Mrs Rebecca Beardmore
Honours Coordinator, Sydney College of the Arts
Rebecca Beardmore completed her MFA in the department of Art and Design at the University of Alberta, a Centre for Excellence in Printmaking. Through an innovative and experimental approach to materials and techniques, Beardmore seeks to expand the rhetoric around image perception and disrupt the image as an object of representation – evoking tensions between reading, seeing and perception. An accomplished print artist, Beardmore is at the forefront of practice and innovation in her field. She recently delivered and published a paper on the intersection of printmaking and photography in contemporary art at IMPACT 10, International printmaking conference in Santander, Spain. The artist is a previous winner, has been an invited judge in Australia’s most prestigious print prize, The Fremantle Print Award. She exhibits internationally and is represented by Artereal Gallery, Sydney.
Beardmore's work is situated very much on the boundaries of perception, having a fugitive presence that is almost an absence, in which the viewer is partially reflected, setting up a provocative and shifting relationship between the artist, the work, its meaning and the viewer. The pieces play on the limitations of visual experience, setting up a subtle interplay between image, text and material surface where each layer is presented with such fragility that they cannot be collectively discerned. To engage fully with one involves relinquishing another. It is this unreliable encounter, in which no single layer can be depended on to create coherence, that highlights the increasingly uneasy balance between experience and understanding; the interpretive modes of ‘seeing’ that result in the transient, elastic, interactive world we inhabit.
An extension of this research is the ongoing investigation into commercial print processes (enamel-filled steel etching, UV Flat-bed printing) in a bid to forge greater control and flexibility between digital and hand-pulled print technologies.
Exchange Partners in Printmedia
| Project title | Research student |
|---|---|
| Plāstik Island(er) Cross-generational healing as the current and future Moana ancestors in the time of cultural revival and misguided histories. | Morgan HOGG |
Publications
Conferences
- Beardmore, R. (2024). Taking Pictures/Making Pictures: Slowing vision through material encounter. The 8th International Transdisciplinary Imaging Conference at the Intersections of Art, Science, and Culture, Sydney, Australia: Artspace. [More Information]
- Beardmore, R. (2018). Photographic Printerliness: On the persistence of materiality in the digital age. IMPACT10 Encuentro: The International Multidisciplinary Printmaking Conference, Santander: IMPACT10. [More Information]
- Beardmore, R. (2011). On the Periphery of Things - defining the 'Edges' of contemporary print from the North to the South. IMPACT7 conference, Melbourne: Monash University.
Visual Art
- Beardmore, R. (2023). 1. Cloudmatter (4943) left 2023 2. Cloudmatter (4943) right 2023 3. Cloudmatter (4936) 2023 4. Cloudmatter (4907) 2023 5. Cloudmatter (4940) 2023 6. Cloudmatter (4932) 2023. In: Nuova Luce. Artereal Gallery, Sydney, Australia, Australia. [More Information]
- Beardmore, R. (2021). Image (2991) 2021, Image (G2991) 2021, Image (3627) 2021, Image (N3627) 2021, Image (3333) 2021, Image (N3333) 2021, Image (D1708, 1718) 2021, Image D1750, 1713) 2021, Image (T2988, 2991, 2996) 2021, Image (3206) 2021, Image (N3206) 2021, Gradient (CMY7-1-11) 2021, Gradient (CMY7-4-1) 2021, Image (P3627) 2021, Image (NP3627) 2021. In: seeing, siting, sight. Artereal Gallery, Sydney, Australia. [More Information]
- Beardmore, R. (2020). Neither here nor there | 1. Bowlo 2. Gradient (Bowlo) 3. Holden 4. Gradient (Holden) 5. Homestead 6. Gradient (Homestead) 7. Main Street 8. Gradient (Main Street) 9. Rest Area 10. Gradient (Rest Area). In: Neither here nor there. Arteral Gallery, Sydney, Australia. [More Information]
Textual Creative Works
- Beardmore, R. (2024). Essay: Neither Here nor There. SEVEN + SEVEN: Printmaking Across Unknown Terrain, (pp. 12 - 13). Townsville, Australia: Pinnacles Gallery. [More Information]
- Beardmore, R. (2021). Commercial Technology and Print: A Collaborative Kinship between Art and Industry. Transmedial Expanding Technologies in Contemporary Printmaking, (pp. 10 - 12). Perth, Australia: Monika Lukowska and Sarah Robinson.
- Beardmore, R. (2020). Material matters. Imprint, (pp. 36 - 39). Melbourne, Australia: Print Council of Australia. [More Information]
2024
- Beardmore, R. (2024). Essay: Neither Here nor There. SEVEN + SEVEN: Printmaking Across Unknown Terrain, (pp. 12 - 13). Townsville, Australia: Pinnacles Gallery. [More Information]
- Beardmore, R. (2024). Taking Pictures/Making Pictures: Slowing vision through material encounter. The 8th International Transdisciplinary Imaging Conference at the Intersections of Art, Science, and Culture, Sydney, Australia: Artspace. [More Information]
2023
- Beardmore, R. (2023). 1. Cloudmatter (4943) left 2023 2. Cloudmatter (4943) right 2023 3. Cloudmatter (4936) 2023 4. Cloudmatter (4907) 2023 5. Cloudmatter (4940) 2023 6. Cloudmatter (4932) 2023. In: Nuova Luce. Artereal Gallery, Sydney, Australia, Australia. [More Information]
2021
- Beardmore, R. (2021). Commercial Technology and Print: A Collaborative Kinship between Art and Industry. Transmedial Expanding Technologies in Contemporary Printmaking, (pp. 10 - 12). Perth, Australia: Monika Lukowska and Sarah Robinson.
