Projects Blog

Merch

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A Cold Breeze On Your Hot Eggs Breadboard

$15.00

Contact: joel@joelgailer.com.au

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Help Me Sustain You

$15.00

Contact: joel@joelgailer.com.au

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The Truth Is A Copy

$15.00

Contact: joel@joelgailer.com.au

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Triangle and Circles black

$15.00

Contact: joel@joelgailer.com.au

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IHTAT

$15.00

Contact: joel@joelgailer.com.au

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Christmas Tree

$15.00

Contact: Joel@joelgailer.com.au

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Triangle and Circles white

$15.00

Contact: joel@joelgailer.com.au

Doctorate research exhibition

This is the exhibition outcome for my Doctorate of Philosophy, titled; The copy as a paradox of change, copying and mimicry in social interaction.

My research explored the role of copying as an agent for change. I studied creative and social examples in which the act of copying was a revolutionary act that created change. I found this to be a paradox that undermined concepts of singular originality.

And here is my thesis -  The copy as a paradox of change: copying and mimicry in social interaction.

 

Photography by Keelan O'Hehir

 Installation view

Installation view

 The truth is a copy, 2012  stamp on gold leaf  20x20cm

The truth is a copy, 2012

stamp on gold leaf

20x20cm

 The first reference... , 2013-2016  acrylic, oil and digital print  110x180xm

The first reference... , 2013-2016

acrylic, oil and digital print

110x180xm

 Performprint  Printing apparatus, 2014  car tyre, wood, print roller and ink  dimensions variable (detail)

Performprint

Printing apparatus, 2014

car tyre, wood, print roller and ink

dimensions variable (detail)

 Performprint  Printing apparatus, 2014  car tyre, wood, print roller and ink  dimensions variable (detail)

Performprint

Printing apparatus, 2014

car tyre, wood, print roller and ink

dimensions variable (detail)

 Performprint  Printing apparatus, 2014  car tyre, wood, print roller and ink  dimensions variable (detail)

Performprint

Printing apparatus, 2014

car tyre, wood, print roller and ink

dimensions variable (detail)

 Pacific mindedness, 2013-2016  acrylic and oil on canvas and prefabricated room  dimensions variable (detail)   

Pacific mindedness, 2013-2016

acrylic and oil on canvas and prefabricated room

dimensions variable (detail)

 

 Pacific mindedness, 2013-2016  acrylic and oil on canvas and prefabricated room  dimensions variable (detail)

Pacific mindedness, 2013-2016

acrylic and oil on canvas and prefabricated room

dimensions variable (detail)

 Pacific mindedness, 2013-2016  acrylic and oil on canvas and prefabricated room  dimensions variable (detail)

Pacific mindedness, 2013-2016

acrylic and oil on canvas and prefabricated room

dimensions variable (detail)

 Pacific mindedness, 2013-2016  acrylic and oil on canvas and prefabricated room  dimensions variable (detail)

Pacific mindedness, 2013-2016

acrylic and oil on canvas and prefabricated room

dimensions variable (detail)

 Pacific mindedness, 2013-2016  acrylic and oil on canvas and prefabricated room  dimensions variable (detail)

Pacific mindedness, 2013-2016

acrylic and oil on canvas and prefabricated room

dimensions variable (detail)

 Pacific mindedness, 2013-2016  acrylic and oil on canvas and prefabricated room  dimensions variable (detail)

Pacific mindedness, 2013-2016

acrylic and oil on canvas and prefabricated room

dimensions variable (detail)

 installation view -  Mirror state  and  The truth is a copy

installation view - Mirror state and The truth is a copy

 Installation view

Installation view

Soap box performances

I began this performance in 2011 on a single soap box - a counterfeit of Andy Warhol's iconic Brillo Boxes. During this performance I rant about the importance of copying in art and social interaction, at the same time I hand out stamped copies of the text - The Truth Is A Copy.

Photograph: Gwen Gilchrist

Soap box oration De`Graves St Melbourne 2011

 

In 2012 I expanded on this work with Michael Meneghetti as part of our Performprint performance at the Fremantle Art Center.

Michael and I kept expanding Performprint and in 2014 we had a major exhibition at The Meat Market venue of Arts House in North Melbourne. The space is cavernous and we were thrilled to develop Performprint in this location. Among many other aspects of Performprint we exhibited a large scale Soap box performance. In which I stood on a small zigurat of Andy Warhol's Brillo Boxes and preached about the importance of the copy.

