Carol Archer

New website!

2011-12-06T14:21:00.006+08:00

I'm delighted to announce the launch of my new website. Check it out at http://www.carolarcher.com/ Meanwhile this blog remains an archive of my work (and exhibition events) prior to December 2011. To the left of this post you'll see links to the blogs that show the development of two collaborative projects: 'Reciprocal Interference' and 'Macao-Elsewhere'.

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Time with the Sky Opening at Artist Commune, Hong Kong Nov 6 2010. All Photos by Baily Chan.

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time with the sky 與天度日 opens Saturday Nov 6, 3pm

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You are warmly invited to the opening of an exhibition and catalogue launch on

Saturday 6 November, 3pm

Drawings by Carol Archer

To be opened by Prof. Helen Grace (CUHK)

Venue: Artist Commune, Cattle Depot Artist Village, 63 Ma Tau Kok Rd, Kowloon, Hong Kong. 香港九龍土瓜灣馬頭角道6 3 號牛棚藝術村1 2 號單位

http://www.artist-commune.com/

12 to 8pm, Tuesday to Sunday, until Thursday 25 November

星期二至日，中午十二時至八時, 直至十一月廿五日

A word about the pictures

The drawings are works on paper, all 76.5 x 57.5 cm in size. The medium is charcoal, combined in some cases with watercolour and/or pastel.

Acknowledgements

Carol Archer and Christopher (Kit) Kelen gratefully acknowledge the support of the Hong Kong Arts Development Council, The Artist Commune and the Bundanon Trust (Australia).

Out of Thin Air, at Sun Yat Sen University, Guangzhou

2010-06-04T15:19:00.003+08:00

Visual Studies Department Exhibition Celebrates Collaborative Creative Processes/ 嶺南大學舉辦「憑空而來」畫展

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Lingnan University’s Department of Visual Studies has organized a one-month painting exhibition, titled Out of Thin Air – collaborative and solo work, which opened on 27 February 2010. The artworks showcased in the exhibition are by Assistant Professor Dr Carol Archer, and produced either individually or in collaboration with artist-partners. The works in the exhibition are selected from two ongoing series, Reciprocal Interference and Time with the Sky.

The Reciprocal Interference series comprises collaborative artworks by Dr Archer and five artist-friends: Ms Sue Rawlinson, Ms Sue Taylor, Ms Johanna Trainor (Australia), Ms Mary Grehan (Ireland) and Ms Even Mak (Hong Kong). Reciprocal Interference works-in-progress were airmailed between collaborating partners in Hong Kong, Macao, Australia and Ireland. The most recent phase of the project includes a series of postcard-works by Ms Taylor and Dr Archer. The Time with the Sky series of charcoal and watercolour drawings were begun during Dr Archer’s residency in Australia in 2009. They were inspired by the big Australian sky and the eucalypts that stretch up toward it. Solo works, these drawings are destined to contribute to a cross-disciplinary collaboration with poet Dr Christopher (Kit) Kelen.

“But the exhibition title Out of Thin Air is also ironically intended,” Archer comments, “because seemingly unpredictable aspects of the two series are in fact the result of sustained thought, effort and dialogue, as well as conducive circumstances.”
Dr Archer has been teaching in the Visual Studies Department at Lingnan University since 2007. She has shown her work in twelve solo exhibitions and over 30 group exhibitions held in Australia, Japan, Italy, China, Hong Kong and Macao.

Out of Thin Air – collaborative and solo work will be shown in Sun Yat Sen University, Guangzhou from 30 April – 13 May 2010 as part of the Visual Studies Department’s ‘travelling exhibitions’ initiative funded by the Lingnan Foundation.

嶺南大學舉辦「憑空而來」畫展

嶺南大學(嶺大)視覺研究系將於2月27日舉辦助理教授區勵志博士的個人及合作畫展：「憑空而來」。是次畫展為期一個月，展出的作品來自區博士兩個仍在進行中的創作系列，包括她與五位友人合作的「互涉」及個人創作的「與天共度的時光」。
「互涉」是區博士與5位藝術家友人包括Sue Rawlinson女士、Sue Taylor女士、Johanna Trainor女士(澳洲)、Mary Grehan女士(愛爾蘭)及 Even Mak女士(香港) 正在進行的合作系列，這系列的作品涉及五位藝術家在香港、澳門、澳洲及愛爾蘭之間的郵遞互傳。是次展出的是區博士與Taylor 合作的名信片作品。
「與天共度的時光」則是區氏2009年在澳洲居住期間創作的炭筆及水彩繪畫，靈感源自澳洲廣闊的天空及伸展向天空的桉樹。系列是為畫家與詩人Christopher Kelen將會合作的跨媒介創作的一個嘗試，畫作可獨立來看，亦可與詩人的詩一起閱讀。
區博士說：「畫展的題目 - 憑空而來 – 卻是諷刺的特意點題，兩個系列的創作過程以乎無法預計，卻是持續不斷的思巧、努力及對話的成果。」
區博士2007年加入嶺大視覺研究系任教，曾舉辦過十二個個人展及參與逾30個聯展，作品曾在澳洲、日本、內地、香港及澳門展出。

嶺大視覺研究系「憑空而來」畫展由嶺南基金資助的，在嶺大校園展出後將於4月30日至5月13日巡迴至廣州中山大學展出。有關是次展覽的資料可瀏覽區博士的網誌http://carolarcher.blogspot.com/。

憑空而來—個人及合作畫展

2010-03-02T00:20:00.016+08:00

Out of Thin Air – collaborative and solo work
憑空而來—個人及合作畫展

Carol Archer

The works in this exhibition are part of two larger series of work, both of which are ongoing: the Reciprocal Interference project and Time with the Sky. The Reciprocal Interference project consists of two-person collaborative works by Carol Archer and artist-friends Sue Rawlinson, Sue Taylor, Johanna Trainor (Australia), Mary Grehan (Ireland) and Even Mak (Hong Kong). The Time with the Sky series of charcoal and watercolour drawings was begun during Archer’s residency at Bundanon, Australia in July 2009. Australian artist Arthur Boyd and his family gave their home, a splendid property on the banks of the Shoalhaven River, to benefit local and international artists working across the range of arts disciplines. The Time with the Sky drawings show sky framed by the uppermost branches of trees. Solo works, these pictures are destined to contribute to a cross-disciplinary collaboration with poet Christopher (Kit) Kelen. Both series of work came out of thin air: Reciprocal Interference works-in-progress were air-mailed by collaborating partners in Hong Kong, Macao, Australia and Ireland. The Time with the Sky works are inspired by the big Australian sky, and the eucalypts that stretch up toward it. But the exhibition title Out of Thin Air is also ironically intended, because seemingly unpredictable aspects of the two series are in fact the result of sustained thought and effort, dialogue, and conducive circumstances. The purpose of this essay is to introduce the two series in the Out of Thin Air exhibition, discussing how they came into being, and the productive synergy between these art practices and more theoretically-oriented forms of research.