- Beardmore, R. (2021). Image (2991) 2021, Image (G2991) 2021, Image (3627) 2021, Image (N3627) 2021, Image (3333) 2021, Image (N3333) 2021, Image (D1708, 1718) 2021, Image D1750, 1713) 2021, Image (T2988, 2991, 2996) 2021, Image (3206) 2021, Image (N3206) 2021, Gradient (CMY7-1-11) 2021, Gradient (CMY7-4-1) 2021, Image (P3627) 2021, Image (NP3627) 2021. In: seeing, siting, sight. Artereal Gallery, Sydney, Australia. [More Information]
2020
- Beardmore, R. (2020). Material matters. Imprint, (pp. 36 - 39). Melbourne, Australia: Print Council of Australia. [More Information]
- Beardmore, R. (2020). Neither here nor there | 1. Bowlo 2. Gradient (Bowlo) 3. Holden 4. Gradient (Holden) 5. Homestead 6. Gradient (Homestead) 7. Main Street 8. Gradient (Main Street) 9. Rest Area 10. Gradient (Rest Area). In: Neither here nor there. Arteral Gallery, Sydney, Australia. [More Information]
- Beardmore, R. (2020). the miners hut. Cp20 Covert Practices: Survival Processes/Resistences, Sydney, Australia: Yellow George/Schmick Projects.
2019
- Beardmore, R. (2019). Talking in print. Imprint, (pp. 29 - 32). Melbourne, Australia: Print Council of Australia. [More Information]
2018
- Beardmore, R. (2018). 1. Field (dusk) 2. Green 1 3. Green 2 4. Green 3 5. Pan 1 6. Pan 2 7. Tableland 8. Field (dawn) 9. Red Earth 1 10. Red Earth 2 11. Waterhole 1 12. Waterhole 2. In: Surface Deep. Artereal Gallery, Sydney, Australia. [More Information]
- Beardmore, R. (2018). Photographic Printerliness: On the persistence of materiality in the digital age. IMPACT10 Encuentro: The International Multidisciplinary Printmaking Conference, Santander: IMPACT10. [More Information]
2017
- Beardmore, R. (2017). 1. Lane III 2. Lane IV 3. Lane V 4. Lane VI.. In: Art Central. Art Central. Central Harborfront, Hong Kong, Hong Kong (SAR of China).
2016
- Beardmore, R. (2016). #1 Road #2 Road Gradient #3 Corrugated #4 Lane 2 #5 Powder Blue #6 Lane 1 #7 Lane 1 Gradient #8 Downpipe #9 Downpipe Gradient #10 Land #11 Weir 1 #12 Doorway #13 Doorway Gradient. In: Persistence of Vision. Artereal Gallery, Sydney, Australia.
2014
- Beardmore, R. (2014). Double Vision: Between the Intimate and the Infinite. Artereal Gallery, Sydney, Australia.
2012
- Beardmore, R. (2012). 1. Grass fields #1 2. Grass fields #2 3. Lake George #1 4. Lake George #2 5. Lake George #3 6. Lake George #4 7. stairs 8. path 9. bed 10. door 11. hide-a-bed. In: in_sight. Artereal Gallery, Sydney, Australia.
2011
- Beardmore, R. (2011). 1. On Reflection 4 2. On Reflection 5 3. On Reflection 6. In: Anthony Riding Gallery (Inaugural Exhibition). Anthony Riding Gallery, North Fremantle, Australia.
- Beardmore, R. (2011). On the Periphery of Things - defining the 'Edges' of contemporary print from the North to the South. IMPACT7 conference, Melbourne: Monash University.
2010
- Beardmore, R. (2010). 1. In Transit #3 2. In Transit #2 3. Borrowed Scenery #2 4. In Transit #6 5. In Transit #1 6. In Transit #7 7. Reflection #1 8. Reflection #2 9. Reflection #3 10. In Transit #4 11. In Transit #14 12. In Transit #13. In: On reflection. Artereal, Sydney, Australia.
2009
- Beardmore, R. (2009). Seeing Words, Reading Pictures. Artereal, Sydney, Australia.
2008
- Beardmore, R. (2008). 1. Face to Face I 2. Face to Face II 3.The Point of Looking 4. Seeing Between III 5. Seeing Between VIII 6. Seeing Between I 7. Seeing Between IV 8. Seeing Between I 9. Seeing Between VII 10. Seeing Between IX 11. Seeing Between V 12. Seeing Between VI. In: Seeing Between. Artereal, Sydney, Australia.
2007
- Beardmore, R. (2007). Borderlines. In: FaluTiennalen 2007. Dalarnas Museum, Falun, Sweden.
2006
- Beardmore, R. (2006). Staring out into the landscape, A Mutual Observation. In: Fremantle Print Exhibition. 31st Fremantle Print Award. Fremantle Arts Centre - Main Gallery, Fremantle, Australia.
- Beardmore, R. (2006). The Room. In: Further: Artists from Printmaking at the Edge. Galleria Harmonia, Jyvaskyla, Finland.
2003
- Beardmore, R. (2003). 1. Shifting 01 2. Shifting 02. In: Shifting Point. Firstdraft Gallery, Sydney, Australia.
2001
- Beardmore, R. (2001). 1. Borrowed Scenery 2. In the Mirror. In: Whisper. FAB Gallery, Edmonton, Canada.