award spurred David on to progress his own art practice. Through the generosity of the Turnbull family, David was able to continue delivering his critique of Australian society and culture.


Gumnut Nation, 2017 A la poupee, intaglio pulled etching on Hahnemuhle rag 300gsm paper in Charbonell ink 40 x 30.5cm


Greaser Gallery 2nd Birthday | Greaser Gallery, 2019


THE IAIN TURNBULL MEMORIAL AWARD

20 16 GRACE COLLINSON

Being granted the 2016 Iain Turnbull

Memorial Award went a huge way to

fortifying my self-belief and enthusiasm

for facilitating people's experience of art. After finding my feet in the Printmaking

studios at QCA, I took great pride in my role as Secretary for Griffith University

Printmakers Club. I immediately fell in love

with the experience of coordinating, curating and running of exhibitions, workshops and club events. This led to further volunteer

roles coordinating the 2016 Print Folio box, and assisting fellow students in resolving,

selecting and exhibiting their own works. In

2017, I was fortunate enough to round out my theory studies by completing the university study tour to the 57th Venice Biennale and documenta 14. My experiences on this trip

solidified my resolve to forge a career path

in the arts sector. That same year I assisted

the coordination of a group exhibition of print works from the 2016 printmaking graduates,

leading to an ongoing role with the artist-run Greaser Gallery. Established by fellow QCA graduate and Printmaking award winner Rachel Dunn, Greaser Gallery provided an accessible, low-cost exhibition space for emerging artists. Throughout 2018 and 2019, we facilitated shows with over forty artists, including a plethora of QCA alumni.


THE IAIN TURNBULL MEMORIAL AWARD

20 15 JUDE ROBERTS

There is a limestone monument at Blue Lake, Mt Gambier, in memory of the pioneers that includes the title quote from Joshua 4:6.7 and 19–24.

The properties of limestone—its porosity,

permeability, and chalky carbonate surface— are of interest to me both in relation to its function as a drawing substrate and as a

geological phenomenon. Boandik Traditional Owners of the Limestone Coast in South Australia have a Dreaming that overlays

with the geological stories of inundation of water with sea levels rising, then receding

repeatedly to form the dunes, wetlands, and

Karst formations. These limestone formations include caves, sinkholes and unconfined aquifers that underlie the region.

Since colonisation, the landscape has

been highly modified, redirecting waters

through drains and cuttings raising saline

groundwater pressure and changing flows and wetlands. The same processes that have shaped the land since the Tertiary period some 30 million years ago until today— accretion, repetition, water inundation, fossilisation, layering, erasure, dissolution— are synonymous with the print culture of stone lithography. This research has led to an arts practice allowing strategies of drawing to reveal the changing terrains of inland Australia, including the history and interconnections to the water and land systems I have lived on or journeyed into. Land Arts of the Limestone Coast project, S.A. sponsored by Country Arts, the University of Canberra, City of Mt. Gambier, and the Australia Council for the Arts, 2019–22 is about the intersection of geomorphology and human intervention. The text font Sans forgettica was designed by Monash University.


‘What mean ye by these stones’ Stone lithograph on gampishi paper 84 x 53.5 cm


Grasping The Nettle, 2020 From the 'representation by touch' series of artists books codex, three loose signatures and a concertina in a slip case, hand made paper, pulp printing, Variable edition of 8 with three artists proof books 16 x 24 x 2 cm


THE IAIN TURNBULL MEMORIAL AWARD

20 14 TIM MOSELY

In her 1965 essay “Tactile Sensibility”,

Anni Albers added her voice to the critique of the entrenched ocularcentrism within the West, specifically in relation to the reception and evaluation of works of

art. Albers's compelling call for artists to

engage the senses of touch in their studio practice necessitating new vocabulary for the discourse dovetails seamlessly with a corresponding call for critical vocabulary within discourse engaging artists books.

As a creative field, artists books still lack critical recognition despite the growing number of internationally acclaimed

works of art realised through the book. This artists book responds to Albers's

call. It was developed with Bishop George Berkeley’s 1709 observation in mind,

that ‘touch educates vision’ or as recent research describes it ‘touch calibrates vision’, and the very blunt observation

that while we are able to make sense of

our world without sight we are unable to make sense of our world without touch. I was struck by grasping the nettle as a form of writing or language with an anonymous voice, independent of the 'author', and fascinating by its ‘anonymous' method of creation.