A little history may help to introduce Reciprocal Interference. In 2005, when Sue Rawlinson was visiting Macao, we had a conversation about our respective art practices. During this discussion I described to Sue a work of art that I was currently researching. Entitled Underground (1994-5), the piece is a mixed media work on paper by the South African Amsterdam-based painter Marlene Dumas and her (then) 5-year-old daughter Helena. It consists of twenty eight unframed panels, each depicting a close-up representation of a face, which are arranged in a grid on the gallery wall. When I first saw Underground in London’s Tate Gallery in 1996, I was struck by its disjunctive appearance. Almost all of the panels contain two radically different styles of mark-making. Helena’s bold rainbow-coloured palette jars against her mother’s restrained black and white ink painting. In order to give Helena something to do while Dumas got on with her own work, she gave Helena a stack of her ‘failures.’ The Tate catalogue cites the artist’s account of what followed:

Helena decorated, improved and worked on my black and white drawings, which she found boring, with colour. ‘It was her underground.’ She worked against me. I allowed her to play with my drawings so I could do other work. This was not set up as an art project in the first place. She ‘recast’ my original models into her own stories. One was kidnapped, she said, and one walked into a horse.[1]

My research on Underground explored its transgressive features and the senses in which the work instantiates a kind of artistic gift-exchange.[2] As visual art practitioners, however, what Sue Rawlinson and I found inspiring about Underground was its apparent playfulness: it models a way of working without thinking or planning too much. We were also struck by the way the series functioned to ‘rehabilitate’ failed or uncompleted works, and how such a process might amount to a kind of mutual encouragement and validation. Inspired by Underground, we resolved to create a series of small pieces together, mailing works-in-progress between Macao and Australia.

A few rules for the collaboration were established from the outset. It was agreed that subject matter and medium would be kept open. We decided not to communicate verbally about our intentions for works we had started, nor to send each other accompanying messages, directions or titles. A consistent format was chosen—A4-sized panels are an easy size to mail and to scan. We agreed to send each other 5 pictures at a time, in hopes that at least one of the five ‘starts’ might prove particularly engaging for the other artist. The rules for the collaboration also involved a ‘stopping rule’[3] and a decision regarding who would own the completed works. It was agreed that the person who started the work would be the one to declare it finished. This meant a picture could go back and forth many times—indeed some went back and forth over a period of years—before it was decided it was finished. It was also agreed that the originator of a piece would become its eventual owner. Of the aforementioned rules, the most important was the one concerning the absence of accompanying instructions. The thinking here was that the project was to be a process of visual communication, with the fostering playful exchange taking precedence over the realisation of any explicit artistic intentions.

In early 2006, I wrote to Sue Taylor, Johanna Trainor, Even Mak and Mary Grehan to see if they’d be interested in working with me in a similar manner. I initiated these new collaborations by citing the existing work being done with Sue Rawlinson. Irish artist Mary Grehan and I chose to follow the ‘rules’ outlined above, while some other artist-pairs modified them. For example, Hong Kong artist Even Mak and I, because of our geographic proximity, chose on occasion to work simultaneously while the Reciprocal Interference works produced in collaboration with Johanna Trainor, entailed the latter working photographically and digitally to finish scanned watercolour and mixed media ‘starts’ that I sent to her. And at a certain point in the collaboration with Sue Taylor, we recognised that our best pieces were the ones involving only ‘two goes,’ so we adopted a procedure whereby we each completed the other artist’s ‘starts’. The most recent phase of the Reciprocal Interference collaboration with Sue Taylor involves the production of collaborative as well as solo postcards, incorporating our addresses, postmarks and stamps.

The title of the project was inspired by a passage from Henri Bergson's essay Laughter. In this essay Bergson identifies a number of dynamics through which humor is generated. One of these he calls ‘reciprocal interference.’ In a footnote to the essay Bergson notes that the term ‘interference’ should be understood as it is in optics, to mean ‘the partial superposition and neutralisation, by each other, of two series of light-waves.’ He goes on to describe how a situation ‘will invariably be comic when it belongs simultaneously to two altogether independent series of events and is capable of being interpreted in two entirely different meanings at the same time.’[4] We felt that this was an apt title for our project. Our aim was not explicitly to produce comic works, although there was definitely a comic aspect to the process of surprising each other by the additions and changes we made to each other’s works. The main reason for choosing this title had to do with the fact that, like the comic situation identified by Bergson, the collaborative works in our project each bring together two different kinds of subject matter and/or style, so that interpretation often becomes a matter of negotiating the two. Like Bergson’s definition of a joke, when these two ‘waves’ meet, the resulting work often comes as a surprise. Whatever one’s intentions had been, they may be completely overturned by the other artist. The ‘interference’ that is a key part of this artistic project isn’t just about any ideas one might have had about the meaning of the work one had started. It covers the most basic of details. One might intend a work to have a certain orientation, for example, but it might end up another way around, changing from portrait format to landscape.

It is in this sense that the resulting works appear to have come out of thin air rather than by as the result of any conscious intention or plan. However, as I hope to have shown, planning and theoretical research actually played a significant part in the development of these pictures. Conversely, the questions and insights generated by first-hand experience of creative collaboration have been vital for my background research on the topic of contemporary artistic collaboration. ‘Hands-on’ experience allows me to formulate research questions of a kind that might not occur to the non-practitioner.

A series of blogs document the work-in-progress of the five artist-pairs, all of which are accessible through a blog entitled ‘About Reciprocal Interference.’[5]

***

The Time with the Sky series resulted, in a very real sense, from the generosity of Australian artist Arthur Boyd and his family. The privilege of a residency at the rural retreat of Bundanon on the New South Wales South Coast, provided me with dedicated time and space for creative work. Also resident at Bundanon during July 2009 was Christopher (Kit) Kelen. While the two of us began working on parallel projects, we soon recognized important points of intersection, not least of which was our shared interest in representing the Bundanon environment in a manner that took into account our presence in it.

Time with the Sky is a series of drawings in its own right. And it is a twelve part poem by Kit Kelen. The two are also intended to be read together, as a collaborative whole. Throughout the poem, there is a persistent tension between the notion of the natural world as representation and as autonomous entity. What connection is there between our ‘reading’ of the world and the way it actually is? Is this drawing and poetry engendered through specific experiences of viewing and reading? The aim of the image-and-text work is not to answer but to keep such questions open. Here is a sample from the seventh section of the draft poem:
glimpse of the infinite
and tribute too
we offer all our skill for this
to take the heart along
its own way
an opening

as if this were writing

which turns
forgets itself
goes on

how fine
that the eye goes with it
and the eye is a boomerang too
it falls to mold like leaf
never gives up the ghost

and lower still the camera
casts and catches
this for you
In these lines of the poetic work-in-progress, attention is drawn to the reciprocity between the textual and the visual, between subject and object, between the world ‘out there’ and the world as representation. The poem is a highly visual text and the drawings—composed of innumerable marks—have a script-like quality. In this way text and image partake of each other’s materiality and method; hence their connection and their concerted demand to be read each in the other’s terms. Both the drawings and poem direct the viewer’s and reader’s attention to the openness of the sky, to the act of simply looking up and out of the everyday. These works share with their audience the meditative and healing practice of spending time with the sky.
Out of Thin Air brings together two ongoing series of work, both of which foreground collaborative creative processes. Each series has evolved through conversations that take up questions artistic, literary and scholarly in nature. Without the generosity, trust and respect of my many collaborators, none of the work presented here would have been possible.

