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michelle roszak

m o r e t h a n wa l l p a p e r

phil ileto

smack by melvin burgess

artpolitic magazine

on the inside

exhibition promotion packet

identity system

packaging

publication

publication

packaging

02

14 design

design

design

design

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acknowledgements This publication which accompanies the exhibition reflects the enthusiasm of many people. First and foremost, my thanks go to Michelle Roszak, who agreed two years ago to do this project and who has spent many precious hours with me away from her work. Your creativity, assistance, and suggestions have made this project a pleasure. Any exhibition like this one, would not be possible without the assistance of many people, including the staff here at BourneMoss. Once again our registrar Ben Thompson went above and beyond the call to make sure everything was completed in a timely manner. Of course, special thanks goes to the lenders, whose willingness in allowing the pieces to be loaned for a long period of time, ultimately aided in the succession of the exhibition. Thank you.

contents

Josah Yemin Curator of Exhibitions Bourne-Moss Gallery

Artist Statement …………………………. 2 Exhibition Schedule …………………….. 3 Catalogue and Illustrations …………... 4

Credits …………………………………….. 20

michelle roszak

michelle roszak Tri-Fo ld Mailer a n d En v e lo pe Ad vert ising Fly er I nvite, R SVP, and en vel o pe E x h ib itio n Catalo gu e

Ex h i b i t i o n p r o m o t i o na l pa c k e t CONCEPT: Create a promotional packet that both promotes Roszak’s work while advertising the gallery’s exhibition. Certain components of the packet would be needed to advertise to the public as well as the gallery’s mailing list. Each piece needed to have design elements that link them together, yet stand alone as strong features. SOLUTION: A die-cut was created from one the artist’s

mixed media, 16 20 inches

mixed media, 16 20 inches

collages to create a showcase the texture of the artist’s work and provide branding for the exhibition. The inclusion of this

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work made each piece very interesting and eye-catching. The overall look and the typeface chosen go well together to

Page Spread Lay outs of Catalogue

make the pieces modern and elegant.

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exhibition schedule:

I-5

ron griffin , brian gray,

Metro Gate Park

Jan 8 – Feb 10, 2009

Feb 12 – Mar 3, 2009

james greene , eric dennis ,

Mar 8 – Apr 10, 2009

Apr 8 – May 4, 2009

melissa swanson , sarah kay,

rita wilson ,

Aug 8 – Sep 2, 2009

joy mulligan ,

Sep 8 – Oct 10, 2009

michelle roszak , stacie williams ,

michelle roszak

michelle roszak October 8 – November 30, 2009

October 8 – November 30, 2009

opening reception

opening reception

Thursday, October 8, 2009 6:00 – 8:00 pm

Thursday, October 8, 2009 6:00 – 8:00 pm

May 8 – June 10

July 2 – Aug 1, 2009

chevete scott,

Jan 12 – Feb 4, 2010

trevor colombe , joy mcginnis , jenni myers ,

Oct 8 – Nov 30, 2009

Dec 8 – Jan 10, 2010

Feb 6 – Mar 4, 2010

Mar 6 – Apr 4, 2010

Apr 6 – June 4, 2010

noelle staples ,

July 6 – Sep 4, 2010

kristin stearley,

Sep 6 – Oct 4, 2010

Pioneer Square Bourne-Moss Gallery is currently located in the historic Pioneer Square area of downtown Seattle. Central to the Gallery’s mission is the aim of increasing the visibility of under-recognized American artists and promoting important twentieth-century art movements within the history of art in the United States.

The artist will be in attendance.

Special music guest Parachute Musical

Exhibition catalogue will be available.

Special music guest Parachute Musical Painting no. 6, 2008, mixed media, 16 × 20 in.

Bourne-Moss Gallery is the exclusive representative of Michelle Roszak. Curated by Josah Yemin.