(Neil Crawford / TypoG, private collector)


THE IAIN TURNBULL MEMORIAL AWARD

20 13 PAUL EVES

Did I catch you at a bad time? poses

thoughts and contemplations on mortality through a video animation that uses rapid sequencing and scale to suggest an

anxious relationship to time. In this work,

text is used through video sequencing to

communicate a sense of urgency in order to address the idea that time feels like

it’s slipping away. The treatment of these

seemingly ordinary everyday idioms of time creates a sense of tension and anxiety.

In my art practice the temporal nature of

moving images and recorded sound speaks to the subjectivity of time. The inclusion of

analogue objects and technology are used to create works that explore a vulnerable relationship to mortality. They help to

animate, reflect, trace and define settings

in my time and space, in an act of retrieval and recovery.

There is something subliminal that happens with this work: as each word dissolves to the next a ghost impression is left of the word before.


Did I catch you at a bad time?, 2019 Vimeo mp3 file


Blue, 2021 16 Pull Reduction Linocut 19 x 19cm


THE IAIN TURNBULL MEMORIAL AWARD

20 12 ELYSE TAYLOR

My prints examine the historical and

contemporary relationship visual art shares with science and ‘the specimen’. I explore

defensive survival strategies in plants and non-human animals, and adapt them as

metaphors for human defensive responses by employing natural history illustration

tropes. In doing so, I aim to recognise the separate but parallel evolutionary history

behind these behaviours as a combination of natural, genetic and learnt responses.

Making the works, I follow strict methods of observation, first-hand collection,

and documentation of natural subjects.

Subjects are converted into specimens by

removing them from their original contextual environments. These specimens are used

as a vehicle to communicate scientific ideas and concepts, both from scientific and artistic pursuits.

I utilise two distinct approaches to natural

history illustration for my works across two bodies of work to communicate differing

but complementary ideas on defensiveness in nature, and how these reflect human defensive responses. My ecological approach concentrates on multiple facets of an environment, exploring the complex connections, relationships and behaviours of living things. My Linnaean approach features single isolated specimens, focusing deeper onto important aspects or elements of a specimen. The printmaking process, being continually evolving, complements ideas rooted in evolutionary theory. Additionally, the time-consuming and focus demanding nature of the printmaking processes I use are also used as a distraction to defend against my own long-term anxiety disorder, therefore becoming more than just a metaphor for defensive behaviour.


THE IAIN TURNBULL MEMORIAL AWARD

20 11

JESSICA ROW

Created in a tiny apartment during

Stage 4 lockdown in Melbourne 2021,

Jessica’s current body of work is inspired by research into the history of women

in politics. Portrait of Enid Lyons (A new broom) forms part of a larger series

of the same name, comprising prints,

video, found objects and audio focused on Dame Enid Lyons; the first woman

elected to the House of Representatives and serve in Federal Cabinet. Drawing

on archival materials, including photos,

senate papers, and audio transcripts, the

work makes particular reference to Lyon’s maiden speech, claiming her arrival in

parliament was feared by some members as "the somewhat too vigorous use of a new broom".

This ongoing project seeks to both highlight and celebrate the achievements of and challenges faced by women in politics, from the time that women were eligible to run for parliament in Australia to the experience of women today.


Portrait of Enid Lyons (A new broom), 2021 Screenprint on paper 38 x 28.5 cm


Fragments, 2021 Pigment on linen paper


THE IAIN TURNBULL MEMORIAL AWARD

20 11 LIANA JADE EVANS

Death, however intractable, allows us to understand what it means to be alive. Electron microscopy is a technique for obtaining high resolution images of biological and non-biological specimens. Beams of accelerated electrons are used as a source of light to reveal the structure of smaller objects. This process uncovers and allows exploration of fragments of ash which otherwise would not be seen in detail with the human eye. Evans’s use of this scientific technique coupled with the drawn image provides a platform for the artist to understand and process grief whilst expanding on concepts of death, decay and existence.

The specimen has been displayed alongside to indicate scale. Reference images were taken with the assistance of the RMIT University Electron Microscopy department.