Fluro paintings

 

Vailla madness

acrylic on Magnani paper

110 x 76 cm

 

Prologo

acrylic and oil on Magnani paper

115 x 76 cm

 

Two of you

oil and acrylic on linen

90 x 90 cm

 

I will not cook

acrylic and oil on Magnani paper

76 x 110 cm

 

Grants

acrylic and oil on Magnani paper

76 x 110

 

Hairline

oil and acrylic on linen

35 x 45 cm

 

CCD

acrylic and oil on Magnani paper

76 x 110 cm

 

Bad father

acrylic and oil on Magnani paper

76 x 110 cm

 

 

The copy

acrylic and oil on Magnani paper

67 x 110 cm

 

Water overboard

acrylic and oil on Magnani paper

76 x 110 cm

Solomon Islands

In 2014 I held a studio in the Solomon Islands as part of an Art Haus Residency at the National Gallery of the Solomon Islands. This country (which is made up of hundreds of islands) is a truly remarkable and mysterious place. Despite my westernised view of the exotic, the experiences I had there have only re-inforced my view of the magic and astounding beauty of these Melanesian Islands.

Rock n' roll walking stick

carved iron wood and shell inlay

110 x 19 x 9 cm

This is a collaborative work with Solomon Island artist John Seda. John is an important figure in the Solomon Island art scene, he has work held in major museums and is often exported for the international market. He works primarily in wood carving.

detail

detail

John Seda and Joel Gailer

lino-cut on paper

35 x 35 cm

As well as collaborations I also produced some solo studio work.

 Attainment #6 (Paradise bird), 2014  acrylic on canvas  200x100cm

Attainment #6 (Paradise bird), 2014

acrylic on canvas

200x100cm

    Attainment #7 (Ed's Island)  unfinished   acrylic on canvas  90 x 200 cm

 

Attainment #7 (Ed's Island) unfinished

acrylic on canvas

90 x 200 cm

 This is one of the lovely ladies who showed me how they use printing processes in the Solomon Islands to make the Lava Lava

This is one of the lovely ladies who showed me how they use printing processes in the Solomon Islands to make the Lava Lava

 A typical banana leaf hut

A typical banana leaf hut

 A roadside market in SI with my host family

A roadside market in SI with my host family

H.W.Y dreams

H.W.Y dreams is an on going line of enquiry. In which I carve text and images into the rubber of a car tyre. The tyre is then inked like a traditional lino-cut print and printed directly onto the gallery floor. The text often links ideas about the repeat with popular slang related to driving and travel. Sentences such as You'll Go Far Baby are carved into the rubber of the tyre.

Installation view

H.W.Y (She's copying me)

car tyre relief print

dimensions variable

H.W.Y dreams (Give me some relief)

car tyre relief print

dimensions variable

 Installation view

Installation view

 H.W.Y dreams (you'll go far baby)  car tyre relief print  dimensions variable   

H.W.Y dreams (you'll go far baby)

car tyre relief print

dimensions variable

 

H.W.Y dreams 3

four car tyre relief prints

dimensions variable

 Detail

Detail

Studio

I utilise various studio locations in Melbourne and abroad depending on the type of work I make. I have a Research Studio, a Painting Studio, and when making prints I utilise community print studios. I have had studios in different locations throughout the world during residencies and projects as well, my permanent studio in Brunswick is finally complete - Cozens Street - check it out!

Working in a screen-print studio on the Artbox commission "Don't stop - Pop!"

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Research studio

I am currently completing a PhD at RMIT University. This is my studio on the corner of Franklin St and Swanston St right in the heart of Melbourne. This studio offers me the contemplative time to experiment and write.

 Research studio

Research studio

Cozens Street. In 2015 I leased a place in Brunswick, Victoria that was basically an empty shell. I then, with the help of friends, began to build Cozens Street. We wanted to create a space where artists and creatives could work in a community of makers, sharing ideas and skills.

 Building

Building

SOLOMON ISLANDS

In 2014 I embarked on a residency in the Solomon Islands. This is my studio at the National Gallery in Honiara. I worked on a series of collaborations with artists I met there. This is Jimmy Sinumoana and Fred Oge, both well respected young artists in SI.

This is one of the lovely women who showed me how they use printing processes to make their famous Lava Lava


In the studio with a young student

Modes of copying in the collaborative work with Fred Oge and Jimmy Sinumoana.

All the artists outside the National Gallery

Painting Studio

painting and experimenting in the studio

Magazine prints

Printmaking is largely miss-understood in a contemporary art context and generally confined to historical processes.

