May 2020
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GREG HODGE IN PARIS
LIFE IN JOGJA
FIRST 5 THINGS I’M GOING TO DO WHEN ISO IS OVER
MAY 2020
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Front cover: Greg Hodge Swimmers, 2020 acrylic on canvas 130 x 97cm Inside cover:Balustrade stepper 2020, two lightjet prints, 240 x 160 cm, edition of 3 + 2AP’s, lightjet print, 180 x 120 cm, edition of 3 (in exhibition) + 2AP’s
MAY 2020
Left top: Greg Hodge’s studio at the Cité International des Arts, Paris Left bottom: Bone stake 2020, rose gold patinated bronze, 40 x 7 x 7 cm, edition of 1 + 1AP Left middle: Eko Nugroho Fence for Our Beautiful Garden 2018, embroidered painting, 274 x 319 cm (detail) Right top: Juka Araikawa, Swamp 2018, oil on canvas 127 x 96.5 cm (detail) Right bottom: Tony Albert, Brothers (The Prodigal Son), 2020. Installation view for the 22nd Biennale of Sydney (2020), National Art School. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts, Create NSW, Canberra Glassworks and generous assistance from The Medich Foundation. Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph: Zan Wimberley.
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Contents 02 04 08 10 16 19 22 24 26 28 29
A Message from Ursula and Joanna Greg Hodge: Every Day in Paris David Flack speaks with Greg Hodge Darren Sylvester: Mark of the Vampire Eko Nugroho: Life in Jogja Toddcast - Joanna Strumpf chats with Todd McKenney Heart + Home: Tony Albert at the Sydney Biennale First 5 things I’m going to do when iso is over - Dawn Ng Juka Araikawa’s - In iso Quick Curate: Black Coming Up
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Ursula Sullivan and Joanna Strumpf in the Sydney gallery. Photographed by Anna Kucera
May You Live In Interesting Times Ursula Sullivan+Joanna Strumpf
May you live in interesting times – did the Venice Biennale curse us? You think we are joking, but maybe that question is no more crazy than the times we are living in, and perhaps yes, we are cursed with ‘interestingness’. Sadly for many, it has been a curse indeed, less interesting and more devastating, destructive and divisive 2020 will go down in infamy. For the fortunate others, it is all at once surreal, frightening, boring and exciting. Boring bits, we won’t discuss. But exciting bits, let’s go there! We have a new mistress and her name is DIGITAL! What Digital wants, Digital gets, and so we are excited to deliver our first ever online magazine. We’ve been wanting to do this for ages, but needed a good kick up the pants to get there. With this, we aim to bring you closer to the artists you love, introduce you to new artists you may not have met, new ideas, new ways of looking at the world. In our first issue, Jane O’Sullivan talks to Greg Hodge in Paris on the eve of his first on-line exhibition and Anthony Carew interviews Darren Sylvester bringing you the very first glimpse of
his new body of work Balustrade Stake. We also learn more about the trailblazing Indonesian artist Eko Nugroho; hear what Singaporean artist Dawn Ng wants to do as soon as isolation is over, and much, much more. And if you haven’t already tuned in, we have two fabulous new podcasts for you – Joanna chatting with the legendary, and totally gorgeous Todd McKenney about his passion for contemporary art, and one of Australia’s most dynamic designers and all-round good guy, David Flack, speaks with Greg Hodge about Paris, painting and how our lives will never be the same again. On the less exciting side of things, but still very important, the new digital world means you can control what info you get. Update your subscription preferences you can determine what you really want from us – it will be important if there is an artist you really love, because it will mean you’ll get a special preview to their shows. Ok that’s it from us, now over to the artists. - Ursula and Joanna
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MAY 2020
Greg Hodge
Greg Hodge: Every Day in Paris Greg Hodge’s work has always had a way of unsettling assumptions. Still in lockdown in Paris after a three-month residency, he reveals how his life and work have been challenged by the City of Lights. by Jane O’Sullivan
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Greg Hodge: Every Day in Paris