DR NICOLA

HOOPER

2020 TURNBULL FELLOW

ARTIST BIOS & SELECTED EXHIBITIONS

Nicola Hooper’s studio practice focuses predominantly on lithography. She has been tutoring students through Griffith University, CAIA since 2018. She gained first class honours in 2014 prior to completing her Doctor of Visual Arts at QCA in 2019 with her practice-based research titled "Zoonoses – A Visual Narrative". Nicola has been the recipient of several awards and her work is held in private and public collections. She has exhibited extensively as a solo artist at regional galleries including Tweed and Caboolture. She has also exhibited in many group exhibitions at venues such as South Australian Museum and the Fremantle Arts Centre along with various other interstate and international venues. Hooper has a background as a designer and her current studio work combines both her lithographic and design skills in the creation of prints, wallpapers, artist books containing created rhymes and paper sculptures. Recent projects include illustrating a children’s picture book as part of the State Library of QLD’s Stories for Little Queenslanders series and collaborating on an interactive QR activated animated film as part of Curiocity Brisbane 2021 and she is currently involved in a large public art project. SELECTED EXHIBITIONS 2021

Entrancing Others (Curated by Rona Green), Gippsland Art Gallery, VIC, Australia James the Rat King eXperience as part of Curiocity Brisbane, QLD, Australia

2020

EcoWomen 1, Mary Cairncross Scenic Reserve, Maleny QLD, Australia

2019

Pivot Exhibition, Onespace Gallery, West End, QLD, Australia Megalo International Print Prize Finalist Exhibition, Megalo Gallery, Kingston ACT, Australia

2018-19

Zoonoses, Caboolture Art Gallery, Logan Art Gallery, Tweed River Regional Gallery, Australia

2018

Australian Science Communicators Exhibition, Powerhouse Museum, Sydney, NSW, Australia Animals & Plants Firestation Press Firestation Print Studio, Armadale, VIC, Australia Flying Arts Featured Artists at the Judy:Winter, Judith Wright Centre of Cont Art, Fortitude Valley, QLD, Australia

2017

Hosts, Redlands Regional Gallery, QLD, Australia Petite Worlds Exhibition, Brunswick Street Gallery, Melbourne, VIC, Australia Hazelhurst Art on Paper Award Exhibition, Hazelhurst Regional Gallery, Sutherland, NSW, Australia A Point of Inflection Artist Books, Gympie Regional Gallery, QLD, Australia

2016

Across the Ditch Exhibition, CAN Gallery, Napier, NZ & Impress Printmakers Studio & Gallery Libris Australian Artists Book, Awards Artspace Mackay, QLD, Australia Women of Substance, Griffith University White Box Gallery, QLD. Australia Largesse, Griffith University Printmaking Pop Gallery, Woolloongabba, QLD, Australia Cream of the Crop Qld Regional Arts Association Touring Exhibition, Regional QLD, Australia

2015

Vision 20/20, Logan Art Gallery, QLD, Australia

2014

Fremantle Arts Centre Print Award, Finalist Exhibition, WA, Australia


THE IAIN TURNBULL MEMORIAL AWARD

ANA PAULA ESTRADA

MATTHEW NEWKIRK

2019 TURNBULL FELLOW

2018 TURNBULL FELLOW

Ana Paula Estrada is a multidisciplinary artist based in Brisbane, Australia. Most of her art practice and research focus on the documentation and dissemination of end-of-life stories by combining creative writing, photography, and the artist book. She is currently a PhD candidate at QCA, for which she is exploring issues surrounding the notions of language, translation, and storytelling, and investigating how creative approaches can contribute critically to care practices in aged care.

Matthew Newkirk’s practice utilises the same mediums that deliver the news to us daily and investigates how mainstream media disrupts and distorts information.

SELECTED EXHIBITIONS 2020

Making Art Work, Institute of Modern Art, Brisbane, QLD, Australia Joint Memory, Fotodok, Utrecht, The Netherlands

2019

Newkirk’s research contributes to a new understanding of how power structures use new technologies and contemporary mediums to sustain their influence. SELECTED EXHIBITIONS 2021

Gertrude St Projection Festival, Melbourne, VIC, Australia

2020

DEPART, Onespace Gallery, Brisbane, QLD, Australia

2019

Status Unknown, POP Gallery, Brisbane, QLD, Australia Pivot, Onespace Gallery, Brisbane, QLD, Australia

