Some of the images, text and other found/stolen material I used in various configurations throughout 2009-10 (’Well I wonder’, ‘Digging’, ‘Another window with a different view’, ‘A map that interrupts itself’)

‘Another window with a different view’, Sydney College of the Arts postgraduate degree show, 2010 (bottom three photos Unseen Magazine Blog 2010/11, photographer unknown)

‘What noise in the street!’, single edition artist book (colour and black and white multi-layer photocopies in re-purposed exercise book cover), 2010 and ‘A map that interrupts itself’, unlimted edition free zine, 2010

‘The white room; or, Astronauts are not excitable’, Chrissie Cotter Gallery, 2010 and ‘The mission on paper’, Streetware street art program, Nithsdale Lane, City of Sydney 2011.

We seek out a corner, it protects and conceals. It feels good in a narrow space, but we know we can do what we want there ... [A man relates:] ‘As boys we built ourselves a platform between the branches which could not be seen from below. When we were sitting up there, when we pulled up the ladder and cut ourselves off completely from the ground, then we felt perfectly happy.’ Our own room is prefigured here, the free life that is coming ... The hidden boy is also breaking out, in a shy way. He is searching for what is far away, even though he shuts himself in, it is just that in breaking free he has girded himself round and round with walls. All the better if the hiding place is mobile, that is, if it consists of living material. In other words, of outlawed or strange people with whom we go along.

Ernst Bloch
The Principle of Hope

From ‘I sat in the Cafe de (sic) Banques, which no longer exists’, found images and text on found paper, 2010

“I can put you up in my old room,” said Ball, and he took me through a maze of angular streets, opened a wooden door, and climbed up an ancient groaning stairway. I found myself alone in a garret. Below me, Zurich lay asleep, not a puff of air was stirring, and the red sickle of the moon hung over me.

The next day I ambled through Zurich. I paused at Bellevue-Ecke, which hadn’t yet become a traffic center. Then I walked along the lake, watching the swans whose feed Ball had envied; I walked, last but not least, down the Bahnhofstrasse, which was more of an international promenade in those days. Here, one might see refugees from all over the world; you could tell them by their clothes, which were so different from the respectable Swiss coats.

I sat in the Cafe des Banques, which no longer exists and where we subsequently saw Mary Wigman dance. She put on a special performance for us dadaists and ‘danced Nietzsche.’ I can still see her in the center of a circle, waving Zarathustra about. Left, right, left, right – ‘and concieved deeper than day’.

Richard Huelsenbeck
Memoirs of a Dada Drummer

‘Phonemes’, found images on paper, 2008

Selected exhibitions

2010: ‘The white room, or, Astronauts are not excitable’, Chrissie Cotter; 
‘An education’ Show us your politics, Kudos
‘Another window with a different view’, Sydney College of the Arts postgraduate degree show
‘The mission on paper’, Streetware temporary art program, Nithsdale Lane, Sydney
‘Persistent desires’, Sydney contemporary art survey, 231 Wilson St Everleigh 
2009: ‘Well I wonder/Digging’, Little Fish
2008: ‘Arc of a journey’, Marrickville contemporary art prize, At the Vanishing Point
2005: ‘Terrain vague’ (with Ned Sevil, Anwen Crawford, Anna Crane, Pep Prodromou and others), Mori gallery
2004: ‘Where’s your messiah now?’, Sydney College of the Arts undergraduate (honours) degree show
2002: ‘Untitled’, Sophomore, Newspace

From ‘I sat in the Cafe des Banques, which no longer exists’


© Emma Davidson 2023