“Colour for me is such an important part of the way that I make and think about art, and particularly painting, but I’m also really interested in the subtlety of how you can generate an image with only two or three tones”
MAY 2020
“I have a real love of the history of painting but then, in places like the Louvre, there are these little cornices that are beautiful and amazing, and those decorative elements affect the decisions I make in the studio”, says Greg Hodge about the textures of Paris. Hodge has been able to take his time exploring the city. He arrived in October for a three-month residency at the Cité Internationale des Arts, hoping it would be a chance to catch breath after a busy year. “I was going to use the residency to reflect and maybe make drawings and do some research but, naturally, a lot of my thinking through things happens in materials and I found myself drawn to making work in the studio,” he
says. The trip was extended, and this ‘thinking in materials’ evolved into a diverse body of new works, each playing in different ways with illusion, art history and the recontextualisation of materials. Before the Covid-19 lockdown hit, Hodge’s research took him to the ornate Château de Fontainebleau, the Gobelin tapestry factory, and the decorative department of the Louvre, with its 18th and 19th century tapestries. There were already glimpses of textiles in Hodge’s 2019 solo exhibition Fictions but the new work pushes this much further. Gesture and Interior, 2020, weaves together the impression of a strange domestic environment from a
Upcoming Exhibition: Every Day Greg Hodge / Sydney / 21.5.2020
rug, furniture and a figure draped in cloth. These pieces, painted with horizontal, weft-like striations, are intriguing but a bold gestural brushstroke hovers in the way. It’s an arresting gesture, “interrupt[ing] that feel, the illusionistic feel, of the representational scene,” says Hodge. Hodge is interested in the way that pictorial tapestries, unlike painting, embed the image in the support. In Paris, he also found himself thinking about weavings made from paintings by Fernand Léger and Le Corbusier, and how their painted marks were captured in cloth. “I’ve played on that and flipped that round, looking at the way a woven mark can be translated into an illusionistic surface,” he says.
In other paintings, like Curious, 2020 and Swimmers, 2020, Hodge has used layers of gel and impasto to quietly build out the edges of the works. “The gestures then sit over this field that doesn’t finish right on the edge of the canvas,” he says. “It extends. It has its own physical body.” These extensions give the works subtle irregularities, a little like torn paper. This is what Hodge does best, finding ways to unsettle our assumptions about what we’re looking at. “It’s uncertain, straight away, what it is,” he says. “I’m interested in that. I like that idea of not everything being revealed really quickly.”
Top: Greg Hodge’s studio at the Cité International des Arts, Paris – Photo by Jack Saltmiras
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Who doesn’t love Paris?
Left: Flack Studio Maxwell Residence with painting by Greg Hodge. Photo by Anson Smart Right: David Flack. Photo by Anson Smart
David Flack speaks with Greg Hodge
Join artist Greg Hodge and the uber-cool David Flack, founder and director of Flack Studio, one of Melbourne’s most awarded and beloved interior architecture studios in the lead up to Greg’s new exhibition at S+S. David, a self-confessed Hodge-enthusiast, chats with Greg about his residency and stay in Paris, a city that is loved by them both, even after 52 days in lockdown! They talk about how creativity comes in waves, about how Paris filters through Greg’s new body of work, and about knowing exactly when to stop painting or designing – before everything is ruined! So, pour yourselves a big glass of a nice Bordeaux, sit back in a comfy (but stylish) chair, and enjoy the chat.
Follow for more Flackness @flackstudio_ @flackandfriends
Listen to podcast
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Inside Darren Sylvesters’ studio
Darren Sylvester: Mark of the Vampire
Vampires have always occupied a prime place in popular narratives - from comedies to tragedy these bloodsuckers have been strewn across page and screen, For his latest body of work, Balustrade Stake Darren Sylvester plays with vampiric imagery/mythology.