Bourne-Moss Gallery

Bourne-Moss Gallery

llc

Bourne-Moss Gallery llc

362 North Broadfoot Drive | Seattle, WA 92201 tel 425 – 998 – 2266 | fax 425 – 998 – 2402 w w w. b m o s s g a l l e r y . c o m

362 North Broadfoot Drive | Seattle, WA 92201 tel 425 – 998 – 2266 | fax 425 – 998 – 2402 w w w. b m o s s g a l l e r y.c o m

Tr i- F o ld Inv it a t io na l Ma iler

llc

362 North Broadfoot Drive | Seattle, WA 92201 tel 425 – 998 – 2266 | fax 425 – 998 – 2402 w w w. b m o s s g a l l e r y . c o m

Public Adver tising Fly er: Front

Public Adver tising Fly er: Back

michEllE roszak opening reception

October 8, 2009, 6 – 8 pm

I will be unable to attend. Yes, I will be attending. I will have _________ guests. I would like to make a donation of $______________________________

michelle roszak

Enclosed please find:

October 8 – November 30, 2009

Personal Check

Credit Card Information (please circle type) visa | mc | amex

____________________________________________ | _____________________________________________ | __________________ name as it appears on the card

card number

expiration date

________________________________________________________________________________| ____________________________ address Bourne-Moss Gallery

llc

| 362 North Broadfoot Drive | Seattle, WA 92201

tel 425 – 998 – 2266 | fax 425 – 998 – 2402 | w w w. b m o s s g a l l e r y. c o m

city | state | zip

______________________________________________________________________________| ___________________________ email address

michelle roszak opening reception

phone number

Bourne-Moss Gallery

llc

| 362 North Broadfoot Drive | Seattle, WA 92201

tel 425 – 998 – 2266 | fax 425 – 998 – 2402 | w w w. b m o s s g a l l e r y . c o m

October 8, 2009, 6 – 8 pm

G uest Inv it e Po st ca r d

06

RSVP Card: Front

RSVP Card: Back

07


More Than Wallpaper 2444 Fernside Road Jacksonville, FL 32246

T h i s r e c e i p t v e r i fi e s t h a t –––––––––––––––––––––––––––––––– has paid Artist’s Name

the artist’s fee for the purpose of exhibiting their work with More Than Wallpaper for the show at ––––––––––––––––––––––––––––––––––– . Event’s Name

This payment was received either on or by –––––––––––––––––––––––– . Date

Receipt of Payment. –––––––––––––––––––––––––––––––––––––––

Curator’s Name

The artist’s fee is NONREFUNDABLE.

Front and Back of Pay ment Receipt

Alexis Audate Creator and Curator

904.422.6459 2444 Fernside Road Jacksonville, FL 32246

Process

9 0 4 . 4 2 2 . 6 4 5 9 | 2444 Fernside Road | Jacksonville, FL 32246 | morethanwallpaper.com iammtw@yahoo.com morethanwallpaper.com myspace.com/morethanwallpaper

Front and Back of Thank-You

more than wallpaper Letterh ea d

id e nt i t y d es i g n

E n velo p e

CONCEPT: More Than Wallpaper is an artist group and

Thank Yo u Bu siness Card Pay me nt Receip t

the curator who assembles the artists together to exhibi in alternative area spaces. For the new identity, a new logo and system brand needs to be created for the artist group that is both professional, yet retains its personality. SOLUTION: A clean serif font was combined with a simplistic design for the word “than” that produced a design anomaly and linked the group’s full name together. A contemporary illutration of wallpaper was incorporated as a background element for the thank-you envelope. Printed on brown paper, the brown and fushia logo is now looks expressive and unique.