[1] Dumas is cited in Catherine Kinley, “Marlene Dumas.” Marlene Dumas, 2 April – 30 June 1996, exh. cat. London: Tate Gallery, 1996, unpaginated.
[2] See Carol Archer, ‘Gifts and Transgressions: Marlene Dumas’ Underground’ in Crossings, No 8, 2006.
[3] I am borrowing this term from Paisley Livingston. See “When a Work is Finished: A Response to Darren Hicks,” Journal of Aesthetics and Criticism 66:4 Fall 2008, 394.
[4] Henri Bergson. Laughter: An Essay on the Meaning of Comic. The full text is available at Authorama, http://www.authorama.com/book/laughter.html [Accessed 31 January, 2010].
[5] ‘About Reciprocal Interference’
http://www.aboutreciprocalinterference.blogspot.com [Accessed 31 January, 2010].

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Out of Thin Air – collaborative and solo work 憑空而來—個人及合作畫展

2010-03-02T00:20:00.013+08:00

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憑空而來—個人及合作畫展 Out of Thin Air – collaborative and solo work

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Out of Thin Air – collaborative and solo work
憑空而來—個人及合作畫展

Carol Archer 區勵志

Exhibition Opening:
Saturday 27 February, 3:30-5:30 pm

Exhibition dates:
27 Feb – 28 March, 2010
Lingnan University, Hong Kong

30 April – 13 May, 2010
Sun Yat Sen University, Guangzhou

Brief Description of the Exhibition:

The works in this exhibition are part of two larger series, both of which are ongoing; namely, the Reciprocal Interference/互涉 project and Time with the Sky/與天共度的時光. The Reciprocal Interference project consists of two-person collaborative works by Carol Archer and artist-friends Sue Rawlinson, Sue Taylor, Johanna Trainor (Australia), Mary Grehan (Ireland) and Even Mak (Hong Kong). The most recent phase of the 'Reciprocal Interference' collaboration includes the production, by Taylor and Archer, of a series of postcard-works, which incorporate addresses, postmarks and stamps. The 'Time with the Sky' series of charcoal and watercolour drawings was begun during Archer’s residency at Bundanon (Australia) in July 2009. Solo works, these pictures of sky framed by the uppermost branches of trees, are destined to contribute to a cross-disciplinary collaboration with poet Christopher (Kit) Kelen. Both series came out of thin air: 'Reciprocal Interference' works-in-progress were airmailed between collaborating partners in Hong Kong, Macao, Australia and Ireland. The 'Time with the Sky' works are inspired by the big Australian sky, and the eucalypts that stretch up toward it. But the exhibition title 'Out of Thin Air' is also ironically intended, because seemingly unpredictable aspects of the two series are in fact the result of sustained thought, effort and dialogue, as well as conducive circumstances. Each series has evolved through conversations that take up questions artistic, literary and scholarly in nature. 'Out of Thin Air' is an exhibition that foregrounds collaborative creative processes.

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Artist-in-residency at Bundanon NSW, thanks to the Bundanon Trust and Arthur Boyd, July 09

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"Time with the Sky #6", 2009, charcoal on paper, 76.5 x 57 cm

"Near and Far and Mostly Macao" Joint exhibition of work by Archer and Kelen

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Near and far - and mainly Macao

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You are warmly invited to the opening of:

Near and Far – and Mainly Macao
4 p.m. Friday 20th February, 2009 and continuing until the 6th of March
Anthony S.W. Lau Exhibition Hall, University of Macau Library

Joint exhibition of pictures by Carol Archer and Christopher Kelen
to coincide with the launch of two volumes published by the University of Macau:

Carol Archer's exhibition catalogue, Work of Macao Hands
and
Christopher Kelen's trilingual poem and sketches, The River Considered as Sea

Near and Far – and Mainly Macao is a joint retrospective exhibition presenting solo and collaborative works by Carol Archer and Christopher Kelen. The works were created over the last ten years and most of them were previously shown at various exhibitions at the Fringe Club in Hong Kong, at Macao's CCI Gallery, at the Albergue Gallery in Macao and here at the University of Macau. Carol Archer's book Work of Macao Hands presents a collection of watercolours offering close-up views of Macao, while Kit Kelen's The River Considered as Sea, a ten-part poem with ink and watercolour pictures, renders Macao at a distance.

Reciprocal Interference: a collaborative art project

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Picture 1
Reciprocal Interference: Mary Grehan and Carol Archer 1, 2007

Collection of Janet Murchie

Picture 2
Reciprocal Interference: Sue Rawlinson and Carol Archer 1, 2006
Collection of Janet Donald

Picture 3
Reciprocal Interference: Even Mak and Carol Archer 1, 2008

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Picture 4
Reciprocal Interference: Johanna Trainor and Carol Archer 1, 2008

Collection of Janet Murchie

Picture 5
Reciprocal Interference: Sue Taylor and Carol Archer 1, 2006

Picture 6
Reciprocal Interference: Sue Taylor and Carol Archer 2, 2006

Picture 7
Reciprocal Interference: Sue Rawlinson and Carol Archer 2, 2006
Collection of Janet Donald

Picture 8

Reciprocal Interference: Sue Rawlinson and Carol Archer 3, 2006

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Picture 9
Reciprocal Interference: Johanna Trainor and Carol Archer 2, 2007

Collection of Terese and Jonti Lambourne

Picture 10

Reciprocal Interference: Sue Taylor and Carol Archer 3, 2007

Picture 11
Reciprocal Interference: Sue Rawlinson and Carol Archer 4, 2006
Collection of Johanna Trainor

Picture 12
Reciprocal Interference: Sue Rawlinson and Carol Archer 5, 2006

Picture 13
Reciprocal Interference: Mary Grehan and Carol Archer 2, 2007

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Picture 14

Reciprocal Interference: Sue Rawlinson and Carol Archer 6, 2006

Picture 15

Reciprocal Interference: Sue Rawlinson and Carol Archer 7, 2006

Picture 16
Reciprocal Interference: Mary Grehan and Carol Archer 3, 2008

Picture 17
Reciprocal Interference: Even Mak and Carol Archer 2, 2008

Picture 18
Reciprocal Interference: Mary Grehan and Carol Archer 4, 2007

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Picture 14

Reciprocal Interference: Sue Rawlinson and Carol Archer 6, 2006

Picture 15

Reciprocal Interference: Sue Rawlinson and Carol Archer 7, 2006

Picture 16
Reciprocal Interference: Mary Grehan and Carol Archer 3, 2008

Picture 17
Reciprocal Interference: Even Mak and Carol Archer 2, 2008

Picture 18
Reciprocal Interference: Mary Grehan and Carol Archer 4, 2007

2009-01-02T13:26:00.001+08:00

Picture 19
Reciprocal Interference: Sue Taylor and Carol Archer 4, 2006

Picture 20
Reciprocal Interference: Sue Taylor and Carol Archer 5, 2007

Picture 21
Reciprocal Interference: Even Mak and Carol Archer 3, 2008

Picture 22
Reciprocal Interference: Sue Taylor and Carol Archer 6, 2006

Collection: Magdaline Shenton-Kaleido

Picture 23
Reciprocal Interference: Sue Rawlinson and Carol Archer 8, 2006

2009-01-02T13:04:00.001+08:00

Picture 24
Reciprocal Interference: Sue Taylor and Carol Archer 7, 2006

Picture 25
Reciprocal Interference: Sue Rawlinson and Carol Archer 9, 2006

Picture 26
Reciprocal Interference: Johanna Trainor and Carol Archer 3, 2008

Picture 27
Reciprocal Interference: Johanna Trainor and Carol Archer 4, 2008

Picture 28
Reciprocal Interference: Mary Grehan and Carol Archer 5, 2007

Reciprocal Interference - a collaborative art project opens Podspace, Newcastle, July 17