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Darren Sylvester: Mark of the Vampire
Since Bram Stoker penned Dracula as a Eugenicist/Lombrosian fantasy — a tale of a Slavic interloper come to sully lily-white England with his tainted, criminal blood — the vampire has occupied a prime place in popular narratives. From comedies to tragedy, underworld to highschool, these bloodsuckers have been strewn across page and screen, symbolising all manner of social ‘others’; from German invaders to sexual libertarians, queers, AIDS victims, teenaged rebels, and, finally, by the time of Twilight, Mormons. For his latest body-of-work, Balustrade Stake, Darren Sylvester — an artist fresh off an NGV career retrospective, Carve A Future, Devour Everything, Become Something — plays with vampiric imagery/mythology. He re-purposes a promotional photograph of Carroll Borland, for the 1935 Tod Browning film Mark Of The Vampire (where she plays the daughter of Bela Lugosi’s bloodthirsty count), and matches it to a stylised, self-made spider-web. The spider-web sits in a window in an ersatz
street-scene, as do neon lights abuzz with a superstitious candle-burning and the hawking of psychic services. A model, straddling a staircase in stilettos that themselves look like a weapon, clutches onto a broken balustrade. Three other stakes — balustrade, baseball bat and bone — are fashioned from different objects, then dipped in gold. This makes them opulent, but lacking functionality; in vampiric lore, only wood can pierce the vampire’s heart, and kill the undead. As always, Sylvester’s intentions in this work seem opaque. Is he up to mischief, or exploring these images with sincerity? Is this work mocking superstition in a time of capitalism; or is the nexus between superstition/capitalism effectively Sylvester’s essential artistic metier? And most pressingly, is Sylvester — fashioning stakes and summoning psychics — the vampire hunter? Or is he as — as artist whose career retrospective title included the command Devour Everything — the vampire?
MAY 2020
Upcoming Exhibition: Balustrade Stake Darren Sylvester/ Sydney / 11.6.2020
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MAY 2020
Darren Sylvester: Interview by Anthony Carew
Q / WHO IS YOUR FAVOURITE
Q /WHAT ATTRACTED YOU TO THIS
ON-SCREEN VAMPIRE?
KIND OF OCCULT IMAGERY?
A / He wasn’t a vampire however close second to me was Robert Smith of The Cure in the clip Fascination Street, he had the band stand round like fashion-street-toughs in bellows of a smoke machine, a rumbling bass line wearing a spotty shirt and eyeliner. As a teen kid in shorts and t-shirt, this was romanticism to a degree I couldn’t comprehend. This character, a cartoon vampire to me with ruined red lips was otherworldly, and yet Bob’s hair at times becomes trapped over his face and he has to flip as he sings, so perhaps the immortal becomes mortal after all.
A / It’s been there for a number of years, possibly beginning with my album Touch a Tombstone (2018), that then fell into creating a bunch of works about speaking to or resurrecting dead-pop moments such as Dingbat and Lucky Charms Ouija (2018) or Stacey (2018) involving a discarded movie spacesuit. Last year it went further with Forever twenty one and Fortune teller (both 2019), which were deliberate references to earlier works with the Gap clothed teenagers in The object of social acceptance is to forfeit individual dreams (2003); or re-hiring the same hand model from my album cover to return in Fortune teller. The last few years has been a time to take stock because of the NGV survey show, it’s been a head spin to go through all that, so perhaps that’s it, a sense of otherworldly-ness.
Q / DO YOU THINK THE IDEA OF
Q / HOW DO THE BUZZING-NEON-SIGN
‘UNDEADNESS’ IS A NATURAL FIT FOR
WINDOWS RELATE TO THIS THEME?
YOUR WORK, WHICH IS SO PREOCCUPIED WITH MORTALITY, AND RESCUING OLD CULTURAL/POP-CULTURAL EPHEMERA FROM DEATH? A / Yes, very much so. It’s a game I play in making work, in-jokes with myself to keep me interested and excited to go further. For example, the bronze stakes in the show began when I noticed the faux-punkishness of Cartier’s nail bracelet, Juste un Clou, this literal nail wrapped around your wrist in rose gold. It’s pseudo dangerous. I then saw a vampire stake in a movie fashioned from a baseball bat with instructions that only organic material like wood can kill the undead, if made from metal or gold it’s useless just like the nail in a Cartier bracelet. I joined these two ideas, purchasing a wooden baseball bat – funny story – the guy in the sports store really wanted to convince me as a beginner I should buy the aluminium bat and not the wood variety I was after, however I didn’t have the heart to tell him it was to be carved up. In the end we have this useless weapon, yet it glimmers like jewellery.
Q / DO YOU EVER FEEL VAMPIRIC? AS IF YOU’RE SUCKING THE LIFEBLOOD FROM IDEAS, MODELS, DEAD HEROES, OR CORPORATE BRANDING?
