Adele Outteridge

Adele Outteridge - Artist, Brisbane, Australia

Biography

Adele Outteridge, book artist, printmaker, sculptor, gained her B.Sc. from the University of Melbourne in 1967 after which she worked as an Experimental Scientist with CSIRO.

She studied with the School of Colour and Design in Sydney between 1984 and 1988, returning as a lecturer-teacher. She taught at the Ku-Ring-Gai Art Centre from 1983 to 1989 as well as private studio classes.

She runs a studio in Brisbane with Wim de Vos and travels to all states lecturing and teaching workshops. She has participated in schools' Artist-in-Residence schemes and has recently completed four years as president of the Australian Forum for Textile Arts.

Her work in artists' books, printmaking, sculpture and drawing has been exhibited widely, is held in private and public collections and has appeared in books and magazines in Australia and overseas.

She has had extensive experience selecting, organising and hanging exhibitions in large and small venues including the Sydney Opera House Gallery.

She currently exhibits with Michel Sourgnes Fine Arts, Brisbane.

Adele Outteridge Curriculum vitae

Born 1946 Melbourne, Australia.
Education

1958-63     Fintona Girls’ School, Melbourne.
1964-67     University of Melbourne, B.Sc.
1984-88     School of Colour and Design, Sydney.
1992-99     Brisbane Institute of Art, printmaking, drawing, sculpture.
                Workshops and schools with many overseas and local tutors.

Related experience

1967         University of Melbourne, Department of Botany.
1967-73     C.S.I.RO. Melbourne, Experimental Scientist.
1975-79     LaTrobe University, Melbourne, tutor.
1983-89     Ku-ring-gai Art Centre, Sydney, tutor.
1983-85     Inaugural president, The Quilters’ Guild, N.S.W.
1987-89     School of Colour and Design, tutor.
1996-2000 President, The Australian Forum for Textile Arts.
1998         Set up The Studio West End (with Wim de Vos).
1999         Shortlisted for Brisbane City, Queen St Mall Project.

1983-present

Freelance judging, lecturing and tutoring privately and at workshops and symposia, interstate and locally (including Fibre Forum, Mc Gregor Schools, Flying Arts, Brisbane Institute of Art ).
Selection, organisation and set-up of many exhibitions, large and small venues, including Sydney Opera House Gallery, Ku-Ring-Gai Art Centre, Sturt Gallery, Studio West End.
Work held in private and public collections.
Exhibits with Michel Sourgnes Fine Arts, Ascot, Brisbane.

Recent Exhibitions

2001

Artists' Book Fair, Graham Galleries and Editions, Qld.
Books 2001, Noosa Regional Gallery, Qld.
Paper as Object (travelling exhibition), Noosa Regional Gallery, Qld.
Behind the Word, Mackay City Library, Qld.
Miniature Artists’ Books, State Library Of Queensland.
Postcards from the Island, State Library of Tasmania.

2000

Unique Beyond Imagining, Miniature Artists’ Books, Northern Territory Library, Darwin, NT.
Macro/Micro, Spectrum Gallery, The Rocks, Sydney.
Macro/Micro, miniatures, Warwick Art Gallery, Qld.
Scissors Paper Stone, Broken Hill City Gallery, NSW.

1999

Fold Enfold Unfold, Michel Sourgnes Fine Arts, Ascot, Brisbane (solo).
Scissors Paper Stone, Noosa Regional Gallery, Qld.
Perc Tucker Regional Gallery, Townsville, Qld.

1998

Artists’ Book Fair, (Grahame Galleries and Editions) Brisbane.
The Artists’ Book is not a Taxi, Main Street Editions, Sth Aust.
Text Isle/Taxi, Carnegie Gallery, Hobart, Tas.
Red Hot Fibre, Cooloola Regional Gallery, Gympie, Qld.

1997

Festival of the Blacksoil Plains, Moree Regional Gallery, N.S.W.
Heaven by a String, Stanthorpe Regional Gallery, Qld.
On Paper, With Paper, Michel Sourgnes Fine Arts, Brisbane (solo).

1996

Paper Masterclass Exhibition, Sturt Gallery, N.S.W.
Fibre Focus, Araluen Arts Centre, Alice Springs, NT.
Artists Books and Multiples, Grahame Galleries and Editions, Brisbane.
Artists' Book Fair, The Barbican, London.

1995

Papermakers, Queensland Museum.
Book Artists Booked In, Toowoomba Regional Gallery, Qld.
Artists’ Books and Multiples, Grahame Galleries and Editions, Brisbane.

Collections

Work held in private and public collections including the James Hardie Collection, State Library of Queensland, Mackay City Library, TAFE, Toowoomba Library, Brisbane Boys' College, Brisbane Boys' Grammar.

Publications (work included in)

2001: Keith A Smith, Smith's Sewing Single Sheets, pp 16-17, 19-20, 243, 265-7, 270-5
1999: Keith A Smith, Non Adhesive Binding: Books Without Paste or Glue, pp 85, 209.
1998: Keith A Smith, Fred A Jordan, Book Binding for Book Artists, pp 57, 65, 108, 122-3.
1997: Noris Ioannou, Masters of their Craft, Craftsman House, pp 195, 201.
1991: Katherine Guerrier, Quilts, How to design and make your own, Apple Press, p 63.
1990: Dianne Finnegan, Piece by Piece, Australian Quiltmaking, Simon and Schuster, pp55-57, 67, 90, 121-123, 138.
1987: Susan Denton, Barbara Macey, Quiltmaking, Nelson, p 13.

Articles

2001: Meeting of Creative Minds, Gerry O’Connor, Courier Mail, 29th Dec 2000, p 36.
1996: Stitch and the Book Arts, Textile Fibre Forum Magazine, No 45, p 38.
1985: Geometric Tableaux, Craft Arts No 2, (with Robyn Cooper) pp 49-51.
1984: Precious Little Scraps, Craft Australia, Winter Supplement (with Robyn Cooper), pp 29-34.

Lost and Found - Adele Outteridge

Saint Anthony is the patron saint of lost things. He helps to find them.

I always carry a small medallion to him although I do not hold any strong religious beliefs.

I have been very fortunate in finding many ‘lost’ things in quite remarkable circumstances over the years.

Many lost things must be farewelled and allowed to go. We must learn to live with the loss.

As stated in Prof Powell’s essay, the idea of lost/found is one of opposites, to me it is a matter of pessimism versus optimism. I am the eternal optimist, so lean to the ‘found’ aspect rather than the ‘lost’. Even though I may have farewelled something ‘lost’, there is always a spark of hope that it will be found. One very precious item was found after being lost (and farewelled) eleven years ago. It was found the day I started writing these notes................

As artists there are many times we search for something, but are not quite sure what it is until we find it. Even then we may still be unsure, this may result in to a state of ‘divine melancholy’. We must have that optimism to accept that something has indeed been found.

Much of my work is with found objects/materials, teabags, bus tickets, used envelopes. I like to produce precious objects from materials that have little or no intrinsic value.

I much prefer the optimism of ‘found’.

Adele Outteridge

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