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FBI A

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-PR

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WA

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Trees Weeping Ink: Inner Tri-Fold P anel, Booklet and CD

Trees Weeping Ink: Outer Tri-Fold Panel

phil ileto Tree s Wee ping I n k : Tr i - F o l d S leev e, C D and Ly rics Bo o k let Sk etc h bo o k EP: S lee v e a n d CD Silent Spring Sin gle : S lee v e a n d CD

pa c k a g i ng d es i g n: c d CONCEPT: Phil Ileto is an up-and-coming unsigned musician in the Orlando area. His first album was being rereleased and he wanted a new design for the album and a new brand for his name. SOLUTION: For this project, various cd sleeve formats were used fo reach cd. A tri-fold sleeve was used for the Full Length Album, a four panel sleeve was used for the EP, and a two panel sleeve was used for the single. Bright colors were used to

,

trees weeping ink I’m really just a poet Who delivers with music to make words more powerful With voice inflections But I can also ruin An intricate couplet Playing a few wrong chords I sit in my room, scraps of Poems litter the carpet too impatient and Depressed to finish them So I’ll waste my gift And all these potential anthems I wrote to lonely kids to show they’re not alone It seems the more I listen the worse I get I’m sick of hearing music And other people’s opinions I just want to write songs In my room alone Share cassettes And never perform there’s an endlessness of failure And a constancy of sadness that runs through almost every song I write And I can see things Getting clearer as I get older A clarity of sadness that I advertise

I’ll never write a pop song I can’t stand the idea that something that I write gets stuck in people’s heads And when they sing together like an open campfire I’ll burn my other rhymes full of disppaointment I’m not trying to sound Upbeat by any chance I have so many things to say And so little time So I’ll get to the point quickly Whatever it is, I’ll risk embarrassment and try to grow a spine now here’s where the vocal Practices kick in cause I don’t even know how to hold a note And every time I scream I pay for it in the morning With a sore throat and eight more days of the common cold I can’t even write a chorus For this song I think I’ll leave it at three chords And I’ll just pour my focus on other rhythms, maybe I’ll add Another chord to make it four

My self-analysis is getting to be boring I’m wasting my emotions and saliva for spit So I’ll put my feelings in a pen and scribble When the ink runs out and the tip will scratch Will that be it?

the end of something And it’s over It happened too soon WhAt elSe cAn I do?

the sound of breaking up If this is the sound of breaking up then I wish I never learned how to talk having to deal with it is so sad When the good has already passed But maybe it’s a blessing in disguise Cause I opened up the floodgates of my eyes So this is the sound of breaking up A casual hiss not a violent erupt nothing’s left and I can’t go back So I’ll fake a smile and try to laugh It can’t be like it was before We’ll have to say goodbye for good

billie, you re not a blonde

Trees Weeping Ink CD Face

Billie you’re not a blonde anymore So don’t use that excuse You’ve changed your hair and You’ve changed your look But I’ve changed my mind about you cause underneath the surface is Naked flesh that hid and has been deserted the goosebumps on your arm is the last sign of truth Are you the same girl that I once loved or Are you somebody new? Do your actions still reflect the beasts at the San diego zoo? crocodiles hide in your weeping willows and You let every guy treat you like a pillow At least at night and tan in the rest of the day I once thought that you were l.A. on a day of clean heavenly air Until I found out you were las Vegas everybody has been there I took a gamble, exposed my cards on the table under the neon globe, but I lost it all When I tried to win your heart Surely you must remember the name of, surely, When we first met I wanted to take you to Beverly hills You just wanted to take me to bed

embody the quirky upbetness of the music, which contrasted with the dark trees and textured paper that reprsented the dark meanings behind the lyrics.

