The Hidden Sex

I have been extremely quiet on this blog since October, when I put my head down and started working my fingers to the bone to get my work ready for my solo exhibition, 'The Hidden Sex', which opened last Thursday at Craft ACT in Canberra. As it was the first exhibition for the year, it was a crowded opening, so thanks to all of you who braved the heat to come and see the work. The exhibition is on until 16 March 2019, and I will be giving a floor talk at 12pm sharp on International Women's Day, 8th March.

'Collecting Ladies I-III' series, 2018-9
Watercolour, marine algae on Arches 300gsm

'The Hidden Sex' is an exhibition that was inspired by my 2016 arts residency at the National Museum of Australia. My original project was to look at their botanical holdings but I quickly became inspired (obsessed!) by their two unprovenanced seaweed albums.  I have posted about these previously so will not go through my findings again here. The exhibition concept was to highlight the  invisibility of women in both society and science in the 19th century. Women were not allowed to attend university, and were hardly ever acknowledged for their contribution to our knowledge of our Australian flora.  All the kudos usually went to men, such as Government Botanist, Ferdinand von Mueller; William Henry Harvey, the great Irish phycologist; Joseph Hooker, of Kew; and Carl Agardh of Sweden.  However, not many know that Mueller conscripted over 225 women and children to collect for him, and some of these women sent their collections directly overseas to other scientists.  Hence the collections by some of our most noted women collectors, such as Jessie Hussey of Encounter Bay, SA; Louisa Ann Meredith, from Orford in Tasmania, and others are also in overseas herbaria.

'From Land and Sea: Rhodospermae, Melanospermae & Chlorospermae'
Three pairs of vintage kid leather gloves, embroidered with silk

Thinking about women collecting algae and vascular plants in challenging conditions wearing their heavy garments, skirts, boots and gloves inspired me to embroider some vintage leather gloves myself. Gloves were made in supple yet tight-fitting leather so that they could mould the hand into the proscribed shape - dainty, with long tapering fingers; not flaccid yet not too muscular. They also kept the skin unblemished from the sun. Indeed, I had trouble finding a 'glove model' for my photo shoot, as even the largest glove would not fit today's narrow hand! These gloves could not get wet, so there is a paradox between the gloves and the act of collecting. The three sets of gloves represent the three classes of seaweed, but the scientific name for them has altered slightly.  I have chosen to use the classifications instigated by Harvey in the 19th century - Rhodospermae (red); Chlorospermae (green) and Melanospermae (brown).

Women of the 19th century had proscribed pastimes to help them while away the hours - botanical painting and collection, needlework, music and languages. In the mid 19th century, a craze for collecting seaweed was at its height, having taken over from fern collecting, or pteridomania.  Botanical collections were pressed in special albums, on cards and in books, and became the subject of watercolours and dioramas. The series 'Collecting Ladies' references the etiquette of dress (handkerchiefs and gloves!) and the pastimes of lace-making, embroidery and botanical collecting.

Installation view, The Hidden Sex, Julie Ryder.

On the left of the installation photo are a series of large cyanotypes, made with seaweed I have collected on my travels.  The cyanotype process was the first photographic process invented by Sir John Herschel, but it was pioneered by Anna Atkins in the 19th century, who used this new technique to produce handmade volumes of photographs of British Seaweed that she had collected. The New York Public Library are currently holding an exhibition of these images from the two editions they have acquired, but they are only on for another week. My work references the life-sized work made by Anna, but I have enlarged them to make a bolder statement.

'Submerged' 2018-9, Julie Ryder
Vintage handkerchiefs, cyanotype, seaweed

In 'Submerged', a series of 42 vintage handkerchiefs, I have used the cyanotype process again to reference women's work.  The title refers to both the seaweed being submerged beneath the waves as well as the plight of women in academia and society.

My interest in Victorian Glass Microscope slides has also been described in previous posts, but for this exhibition I had always wanted to produce a series that contained real seaweed and referenced the lace making done by women that appeared on handkerchiefs and clothing. 

'Flowers of the Sea, I-VI', 2019
Glass, seaweed, hand engraving.