Interview
A / These are all subjects that lure and pull us. Corporate brands co-op trends and feelings to make you feel like we’re all one and the same, every corporation seems to be saying of late; ‘We’re in this together’. That sounds vampiric to me. I want to make work that is aimed at the individual – you, however speaks to everyone and be universal. These techniques are similar to those of corporations, popular songs and aspirational models, so yes, I guess I am.
A / The neon signs in Psychics window and Burning candle (2020) are essentially advertisements for services. They glow and flicker in the night and I love seeing them around the streets of New York. The window in dream symbology signifies new opportunities, or a sense of freedom, it is the boundary between two states. These new works are true to scale, standing as real buildings, you walk by them just as you would and look in. They’re about dreaming of new opportunities and the desire to learn more about yourself. Both are very positive works to me.
Q / DO YOU SEE CONNECTIONS BETWEEN THIS EVOCATION OF THE ‘PSYCHIC’ AND YOUR PREVIOUS EXPLORATION OF ESP/TELEPATHY/ PRAYER WITH WORKS AS LISTEN TO ME
OR DON’T BE AFRAID, FROM 2012? A / Connections run all through the work, nothing is a project, which is a terrible way to describe practice. Each show is a chapter and everything builds organically, which is exciting for me. I’m living through the exhibitions, from one to another with no answers only more questions, so often I don’t know why in the moment of an exhibition what it all means. To think back eight years on those works creating this ESP style photographs I think now they’re about having no regrets. They ask; Can you hear me? I hope you do. Don’t miss me. I’m here. I think these are the type of questions you would ask of a psychic about another, so yes, very much connected.
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Top left: Overnight web 2020, lightjet print, 160 x 120 cm, edition of 3 + 2AP’s,
Left: Psychics window 2020, two lightjet prints, 240 x 160 cm, edition of 3
lightjet print, 120 x 90 cm, edition of 3 (in exhibition) + 2AP’s
(in exhibition) + 2AP’, lightjet print, 180 x 120 cm, edition of 3 + 2AP’s
Top right: Balustrade stepper 2020, two lightjet prints, 240 x 160 cm, edition of
Right:Burning candle 2020, two lightjet prints, 240 x 160 cm, edition of 3
3 + 2AP’s, lightjet print, 180 x 120 cm, edition of 3 (in exhibition) + 2AP’s
(in exhibition) + 2AP’s, lightjet print, 180 x 120 cm, edition of 3 + 2AP’s
Bottom: Bone stake 2020, rose gold patinated bronze, 40 x 7 x 7 cm, edition of 1 + 1AP
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MAY 2020
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Eko Nugroho Fence for Our Beautiful Garden 2018, embroidered painting, 274 x 319 cm (detail)
Life in Jogja Eko Nugroho
Interweaving local traditions and global popular culture with his own political sentiments, Eko Nugroho’s distinct figures and imageries have established his practice as one of the most iconic in Indonesian contemporary art today. The influence of street art, graffiti, and comics in Nugroho’s practice is unmissable; his striking, graphic aesthetics often presented in large-scale community murals. Much of his works are also grounded in local culture: traditional batik and manual embroidery are quintessential elements of his practice; and Nugroho’s masked figures allude to his fascination with traditional Javanese shadow theatre, to which masks are integral. These masks figures became Nugroho’s signature to represent different roles and identities of people in society. We had the opportunity to chat with him on his practice and and how his studio in Yogyakarta, Indonesia, operates during this uncertain period.
Q / HOW DOES THE STUDIO OPERATE
Q / WHAT ARE THE CHANGES THAT HAVE
WITHIN THE CURRENT SITUATION ?
TO BE IMPLEMENTED IN YOUR CREATIVE
A / The activities at my studio have been reduced now, slower, but more relaxed. For my artwork production – mainly sculptures – we work with other studios and factories as well, and some staff there are not working these days. The embroidery studio is still active because I can control the production, although working at a slower pace because some textile shops are closed so it’s harder to source materials. My other independent projects like DGTMB and Eko Nugroho Art Class have been put on hold and they will resume activities at a later date. At my main studio where I produce most of my works and where I have my main team, we are still actively working on the projects which now have been postponed for next year, like the solo exhibition at Sullivan+Strumpf, among others. The preparation for these projects is rather important. We can say we are relaxed, but not entirely. There is still production running, thinking about the concepts and themes for the upcoming solo exhibitions.
