SUE PEDLEY
  • Home
  • Bio
  • Installations 1990-2000
    • Quarrying Memory 2000
    • The Convict and the Jew 1999
    • Spinifex 1999
    • Drawing on Rock 1998
    • Listening to Clara, Ethel and Ada 1997
    • Under the Pier 1996
    • Humidity 1995
    • The Intertidal Zone 1991
    • Combing 1990
    • The Element Orange 1990
  • Installations 2001-2020
    • Manly Dam Project, Manly Art Gallery and Museum 2019
    • Patches of Light - Tasmania 2019
    • Tracing Water - Echigo Tsumari Art Triennial 2018
    • Rolling Musical Screech - Bankstown Art Centre - 2017
    • Orange-Net-Work 2017
    • Patches of Light - SCA Gallery 2015
    • Birch Bridge - Norway - 2014
    • Home Garden 2012
    • Copper Ships - Tin Sheds Gallery 2011
    • Harmonica - Setouchi Art Triennial - Japan 2010
    • Blue Jay Way 2007
    • Spare Room 2007
    • Haze - Echigo Tsumari Triennial - Japan - 2006
    • In Tray 2006
    • Sound of Bamboo 2003
    • Sound of Bamboo 2002
    • Sound of Lotus 2001
  • Works on paper
    • Sonic Pressure 2020
    • Orange-Net-Work 2017
    • Lacuna 2017
    • Blueprint 2016
    • Patches of Light - water colours - 2015
    • Sound Lines - drawings- 2014
    • Harvest - monoprints - 2012
    • Monoprints - 2012
    • Sounding - collages - 2011
    • cyanotypes - Porifera Portraits - 2005
    • Cyanotypes 2000 - 2007
    • Humidity - drawings - 1995
    • Rolling Musical Screech-cyanotypes
  • Essays
    • Anne Finnegan
    • Jacqueline Millner
  • Contact

Moving, Sue Pedley and Gail Kenning
Peleton, at Sydney College of the Arts, March, 2012 

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Peking 1975, 2012, Peleton, Sydney rice paper and etching ink 1370 x 70 cm
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Room Sheet from exhibition with Gail Kenning based on work made during a Redgate Residency, Beijing,2011 



Moving, Sue Pedley and Gail Kenning
Peleton, at Sydney College of the Arts, March, 2012 

Being in a place that is unfamiliar often causes a heightened sense of looking and being. How do we come to understand an unfamiliar place and reconcile often simultaneously contrasting viewpoints? In an attempt to understand an unfamiliar place we bring together information gathered from books, films, articles, conversations, with our experiences of ‘being there’, interacting with people and place, moving through spaces and experiencing a culture. 

Gail Kenning and Sue Pedley present a series of photocollages, animations and monoprints developed from a project carried out during a residency at the Redgate Studio in Beijing, December 2011. The project examined how individuals come to understand or perceive spaces and places that are unfamiliar and culturally, historically and socially different to their own experiences. The starting points for the work are the shared experience and documentation of two very different journeys in Beijing. 

The first journey involved walking around Kunming Lake (6k circ) at the Summer Palace (Yihé Yuan) on the outskirts of Beijing. The second journey took place on subway Line 2 (23k circ) which runs in a rectangular loop around the city centre tracing the old Ming Dynasty inner city wall.


The lake at the Summer Palace was a garden, open to the natural elements, windy, frozen, still, seemingly of another era. The gardens in winter were deserted and dormant.

In contrast, the subway located underground created an arterial link between points of the city. The space was urban, functional, hot, crowded, colourful, vibrant, fast-moving, transient, timetabled, visceral. It promoted close human contact and fleeting connections.

Kenning and Pedley implemented a system for observation and documentation of each journey. They attempted to limit personal preference in the viewpoint recorded, and allow happenstance to infiltrate their documentation of being in a particular place and time.  

While circumnavigating the frozen lake Kenning and Pedley each recorded their viewpoint every 100 metres. Both focussed on the same central motif, pointing the camera at the direction of an island in the centre of the lake, connected by a stone bridge.

On Beijing subway Line 2, Kenning and Pedley each faced outwards from different sides of the carriage and recorded the reflections from inside and outside the train carriage at specific intervals of the journey.

Kenning and Pedley share all documentation of the journeys, but work independently with ongoing dialogue to create discrete bodies of work. They manipulate and process the images to recall and contrast the journeys. 
  • Home
  • Bio
  • Installations 1990-2000
    • Quarrying Memory 2000
    • The Convict and the Jew 1999
    • Spinifex 1999
    • Drawing on Rock 1998
    • Listening to Clara, Ethel and Ada 1997
    • Under the Pier 1996
    • Humidity 1995
    • The Intertidal Zone 1991
    • Combing 1990
    • The Element Orange 1990
  • Installations 2001-2020
    • Manly Dam Project, Manly Art Gallery and Museum 2019
    • Patches of Light - Tasmania 2019
    • Tracing Water - Echigo Tsumari Art Triennial 2018
    • Rolling Musical Screech - Bankstown Art Centre - 2017
    • Orange-Net-Work 2017
    • Patches of Light - SCA Gallery 2015
    • Birch Bridge - Norway - 2014
    • Home Garden 2012
    • Copper Ships - Tin Sheds Gallery 2011
    • Harmonica - Setouchi Art Triennial - Japan 2010
    • Blue Jay Way 2007
    • Spare Room 2007
    • Haze - Echigo Tsumari Triennial - Japan - 2006
    • In Tray 2006
    • Sound of Bamboo 2003
    • Sound of Bamboo 2002
    • Sound of Lotus 2001
  • Works on paper
    • Sonic Pressure 2020
    • Orange-Net-Work 2017
    • Lacuna 2017
    • Blueprint 2016
    • Patches of Light - water colours - 2015
    • Sound Lines - drawings- 2014
    • Harvest - monoprints - 2012
    • Monoprints - 2012
    • Sounding - collages - 2011
    • cyanotypes - Porifera Portraits - 2005
    • Cyanotypes 2000 - 2007
    • Humidity - drawings - 1995
    • Rolling Musical Screech-cyanotypes
  • Essays
    • Anne Finnegan
    • Jacqueline Millner
  • Contact