Offset Litho prints
29.7 cm x 21 cm and 29.7 cm x 42 cm
Munken paper 120gsm, colour
Still photographs of the film set Queer Paper Gardens (HD, 21m, colour, sound)

paula roush: queer paper gardens, photography
Queer paper gardens, photography and photobookwork

Bookwork
Queer paper gardens or the Wildlife of symbols, Collage-Roman.
Five softcover volumes in a customised, numbered and signed grey board slipcase,
21 cm x 29.7 cm, offset printed in munken pure paper 150 gr., edition of 100
Lisbon: EDP Foundation 2013

Flora McCallica, photographic installation
Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

video installation
Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

queer paper gardens

video installation
Dreaming Through exhibition, 198 Gallery London, 2013

Collage salon
Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

collage mosaics installation
Dreaming Through exhibition, 198 Gallery London, 2013 and Queer Paper Gardens exhibition, Museu da Electricidade Lisbon, 2013

collage
collaged narratives
historical archive
artistic research
Valentine Penrose
collage-book
Dons des Féminines
Max Ernst
roman-collage
Une Semaine de Bonté
Mary Delany
botanical-collage
Flora Delanica

Texts
Text (Vols I-IV) Les deux amies / The two girlfriends (Gifts of the Feminine), The mise-en-scéne of the unconscious (A Week of Goodness), The photoalbum in the drawing room (cardomania), the album of Madame B., The paper mosaick (Female cruising in the garden)   Text (Vol V) a journal of one’s own, a text dedicated to mary, margaret, valentine, alice, paula, maria and all the other women 
Undermining the surrounding world/ Minar o mundo circundante
Mulheres fatais e outras que tais: uma visita ao museu surrealista atraves da colagem,Ipsilon Publico, 23 Agosto 2013 [english translation>]
Colagem e colisão: uma colaboração artistica em torno de danças e contadanças dos generos recupera a colagem como modo de associação de imagens, Expresso Atual, 22 Junho 2013 [english translation>]

Queer Paper Gardens: paula roush & maria lusitano
curated by Joao Pinharanda
June 6 – September 8 2013
Museu da Electricidade, Lisbon
[Curator’s text: João Pinharanda Undermining the Surrounding World]
[ Exhibition review: Luisa Soares de Oliveira Mulheres fatais e outras que tais/ Fatal women and others as such: A visit to the surrealist museum through collage Ipsilon Publico Magazine 23 August 2013 portuguese  / english]
[ Exhibition review: Celso Martins Colagem e Colisao / Collage and collision An artistic collaboration around the dances and counterdances of gender, retrieves collage as a mode of associating images Expresso Atual Magazine,  22 June 2013 portuguese  / english ]

Queer Paper Gardens approaches the history of collage through a combination of artistic research and historic visual enquiry. Including an installation made up of a collage-salon, two double-screen video-essays and two large-scale charcoal drawings, the project explores travel and collage as interlinked cultural queer and feminist practices in its relationship to contemporary art.

The project focuses on several works of collage, created across three centuries, ranging from Flora Delanica (1772-1782), Mary Delany’s botanical collage work considered a pioneering instance of collage on paper, to the photographic collages of the Victorian era and, finally, to the Modernist collage-novels that constitute the exhibition’s fulcrum: Max Ernst’s Une Semaine de Bonté (1934), and Valentine Penrose’s Dons des Féminines (1951).

Revisiting all these works brings out a number of visual and textual narratives that explore the concept of journey: a journey through the history of collage and a delocalisation in time – something quite appropriate to the inherent features of the collage technique; This journey makes visible ways in which collage creates spaces that facilitate experiments with botanical taxonomies as metaphors for gender and sexuality and also a critique of the bourgeois domestic setting conveyed through escapist dreams and travel to exotic locations.

The relation between collage and art publishing is part of artists’ books history. Two relevant examples of small editions books are part of the exhibition’s material sources: Max Ernst’s A Week of Goodness (1934) and Valentine Penrose’s Dons des Feminines (1951). Both propose new perspectives on the relationship between found material and personal biography, collage and narrative, image and text. Departing from these and looking at early predecessors of the visual book- encountered in the Georgian hortus siccus (herbarium) and the Victorian photo album- the project explores:
– Working with found material: the author as editor with a subjective vision of an archive or collection
– A queer and feminist history of collage that looks at early precursors of collage amongst 18th century landscape female artists, female victorian photo-collage, the surrealist collage novel and contemporary collage approaches
– Visual storytelling when sequencing books: strategies that range from cinematic structure to the travel book.