PROCESS? A / There are some significant changing aspects experienced by everyone now, even by artists, which require to take more care of our health, practicing social distancing, and stay at home as much as possible. This has motivated me and my studio team to create new sharing sessions on Instagram, mainly based on my experience as an artist. In these sessions I share information, experiences, tips and tricks for art making, particularly related to visual art, more specifically about the process of embroidery production, sculptures that I made using recycle and upcycle methods, the studio activities and methods of working, experience and knowledge on life painting, etc. We are doing this as a form of support to fellow artists who still need to be active, but also as a form of excitement so that we don’t fall into depression in this pressing situation. We are also implementing different working shifts. Those who work on documentation, communication, and production are still working daily with precautions such as face masks, vitamins, and general health measures.
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Life in Jogja: Eko Nugroho
MAY 2020
Image courtesy Studio Eko Nugroho
Listen to Podcast
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Toddcast - Joanna Strumpf chats with Todd McKenney
I was lucky enough to chat with the legendary entertainer, and Helpmann award winner, Todd McKenney this week. From his home on Sydney’s leafy North Shore, Todd and I chatted - about topics of the day - from how Covid-19 stopped the performing arts in its tracks, to how his evening dinner guests are his two greyhounds, Joey and Nancye Hayes. But particularly fascinating, was to hear about his passion for collecting contemporary art – a decades-long affair which began in 1987 in Melbourne with a season of Cats. Thank you Andrew Lloyd Webber! Tune in to our “Toddcast” to hear more about how Darren Sylvester’s epic work Broken Model would be the first thing that Todd would save in a fire, and why Todd believes we need the arts, now more than ever.
Enjoy.
Follow Todd
MAY 2020
@officialtoddmckenney
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Left: Todd McKenney at home with his Greg Hodge. Image courtesy Todd McKenney. Right: Installation of Carve a Future, Devour Everything, Become Something at National Gallery of Victoria, 2019
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Heart + Home: Tony Albert at the Sydney Biennale
“NIRIN for me is a representation of both home and heart. These are both symbolically and intrinsically linked, one does not exist without the other. It is from this unique individual centre of both home and heart that we understand the world around us, relationships and interconnectedness with both people and Country” - Tony Albert, 2020
Tony Albert’s immersive installation Healing Land, Remembering Country, commissioned for NIRIN: 22nd Biennale of Sydney, poses important questions such as: how do we remember, give justice to, and rewrite complex and traumatic histories? Presented as a sustainable greenhouse at Cockatoo Island Healing Land, Remembering Country is a site for reflection, writing and giving. It is filled with hanging baskets crafted by Indigenous artists from remote Australian communities. Biennale visitors were invited to use the house as a space for reflection and conversation, and to create messages in the form of ‘gifted memories’ on handmade paper imbedded with native seeds to place in the baskets. Visitors were then able to plant their seed letters in pots placed on a tiered structure to show the growth of the plants. The plants will eventually be replanted in locations selected in consultation with community to rejuvenate and heal the land through collective memories. Tony Albert’s Brothers (The Prodigal Son), exhibited at the National Art School, responds to a stained glass window in the school’s historic 1873 chapel depicting The Prodigal Son. Albert’s impressive 180cm tall window draws on his 2013 series Brothers. The photographs were inspired by an incident where Albert saw young Indigenous men with red targets painted their chests protesting against police brutality in Sydney’s King’s Cross. Placed outdoors, this window memorialises another story of heroic figures, enshrining a beautiful act of defiance, and imbedding a local Indigenous story at this site.
MAY 2020
“I wanted to recreate this image for the Biennale in leadlight. The Brothers images allude to The Holy Trinity - strong yet powerful, bathed in light, yet still innocent and vulnerable. I wanted to immortalise our people who are all too often written out of history.”
Right: Tony Albert, Brothers (The Prodigal Son), 2020. Installation view for the 22nd Biennale of Sydney (2020), National Art School. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts, Create NSW, Canberra Glassworks and generous assistance from The Medich Foundation. Courtesy the artist and Sullivan+Strumpf, Sydney. Photograph: Zan Wimberley.
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First 5 things I’m going to do when iso is over
MAY 2020
Dawn Ng
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Working out of the studio again.
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Returning to familiar haunts: stone yards, material suppliers, factories, printers and paint shops.
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Hosting drinks and dinners for friends.