Pivot, Onespace Gallery, West End, QLD, Australia

Social Conscience, Articulate Artspace, Sydney, NSW, Australia

Elders: Perspectives of Ageing, The Centre Beaudesert, QLD, Australia

2018

2018

How we see: Reading room, Fototeca Lat, Buenos Aires, Argentina

2017

Brisbane Art Prize, Judith Wright Centre, Brisbane, QLD, Australia

How We See: Photobooks by Women, The New York Public

The Rio Tinto 42nd Martin Hanson Memorial Art Awards, Gladstone

Library New York, USA

Regional Art Gallery, Gladstone, QLD, Australia

Photobook Show, Borough Road Gallery, London United Kingdom

Fremantle Arts Centre Print Award, Fremantle, WA, Australia

Arles Author Book Award Exhibition, Arles, France

Salvage - Brisbane City Council Sculpture Exhibition, Judith Wright

Correlations, Artist Book Brisbane Event ABBE, QCA, Brisbane,

Centre, Brisbane, QLD, Australia

QLD, Australia

Undergrowth – QCA Undergraduate Invitational Exhibition,

APOTY, Magic Johnson Gallery, Melbourne, VIC, Australia Month of photography (Mopla), Venice Gallery, Los Angeles, CA, USA

Queensland College of Art, Brisbane, QLD, Australia 2016

Regional Art Gallery, Gladstone, QLD, Australia

Museum, USA

Digital Horizons, Queensland College of Art, Brisbane, QLD, Australia

Photobook Show, Flip Award, Petöfi Irodalmi Múzeum, Budapest

Encontros da Imagem Festival, Braga, Portugal 2016

Libris Award Exhibition, Artspace Mackay, QLD, Australia Siganto Foundation Artists’ Book Show, White Gloves, State Library of Queensland, Brisbane, QLD, Australia

Sculpture 16, Queenland College of Art, Brisbane, QLD, Australia The Rio Tinto 41st Martin Hanson Memorial Art Awards, Gladstone

INFOCUS, Center for Creative Photography, Phoenix Art

RSP International Show, The Espacio Gallery, London, UK

Liminal Print, Queensland Academies of Creative Industries, QLD, Australia

50 Years of the Photographic Artists’ Book, Lionel Galleries, Arizona

2017

Plate Tone, Print Council of Australia, Melbourne, VIC, Australia Libris Art Book Award, Artspace Mackay, Mackay, QLD, Australia

Prospect, Pop Gallery, Brisbane, QLD, Australia

2015

Dirty Fingers, LoveLove Studio, Brisbane, QLD, Australia

2011

Pastemodernism3, Outpost Festival, Sydney, NSW, Australia

2010

Pastemoderism2, LO-FI, Collective, Sydney, NSW, Australia

2009

Ecology, Lotte Gallery, GwangJu, South Korea New Eyes Open, aMBUSH Gallery, Sydney, NSW, Australia


DR DAVID

JONES

GRACE COLLINSON

2017 TURNBULL FELLOW

2016 TURNBULL FELLOW

Born in Cairns and spending most of childhood in North Queensland, the artist has spent the remainder of his life in and around Brisbane. David was encouraged from an early age to develop drawing and painting skills by his parents Naomi and John, both of whom had major roles contributing to, and promoting the North Queensland music industry in the 1970s.

Grace Collison is a freelance arts worker who graduated from QCA in 2017 with a Bachelor of Fine Art, majoring in Interdiscplinary Print. She acknowledges the pivotal role receiving the 2016 Iain Turnbull Memorial Award played in developing her ambitions and desire to curate exhibitions. After playing assistant roles in group exhibitions during her studies, she went on with fellow QCA graduate Rachel Dunn to establish the accessible exhibition space Greaser Gallery in Fortitude Valley. For two years, she and Rachel helped over forty emerging Brisbane artists display their work, until COVID-19 abruptly stopped their efforts.

Not until comparatively late in life did the artist enrol for studies, submitting a folio for entry into the Diploma of Arts at Southbank TAFE. During this time David was introduced to the etching medium by Margaret Wilson, had his art ‘space’ expanded by Sally L’Estrange and introduced to sculpture by Stephen Newton. A degree at QCA was the next step. Printmaking became the focus of studies under the guidance of Russell Craig, Lani Wheedon, and Jonathan Tse. Accepted for honours David had the opportunity to refine what was achieved in the degree with the guidance of Craig Douglas, Jennifer Herd, Alan Owen, Pat Hoffie and around 15 fellow students. After around eight years of professional printing with a dear friend Jacek Rybinski, David returned to QCA where a Master of Arts in Visual Arts was completed. This led to doctoral studies under the supervision of Prof. Ross Woodrow, Russell Craig, and Judy Watson, and was completed in 2017. At present David operates Corvine Art from a home studio at Rocklea, Brisbane, providing limited edition fine art prints to professional artists. Corvine Art is also home to what could be the world’s largest roller style etching press, with a bed approximately 2 metres wide and 3.8 metres long.