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You are warmly invited to the opening of Reciprocal Interference: a collaborative art project by Carol Archer, Mary Grehan, Even Mak, Sue Rawlinson, Sue Taylor and Johanna Trainor.

Opening: Thursday 17 July - 6-8pm
Where: Podspace
1st floor
3/231 King St
Newcastle, NSW,
Australia

Gallery opening times: Wednesday-Saturday 12pm – 5pm
Exhibition runs Wednesday 15 July until Saturday 1 August

Knot, Touch, Trace - Carol Archer's exhibition at Creative Macau April 2-23, 2007

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Installation shot of Carol Archer's exhibition, Knot Touch Trace, at Creative Macau (April 2-23, 2007). The title of the irregularly mixed media work at left is Suture (1997-2007).

Paltry Thing

2007-05-01T12:13:00.000+08:00

Paltry Thing, 2007, 70 x 48cm,

latex, paper, silk dyes

2007-04-14T21:26:00.000+08:00

Carol Archer 2007 Inner Harbour Mooring, Watercolour on Paper 31x26cm

2007-04-14T21:20:00.000+08:00

Carol Archer1997-2007, Cell,

mixed media, 40 x 40cm,

Collection of Custodio Martin

Connecting + Places, Ties + Sense

2007-04-14T21:08:00.000+08:00

Connecting, 2007,

30 x 30 cm, latex, acrylic, thread on canvas

Places, Ties, 2007,

81 x 65cm, charcoal, latex, acrylic, thread on canvas

Sense, 2007,

91 x 41cm, latex, paper, charcoal on board

Hide

2007-04-14T21:04:00.000+08:00

Carol Archer, 2007, Hide, mixed media (unframed photograph), 95 x 70cm,
Collection of Custodio Martin

Carol Archer, 2007, Hide, mixed media on board, 95 x 70cm,

Collection of Custodio Martin

Penal Colony

2007-04-03T22:37:00.000+08:00

Penal Colony I, 1997/2007, 49 x 64cm,
watercolour, paper, photomedia on board

Penal Colony II, 1997/2007, 49 x 64cm,
watercolour, photomedia on board

Penal Colony III, 1997/2007, 49 x 64cm,

watercolour, photomedia on board

Penal Colony I,II,III, 2007,

mixed media and photomedia on board,

Creative Macau April 2007

Knot, Touch, Trace 結、觸、跡 Nó, Tacto, Traço

2007-02-19T12:18:00.000+08:00

Knot, Touch, Trace ( 結、觸、跡 ) is an exhibition of mixed media works by Carol Archer ( 區勵志 ), an Australian artist who has lived in Macao for the past six years. The exhibition includes paintings of apparently insignificant details of the Macao cityscape: knots that hold together bamboo scaffolding, market stall displays, broken window shutters. Not quite inanimate, these knots record the touch of working hands. In less representational works, torn pieces of latex and paper are stitched together with thread and fine charcoal lines. Other panels show body surfaces through a screen of text, referring to the incarceration of untried civilians. The incomplete human presence in these works may be found in the knot, the touch, and the trace.

Knot, Touch, Trace is on at Creative Macau (the street-level gallery at the Macao Cultural Centre), opening Monday 2nd of April at 6pm. The exhibition continues until Monday 23rd of April.

About Carol Archer

Carol Archer is an Australian artist and researcher who has lived in Macao since 2001. She is currently a Visiting Scholar at the University of Hong Kong and an English teacher at the University of Macau. An exhibiting artist since the late 1980’s, Dr Archer’s works have been exhibited in Australia, Hong Kong, Japan, Italy and Macao. Included in numerous private collections, a number of the artist’s works have been purchased by Artbank, an Australian initiative designed to showcase contemporary Australian art. Carol Archer was awarded a doctorate for her thesis on contemporary painting by the University of Hong Kong. She writes on art in Macao, Hong Kong and the region for publications such as Art Monthly Australia and Macau Closer. Recent publications include “Macao: an Art Historical Discipline Waiting to Happen?” in James Elkins’ edited volume Is Art History Global? (Routledge, 2006), “The Ambivalent Paintings of Judy Watson” in the Australian and New Zealand Journal of Art (Vol. 7, No. 2, 2006) and “Gifts and Transgressions: Marlene Dumas’ Underground” in Crossings Binghamton (No. 8, 2006). Further details of Carol Archer’s current art projects and collaborations are available at www.carolarcher.blogspot.com.

結、觸、跡 Knot, Touch, Trace
區勵志 Carol Archer

【結、觸、跡】是區勵志混合繪畫的作品展覽。來自澳洲的區勵志已來澳居住六年，其作品試以建築棚架上的繩結、市販攤位的佈置、破舊的百葉窗等等，展現澳門甚少引人注目的都市風貌。看似了無生氣的繩結，留有過去人們辛勤工作的痕跡。在區的另一些作品中，橡膠塊跟紙屑縫合後，再經炭筆淡掃成畫。其他作品則透過印有文字的透明卡片展現人體的表面，借此暗喻未經審訊的民眾被囚禁的遭遇。在是次展覽的作品中，您可在結、觸、跡裡找到人類留下的蛛絲馬跡。

展覽將於四月二日（星期一）假澳門創意產業中心－創意空間（澳門文化中心側）開幕，展期直至四月廿三日。

關於區勵志

區勵志博士是澳洲的藝術工作者及學術研究員，自二零零一年來澳居住。區現時是香港大學的訪問學者，並於澳門大學任職英文教師。其作品自八十年代後期起便在澳洲、香港、日本、意大利及澳門展覽。區的很多作品被私人收藏，其中一些作品更被澳洲藝術團體Artbank收購為當代藝術展示用途。她憑撰寫有關當代繪畫的論文於香港大學取得博士學位。區為Art Monthly Australia 與 Macau Closer刊物中撰寫專欄，並活躍於港澳寫作有關藝術的評論。近期發表的文章有《Macao: an Art Historical Discipline Waiting to Happen?》(刊登於James Elkins主編的Is Art History Global?)、《The Ambivalent Paintings of Judy Watson》(刊登於二零零六年第七期的Australian and New Zealand Journal of Art)及《Gifts and Transgressions: Marlene Dumas’ Underground》(刊登於二零零六年第八期的Crossings Binghamton)。欲知更多有關區勵志的藝術計劃及合作項目，請瀏覽 www.carolarcher.blogspot.com 。

Chinese translation by Hilda Tam.

