Mike PARRJohn LOANEVIRIDIAN PRESSMike PARRVIRIDIAN PRESS, Bridal I Ching (Jesus the glacier) Enlarge 1 /5
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Mike PARR

Sydney, New South Wales, Australia born 1945

  • Europe 1973
  • 1977-78

John LOANE

Melbourne, Victoria, Australia born 1950

printer

VIRIDIAN PRESS

Melbourne, Victoria, Australia commenced 1988

print workshop (organisation)

Mike PARR

Sydney, New South Wales, Australia born 1945

co-publisher

  • Europe 1973
  • 1977-78

VIRIDIAN PRESS

Melbourne, Victoria, Australia commenced 1988

co-publisher (organisation)

Bridal I Ching (Jesus the glacier) 1988-2006 Description: series of [17] prints.

Collection Title: Bridal I Ching (Jesus the glacier): Melbourne, 2006.
Page: parts 1-17
Place made: Viridian Press, 11 Dickens Road, Olinda, Melbourne, Victoria, Australia
Materials & Technique: prints, ink; paper woodcuts, printed in red ink, from multiple blocks; monoprints, printed in earth pigments, from multiple plates; lithographs, printed in black ink, from multiple stones; etchings and drypoints, printed in black ink, from multiple plates; subsequently overprinted with relief, printed in colour inks, from found objects; hand-coloured Support: thick smooth white wove Saunders 300 gsm paper; medium-weight smooth cream wove Hahnemühle paper
Edition State: published state
Impression: undesignated impression
Edition: edition unknown

Edition Notes: Earth in binder printed as monoprint over large multi-panel woodcut. Earth from Viridian Press references the glacier [conversation with John Loane 22/05/12 SNF].
Dimensions: dimensions variable
Acknowledgement: Gift of anonymous donor, 2011.
Accession No: NGA 2011.814.A-Q
Provenance:
  • Gift to the National Gallery of Australia, from an anonymous donor, Canberra, 2011.

Composed of 13 separate prints (12 small and one large multi-panel work), Mike Parr’s Bridal I-ching (Jesus the glacier) was influenced by a variety of thought-associations. The ancient Chinese text, the I-ching, with its categories of yin and yang, is linked with the chance allocation of either a male or female gender, which leads to distinct bride and groom traditions. The arrangement of the work evokes a New Testament scene of Jesus and his apostles.

Although regarded foremost as a performance artist, Parr has not been restrained by one medium. Video art, sculpture, installation, text, drawing, as well as printmaking, have merged together in his diverse output. It is no surprise that Parr describes his non-traditional fusion of printmaking techniques, such as woodcut, lithography and intaglio, as ‘impure’. During a collaborative process, Parr and printer John Loane used layers of ink, carborundum powder and soil to produce Bridal I-ching (Jesus the glacier). The effect of the press pushing out the excess earth made Parr recall rocky deposits left in the wake of slow-moving glaciers.

Parr began working with Loane in 1989, since when they have created more than 1000 prints together. This immense productivity is characteristic of Parr’s aspiration towards the extreme. As a performance artist Parr’s exploitation of his own body has consistently pushed his work to the thresholds of what he, and his audiences, can accept. Consistently intense, raw and powerful, the conclusion of many of his conceptual pieces is the written instruction to continue the piece ‘for as long as possible’.


Text © National Gallery of Australia, Canberra 2014
From: Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2014