SELECTED EXHIBITIONS 2019

QLD, Australia Neu Latitudes, Queensland College of Art POP Gallery, Fortitude Valley, QLD, Australia 2018

Real Fake Doors, Greaser Bar/Analogue Gallery, Fortitude Valley, QLD, Australia Last Minute, Manly Harbour Village, Manly, QLD, Australia Last Minute, Manly Harbour Village, Manly, QLD, Australia 2016

Tension (2016 Graduate Folio Box), Queensland College of Art, South Bank, QLD, Australia Sinekdekee, Queensland College of Art, Webb Gallery, South Bank, QLD, Australia 50 Hour Print ‘Pop Up’, Queensland College of Art, White Box Gallery,

Cairns, QLD, Australia

QLD, Australia

Home Turf, Graceville Uniting Church historic precinct, Graceville,

In Progress, Impress Art Gallery, Wooloowin, QLD, Australia

Brisbane, QLD, Australia QLD, Australia Undercurrents – Cook 2020, Group show, Tanks Art Centre, Cairns, QLD, Australia 2019

Legacy” Reflections on Mabo, Group show, Touring exhibition till 2023. Multiple venues including National Gallery of Australia, Australia Exploring personal symbols of freedom: Banderlain Titchelengai Marim, Solo show at Woolloongabba Art Gallery, Brisbane, QLD, Australia The Australian ‘Settler’ Problem, Solo show at Umbrella Studio Contemporary Arts, Townsville, QLD, Australia Brisbane and Elsewhere Art UnTriennial 2019, Group show at Outer Space Gallery, Brisbane, QLD, Australia

2018

Maiwa, Group month Long Street Art Exhibition, Brisbane, QLD, Australia

2017

Australian Anosognosia, Solo show and submission for doctoral studies at Queensland College of Art, Griffith University, Woolloongabba Art Gallery, Brisbane, QLD, Australia

2016

23 Degrees, Group show, Woolloongabba Art Gallery, Brisbane, QLD, Australia Inflection, Group show, the Centre for Fine Print Research, University of West England, Bristol, UK

Short List, Queensland College of Art, White Box Gallery, South Bank, QLD, Australia

Where’s Your Permit?, Cairns Indigenous Art Fair satellite exhibition,

XMAS Show 2020, Woolloongabba Art Gallery, Brisbane,

Snapshot, Queensland College of Art, Project Gallery, South Bank, QLD, Australia

(Curated by Janina Harding, and Francoise Lane), Tanks Art Centre,

2020

Greaser Gallery 1st Birthday, Greaser Gallery, Fortitude Valley, QLD, Australia

2017

SELECTED EXHIBITIONS 2021

Greaser Gallery 2nd Birthday, Greaser Gallery, Fortitude Valley,

2015

Dirty Fingers, Love Love Studio, Milton, QLD, Australia


THE IAIN TURNBULL MEMORIAL AWARD

DR JUDE ROBERTS

DR TIM MOSELY

2015 TURNBULL FELLOW

2014 TURNBULL FELLOW

Jude Roberts is a visual artist based in Brisbane. Using the disciplines of drawing and print media, she focuses on the changing terrains of inland Australia, the history and interconnections to the water and land systems especially that of the artesian basins. After completing a Doctor of Visual Art in 2015, Jude was given the Iain Turnbull Memorial Award which gave her the opportunity to participate in a residency at the University of Hawai’i, Manua Campus in the Print department of Professor Charles Cohen.

Through his art practice, Tim Mosely questions and deliberates on humanity’s relationship with wilderness—specifically, the bush. A pioneer in the expanded form of artists books with his collective skills of papermaking and graphic mediums, he draws on the touch and materiality of prints and books to investigate haptic properties of that relationship. His work contributes to the fields of print culture and artists books, having been included in significant survey exhibitions and acquired for prominent national and international artists books collections. He convenes and teaches into the print program at QCA, co-ordinates the artists book brisbane events (abbe) and leads the new QCA initiative cobalt editions.