Nó, Tacto, Traço
Carol Archer

Nó, Tacto, Traço, é uma exposição de trabalhos em mix-media por Carol Archer, artista de origem australiana que vive há seis anos em Macau. Esta exposição inclui pinturas de detalhes da paisagem urbana de Macau, aparentemente insignificantes, tais como: os nós de andaimes de bamboo, as tendinhas de venda nas imediações dos mercados, as persianas partidas. Não exactamente inanimados, estes nós registam o toque das mãos que as trabalham. Outros trabalhos, menos representados, pedaçinhos de “latex” e de papel são cosidos com linha e agulha sobre finos traços de carvão. Outros paineis mostram partes do corpo através de uma cortina de texto, referindo-se ao incarceramento de civis, sem julgamento. A presença incompleta do ser humano nesses trabalhos podem ser encontrados nos nós, no tacto e no traço.

A exposição Nó, Tacto, Traço é inaugurada na galeria CREATIVE MACAU (rés-do-chão do Centro Cultural de Macau), 2 de Abril (segunda-feira), pelas 18 horas.
A exposição encerra a 23 de Abril (segunda-feira).

Biografia

Carol Archer é uma artista e invistigadora australiana, mora em Macau desde 2001. É actualmente professora convidada da Universidade de Hong Kong no Departamento de Literatura Comparativa e ensina inglês na Universidade de Macau. Expõe desde os últimos anos da década de oitenta do século vinte na Austrália, Hong Kong, Japão, Itália, Macau. A sua obra faz parte de coleccionadores particulares e institucionais como o Artbank que é uma iniciativa australiana de mostra e divulgação da arte contemporânea australiana. A Universidade de Hong Kong conferiu a Carol Archer o grau de Doutor pela tese em pintura contemporânea. Escreve sobre arte de Macau, Hong Kong e região, para as revistas Art Monthly Australia e Macau Closer. Outras publicações mais recentes incluem: “Macao: an Art Historical Discipline Waiting to Happen?” no volume Is Art History Global? (Routledge, 2006) editado por James Elkins; “The Ambivalent Paintings of Judy Watson” no Australian and New Zealand Journal of Art (Vol. 7, No. 2, 2006); “Gifts and Transgressions: Marlene Dumas’ Underground” no Crossings Binghamton (No. 8, 2006).

Projectos de arte actuais e mais colaborações de Carol Archer estão disponíveis em www.carolarcher.blogspot.com.

Portuguese Translation by Lily Han.

The Opening of "Work of Macao Hands"

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Work of Macao Hands: Watercolours by Carol Archer
澳門手作 : 區勵志畫展

“Work of Macao Hands: Watercolours by Carol Archer” opened at the Library Gallery at the University of Macau on Friday November 10. The paintings in the exhibition explore the rapidly changing city of Macao. These days construction is around every corner in Macao, and it is featured in some of the paintings in “Work of Macao Hands”. Although bamboo, tarpaulins and site-fences are represented, these pictures are not about the magnitude of construction sites or the looming presence of the structures and machinery that they contain. Instead, they focus on human-scale details such as hand-knotted bamboo scaffolding or the twisted rusty wire that secures a dusty blue tarp to a metal site-fence. The watercolour paintings in this exhibition also highlight the work of Macao hands that can be seen even in the “finished” urban landscape. Some paintings feature the electrical wires, pipes and wafting pieces of plastic that appear on the street frontages of some Macao houses. The ropes and hooks used to suspend produce, and the makeshift red lamps that light up market stalls, have been pictured in several works. The paintings in this exhibition are reminders that it is hands that continue to make Macao what it is today.

Also on exhibition from November 10 in the Library Gallery of the University of Macao is “Footstep: an installation by Carol Archer and Even Mak” (步足；足印混合媒體裝置展覽：區勵志及麥綺雲). In this collaborative work Hong Kong ceramicist, Even Mak, and Carol Archer combine paint on paper with glazed terracotta elements to suggest the sensations of the moving feet as they contact the ground. The work was inspired by an interest in the physical effects of training regimes such as ballet.

Work of Macao Hands

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Carol Archer, Work of Macao Hands #8, 2006,

watercolour on paper, 59 x 42 cm, Collection of the artist.

Carol Archer, Work of Macao Hands #5, 2006, watercolour on paper, 59 x 42 cm

Carol Archer, Work of Macao Hands #6, 2006,

watercolour on paper, 59 x 42 cm,

Collection of Kit Kelen

Carol Archer, Work of Macao Hands #16, 2006, watercolour on paper, 59 x 42 cm

Collection of Adam Lampton

Carol Archer, Work of Macao Hands #2, 2006,
watercolour on paper, 59 x 42 cm, Collection of Barbara MacGregor.

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Carol Archer, Work of Macao Hands #1, 2006,
watercolour on paper, 59 x 42 cm.

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Carol Archer, Work of Macao Hands #15, 2006, watercolour on paper, 59 x 42 cm,

Collection of Lyn Stoker.

Carol Archer, Work of Macao Hands #11, 2006,

watercolour on paper, 59 x 42 cm.

Carol Archer, Work of Macao Hands #11, 2006,

watercolour on paper, 59 x 42 cm.

Carol Archer, Work of Macao Hands #6, 2006,

watercolour on paper, 59 x 42 cm,

Collection of Mette Hjort.

Carol Archer, Work of Macao Hands #4, 2006,
watercolour on paper, 59 x 42 cm.

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Carol Archer, Work of Macao Hands #7 , 2006, watercolour on paper, 59 x 42 cm,

Carol Archer, Work of Macao Hands #13 , 2006,

watercolour on paper, 59 x 42 cm

Collection of Keith and Becky Pharis

Carol Archer, Work of Macao Hands #10, 2006,
watercolour on paper, 59 x 42 cm.

Collection of Mette Hjort and Paisley Livingston

Knot works

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New Territories

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Sleep to dream/Shui yi meng

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Tai Mo Shan/ Big Hat Mountain

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Skin to Work series

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Skin to Work series, 1998, latex and mixed media on board, 40 x 40 cm

(Collection of Artbank, Australia)

Skin to Work series, 1998, latex and mixed media on board, 40 x 40cm
(Collection of Artbank, Australia)

Skin to Work series, 1996, mixed media on foamboard, approx. 30 x 30 cm

Skin to Work series, 1996, mixed media on foamboard, approx. 40 x 40 cm

Dermagraph, 1996, mixed media on foamboard,
100 x 100 cm (Collection of Neela Griffith)

Skin to Work series

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Skin to Work series, 1998 (Maling Gallery, Casula Powerhouse, Sydney),

mixed media on board, approx 40 x 40 cm.

Work on left: collection of Johanna Trianor.

Works on right: collection of ArtBank Australia.

Skin to Work series, 1998, mixed media on board, approx 40 x 40 cm.

Collection of ArtBank Australia.