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Taking my daughter Ava wherever I go.
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Being with my parents.
Top: WATERFALL 3 (TIME LOST FALLING IN LOVE), 2020, 4K video, 10 min extract from 30 min artwork, Edition of 3 plus 2 artist’s proofs Bottom: Dawn Ng in her studio. Image courtesy Dawn Ng
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Juka Araikawa’s -In iso
Favourite things to do recently: All the hiking spots and beaches are closed in Los Angeles, so I’ve been taking long walks by myself around the older, hillier Elysian Heights neighbourhood (while wearing a mask and keeping distance from others). The hills are beautiful with gardens in full bloom. I don’t think I’ve ever looked at plants and flowers so closely in a long time. I usually walk for an hour, spending the time tuning in to what is around me. Perhaps plants and flowers will appear in greater abundance in my new paintings. I was initially hesitant to go back to my studio and resume working with oil paint, because so much was unknown about the virus. But over the last month I’ve started going regularly. Los Angeles has no traffic at the moment, which is nice, though occasionally you do get a crazy driver overly excited by the wide open roads.
MAY 2020
Otherwise I’ve been chipping away at household tasks (getting our AC fixed; hanging artwork that’s been leaning against our walls for 5 years) and imaging where I’d like to go once we can all travel again.
Left: Juka Araikawa and her dog Bacon. Image courtesy Juka Araikawa Right: Juka Araikawa, Swamp 2018, oil on canvas, 127 x 96.5 cm, Image courtesy Juka Araikawa
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Quick Curate: Black
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MAY 2020
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01 SANNÉ MESTROM THE SUN THROUGH CLOUDS / HER FALL / FAST / EVEN, 2019 silk screen print on cotton rag 75.5 x 55.5 cm (unframed) Edition of 3 plus 2 artist's proofs AUD$ 2,500
02 DANE LOVETT STANDARD POODLE 4, 2017 ink on paper 46.4 x 37.2 cm AUD$ 2,200
Quick Curate: Black
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04 TONY ALBERT CROP CIRCLES IN YOGYA #4, 2016/17 unique edition pigment print on paper with hand embellishment 83 x 133 cm AUD$ 22,000
03 LINDY LEE LEAVING THE SKY OPEN, 2019 Chinese ink and fire on paper 76 x 57 cm AUD $7,700
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Upcoming Exhibitions
MAY 2020
GRANT STEVENS THE FOREST 25.06.20
SYDNEY BALL 1960/1970 WORKS FROM THE ESTATE 30.07.20
SYDNEY
SINGAPORE
21.05.20 Greg Hodge 11.06.20 Darren Sylvester 25.06.20 Grant Stevens 30.07.20 Sydney Ball 27.08.20 Sam Leach 17.09.20 Natalya Hughes 08.10.20 Angela Tiatia 22.10.20 Michael Zavros 19.11.20 Alex Seton
07.05.20 Nothing Lasts Nothing’s Finished 16.06.20 Flat, curated by Louis Ho 09.07.20 Violent Attachments, curated by Tan Siuli 06.08.20 Hiromi Tango 24.09.20 FX Harsono 22.10.20 Dawn Ng 19.11.20 Yang Yongliang
22ND BIENNALE OF SYDNEY
14 MARCH – 8 JUNE 2020 #NIRIN2020
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EX DE MEDICI FROM THE ROOM OF DORIAN GRAY 7 MARCH - 23 AUGUST
image: The Law (Heckler and Koch), 2013-2014, watercolour and white gouache on paper, 114 x 212.5cm eX de Medici is represented by Sullivan+Strumpf, Sydney
open Tues-Fri 10am-5pm weekends 12-4pm corner Kembla & Burelli streets Wollongong phone 02 4227 8500 www.wollongongartgallery.com www.facebook/wollongongartgallery
Wollongong Art Gallery is a service of Wollongong City Council, and is a member of Regional and Public Galleries of NSW. ©WCC1529807
SYDNEY 799 Elizabeth St Zetland, Sydney NSW 2017 Australia P +61 2 9698 4696 E art@sullivanstrumpf.com
SINGAPORE 5 Lock Road #01-06 108933 Singapore P +65 8310 7529 E art@sullivanstrumpf.com
s a book or pad with blank pages nd is frequently used by artists
