Child of the Bend – Smith’s Creek
charcoal on unique carved pigment print on cotton paper
160 x 150 cm (1/9) arthouseGallery
joshua yeldhamSurrender Tree
— 3 —— 2 —
Surrender Tree - nOVeMBer 2013
yeldham’s work is a mapping of multiple realities. It charts the artist’s travels among the mangroves, the
disused oyster leases and along the salty foreshores near Pittwater. yeldham’s cartography moves within
this world and without. He is not limited by the materiality of reaching tree limbs or the muddy matter
of swamps. His paintings and photographic works move beyond the human-perceived environment.
Instead, he deliberates on the fragile spaces in between, the liminal places in his heart and mind where
imagination soars and intellect sings. He says, ‘the space between two lines is what connects us.’
yeldham has been preoccupied, for many years, with the intersection of cultures. India, Malaysia,
Indonesia, indigenous Australia; his influences have been a ‘world music’ version of art aesthetics. This is
true in a literal sense too, as he has often incorporated musical instruments into his large scale paintings.
This recent body of work was created to the accompaniment of Indian tabla music; moving in the studio
along with its rhythms and syncopations.
His strength and freedom is his rejection of intellectual trends. He is more interested in spiritedness, in
vital vibrations, of meridian lines within the human form and across the longitudes of the globe, and
incorporating these primitive delineations into an expanded experience of nature.
If fertility has been a thematic in the past, the artist’s sense of self as an entity, which forms part of
greater entities, is now an absorption. yeldham works as spiritual journeyman. He swoops, like his
constant daemon-spirit or guardian owl, across these paintings which have been carved and caned,
indigo-incised and marked, in time with his heart beat, in tempo with his private prayers. as journeyman,
yeldham, ‘can’t help but weave stories, making maps in an attempt not to get lost.’
yeldham’s differentiation is his skillful artisanship. He uses sanders, carving tools, knives: line work in
indigo, scored with calligraphic elegance, and then he applies and rubs back the oil paint. Sometimes
he adds shells, instruments, the skeletal remains of Japanese fans. This requires fine workmanship,
consistent and detailed precision. as yeldham says, ‘By eating into the wood, I create new stories. There
is decay and new life. This is a deeper form of navigation.’
In a new conceptual turn, yeldham has elaborated on his deep and instinctual fascination with the
partly submerged trees near his home. like the Surrender trees which feature in his new work, he spreads
his limbs in search of light and stability. His interest in his local environment is one of discovery and of the
unexpected. These are rituals of exploration, sensual and tactile. The isolated ecologies he finds during
his boat trips up the Hawkesbury reveal the vulnerability of the land and the artist’s own battles with
fearful dreams and darker mysteries.
The new work is manifested through photography. On thick paper, heavier than canvas, he hand-prints
photos taken from his mobile phone. Then he casts a shadow of colour and begins his particular method
of carving. The result is an investigation into light. Where the paper is carved, the light is iridescent. There
is a glowing intensity to these photo-media works. They are spirited by the carving, animated by the
revealing method of cutting into what is familiar and allowing it to become strange and uncanny.
Whether an elephant-head rocky outcrop, a submerged double male/female tree of loping limbs or his
own son pointing towards infinity, with an empowering matador jacket across his innocent shoulders,
these works are confounding. They emanate fresh energy. When yeldham cuts back into the image, he
scars the scene, a devotional methodology, a tattooing of clan-like belonging. This can be interpreted
as a means of connecting and merging with the landscapes he so loves and relies upon for his strength
and courage.
There is an unearthly quality to these monochromatic works. Cosmic awareness and spiritual wonder:
these are ethereal and shadowy scenes which suggest all that we do not comprehend. each carving
into the photographic paper opens up to a shaft of white light and suggest ghosts of the past and
presences from the future. They confer a celebratory atmosphere, an inclination towards thanksgiving.
across each tree limb and across the still water of the river, yeldham leaves a spectral trail. This perhaps
represents an acceptance of mortality and a joyful praise for the vitality of present life.