Skin to Work series, 1998, fabric, latex and paper on board,
approx 40 x 40 cm.

The Hide of Her, 1998, latex, paper , drawing media,
approx. 100 x 100cm.

Early works

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Sites Between (detail), 1989 (Collection of unidentified ANU English Professor)

Sites Between, 1989, mixed media on 13 plywood panels

(Collections of Sarah St Vincent Welsh, Anne Pickering,

an unidentified ANU English Professor)

Eggshell series, c.1988, oil on canvas, approx 80cm x 100cm

RESUME for Carol Archer

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EXHIBITIONS:

2010: Time with the Sky/與天度日 : an art/poetry collaboration with Christopher Kelen. Artist Commune, Cattle Depot Artist Village, Hong Kong.

2010: Out of Thin Air: collaborative and solo works/憑空而來—個人及合作畫展, Lingnan University, Hong Kong and Sun Yat Sen University, Guangzhou.

2009: Near and Far and Mostly Macao: Carol Archer and Christopher Kelen, University of Macau Library Gallery

2008 23rd Asia International Art Exhibition, Guangzhou Academy of Fine Arts, Guangzhou University Town, Panyu District, Guangzhou

2008 Pre-Exhibition of 23rd Asia International Art Exhibition (Macao Representatives), Albergue Gallery, Former Old Ladies House, Macao

2008 Reciprocal Interference: A Collaborative Art Project, Podspace, Newcastle, Australia, http://www.carolarcher.blogspot.com/

(exhibition of two-person collaborative works with Sue Rawlinson, Even Mak, Sue Taylor, Mary Grehan and Johanna Trainor)

2007 Knot, Touch, Trace Nó, Tacto, Traço 結、觸、跡 , Creative Macau, Macao Cultural Centre, Macao

2006 Work of Macao Hands, University Gallery, University of Macau Library, University of Macau, Macao (solo exhibition)

2006 Footstep: an installation by Carol Archer and Even Mak /步足；足印混合媒體裝置展覽：區勵志及麥綺雲, University Gallery, University of Macau Library, University of Macau, Macao, (http//:makarcher.blogspot.com)

2006 Creative Macau Members’ Exhibition, CCI, Macao Cultural Centre, Macao

2005 Notworks, online mixed media exhibition, Macau Art Net, Artist of the Month, May 2005 (www.macauart.net/Gallery/ContentE.asp?id=205&topicName=)

2004 Being there, National Art School, Sydney, N.S.W., Australia

2003 Artmart, Para/site Artspace, Sheung Wan, Hong Kong

2002 Social Club, Para/site Artspace, Sheung Wan, Hong Kong

2001 Sleep to Dream/ Shui Yi Meng, collaborative image/text installation with Christopher Kelen, Montblanc and Nokia Galleries, Fringe Club, Hong Kong (solo exhibition)

2001 Blue is Blue (Cityfestival 2001 featured visual artists programme), Hong Kong City Hall Exhibition Hall, Hong Kong

2000 Tai Mo Shan/ Big Hat Mountain, collaborative image and text installation with Christopher Kelen, Montblanc Gallery, Fringe Club, Central, Hong Kong

2000 Wanchai, Citypoetry (a City Festival 2000 project) collaborative computer photographic/poetry installation with Christopher Kelen at Senses, 41 Staunton St, Hong Kong

1998 Skin to Work, Maling Gallery, Casula Powerhouse, Casula, N.S.W., Australia (solo exhibition)
1998 Scrape, John Paynter Gallery, Hunter St., Newcastle, N.S.W. Australia (three–person exhibition)
1998 Staff Exhibition, Hunter St. Institute of T.A.F.E., Newcastle, Australia
1997 Skinworks, Space YZ, U.W.S. Nepean, Kingswood, N.S.W., Australia (solo exhibition)
1997Nothing so Deep, Vacant Shopfront Art Project, Newcastle, Australia (solo exhibition)
1997 Windows, A.N.C.A. Gallery, Dickson, A.C.T., Australia
1997 9” x 12”: National Touring Exhibition of Contemporary Art, Melbourne, Sydney, Tennant Creek, Darwin, Adelaide, Hobart and internet, Australia
1997 Images of the Heart II, Hunter St. Institute of Tertiary and Further Education, Newcastle, Australia
1996 Between Skins, Manning Regional Art Gallery, Taree, N.S.W., Australia (solo exhibition)
1996 Body of Work, From Heaven to Hell Cultural Institute, Rome, Italy (solo exhibition)
1995 Art Felt, Faculty of Art and Design Gallery, University of Newcastle, Australia
1994 Sometimes, Artery Gallery, Camperdown, N.S.W., Australia
1992 Four by Four, Kyoto International Community House, Kyoto, Japan
1989 Veiling the View, Canberra Contemporary Art Space, Manuka, A.C.T. Australia
1989 Decade Show, Canberra Contemporary Art Space, A.C.T.
1989 Graduate Show, Canberra School of Art, A.C.T., Australia

GRANTS /ACQUISITIONS/RESIDENCIES:

2009 Artist-in-residence, Bundanon Trust, Bundanon, Australia (30 June –19 July), http://www.bundanon.com.au/content/carol-archer
2003 Recipient of Hong Kong Arts Development Council project grant for the New Territories publication
2001 Recipient of Hong Kong Arts Development Council project grant for the Sleep to Dream installation and publication
2000 Recipient of Hong Kong Arts Development Council project grant for the Tai Mo Shan installation and publication
1998 Four artworks from Skin to Work exhibition acquired by Artbank, an Australian library of contemporary arts
Artworks are included in private collections in Japan, Italy, Hong Kong, Macao, Canada and Australia.

REVIEWS:

27/2/2009 “University of Macau present pictures exhibition”, Gilbert Humphrey, Macau Post, Macao; 20/2/2009 “A Musa Inspiradora: Académicos Lançam Livros de Poesia e Pintura Hoje na UMAC”, Alexandra Lages, Hoje Macau, 20;17/2/2009 “Pinturas e poemas ‘exprimem’ olhares sobre o território”, Raquel Carvalho, Jornal Tribuna de Macau, 16/7/2008 Review of Reciprocal Interference Collaborative Art Project, Jill Stowell, Newcastle Herald, Australia 23/4/2007 “Adverte a artista australiana Carol Archer: Macau será ‘promessa vazia’ se não investir no ensino artístico”, Laura Bastos, Jornal Tribuna de Macau, Macao
23/4/2007 “O Hoje Recomenda: Nó, tacto, traço, Exposição de Carol Archer”, Hoje Macau, Macao
23/4/2007 “Nó, tacto, traço: Pintura”, Ponto Final, Macao
15/3-15/4 “Knot, Touch, Trace 結、觸、跡 Nó, Tacto, Traço”, Macau Closer, CTY
23/4/2007 “Nó, tacto, traço: Pintura”, Ponto Final, Macao
13/3/2007 “O toque humano na aparente insignificância”, Hugo Pinto, Ponto Final, Macao
10/11/2006 "Work of Macau Hands: Watercolours by Carol Archer", Sara Farr, The Macau Post, Macao
15/6/2001 “Best of the Week,” Kevin Kwong, South China Morning Post, 24/7 Magazine, Hong Kong
14/6/2001 “Sleep to Dream: Carol Archer/ Christopher Kelen,” Joyce Siu, BC Magazine, Hong Kong
24/6/2000 “Artists and poets...,” Kevin Kwong, 24/7, South China Morning Post, Hong Kong
23/6/2000 “Lest we Forget,” Lena Sin, HK Magazine, Hong Kong
5/12/1998 “Art, face to face,” Jill Stowell, The Newcastle Herald, Australia
29/11/1998 “Decent Exposure,” Meryl Ryan, The Newcastle Herald, Australia