This is the departure point for these works. I see printmaking as potentially the most relevant form of contemporary art, it straddles both traditional and contemporary visual culture. Using a historical knowledge of print and visual production, I acknowledge that printmaking is the origin of our current visual world. All visual technologies derive from the historical processes of printmaking.

Looking towards mass production as a form of printmaking. I produce prints as published pages in popular visual art magazines.

The process of mass produced offset lithography is an updated version of the traditional stone lithograph with this insight I produce my own version of printmaking as mass produced unlimited print editions available at the cost of a magazine.

The aesthetic is text and basic forms, commenting on print and popular culture simultaneously.

I work outside the traditional concepts of unique object exclusivity limited edition and gallery.

My work is an attempt to democratise/inform/play/quote/humour and revitalise printmaking.

 PRINT  offset print on five separate pages of Art Almanac  22 x 150cm  Finalist in the East Gippsland Artist Book Awards

PRINT

offset print on five separate pages of Art Almanac

22 x 150cm

Finalist in the East Gippsland Artist Book Awards

Hors de commerce

offset print on two pages of Art Collector

150 x 150cm

Finalist in the Hazelhurst Works on Paper Award

 Unique state  offset print on two pages of Art Monthly  dimensions variable  Finalist in the Ex Libris Artist Book Awards

Unique state

offset print on two pages of Art Monthly

dimensions variable

Finalist in the Ex Libris Artist Book Awards

H.C

offset print in Art Collector

30 x 40cm

Finalist in the Archangel Art Award 2010

Hotmetal

offset print in Island literary magazine

22 x 12 cm

Finalist in the Burnie Print Prize 2009

 Four panel form  offset print on two pages in Art Almanac  42 x 60cm  Finalist in the Geelong Print Award 2009

Four panel form

offset print on two pages in Art Almanac

42 x 60cm

Finalist in the Geelong Print Award 2009

 Hot process  offset print in Art Almanac  22 x 15cm  Winner of the Fremantle Print Award 2008   

Hot process

offset print in Art Almanac

22 x 15cm

Winner of the Fremantle Print Award 2008

 

Attainment

This is an ongoing series of works using gouache on paper. Attainment is the reach, the striving for something and the ladder is my symbol for this. I have painted and repainted Attainment in many different places from the Solomon Islands to Canberra and back to Melbourne. It is a motif I return to again and again. It encompasses all my ideas about print, repetition and the copy as well as having the psychological element of the ladder, striving and climbing.

Attainment #

gouache on paper

180 x 100 cm

Attainment # 5

acrylic and gouache on paper

180 x 120 cm

Attainment #6 (paradise bird)

acrylic on canvas

200 x 90 cm

Attainment #3

gouache on paper

220 x 110 cm

Attainment #5 (ladder to the islands)

acrylic on magnani paper

220 x 110 cm

Attainment #2

gouache on paper

220 x 110 cm

Print-sculpture

Over the years, as I experimented with new methods, my prints began to take on a more sculptural 3 dimensional quality. The lines between methods blurred as I realised print could extend into many other disciplines. Sculpture was an accidental outcome which came about when I looked closely at other forms of print, such as the car tyre print on the ground.

 Go-round  stencil on haybales  3 x 5 x 3m  Photo: Michael Meneghetti

Go-round

stencil on haybales

3 x 5 x 3m

Photo: Michael Meneghetti

 Susannah's table (on view in the Fremantle Print Award)  Table top relief print  90 x 180 x 90cm  Photo: Fremantle Arts Centre

Susannah's table (on view in the Fremantle Print Award)

Table top relief print

90 x 180 x 90cm

Photo: Fremantle Arts Centre

Gov't bend

screenprint on aluminium

180 x 250 cm

 Untitled  wood and paper  2 x 3 x 1.5cm

Untitled

wood and paper

2 x 3 x 1.5cm

 H.W.Y dreams and between You and Me  Installation view  Photo: RMIT University

H.W.Y dreams and between You and Me

Installation view

Photo: RMIT University

 Hors de Commerce

Hors de Commerce

Prima facie

hot iron brand on pig skin

12 x 12 50cm

 H.W.Y dreams 2(Give me some relief)

H.W.Y dreams 2(Give me some relief)

Print

 HOTMETAL, 2016  Screenprint on reflective mylar  200x120cm

HOTMETAL, 2016

Screenprint on reflective mylar

200x120cm

Don't stop - Pop!

colour etching and screen-print on paper

30 x 18cm

Artclub commission

 R.S.I (the illustrated history of the lino cut)  linoleum and ink  detail

R.S.I (the illustrated history of the lino cut)

linoleum and ink

detail

 Unique state  wood block print on paper  120 x 90cm

Unique state

wood block print on paper

120 x 90cm

Regional printmaking

digital print on paper

120 90cm

Collection of the National Gallery of Victoria

PRINT

commercial poster 

dimensions variable

 Male ego  dry point and monoprint  dimensions variable

Male ego

dry point and monoprint

dimensions variable

Between me and you

digital print and wood block print

180 x 120cm

Painting

Painting has always interested me, I studied painting before printmaking, it is a responsive medium that can yield surprising results. I often incorporate painting with print.

