Justine Giles, 2013, Damaged goods [Watercolour & ink on paper]
Justine Giles, 2013, Parade pavement [Watercolour graphite on paper]
Justine Giles, 2013, The gratitude I feel [Ink on paper]
Justine Giles, 2013, By Tuesday you’re imaginary [Paper-cut on photocopy]
Justine Giles, 2013, This cove [Watercolour on paper]
Justine Giles, 2013, Steam drifts across road [Graphite on paper]
Justine Giles, 2013, The sex life of Jenkin Evans [Coloured pencil on paper]
Justine Giles, 2013, First, middle, family [Ink on paper]
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.
Rhubarb Pyjamas 