Your donation will help publish a book comprised of dry point etchings about a Cow called Riley. A book launch will take place on 27 July at Fremantle Art Centre in Western Australia, accompanied by an exhibition of original prints by artist Rachel Salmon-Lomas (Riley).



"Riley the Cow" as told by Reece York

"Can I say that Riley has rarely seen the light of day? Cooped up in darkness at the back the cupboard, in a stack of selves, sometimes travelling within a canvas tote bag, often chilling on top of a deep set of evolving editions, often remaining unseen for years, revealed on rare occasions and in even rarer formats.

It’s hard to believe that Riley might almost be my age. The depth of this private evolution has usually gone unnoticed. -- Late one generically bleak Curtin afternoon I almost lost the tips off my fingers. I was reaching deep between layers towards the back of the drying rack. I was desperately trying to get in-touch with Riley, but not before abruptly being forced aside - “hands off you little jerk!” Riley at the back was swiftly snatched up and taken out of sight, but not out of mind. I was worried that Riley was destined for another back-seat interrogation on Transperth number 28--. I really felt sorry for Riley, the poor little over-socialised subject, again bearing the self imposed artificial gravity of multiple selves under personal paperweights.

Is there something to be said for tiny actions of this scale? On the rare occasions when revealed, Riley’s little speech acts rise from the surfaces of inked steel and fine paper. This is always a performative energy, lifted from select situational epiphanies, a particular set of private moments begin over by being re enacted across a variety of textures. From a distance, evolutionary parallels might be drawn between Riley and that of Schulze’s Snoopy, both made a gradual transition from private gestures into recognisable performative public language.

From a multitude of blackened ink surfaces, Riley is again pressured into a small circle of light, but not before being flipped over into an asexual pose against another fine white sheet. One will always be working in the dark to take up an in-depth investigation into the exterior framings of Riley. There is just too much left at the back of the cupboard. The Riley which can be viewed is the Riley that may only be chosen to perform in your context for a moment.

Riley(’s) the noun: sometimes a transgender cow wearing Nikes, often a sensitive, elusive cynic. She, I mean he, again will be forced to take up a recognizable position under the hetero-critic’s spotlight. The others take it personally."



Your donation will help "Riley the Cow" see the light of day for the first time in 18 years.