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Liz Shreeve – Artworks Designed to Reflect and Shape Light

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Liz Shreeve, Swirl 2, 3D, reflective architectural artworks, courtesy Artist

I was first introduced to Liz Shreeve’s artworks in 2007 at the Stella Downer Gallery at Waterloo, an inner-eastern suburb of Sydney. This was Liz’s first exhibition apart from student organized group shows. I loved this exhibition for its gentle alignment of grids that were sculptured from paper and explored the principles of colour, contrast, tone, shadow and light.

My passion for white on white artworks was truly nurtured by Light Grid 1 [2007]. The precisely constructed artwork was quiet, tranquil and communicated an inner peace that was comforting to absorb.

While Regular Square [2007] used colour and more complex tessellations that cast shadows and generated a flutter of perceptions about the power of pattern and light. I was drawn to this work because it opened up possibilities about innovation and creativity, challenging me to appreciate Liz’s perceptive understanding of her flexible material. She has continued to exhibit at Stella Downer’s Gallery. I also saw her works at the Incinerator Art Space in 2012; she was part of the group show Paper Now where “each artist explored scale, repetition and the simplification of form to develop finely crafted and beautiful works”.

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Culture at Work Artist in Residence Liz Shreeve – 21 April – March 2015

Her most recent exhibition Liz Shreeve: Paper Tiling was at Factory 49, this is an artist run space that shows contemporary abstraction [non-objective] art.

The fifteen small works of curled paper on paper squares eighteen by eighteen centimeters explored geometrical imagery and the fragility of paper.

The diverse applications of curled paper created beautiful patterns with endless potential for interpretation.

Horizontal and vertical cuts were applied to construct a uniform pattern that resembled the surface of a shell and the three dimensional curving of its shape was evident in Paper tiles 1.

In Paper tiles 2 the tilting of paper at the top and bottom of each perfectly cut square structured the simplicity of petals.

The inspiration of nature was palpable and replicated the sensuality of the forms.

I could almost feel the quivering passing of petals in the breeze creating patterns of movements interlaced with flickering shadows in Paper ties 15.

Softly rolling the paper to fashion a tiled roof captured the architectural reference that is such an influential theme in Liz’s artworks.

Water spouts carved from straight sides that almost spilt water was magically shed in Paper tiles 5. I felt that water flowed in a rhythmical wave across the surface of Paper tiles 6 shedding a cyclic regularity.

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Detail of Swirl 2, 3D paper artwork by Liz Shreeve, courtesy Artist

Star patterns tip toed across the grid and illuminated the night sky in Paper tiles 7 and this was further extended in Paper tiles 8 where the star patterns alternated and formed diamond grids that radiated light.

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Design: Making Business Values Visible Through Identity

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William Baker, Kylie Minogue, Virgins (or Madonnas) collection, Immaculata gown, Jean Paul Gaultier Haute couture, spring – summer 2007, net lace dress with large patterned embroidery and white linen cut-outs © William Baker courtesy National Gallery Victoria

Design is at the heart of an unprecedented explosion of creativity, with a company and its purpose, values, mission and strategies made visible through identity

A current example of a company identity making strategies visible, where its creative founder is still an active aspect of its growth progress, is that of fashion leader creator Jean Paul Gaultier.

In Melbourne a landmark exhibition at the National Gallery of Victoria that plots his own evolution from the sidewalk to the catwalk is currently on show. It reflects a great deal about the art attached to establishing design principles for both personal and professional life. In his case they are inseparable.

Any business and its purpose is made visible through design and behaviour; the people, the communication, the strategies, the philosophy and the product.

The identity cannot simply be a slogan or a collection of phrases; it must be visible, tangible and all embracing.  It must represent consistent standards of quality and in that way encourage the consumer to indulge and participate while building their loyalty.

The visual style of any organisation affects it’s positioning in the market and its corporate purpose really must be backed up by the behaviour of its people on ever level.

businesswoman in officeTo be really successful, a design philosophy must be integral to every aspect of who and what a company is about and what it represents. Above all it must be honest and have a focus on integrity.

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