Prue Gibson
arts writer, lecturer and author
— 10 — — 11 —
In Search of light – Pittwater
carved paper with shellac
100 x 120 cm
Blue Wood – Smith’s Creek
carved paper with shellac
100 x 120 cm
— 18 — — 19 —
Fertility Song – Smith’s Creek
unique carved pigment print on cotton paper
160 x 150 cm (1/9)
White Owl n/7
carved resin with cane and wire
55 x 30 x 30 cm
— 20 — — 21 —
Fertility Tree – Morning Bay
shellac on unique carved pigment print on cotton paper
160 x 150 cm (1/9)
Jude
unique carved pigment print on cotton paper
160 x 150 cm (1/9)
— 24 — — 25 —
Forgiveness – Smith’s Creek
shellac on unique carved pigment print on cotton paper
160 x 150 cm (1/9)
Sway – Mud Island
shellac on unique carved pigment print on cotton paper
160 x 150 cm (2/9)
— 26 — — 27 —
Colo Country
unique carved pigment print on cotton paper
160 x 150 cm (1/9)
Troubadour – Morning Bay
shellac on unique carved pigment print on cotton paper
150 x 160 cm (1/9)
— 28 — — 29 —
Surrender Tree – Morning Bay
shellac on unique carved pigment print on cotton paper
150 x 160 cm (1/9)
expedition to the Heron land
shellac on unique carved pigment print on cotton paper
160 x 150 cm (1/9)
— 30 — — 31 —
Prayer Owl – Morning Bay
unique carved pigment print on cotton paperBackground image: A still from the U.K documentary film,
The White Owl (1922) by W. P. Pycraft and Oliver G. Pike
160 x 150 cm (2/9)
Sway – yeoman’s Bay
shellac on unique carved pigment print on cotton paper
160 x 150 cm (1/9)
— 32 — — 33 —
Surrender Tree – Morning Bay
shellac on unique carved pigment print on cotton paper
150 x 160 cm (2/9)
anchor – Garden of Strangers
shellac on unique carved pigment print on cotton paper
150 x 160 cm (1/9)
— 38 — — 39 —
refuge – Smith’s Creek
carved paper with gouache
100 x 120 cm
Jonah – Smith’s Creek
carved paper with shellac
100 x 120 cm
— 40 — — 41 —
little lion – Smith’s Creek
indigo shellac and cane on carved board
76 x 76 cm
Owl of Sweet Sorrow
indigo shellac, cane and oil on carved board
102 x 76 cm
— 44 — — 45 —
Owl rock – Smith’s Creek
carved paper with shellac
120 x 110 cm
eagle rock – Shedding Skin
carved paper with shellac
120 x 100 cm
— 50 — — 51 —
Kyoto – Smith’s Creek
carved paper with shellac
120 x 110 cm
View from the Tinny – Smith’s Creek
carved paper with shellac
100 x 120 cm
— 52 — — 53 —
In Search of Cherry Blossom’s – Smith’s creek
oil and cane on carved board
122 x 92 cm
Owl of Wild Wood
indigo shellac and oil on carved board
102 x 76 cm
— 56 — — 57 —
Temple of Stone – Smith’s Creek
carved paper with india ink
100 x 120 cm
Black Owl – Smith’s Creek
ink, oil and cane on carved board
122 x 92 cm
— 59 —— 58 —
Owl of yeoman’s rock
ink on hand carved pigment print
120 x 100 cm (1/25)
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1. Child of the Bend – Smith’s Creek charcoal on unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 0
2. Elephant Rock – Yeoman’s Bay oil and cane on carved board 152 x 204cm $48,000 pg. 5
3. Owl of Tranquillity – Morning Bay oil and cane on carved board 204 x 152cm $55,000 pg. 7
4. Falling Water – Yeoman’s Bay oil and cane on carved board 200 x 244cm $60,000 pg. 8
5. Blue Wood – Smith’s Creek carved paper with shellac 100 x 120cm $12,000 pg. 10
6. In Search of Light – Pittwater carved paper with shellac 100 x 120cm $12,000 pg. 11
7. In Search of Owl Wood oil, cane, shells and musical instrument on carved board 153 x 204cm $55,000 pg. 13
8. Surrender Tree – Morning Bay oil on carved board 204 x 152cm $45,000 pg. 15
9. Temple of Forgiveness – Morning Bay oil and cane on carved board 152 x 204cm $45,000 pg. 16
10. White Owl n/7 carved resin with cane and wire 55 x 30 x 30cm $12,000 pg. 18
11. Fertility Song – Smith’s Creek unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 19
12. Fertility Tree – Morning Bay shellac on unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 20
13. Jude unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 21