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Inner Ly rics Spread

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Sketchbook Sleeve: Front

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Sil e n t Sp rin g Sl e e v e : F r o n t

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Sketchbook CD Face

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Sil e n t Sp rin g Sl e e v e : B a c k

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21614 04329

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Sketchbook Sleeve: Back

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niCk

ation

e

Crazy

Figured out

lekky

shyster

tip

Electricity

Swindler

Trash/Dump

There is no preaching here, just the artful revelation of cold, hard facts.

methadone

skint

toGGed out

but those in the background as well — brings you into the mind of every

Prescription used to treat and wean addicts off heroin

Broke

Dressed Up

character in this homeless, hooked culture, offering a glimpse of the

naff Uncool

l

offie

elt

peed

out

pass out

ted

hole

skip

Wanker

Dumpster

Jerk-off, Snob

siGn

WaGGinG

on

spliff

Whip r ound

Marajuana joint

piCCy

skinny

Small picture

Housemaid

Collection of money made usually for a good cause

pinCh (niCk)

spanner

Steal

Wrench

Quid

sQuat

Sterling (1lb.)

To take residence within a vacant building; also, the building itself

sCarper

unded

To run away

Burgess’s use of the first-person voice — for not only the main characters

motivations and transitions of each person. Tar’s family is alcoholic and abusive, and Gemma feels her home life is

This time it was Lily and Rob and Gemma spending all that time to make me feel one of them, but it was the drug too. All that crap about Gemma leaving me, about Mum and Dad, about leaving home. All that negative stuff. All the pain...

cramped by too many restrictions. The young British couple run away to Bristol in search of freedom, and find a vacant building that is also occupied by two older teens who share everything with the two runaways, including

I just floated away from it…

I leaned back and I looked at the book and I looked at them and Gemma smiled at me, her eyes were like marbles.

heroin. For a while, everything is all parties and fun, but slowly Tar and Gemma find themselves growing more and more dependent on the drug,

"Better?" She said.

whose strict mandates are even less forgiving than those of their parents. www.avonbooks.com/tempest www.myspace.com/melvinburgess

Available from AvonBooks e-books

Gemma My parents are incompetent. They haven’t got a clue. They

Burgess 05

SMACK by Melvin Burgess

Sometimes maybe you need an experience. The experience can be a person or it can be a drug. It opens a door that was there all the time but you never saw it. Or maybe it blasts you into outer space.

Like so many teenagers, Tar and Gemma are fed up with their parents.

To go on welfare Pacing around

An off-licensed liquor store

aCked

Melvin Burgess brilliantly sketches a gradual descent into drug addiction.

“Her reputation is her greates asset…” stone Age! “What about her GCes?” I said. “What about her ability to put her lipstick on properly?" My mum tried to bring the conversation into the real world. “Darling, you’re too young—“ she began. “she’ll HAVe to learn!” “What are we going to do, Gemma? Your father’s right, there have to be rules.” “Where’s David?” my father said. That’s Tar. I christened him Tar, because he was always telling me off for smoking. 'You’ll get tar in your lungs,' he kept saying. “ring up his house and find out,” I told my dad. “I have. He’s not come home. But his father’s promised to give him what for when he does.” I nearly said, ‘He’ll have a long wait, then.’ But I bit my tongue. “He already has,” I told him. “He beat him up again the night before last.” Dad snorted. “He got into another FIGHT, you mean.” Tar’s dad’s a teacher at one of the local high schools. You can see the way my dad’s brain works: Teacher = GOOD. Bad relationship with Tar = Tar’s fault. “He hits the bottle,” I told him. “Go round and see him next time. You’ll smell it. That’s the sort of influence we young people have to look up to,” I said. “Don’t try to be clever with me!”

think being a parent is like being an engineer or something—you do this, and this is the result you get at the other end. Someone ought to give parents lessons before they allow them to breed. That night in the garage, we never did anything. I mean I wanted to sleep with him. It would have been a nice way to say goodbye, and poor Tar could’ve done with a nice goodbye, really. That’s to say, if I’d done it before, it would have been a nice way to say goodbye. But I might have done it anyways—for me, for him. It wasn't for either of us I didn't. I didn’t do it only for my parents. I wanted to be able to say, ‘Look… this was my boyfriend. He was in some really nasty trouble, he was really upset, and he was hurt, he’d been beat by his dad for the nth time, he was running away and I spent the night with him because he needed some company. And I think he might be in love with me.’ But there was no sex, we never did that. It was just ... being close. Is that human or what? The only thing I regret is that I put my dad before Tar. I won’t make that mistake twice. When I got home the next day, all hell brotke loose. My dad was wagging up and down the room. “There must be limits …there must be ruLes!” Mum was sitting on the edge of the chair with no lips trying not to cry. “We all have to follow rules, Gemma. When I forbid something I expect you to obey me…” I tried to smile at my mum but she looked the other way. Then he came out with this real beauty. Listen to this.