 Morte (X)  oil, charcoal, rust, and ochre on canvas and three care tyre relief prints.  240 x 180 cm

Morte (X)

oil, charcoal, rust, and ochre on canvas and three care tyre relief prints.

240 x 180 cm

 Detail

Detail

 America in Art  commercial sign writing  10 x 2m

America in Art

commercial sign writing

10 x 2m

(Untitled)

oil, charcoal rust and ochre on canvas

180 x 180cm

Exhibitions

Fremantle Print Award 2012

 RMIT University Project Space, 2011

RMIT University Project Space, 2011

 Heterodoxia, Kyabram Rodeo and Next Wave Festival Melbourne

Heterodoxia, Kyabram Rodeo and Next Wave Festival Melbourne

 New Print, Michael Koro Gallery, Melbourne, 2010

New Print, Michael Koro Gallery, Melbourne, 2010

 New Print, Michael Koro Gallery, Melbourne, 2010

New Print, Michael Koro Gallery, Melbourne, 2010

 Solomon Islands National Gallery, 2014

Solomon Islands National Gallery, 2014

 Solomon Islands National Gallery, 2014

Solomon Islands National Gallery, 2014

 Stockroom Gallery, Kyneton, Victoria, 2012

Stockroom Gallery, Kyneton, Victoria, 2012

Unique state

This work explores the paradox of the edition of one. Titled Unique state, which is a print definition used to describe a 'one-off print', I was commissioned by Art Monthly to produce a print for their 250th edition of the magazine. I chose 1/1 as the image to explore the mass produced medium of commercial print production. This 'unique edition' was printed in the tens of thousands, I then placed 300 of the magazines with the pages open on the gallery floor.


Unique state was a finalist in the Mackay Art Space Libris Art Awards.
Read about it here:

http://blogs.slq.qld.gov.au/ala/2013/05/15/artspace-mackay-libris-awards/

U think yr green?

For Christmas 2012 I decided to hitchhike up the east coast, I wanted the experience to be an extension of my art practice. I created a sign that could hang off my back-pack that would make motorists consider their role as emitters and offered an idea that exposed the irony of carbon trading.

The sign read: Let me reduce your carbon footprint. It is, at once, an irreverent humour pleading with motorists to pick me up – offering them a type of salvation for their guilt ridden east coast petrol guzzling journey- and on the other hand it discusses the irony that baffles popular interpretations of the carbon trading schemes. That is, that there is no real displacement, it is just a carbon neutral person allowing a carbon heavy person to use their neutrality to continue to exist in the same manner as before…

This work is an installation of the remnants of this journey. The sign itself, the photos I took and a cue card detailing some of the places I passed through.

You think yr green?

Performance vestige - tarpaulin, digital print on petrol station receipts and pen on card.

Dimensions variable 

Performprint: Fremantle Print Award

Peformprint statement:

Bearings, beauty and irrelevance talks about the inconsequential nature of art, text, and performance. In this work we are trying to highlight the aesthetic and ephemeral qualities of such activities through the combination of printmaking and skateboarding.  The performance of skateboarding and the art of text are two activities whose agencies are inherently purposeless though this is also their strength, their beauty. Bearings, beauty and irrelevance is an attempt to articulate this duality – the meaningful and the meaningless.

Logistics:

The work is performed within the gallery directly on the floor. A circular ink (thick ink) bed should be prepared in the centre of the 3mx3m performance area. The ink should be applied directly onto the floor with a spatula and rolled out using a print roller. We have supplied a circular stencil and ink for the ink bed, four carved skateboard wheels (which the skateboarder will have to mount onto his board in any formation) and an indemnity contract (in the form of a wearable T-shirt) which the skateboarder will have to sign with white ink and wear during each performance to clear Performprint and FAC of an liability. The T-shirt becomes the property of the skateboarder.

A skateboarder will ride through the circular bed of ink repeatedly for 10-20 minutes generally keeping within the square area creating the work. When the ink has sufficiently spread across the square the performance is finished and the print vestige is left.