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4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

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Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

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Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

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Marilynn Webb

b. 1937, New Zealand

Marilynn Webb (ONZM) has an international stature as a printmaker, an extensive teaching career and has been involved in over 180 exhibitions and over 35 curated exhibitions/symposiums.

Marilynn has maintained an art career in tandem with mostly full-time teaching and has taught nearly all the emerging print artists in Otago. She currently holds the position of Emeritus Principal Lecturerer, Otago Polytechnic School of Art, Dunedin, New Zealand. 

Her pastels and prints have focused on New Zealand’s most remote and fragile environments, including Fiordland, the Maniototo hinterland, Stewart Island and the Antarctic Islands. She has received Department of Conservation commissions which take fine artists to wild and seldom accessible places to communicate a view of fragile environments.

Her printmaking explores not only sense of place but also human connections – bloodlines and family, her own ancestry both Maori and of European, and the way we are linked to special places.

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