QUALIFICATIONS:
2001-2006 Doctor of Philosophy, Comparative Literature Department, University of Hong Kong. Thesis title: Frames, Flows, Feminist Aesthetics: paintings by Judy Watson, Cai Jin and Marlene Dumas.
1994-1998 Master of Arts (Honours), University of Western Sydney (Nepean), Australia, (leave of absence taken in 1996), degree conferred in October, 1998.
Thesis title: Skin to Work: shifting materialities, ambiguous boundaries.
Exhibition title: Skin to Work.
1992 Graduate Certificate in T.E.F.L., G.L.S. Gaigo Gakuin, Kyoto, Japan.
1987-1989 Associate Diploma in Painting, Canberra School of Art, Australia (now part of Australian National University), Diploma conferred in May 1990.
1985 Teacher’s Certificate, N.S.W. Dept. of Education, Australia. Certificate awarded in April, 1985.
1981 Graduate Diploma of Education (Art), Sydney Teachers College (now University of Sydney), Australia, diploma conferred in May, 1982.
1978-1980 Bachelor of Arts, University of Sydney (Australia). Conferred May, 1981.
Other studies:
1991 -1992 Japanese woodblock printing and ink painting, and shiatsu training, in Kyoto.

PUBLICATIONS:
2010 Paisley Livingston and Carol Archer “Artistic collaboration and the completion of works of art” British Journal of Aesthetics, Oxford: Oxford Journals, Vol. 50, Issue 4, 439 – 455.

2010 Carol Archer and Christopher Kelen, “Macao Monuments – in Art, in Poetry and in your Face” Space and Culture , Sage Journals, 14:3.

2007 “Spaces in Transition: Photographs by Adam Lampton", Macau Closer, September
2007 "Edictus Ridiculum: Konstantin Bessmertny", Macau Closer, July/August
2007 "Denis Murrell's Homework", Macau Closer, July/August
2007 "Contemplative Offerings: the Art of Belinda Fox", Macau Closer, June
2007 "Serious about Art Education?", Macau Closer, April
2007 "Something Rotten in Macao's New Cityscape", (Portuguese translation by Patricia Lemos), Ponto Final, Friday 27/7/07
2007 “Macao: an art historical discipline waiting to happen?” In James Elkins (ed), Is Art History Global? New York: Routledge, 2006.
2007 “Gifts and Transgressions: Marlene Dumas Underground” in Crossings, No 8, 2006.
2006 “The Ambivalent Paintings of Judy Watson: an Aboriginal Feminist Aesthetic”. In Australian and New Zealand Journal of Art, Vol. 7, no. 2, 2006.
2005 “Cartographies, Selves.” Imaginal Regions collaborative project. Website: http://www.imaginalregions.co.uk/
2004 “Over the Border, the Everyday Lapse” (with Christopher Kelen), Consciousness, Literature and the Arts, Volume 5, No 1, www.aber.ac.uk/tfts/journal/archive/kelenarcher.html
2001 Sleep to Dream (with Christopher Kelen), Loudest Place on Earth, Hong Kong
2000 Tai Mo Shan (with Christopher Kelen), Loudest Place on Earth, Hong Kong

GUEST LECTURES/CONFERENCE PAPERS:

2009 “Collaborative Painting: Gifts and Transgressions” (Invited lecture), MEDEA Collaborative Media Initiative, Malmö högskola/ Malmö University, Malmö, Sweden
http://www.mah.se/fakulteter-och-omraden/Kultur-och-samhalle/Institutioner-och-centrum/Konst-kultur-och-kommunikation-K3/K3-Showroom/MEDEA-TALK-series-2009/MEDEA-TALK-6---Carol-Archer/

2009 “Reciprocal Interference: Theorising a Collaborative Art Project” Sydney Symposium on Collective Creativity, Goethe Institute, University of NSW, Sydney.

2009 “Contemporary Representations of Macao: Taking Off the City First Interdisciplinary Conference on Macau Studies: Intercultural Exchanges between East and West”, University of Macau, Macao 2009

2006 “Screen, Figure, Ground: The Ambivalent Political Aesthetics of Judy Watson's internal landscape and the guardians”, Association for the Study of Australian Literature, University of Western Australia, Perth, Australia
2006 “Shifting Spaces in Macao”, 6th Wenshan Conference on English and American Literature, National Chengchi University, Taipei, Taiwan
2005 “The ambivalent paintings of Judy Watson: an Aboriginal Feminist Aesthetic,” English Department, Peking University, PRC
2005 “Paintings and Paintings: aesthetics, dominative and otherwise,” Comparative Literature Departmental Seminar Series, University of Hong Kong, Hong Kong
2004 “Cartographies, Selves,” Imaginal regions: opening out the atlas symposium, Gray’s School of Art, Robert Gordon University, Aberdeen, Scotland 6. “Cartographies, Selves: Maps and Paintings,”
Wednesday Colloquium Series, English Department, University of Macau, Macao
2003 “Dreamings and paintings: Emily Kngwarreye and Judy Watson”, Scottish Word and Image Group conference, University of Aberdeen and Gray’s School of Art, Aberdeen, Scotland
2003 “Over the border, the everyday lapse: dreams and the creative process” (with Christopher Kelen), Scottish Word and Image Group conference, University of Aberdeen and Gray’s School of Art (Robert Gordon University), Aberdeen, Scotland
2003 “Frames and Flows in Paintings by Judy Watson”, Comparative Literature Department Seminars, University of Hong Kong, Hong Kong
2003 “Dreamings and paintings: Judy Watson and Emily Kngwarreye,” English Department Seminar Series, University of Macau, Macao
2002 “Gender, Genre and Liberation in Chicken Run,” Beast Fable Society, 9th International Congress, Malta
2002 “Carol Archer and Christopher Kelen: Chicken Run,” English Department Seminar Series, University of Macau, Macao
1997 “Miraculous Wounds: Rome, 1996”, Faculty of Art and Design, University of Newcastle, N.S.W., Australia
1997 “Painting and Skin Ego”, Australian National Art Therapy Association Conference, Dickson, A.C.T., Australia
1996 “Cossington Smith, Hester, Olsen and Borgelt: Gender and Identity in Representations of the Private, Intimate and Domestic”, Newcastle Region Art Gallery, N.S.W., Australia
1996 “Metaskins”, University of Lecce, Lecce, Italy
1995 “Paula Rego: Domination and Rebellion”, Newcastle Regional Art Gallery, N .S.W., Australia