Jude has continued to make direct encounters with the land and people of Western Queensland where she once lived, and other communities through various arts projects. The artist acknowledges the Traditional Owners of the Land and Waters, the Boandik and Turrbul People that is the area of her research and where the work was created. SELECTED EXHIBITIONS 2021

SELECTED EXHIBITIONS 2019–22 Stopping Time: Material Prints from 3000 BCE to Now, Gympie Regional Art Gallery, QLD, touring exhibition, QLD, Australia 2018/19

New on the Shelf: Rare Books & Artists' Books, Stanford University’s Green Library, Stanford, USA

RNOP Biennale, Red Door Gallery, University Southern Qld, QLD, Australia

2018

The Libris Awards, Artspace Mackay, QLD, Australia

Lethbridge Small Scale Art Prize, Lethbridge Gallery, Brisbane,

2016

The Libris Awards, Artspace Mackay, QLD, Australia

2015

The Contained Narrative: Defining the Contemporary Artist’s Book,

QLD, Australia

Minnesota Center for Book Arts, USA

outLAND, Collaboration with Tarn McLean, (Curated by Alexandra Lawson, ALG, Toowoomba, QLD, Australia

2014

Gallery, Brisbane, QLD, Australia

Behind the Personal Art Library: Collectors Creating the Canon, The Centre for Book Arts, NY, USA

March Drawn, Curated by A. O’Rourke, N. Wood, Redlands 2013

5th International Paper & Book Arts Triennial, Columbia College,

2020-21

Satellites, Alexandra Lawson Gallery Toowoomba, QLD, Australia

Chicago, USA

2019

Chain of Ponds, Collaborative exhibition with Helen Hardess,

The Libris Awards, Artspace Mackay, QLD, Australia

Blindside Artspace, Melbourne, VIC, Australia 2018

QLD, Australia 2017

The Silent Scream, Sir Louis Matheson Library, Monash University, VIC, Australia

These Central bodies, Alexandra Lawson Gallery, Toowoomba, 2012

QLD, Australia

2010 2008

QLD, Australia 2015

Marie Ellis Drawing Prize, Jugglers Art Space, Brisbane, QLD, Australia Drawing the Artesian, White box, Project Gallery, Qld College Art, Griffith University, QLD, Australia Casting Body, Drawing International Brisbane, Griffith University, Southbank, Brisbane, QLD, Australia Body Politic, Crane Arts, Ice Box, The Crane Arts Centre, Philadelphia, USA

2014-15

Mythscapes in the Watery Realm Wales–Australia, School of Art Gallery, Aberystwyth University, Wales, United Kingdom

2014

Aquifer, Crane Arts Centre, Philadelphia, USA

2013

One River arts project, a multi-state and territory arts project staged as a part of celebrations for the Centenary of Canberra in 2013, Belconnen Arts Centre, ACT, Australia Unravelling the Maranoa, Mitchell on Maranoa Gallery Sayer Jones, Moyer, Belonging, Great Arts Stories from Regional Australia 2014, Mitchell, QLD, Australia

2010

The Libris Awards, Artspace Mackay, QLD, Australia

Curators in Space; Shift, Judith Wright Centre for Contemporary arts, Flying Arts’ Curators in Space, Fortitude Valley,

Marie Ellis Drawing Prize, Jugglers Art Space, Brisbane, QLD, Australia

Freestyle Books, State Library of Queensland Gallery, Brisbane, QLD, Australia

QLD, Australia 2016-17

New Treasures,Talbot Family Treasures Wall, State Library of Queensland, QLD, Australia

Process and the Temporary Studio, Jugglers Artspace Marie Ellis Drawing Prize, Jugglers Art Space, Brisbane,

LIFE’S JOURNEY: Artists Books from Queensland Collections, Redland Art Gallery, Cleveland, QLD, Australia

House Conspiracy Residency and Showcase, West End, Brisbane,

2006

The Libris Awards, Artspace Mackay, QLD, Australia


PAUL EVES

ELYSE TAYLOR

2013 TURNBULL FELLOW

2012 TURNBULL FELLOW

Paul Eves is a Melbourne-based artist and art educator, born in London, England. He has exhibited nationally and internationally, and completed a Master of Fine Art at RMIT University in 2017, receiving the RMIT MFA Achievement Award. In 2014, Eves graduated with a Bachelor of Fine Arts with Honours from QCA. In 2013 he was a finalist in the Gas and Survey CO at QCA.