Cover Design by Alexis Audate ISBN 021–6–14–04329–0

Melvin B urg e ss i s a B ri ti sh autho r o f children’s fiction novels, including The

melvin burgess

wel

leave an indellible mark on all who read it.” – Publishers Weekly

To crash or sleep

Rick Carlson

pid

Cry of the Wolf, Doing It, Life As We Know It,

21614 04329

0

In Bloodtide and The Ghost Behind the Wall.

0

USA $9.95 Canada $13.50

Burgess 06

Win

FICTION Close-up of dandelion

Page Spreads

12th An Glossary

si z e dimensions : 7” × 6.5 ” × 1”

p ub l i c at i o n d es i g n: b o o k a nd c o ve r CONCEPT: Written by Melvin Burgess, Smack is a first-person narrative about two teen runaways who

kip

sCatty

sussed

Fool

Silly/Stupid

To crash or sleep

Crazy

Figured out

Binmen

derry

lekky

shyster

tip

Garbage Men

Derelict

Electricity

Swindler

Trash/Dump

There is no preaching here, just the artful revelation of cold, hard facts.

BlaG my Way

at

methadone

skint

toGGed out

but those in the background as well — brings you into the mind of every

Talk my way out

Police station

Broke

Dressed Up

character in this homeless, hooked culture, offering a glimpse of the

BoG

faG

Prescription used to treat and wean addicts off heroin

skip

Wanker

Bathroom

Cigarette

Dumpster

Jerk-off, Snob

Bop

flannel

siGn

WaGGinG

Concert

Small Towel

BuGGer

full pelt

Whip round

At full speed

An off-licensed liquor store

spliff

Jerk

Marajuana joint

CoaCh

GauCh out

piCCy

skinny

Bus

Almost pass out

Small picture

Housemaid

Collection of money made usually for a good cause

Collared him

Gimeleted

pinCh (niCk)

spanner

Cornered Him

Speared

Steal

Wrench

CounCil

Git

Quid

sQuat

Government

Jerk/Asshole

Sterling (1lb.)

Crisps

GoBsmaCked

sCarper

Potato Chips

Dumbfounded

To run away

To take residence within a vacant building; also, the building itself

the

niCk

naff Uncool

offie

on

As for the people here … some are pure invention, some are seeded from real people and then fictionalised, some are fictitious with bits of real people stirred in. The only proper portrait is Richard, one of the nicest and strangest people I’ve ever met, who is beyond praise or prosecution, bless him. He died on the motorway some years ago.

motivations and transitions of each person. Like so many teenagers, Tar and Gemma are fed up with their parents. Tar’s family is alcoholic and abusive, and Gemma feels her home life is cramped by too many restrictions. The young British couple run away to Bristol in search of freedom, and find a vacant building that is also occupied by two older teens who share everything with the two runaways, including heroin. For a while, everything is all parties and fun, but slowly Tar and Gemma find themselves growing more and more dependent on the drug, whose strict mandates are even less forgiving than those of their parents. www.avonbooks.com/tempest www.myspace.com/melvinburgess

Available from AvonBooks e-books

Cover Design by Alexis Audate ISBN 021–6–14–04329–0

special anniversary edition cover that reintroduces

The book isn’t fact; it isn’t faction. But it’s all true, every word.

Winner of the Guardian Fiction Award and the Carnegie Medal

Melvin Burgess is a British author of children’s fiction novels, including The Cry of the Wolf, Doing It, Life As We Know It, In Bloodtide and The Ghost Behind the Wall.