14. Mother Tree – White Lace unique carved pigment print on cotton paper (2/9) 126 x 180cm $12,800 pg. 23
15. Forgiveness – Smith’s Creek shellac on unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 24
16. Sway – Mud Island shellac on unique carved pigment print on cotton paper (2/9) 160 x 150cm $12,000 pg. 25
17. Colo Country unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 26
18. Troubadour – Morning Bay shellac on unique carved pigment print on cotton paper (1/9) 150 x 160cm $12,000 pg. 27
19. Surrender Tree – Morning Bay shellac on unique carved pigment print on cotton paper (1/9) 150 x 160cm $12,000 pg. 28
20. Expedition to the Heron Land shellac on unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 29
21. Sway – Yeoman’s Bay shellac on unique carved pigment print on cotton paper (1/9) 160 x 150cm $12,000 pg. 30
22. Prayer Owl – Morning Bay unique carved pigment print on cotton paper (2/9) 160 x 150 cm $12,000 pg. 31
— 60 —
23. Anchor – Garden of Strangers shellac on unique carved pigment print on cotton paper (1/9) 150 x 160cm $12,000 pg. 32
24. Surrender Tree – Morning Bay shellac on unique carved pigment print on cotton paper (2/9) 150 x 160cm $12,000 pg. 33
25. Pumpkin Point – Black Moon oil and cane on carved board 102 x 153cm $26,000 pg. 34
26. Yeoman’s Owl oil on carved linen 123 x 92cm $28,000 pg. 37
27. Jonah – Smith’s Creek carved paper with shellac 100 x 120cm $12,000 pg. 38
28. Refuge – Smith’s Creek carved paper with shellac 100 x 120cm $12,000 pg. 39
29. Little Lion – Smith’s Creek indigo shellac and cane on carved board 76 x 76cm $8,500 pg. 40
30. Owl of Sweet Sorrow indigo shellac, cane and oil on carved board 102 x 76cm $19,500 pg. 41
31. Eagle Rock – Cottage Point oil and cane on carved board 204 x 152cm $45,000 pg. 43
32. Eagle Rock – Shedding Skin carved paper with shellac 120 x 100cm $12,000 pg. 44
33. Owl Rock – Smith’s Creek carved paper with shellac 120 x 110cm $12,000 pg. 45
34. Yeoman’s Bay – Hawkesbury River oil, resin and cane on carved board 200 x 244cm $60,000 pg. 47
35. Hermit of Yeoman’s Bay oil, resin and cane on carved board 182 x 122cm $42,000 pg. 49
36. View from the Tinny – Smith’s Creek carved paper with shellac 100 x 120cm $12,000 pg. 50
37. Kyoto – Smith’s Creek carved paper with shellac 120 x 110cm $12,000 pg. 51
38. In Search of Cherry Blossom’s – Smith’s Creek oil and cane on carved board 122 x 92cm $24,000 pg. 52
39. Owl of Wild Wood indigo shellac and oil on carved board 102 x 76cm $19,500 pg. 53
40. Owl Wood – Morning Bay oil on carved board 152 x 204cm $45,000 pg. 55
41. Temple of Stone – Smith’s Creek carved paper with india ink 100 x 120cm $12,000 pg. 56
42. Black Owl – Smith’s Creek ink, oil and cane on carved board 122 x 92cm $24,000 pg. 57
43. Owl of Yeoman’s Rock ink on hand carved pigment print (1/25) 120 x 100cm $5,500 pg. 58JOSH
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Cover:
elephant rock – yeoman’s Bay (detail)
oil and cane on carved board
152 x 204 cm
aCKnOWledGeMenTS
ali yeldham
Jo yeldham
Craig Barrett
John Coleman
eastgate & Jarman
Fidoso Picture Framing
Michel Brouet
Max Taylor
yeldham Family
Herbert Family
Scott livesey
Prue Gibson
Catalogue design:
William Mansfield
ISBn 978-0-646-90926-4
* Measurements are reflective of
the artwork sizes, not framed sizes
arthouseGallery
66 Mclachlan avenue
rushcutters Bay
nSW 2011
02 9332 1019
www.arthousegallery.com.au
joshua yeldhamSurrender Tree
— 62 — — 63 —
‘‘This body of work is the result of my
exploration through the Hawkesbury
River and Ku-Ring-Gai Chase National
Park. I have carved into paintings and
photographs of mangrove trees, digging
through the pigment and paint to reveal
their underbelly. A scarification of lines
that build a bridge over the void of
landscape towards my inner world.’’
arthouseGallery 66 Mclachlan avenue rushcutters Bay nSW 2011 | p. 02 9332 1019e. [email protected] | www.arthousegallery.com.au