I had the privilege of receiving the Iain Turnbull Memorial Award in 2012. My educational journey up until that point was a difficult one, and I had real concerns about the ability to continue a practice I had grown to love. On the night of receiving Iain’s award, I could not have anticipated just how much it would continue to help me for years to come. I was able to invest in engraving tools, a very good roller, and studio equipment. These tools will accompany me for life and see use on all my work. Gavin and Elizabeth Turnbull, on hearing that I wanted to pursue engraving, kindly sent me Iain’s electric engraver and wood, which I have been able to learn and have produced many works. I have now built up my equipment to set up my own studio to work from home.

SELECTED EXHIBITIONS 2019

White Night, City of Ballarat, VIC, Australia

2017

Wish you were here, (Solo) Seventh Gallery, Melbourne, VIC, Australia Poetry, George Paton Gallery, Melbourne, VIC,Australia

2016

Eulogy, (Solo) First Site Gallery, Melbourne, VIC, Australia Vinyl Traces, (Solo) Logan Art Gallery, Brisbane, QLD, Australia After Silence, Beth Hulme Gallery, Melbourne, VIC, Australia

2015

Body Politic, Crane Arts, Philadelphia, USA Global Relations, Kala Kendra Art Gallery, Jammu, India

2013

Graduate Art Show, Queensland College of Art, GUAG. Brisbane, QLD, Australia CONFORM CONFRONT, International Print Exchange Exhibition, Hong Kong

Over the years this has enabled me to continue to contribute works to many print community exhibitions; deliver print workshops; and to complete a Master of Arts in Visual Arts. One of the biggest impacts though has been confidence in my practice, the drive and passion, and the feeling of support that I have felt since. I have a career doing something I love and that is an extreme privilege. SELECTED EXHIBITIONS 2020

Triangles, Project Gallery, QCA, South Brisbane, QLD, Australia EcoWomen, Mary Cairncross Scenic Reserve, Maleny, QLD, Australia Imprints, Grey Street Gallery, South Brisbane, QLD, Australia

2019

Ellipsis 2019, QCA Honours & Postgraduate exhibition, South Brisbane, QLD, Australia Impressions 13, Impress Gallery, Kedron, QLD, Australia

2018

Mimicry, The Glassbox ,QCA, South Brisbane, QLD, Australia Realities, Project Gallery, QCA, South Brisbane, QLD, Australia

2017

36 hour Print, White Box, QCA, South Brisbane, QLD, Australia Last Minute, Pop Up Gallery, Manly, QLD, Australia

2016

Disrupt, Jugglers Art Space, Fortitude Valley, QLD, Australia 25 Print Folios, Webb Gallery, QCA, South Brisbane, QLD, Australia

2016

Waiting for Jonathan, Project Gallery, QCA, South Brisbane, QLD, Australia Diversity in Print, Royal Queensland Art Society, Brisbane, QLD, Australia

2014

Changing of the Guard, White Box, QCA, South Brisbane, QLD, Australia

2013

Bimblebox 153 Artists, Touring Exhibition


THE IAIN TURNBULL MEMORIAL AWARD

LIANA JADE EVANS

JESSICA ROW

2011 TURNBULL FELLOW

2011 TURNBULL FELLOW

Liana Evans is a Melbourne-based artist whose works consist mainly of stippled pigment line drawings on paper. She holds a Bachelor of Fine Arts (Honours) from the QCA. Since graduating, Liana has been a finalist in several art prizes, being awarded the Brisbane Art Prize in 2015 and runner up for the Marie Ellis Prize for Drawing 2013. With a personal interest in the Sciences, Liana has used microscopic photography, collaborating with the Electron Microscopy department at RMIT and Melbourne University, as reference material for her most recent works which touch on themes of the human body, scale, decay and spirituality.

Jessica Row is an artist and curator, currently based in Naarm/ Melbourne and undertaking postgraduate studies in Fine Art at the Victorian College of Art. She has exhibited in Brisbane, Melbourne and Sydney, including as a finalist in the Australian Stencil Art Prize. Her work primarily involves printmaking, video, photography and installation. Jessica has worked for several public and artist-run organisations, including Assistant Curator for Latrobe Regional Gallery; Curator of Liquid Architecture’s ‘Archives in Motion’ at Tarrawarra Museum of Art’s Biennale ‘All that is solid...’; and as a member of Australia Council’s team to deliver the Australia Pavilion at the 2017 and 2019 Venice Biennale. She holds a Master of Art Curatorship from the University of Melbourne and is currently the Exhibitions Coordinator for National Exhibitions Touring Support (NETS) Victoria. The Iain Turnbull award assisted Jessica to continue to make work after graduating from QCA and she is grateful for the Turnbull family’s support.