0

21614 04329

USA $9.95 Canada $13.50

0

SMACK by Melvin Burgess

FICTION

12th

become addicted to heroin and their struggle for survival. The goal of the project was to create a

This book is set roughly in the early and middle 1980s, when I myself was living in Bristol. All the major events have happened, are happening, and will no doubt continue to happen.

Melvin Burgess brilliantly sketches a gradual descent into drug addiction.

To go on welfare Pacing around

SMACK by Melvin Burgess

Author’s Note

AVON tempest

Burgess’s use of the first-person voice — for not only the main characters

Rick Carlson

Special ed itio n B o o k a n d S lee v e

daft

melvin burgess

smack

“A searing account of two young runaways’ descent into heroin addiction and their faltering climb back out …unflinching depiction of the seductive pleasures as well as insidious horrors of heroin will leave an indellible mark on all who read it.” – Publishers Weekly

Berk

Anniversary Author’s Edition

Full Book Spread

the story to the public from a different perspective. SOLUTION: Strong design emphasis was given to the dandelion, a metaphor used cotniuously throughout the book. The rendered hand drawing of a withered dandelion on the book’s cover is contrasted with the harshness of the title’s typeface. This flower is also used as a design element to add weight to the spine within the chapters. The book’s color scheme and illustrations work well and create

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a strong aesthetic.

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art

art with a conscience

inter v i ews

Written by: AngelA london imAges kindly provided by the

Artist

i s s u e 1 0 : o cto ber 08

Unfortunately the term social

In your opinion, what is the

the work that I create. It can convey

commentary gets tossed around so

difference between your works

the same message as any other form

much it's lost its meaning, what other

versus satire? Do you think that

of social commentary without coming

name would you choose to describe

satire is as equally important?

off preachy or as if it is attempting

your artwork?

G ustavo Roca

Portraying revolutionary resistance

My work tends to be straighter forward

to shove a point-of-view down the viewers’ throats.

For the drawings where I convey my

and literal. I’ve also been told that

convictions or advance an idea or

many of my illustrations are grim or just

Is there a step-by-step process you

concept in a positive manner, I would

downright depressing while most satire

use to create your work? Do you a

label them as social liberation or

tends to be humorous and ironical.

lot of research of social topics before

socially conscious. I would label the

Satire is very important for several

creating your artwork?

drawings that illustrate atrocities in

reasons. Satire is exponentially more

society as a social critique.

approachable and less upsetting than

I list what social topics are important to me and research them on the internet

groups, political writers and activists,

and in books. After I find images that

Roca's work possesses an emotional

and manipulate them to make a more

seem interesting to me I crop them

depth and quality that keeps the

effective composition and then draw

viewer engaged. His work calls to mind

a pencil and then go over it with pen.

them. First I roughly lay them out with

the sharp edginess of the D.I.Y. Punk

Depending on the size, my pen and

scene of the 1970s. Roca's latest series

seven hours to complete.

ink illustrations take between three to

consist of highly realistic pen and

What first sparked your interest in

ink drawings depicting social taboo

complex social issues?

subjects such as torture and racism.

Growing up in Gainesville Florida and being part of the underground music scene had a lot to do with my interest and concern with social issues. There were always community activists around town organizing for different causes and issues like Food Not Bombs, H.O.M.E Van, political protests, etc. At a young age I started going to punk shows at the Civic Media Center, Hardback Cafe, and Common Grounds where the bands and people that I met would constantly discuss various issues that sparked my interest.Many times these were issues and topics that I was completely oblivious to and it made me question why the mainstream media "Direct Action #2," 2008, Ink on Paper, 6" x 6"

did not report this information. After that I became quite enamored with the ideas of Marx and Engels. Those ideals

Gustavo Roca

of socialism and class struggle that I felt strongly about in high school evolved