Each of the six large (25x70cm) glass microscope slides have been engraved with the place of the collection (Orford, Encounter Bay, Ballinskelligs, Frank's Beach, Macmaster's Beach and Bicheno). Some of these related directly to our past women seaweed collectors, whilst others are favourite places that have personal resonance with my seaweed collection obsession. I will show some details in a later post.

Lastly, as an avid collector of anything that the waves throw up, I have made a large wall installation 'Hortus conclusus' (which literally means hidden or secret or walled garden}.  Made entirely from cuttlebones, these have been collected over a period of years and reference the aggressive passion for collecting multiples of everything by scientists and amateur scientists of the 18th and 19th centuries - even to the detriment of the species, and many species did go extinct, as did many ferns and other botanicals.

'Hortus conclusus' 2019 Julie Ryder
Cuttlebone, carving.

In my collection there are two 'types' of cuttlebones that can be found - smooth ones, and furrowed ones, which are very labial in appearance.  These are not known to be 'male' and 'female' types, in fact conversations with marine biologists have not shed any light as to why there are two sorts. As they are NOT seaweeds I was wondering whether they belonged in the exhibition at all, despite my initial intuition and strong intention that they should be.  Whilst researching I came across an unusual feature of the Australian cuttlefish that not many people know about that clinched it's addition to the exhibition.  During mating times, once a year, all the cuttlefish gather en masse in Whyalla, SA, for an orgy.  Well, not really an orgy, because males only mate once, and then they die.  As there are more males than females, competition to hand her their 'sperm sac' (yes literally, with their tentacles!) is fierce, with the larger, more dominant males guarding the females from other weaker males.  However, these 'inferior' males have come up with a unique and very sneaky strategy to sidle up to the females in order to hand over their genes.  They camouflage themselves as females, even to the point of having a fake egg sac, so that they can mingle with them and avoid fighting with the stronger male. Ingenious. Hidden Sex..... 

There is an amazing podcast out at the moment which gives further insight into this gender swapping hosted by Benjamin Law, called Look at Me.  Click here , and listen to the end where a very poignant story is told by underwater photographer, PT Hirschfield (IG: @pinktankscuba)

I do hope you will get to see my exhibition at Craft and if you are on Instagram, you can follow my whole journey with the making of work for the exhibition @julierydertextiles

I love hearing your comments, critiques and thoughts about my work, so please don't be shy! And if you have enjoyed this post, or my work, please pass on my blog and Instagram details to others 💚

Cheers

Julie

Leaving London

My last day in London was a whirlwind of activity, trying to fit in the last "must-do" things on my bucket list.  As my plane didn't leave until the evening I had the opportunity to visit a couple more places before I left. First stop was "Alfies" off the Edgeware Road.  Many of you know I am a big fan of mid-century design - textiles, furniture and ceramics mostly, and this mecca of antiques has been in existence for over 30 years. Alfies is housed in the former Jordan's department store in Church Street, so encompasses four floors with over 100 dealers selling antiques.

Alfies Antique Market, Church Street, Marylebone

One of the treasures I found was up on the third floor, humorously called "Naphthalene Textiles" and run by Carole Collier.

Carole Collier from Naphthalene Textiles

Carole and partner June sell a lot of vintage textiles, laces, haberdashery, jewellery and clothing and as soon as I walked into their shop my eyes spied a lovely 50's dress which just had to come home with me. However, to get to Carole's store on the top floor I had to bypass the most fantastic collections of mid-century furniture and lighting I have ever seen in one place, so it was just unbearable for me not to be able to look seriously with intention to buy. If you have ever been to my studio you know I am a sucker for retro furniture and design.

As I was just about to walk out the front door (although the place is such a rabbit-warren you could get lost in there for hours) I happened to glance to my left and did a quick double-take then a sidestep....I had walked into heaven.....well, if heaven is a shop crammed packed with the most wonderful African textiles, that is. 

Duncan's shop, Adire African Textiles on the first floor has some lovely examples of Ewe kente cloth from Ghana, Asafo flags, indigo stitch resist and dyed cloths, adire and adinkra and much, much more. Again, hard to resist buying anything but I had neither the time to look seriously with intention to add to my collection of African textiles, nor did I have the money to invest after having spent 2 weeks in London on a shoestring! Besides, I haven't yet unpacked or displayed the wonderful Ndop cloth I received from Cameroon recently, but Duncan's shop and website is now on my radar for the future!

