was born in Sydney,
She graduated in Architecture at Sydney
University in 1981.
While working as an architect she exhibited drawings in collaborative
projects with British performance artist Anthony Howell, such as ‘The
Tower’ at the
in 1984. She moved to the
UK , completing an MA in Fine Art, in
1989, at the
Institute of Higher Education
in Cardiff ,
From 1990 to 1991 she exhibited paintings in the touring group show
'New Contemporaries’. She has since
exhibited in London
in group shows at the Universities of
Mongolia and Melbourne
, Australia ,
and also with BAab at Platform,
2001 she produced drawings for the book ‘Spending – Poems’ by Anthony
Menard Press, and exhibited an associated set of prints at the London
Print Studio Gallery.
In 2002 she exhibited an installation of prints titled ‘Brief
Encounters’ at a group exhibition at the Heigelenkreuzer Hof, Vienna.
In 2004 she was one of three artists presenting individual exhibitions
at the Centro de Arte at San Joao da Madeira , Portugal
The Room is at
33 Holcombe Road,
Tottenham Hale ,
+44(0) 20 8808 9318e-mail:
There are drawings by
that derive their inspiration from certain details in the oeuvre
Leonardo. Her work is investigative,
and her researches concern action and intimacy. In her series of
paintings entitled Turning Men, these two
concerns are dealt with simultaneously, for there is an ambiguity about
these wrestlers in their street-clothes attempting to throw each other in a park.
Clearly they are locked in combat, but their grappling is also an
The park ensures a soft landing. Were the setting
more unremittingly urban, the violence of these moves would be
less paradoxical, more definitely aggressive.
Each tries to catch the other off-balance, but as this is achieved, one
man goes over the head of the other and a rotation becomes feasible.
In some instances, the flailing limbs are enclosed within the gestalt
of a circle or an oval.
The images used in the Turning Men
have been taken from a 1950s “teach yourself
” book on self-defence. Sometimes the entire
configuration of the struggle seems posed or balanced on one leg, which
becomes the trunk of a sort of human tree to be found growing in the
melancholy parkland. Arrested in time,
these wrestlers become “statues of motion”.
Where does the melancholy come from?
Perhaps it comes from the fact that the “teach yourself
” book was published so many decades ago.
These moments of intimate aggression are long past.
Photographs fail to keep moments alive.
In fact, because we can date them so easily, a photograph in an old
is redolent of our transience.
Conjunctions of bodies provide the link
one image to the next in La Ronde
the sequence of prints which is also in this show.
The title is taken from the play by Arthur Schnitzler,
written to demonstrate how venereal disease can be passed from one
couple to another. In the play, a lady has an
affair with an officer who is having an affair with a maid and so on.
These serial relationships lead us back to where the play began.
Structures that make use of repetition are at the kernel of much
theatre and film. Alain
Resnais and Alain Robbe-Grillet
use of repetition’s capacity to generate an uncanny rhythm in
à Marienbad- a
which was in turn inspired by a novella by Adolfo Bioy Casares - The
Invention of Morel.
In Marienbad, there is a
reiteration of the same scenes: views of the baroque hotel where the
takes place, a game played with matchsticks, hotel corridors, and
confrontations between characters rigid with formality.
A similar rigidity comes into play in
prints by Bidewell.
First, a figure is superimposed on another.
The latter image is then superimposed on another on the adjacent sheet,
and the sequence continues thus, with each single drawing repeated
once, until we return to the initial figure.
is a dislocation to these images. They suggest
more than they amount to. An image of a tumbling
man may be laid over that of a fallen man, but there is
a gap between cause and effect. They coincide in
space. But they do not bring about each other’s
vicissitude, although they may appear to.
Or a naked woman may touch a man, but without intention.
Actually she is not touching him. She
exists in another time frame, as is clear when we find her in the same
in the next drawing. In The Invention of
Morel, the protagonist discovers that he is in no way synchronised
with the people who share the space with him.
It is the same for Bidewell’s
characters, and this ironic device creates a gap which gets charged
with the melancholy detected in the parkland.
never “really connect” and are never quite in time with one another.
Anthony Howell, March, 200
Images by Dilys Bidewell:
Turning Man 3
Turning Man 6
Back to top of page