50 ArtPolitic Magazine October 2008

Exhibitions

gustavo roca

October 2008 ArtPolitic Magazine 51

Written by: Sharon harvey imageS taken by anthony Paglioni

ta l k s a b o u t s o c i e t y a n d a r t F lu x G alle ry r e vie w, paG e 20

$3.95 US & CAN Issue 10 Oct 2008

w w w. a r t p o l i t i c m a g . c o m

r i s e u p int e r nat io nal, paG e 14 art as a n inve st me nt, paG e 16 pa rt i san t h e se a, paG e 100

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28314 82653

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ar tpolitic si z e dimensions : 8. 375” × 1 0 .8 7 5 ”

p u b l i c at i o n des i g n : m ag a z i n e CONCEPT: ArtPolitic is a monthly portfolio that features

Now residing and attending college in

from German Expressionism. Haunting

and dimension to the flat surface of

America, these mixed media montages

and hyper realistic, each piece has an

the paper. Heightening its claustrophic

produced by Vodevic are influenced

unspoken narrative. Filled with content,

atmosphere are the highly-gradated

by his childhood experiences with

their stories are self-explanatory yet

horizons painted and spray painted

war, death and suffering in Eastern

mysterious and loaded with visual

both in the background and over the

Europe. Born in Yugoslavia, his family

irony. First, spray adhesives are applied

pasted images. The images collected

immigrated to Berlin, Germany to

against the grain of the paper to create

are used to symbolically portray the

escape the ongoing violence and

a gritty texture that is also effective

gruesome realities of war. It would

bloodshed of the Yugoslav Wars.

in soaking up wet medium. Random

be understandable for the viewer to

For decades the country has been

wartime images are pasted together,

believe that Vodevic is sending an anti-

embroiled in ethnic conflict and the

creating a haunting montage both

war message in his work; it's quite the

transferring of government which has

realistic and surreal. The images used

opposite. "The war did influence my

Top: "In the Trenches," 2008 Mixed Media, 24" x 36"

led to the destabilization and ultimate

— from graveyards and gas masks,

outlook on the world and person both

opposiTe page: "Cemetary," 2008 Mixed Media, 24" x 36"

disintegration of its republic.

to children with skulls as faces —

in terms of cruelty and compassion. I do

The pieces in this series reflect a

symbolically portray the gruesome

think however that war can be effective

realities of war. The layering of the

when all other resources are exhausted,

selected images add further depth

and our reason for engaging in it is

politically and socially progressive contemporary art. SOLUTION: The publication was designed to be heavy

A l e ks V o d e v i c

in content that featured interviews, exhibition and gallery reviews, and social events. It has twenty-four pages with six ads, including a double-page ad with a detachable postcard.

sequence of events still very fresh within the artist's mind, borrowing heavily

October 2008 ArtPolitic Magazine 31

30 ArtPolitic Magazine October 2008

Spread lay outs from the magazine

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detail

”metamorphosis i" 2008, Mixed Media

on

Canvas, 60"

x

30"

on

Canvas, 60"

x

30"

on

Canvas, 60"

x

30"

on the ins ide Portfolio of artwork by Alexis Audate

detail

”metamorphosis ii" 2008, Mixed Media

on the inside si z e dimensions : 7” × 9” × ¾”

p ub l i c at i o n d es i g n: p e r s o na l b o o k CONCEPT: This book is a portfolio of artwork that I have made. I wanted the images of the artwork to tell a story, revealing personal aspects about me that come out through expression. detail

SOLUTION: Screwpost was the selected

”metamorphosis iii" 2008, Mixed Media

bookbinding method, which will allow for more pages to be added anytime. It also gives the book a personal, journal feel. Each piece was placed

Spread lay outs of the book

chronologically and also to way transition smoothly between themes.

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2444 Fernside Rd | Jacksonville, FL 32246 | 904.422.6459 alexis@aaudate.com | www.aaudate.com


Publication Portfolio