Corruption in the ministry
- Authors: Atkins, Rosalind , De Medici, eX
- Date: 2013
- Type: Text , Visual art work
- Full Text:
- Description: Part of Electric Valley Studios exhibition
Dawn 'til Dusk
- Authors: Atkins, Rosalind , De Medici, eX
- Date: 2011
- Type: Text , Visual art work
- Full Text:
Our corporate who art in heaven
- Authors: Atkins, Rosalind , De Medici, eX
- Date: 2012
- Type: Text , Visual art work
- Full Text: false
Rosalind Atkins & Ex De Medici
- Authors: Atkins, Rosalind , De Medici, eX
- Date: 2013
- Type: Text , Visual art work
- Full Text:
- Description: Each January for the last three years, Rosalind Atkins and eX de Medici pack the cars and head out on the long, hot and sublime drive to work at The Art Vault in MIldura. The Art Vault, a former Commonwealth Bank building was rebirthed by art patrons. Julie and Kevin Chambers, into a modern, well equipped printmaking workshop, studio, artist apartments and gallery in November 2008. Throughout the year, the copper plates and watercolour are ferried in the boot of the car back and forth between Melbourne (Atkins’ home town) and Canberra (de Medici’s home town). Equally, conversation revolving around the development of the imagery and progress of work takes place via email, SMS and phone conversations. The annual pilgrimage to Mildura results from mutual respect and desire to produce an edition which represents both of the artist’s concerns within their individual practices and ongoing friendship. Both artists function from very different perspectives, but it is easy to make a cohesive third meaning when there is a desire to do so, no matter the disparate positions. Where Atkins works from her abiding trust in the sentinel of the natural world, the Tree de Medici continues in her critique of the violent hegemon, the Human. Any set of evidence can be coerced into relationship, because every thing is in relationship, for good or for bad.