Spectres: Works exhibited at the July Seminar

Damaged goods

Justine Giles, 2013, Damaged goods [Watercolour & ink on paper]

 Parade pavement

Justine Giles, 2013, Parade pavement [Watercolour graphite on paper]

The gratitude I feel

Justine Giles, 2013, The gratitude I feel [Ink on paper]

By Tuesday you're imaginary

Justine Giles, 2013, By Tuesday you’re imaginary [Paper-cut on photocopy]

 This cove

Justine Giles, 2013, This cove [Watercolour on paper]

Steam drifts across road

Justine Giles, 2013, Steam drifts across road [Graphite on paper]

The sex life of Jenkin Evans

Justine Giles, 2013, The sex life of Jenkin Evans [Coloured pencil on paper]

First, middle, family

Justine Giles, 2013, First, middle, family [Ink on paper]

 Untitled (Spectres)

Justine Giles, 2013, Untitled (Spectres) [mixed media on paper]

Artist Statement

To date my research has been about defining edges, circumnavigating a periphery around a void.  What is becoming clear is that the void is not empty, nor, paradoxically is it substantial, rather it is a gap, an in-betweeness that is defined in terms of binary opposites: visible/invisible, absence/presence, truth/fabrication, real/perceived.

In his writing Berger talks about drawing as an exorcism, and of giving form to the absent. Derrida speaks of similarly dissonant factors, and coins a term Hauntology.  Both describe that ambiguous territory that is neither one thing nor the other.  It is a spectre, something sensed but intangible.

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