Conscious of the time, I tore myself away from Alfies to get to my next destination - the October Gallery in Bloomsbury where a magnificent exhibition of work by El Anatsui had opened the week before. Amazingly I was allowed to take photos of the show, so here are a few to whet your appetite. And I thought I was a bit obsessive about my work....haha!

Now I am finally back in Canberra after the long flight home, and getting back into the swing of things.  Great news that Craft ACT POD has moved to The Hamlet in vibrant Braddon and I'm looking forward to seeing their latest exhibitions that opened last week in my absence.

A final thanks once again to artsACT and the ACT Government for their support of my trip to speak at the Cultural Threads symposium and book launch.

'Bespoke : Design for the People'

I have been busy this past week minding my exhibition in Barometer Gallery in Paddington and finishing off work for the 'Bespoke' exhibition that will open next Friday night at MoAD (details and information below). This exhibition runs for a year  until 2015....I have already had some comments from people asking if this is a misprint?? no, it is seriously on for a year, so no excuses not to see it if you are living in or visiting Canberra.....!

My work responds to a particular piece of furniture - a red leather chaise longue - and until the show opens that is all I am saying.  Read more about the exhibition and other artists below.

Craft ACT Craft + Design Centre together with the Museum of Australian Democracy at Old Parliament House

Exhibition opening

When: Friday 14 November, 2014, 5:30pm.

Where: Museum of Australian Democracy at Old Parliament House, 18 King George Terrace, Parkes, Canberra.

RSVP to: rsvp@moadoph.gov.au by 5pm Wednesday 12 November

Bespoke: Design for the people

As part of DESIGN Canberra, Craft ACT: Craft + Design Centre is thrilled to partner with the Museum of Australian Democracy at Old Parliament House (MoAD), to bring you an exciting exhibitionBespoke: Design for the people.

In this stunning exhibition, 6 Australian craft and design practitioners have created new works that reflect and respond to the iconic designs of the original furniture at Old Parliament House.

Each artist was given unprecedented access to the rooms and collections, and the freedom to create a personal response. Informed by their own artistic backgrounds, each artist considered notions of political perspective, change, accountability and power in their pieces. The result is a thought-provoking collaboration between design, creativity and Australia’s political history.

The selected Canberra artists are Jennifer Robertson, Niklavs Rubenis, Julie Ryder, Caren Florance in collaboration with Melinda Smith; and Sydney-based artist Cecelia Heffer.

The exhibition will run from 15 November, 2014 and will be on display for 12 months.

To view the full DESIGN Canberra program of events visit www.designcanberrafestival.com.au

Craft ACT: Craft and Design Centre is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.Craft ACT: Craft and Design Centre is supported by the ACT Government and the Australia Council, the Federal Government's arts funding and advisory body.

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Bus Depot Markets Turn 20!

Well, it has been a busy week for me, requiring the wearing of many different hats along the way.
I have been busy printing new stock at Megalo for the upcoming Old Bus Depot Markets on Sunday 14th September when they will be celebrating their 20th Birthday.  Congratulations! It will be a fun and vibrant day, with entertainment and a cutting of the cake at 2pm.

Busy printing new stock and dyeing merino socks for the upcoming OBDM

I have also been madly dyeing a whole new batch of super-fine merino socks as I have been inundated with requests from loyal customers who just love the funky patterns and colours but also the quality, fineness and softness of the wool. They are sure to be a sell-out on the day.

On Thursday night I put on my Craft ACT cap as a member of the Management Committee and opened three exhibitions - the APM annual exhibition on the theme of Awaken, The Arid Zone  by local ceramic artist Cathy Franzi, and Scantlings by SA ceramic artist Lesa Farant.  More information on these wonderful exhibitions can be read here.

AND I have been busy proto-typing new work for the Museum of Australian Democracy (MoAD) at Old Parliament House for an upcoming exhibition I was selected for, responding to historic furniture in various rooms.....more updates on this later.