EMPLOYMENT:
mid 2007-present Assistant Professor, Visual Studies Programme, Lingnan University, Hong Kong
2006- mid 2007 Visiting Scholar, Department of Comparative Literature, University of Hong Kong, Hong Kong; 2006 Drawing Instructor, Student Services Centre, Integrated Learning Programme, Lingnan University, Hong Kong
2003-mid 2007 English Language Instructor and Lecturer in Art Appreciation, University of Macau, Macao
2001-2005 Teaching Assistant, Comparative Literature Dept., University of Hong Kong, Hong Kong
1999- 00 Visual Arts Tutor, R.M.I.T. University/Hong Kong Arts Centre, Wanchai, Hong Kong
1998- 01 Native English-speaking Teacher, Lingnan Dr. C.W.K. Memorial Secondary School, Kwai Chung, N.T., Hong Kong
1997- 98 Lecturer in Visual Communication and Art Appreciation, Hunter St. Institute of T.A.F.E., Newcastle, N.S.W., Australia
1995- 97 Lecturer in Art History and Theory, Department of Fine Art, University of Newcastle, N.S.W., Australia
1993- 95 Arts and Media teacher, Tuncurry Institute of Tertiary and Further Education (T.A.F.E.), N.S.W., Australia
Art teacher, St. Ives High School, N.S.W. Dept. of Education, N.S.W., Australia; Teacher of Painting and Drawing, Bulahdelah, Hunter Community College, N.S.W., Australia
1991- 93 Director of Curriculum and Teacher of English as a Foreign Language, Global Language Salon, Kyoto, Japan; 1991 Teacher of English as a Foreign Language and Art, Kyoto Nishi Senior High School, Kyoto, Japan
1990 Lecturer in English as a Foreign Language, Language Resources, Phillips University, Osaka, Japan
1987- 90 Art teacher, A.C.T. Schools Authority and N.S.W. Dept of Education, Australia; Art therapy workshop facilitator, Community Youth Support Scheme, Braddon, A.C.T., Australia
1984- 86 Art teacher, Lithgow High School, N.S.W. Dept of Education, N.S.W., Australia

ASSOCIATIONS, COMMUNITIES, SERVICE

2010- member Artist Commune, Hong Kong 2008- Member of Asian Australian Studies Research Network 2006 Adjudicator, “Green Colours of Life Recycled Art Competition”, Shing Kung Hui Welfare Council, Teens’ Recycled Art Program, Macao 2006-present Principal researcher and initiator of the “Reciprocal Interference” collaborative art project. Ongoing online documentation at:http//:aboutreciprocalinterference.blogspot.com, http//:rawlinsonarcher.blogspot.com,
http//:grehanarcher.blogspot.com, http//:taylorarcher.blogspot.com, http//:trainorarcher.blogspot.com
2005- Regular contributor on Hong Kong, Macao, Taiwan and China art news to the magazine Art Monthly Australia (ArtNotes Asia section) 2005- Member Macau Art Net, entry on my works and resume at
www.macauart.net/Artist/ContentE.asp?id=127
2005- Member of Creative Macau, entry on my works and resume at
www.creativemacau.org.mo/page.php?area=12&part=180
2005- Member of Art Association of Australia and New Zealand

2003- Member of an international collaborative visual arts and writing research project titled Imaginal Places: opening out the atlas. Symposium paper and works may be found on the project website: www.imaginalregions.co.uk 1999-2002 Member of Fringe Club, Hong Kong, 2001-2005 Member of Para/site, Hong Kong 1998- Member of Viscopy, Australia 1987- Member of the National Association of Visual Artists, Australia

About Carol Archer (aka 區勵志 )

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An exhibiting artist since the late 1980’s, Carol Archer’s works have been exhibited in Australia, Hong Kong, Japan, Italy and Macao. A number of pieces from her 1998 exhibition titled Skin to Work (Sydney) have been acquired by Artbank, an Australian government initiative that showcases contemporary art. Archer’s work may also be found in numerous private collections.

Carol Archer moved from Australia to the Pearl Delta region in 1998. Her exhibition Tai Mo Shan/Big Hat Mountain at the Montblanc Gallery in Hong Kong’s Fringe Club (2000) consisted of a series of mixed media scrolls that referenced Chinese iconography. In 2001, Archer’s watercolour, ink and photomedia pieces were exhibited in the art/poetry installation titled Shui Yi Meng/Sleep to Dream, also hosted by the Montblanc Gallery. In New Territories (2002), Archer’s photomedia works continued her exploration of Hong Kong’s urban environment. These three projects, collaborations with Australian writer-artist Christopher Kelen, attracted Hong Kong Arts Development Council funding and were published as full colour catalogues.

Since moving to Macao, Carol Archer has been invited to exhibit her work at Hong Kong’s Para/Site Art Space (2002, 2003), Sydney’s National Art School in Sydney (2004). In May 2005, Archer was nominated Artist of the Month by Macau Art Net and invited to present a solo exhibition online. In 2006, Archer completed a doctorate in the Department of Comparative Literature at the University of Hong Kong on modernist literature and contemporary painting.
Carol Archer is currently an Assistant Professor in the Visual Studies programme at Lingnan University in Hong Kong.

區勵志
澳洲藝術家區勵志生於1960年2月24日，其作品自80年代末開始曾於澳洲、澳門、香港、日本及意大利展出。區氏於1998年移居珠江三角洲地區，其後分別於2000年及2001年在香港藝穗會萬寶龍畫廊(Mont Blanc Gallery)設展，主題為"大帽山"及"睡以夢"。2003年，區氏的攝影媒體作品進入高峯期並歸入名為"新界"的系列。該系列中的三個項目均和作家客遠文(Christopher Kelen)合作，並獲得香港藝術發展局贊助出版彩色作品目錄。區氏的視覺藝術作品是2000及2001年香港乙城節(City Festival)藝術項目中的其中一環，並於2002及2003年在香港Para/Site藝術空間的集體展覽中展出。2005年5月，區氏獲澳門藝術網提名為當月藝術工作者並在該網舉行了一次個人混合媒 ! 擏@品展。區氏近期在澳門的個人展覽包括澳門大學畫廊的"澳門手作"和澳門創意空間的"結、觸、跡"。另外，區氏亦於本年七月在澳洲紐卡素PodSpace畫廊展出其國際藝術家合作項目"Reciprocal Interference"的作品(http://www.aboutreciprocalinterference.blogspot.com)。

區氏現於香港嶺南大學任助理教授，並為Art Monthly Australia及Macau Closer撰寫有關澳門、香港、內地及台灣地區的藝術動態。近期區氏的學術著作包括"Macao: An Art Historical Discipline Waiting to Happen?" [收錄於James Elkins編輯的Is Art History Global? (Routledge, 2006)]；"The Ambivalent Paintings of Judy Watson" [收錄於2006年第7卷第2期Australian and New Zealand Journal of Art]；以及"Gifts and Transgressions: Marlene Dumas' Underground" [收錄於2006年第8期Crossings]。
聯絡區勵志，請電郵cararcher@gmail.com; 獲取更多有關其作品資訊，請瀏覽http://www.carolarcher.blogspot.com。