Having taught scientific illustration and printmaking at the Melbourne School of Art in 2016, Liana has continued her career in Education through Project Management at Swinburne University of Technology. SELECTED EXHIBITIONS 2014–15 Feck art prize, Gale Street Gallery Feck, Melbourne VIC, Australia 2011

Shoot, (Curated by Rozina Suliman), The Alley, Brisbane, QLD, Australia Rotary Art Show 2011, Brisbane CBD, Brisbane, QLD, Australia Neural Signatures, Jugglers Art space, Brisbane, QLD, Australia

2010

SELECTED EXHIBITIONS 2020–21 Curator of various exhibitions as part of KINGS Artist-Run Exhibition Program 2019–20 Curator of various exhibitions as part of KINGS Artist-Run Exhibition Program

There is no there there, White Canvas Gallery, Fortitude Valley, Brisbane, QLD, Australia

2017

Allstonville, NSW, Australia

2016 2015 2014

Curator for Watermark Print Exhibition, Jugglers Art Space Inc., Fortitude Valley, QLD, Australia

Shoot, The Alley, Brisbane, QLD, Australia Transient (Folio box exhibition), White Box QCA, Brisbane,

Curator for The X Show, Jugglers Art Space Inc., Fortitude Valley, QLD, Australia

Wake up with your head, QCA, Southbank Brisbane, QLD, Australia On Paper, Project gallery, QCA, Brisbane, QLD, Australia

Researcher for After Shakespeare, Noel Shaw Gallery, Baillieu Library, VIC, Australia

Sealed for freshness (Graduating printmakers exhibition), Art Factory, Brisbane, QLD, Australia

Curator for Archives in Motion for Liquid Architecture at Tarrawarra Museum of Art, VIC, Australia

Artist Trading card project, Ms. Browns Lounge & Barratt Galleries,

2013

Curator for The Northshore Hamilton Response to River Exhibition, The Shed, Hamilton, QLD, Australia

QLD, Australia

Curator for Containerval Festival, Hamilton Northshore,

A theory of colours (film- milky cataracts), Queensland

QLD, Australia

conservatorium Griffith, Brisbane, QLD, Australia 2012

Curator for 2high Festival, Brisbane Powerhouse, New Farm, QLD, Australia

2011

Curator for Detour, POP Gallery, Woolloongabba, QLD, Australia


ACKNOWLEDGEMENTS This catalogue is published in conjunction with the exhibition decennium, celebrating a decade of the Iain Turnbull Memorial Award. This annual award recognises an exemplary engagement with printmaking and print culture by a QCA student.

CATALOGUE CREDITS Design: Andrea Greenslade in Liveworm Studio

The exhibition was assembled by Dr Tim

Queensland College of Art

Mosely, the 2014 Turnbull Fellow, and this

Griffith University

catalogue was made possible with the support of Professor Elisabeth Findlay,

Editor: Evie Franzidis

Director of QCA.

Printing: CPX Printing

QCA particularly thanks:

ISBN: 978-1-922361-24-0

• Gavin and Elizabeth Turnbull • James Williams

EXHIBITION DETAILS

• Jennifer Lowrey, Iain's partner whom

decennium: Ten Years of the

he "loved to bits"

Iain Turnbull Memorial Award

• Nanette and Robert Lowrey

Tuesday 28 September 2021 –

• Russell Craig, Head of Interdisciplinary

Saturday 9 October 2021

Print during Iain's time at QCA • Dr Tim Mosely

Grey Street Gallery Queensland College of Art

• Professor Ross Woodrow

226 Grey Street

• Gwenn Tasker

South Brisbane

• Alan Owen • Angela Goddard • Dr Bill Platz

QLD 4101

SUPPORT THE TURNBULL AWARD

• Naomi Evans

Encourage excellence

• Noreen Grahame

in printmaking at QCA by making a tax-

• Jonathan Tse

deductible donation

• Dee Rennie

to The Turnbull Award. Your gift will enable emerging artists who make prints to develop their practice.

© Copyright 2021. All rights reserved. No image or text may be reproduced without the permission of the artists and authors.


THE IAIN TURNBULL MEMORIAL AWARD

COVER IMAGE:

Iain Turnbull, Untitled, 2004, multi-plate intaglia, kindly sourced from Gwenn Tasker





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