Archive : 2016

Glitter Modern is a post-modern punk trope that pokes fun at the patriarchal history of painting by creating work that uses a material usually relegated to the domain of the stage, festival, craft shop or pride parade. Glitter Modern investigates formal qualities of colour, texture, shape and light to playfully disrupt pictorial space.

My practice-led research investigates how the artificial is capable of possessing organic qualities that seemingly mirror the traits of humans and organic matter. The artificial focuses on the self-referential agency of thermochromatics, darkroom printing and latex. Is the materiality of these artifices and synthetic processes indicative of arttificial 'autonomy' - a component of an exclusive technological DNA (tDNA) unique to the artificial paradigm? 

Perfectionism, obsessive compulsiveness, engrossment, call it what you will the artistic process can be engulfed by a sense of overwhelming anxiety when it comes to achieving desired outcomes. This process is one which is often unseen, not thought of, a behind the scenes documentary never made and never viewed by anyone. The Perfect Wall; A Performance uses audiovisual, installation and performance to express the compulsion of obsession and perfection which goes hand in hand with many artists practices. The work seeks to perform and loop the creative ritual of setting up an ideal blank canvas from which to work, the destruction and break down that can occur and the eventual rebuilding to begin again. Exposing the dynamics of a creatives relationship to a blank page and the frustration that can come from the wrong environment, the wrong tools and the wrong frame of mind. 

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Carried out on the edge of a busy roundabout at a large boulder across the road from a legendary Icelandic MMA gym, this film contemplates the weight of my body, a crocheted chain made from Lopi (Icelandic wool) and the boulder. Without pitting one material against another it attempts an equilibrium between the wool’s breaking point and the balancing of my body against a heavy weight. This acts as a personal endeavor to forge more primal connections with a specific place. 

Natasha Manners is a Melbourne based artist who graduated with a Bachelor of Fine Arts (Hons) from Monash University in 2015.  

Pattern Remains is a series of recent artworks by Claire Mooney. The works take inspiration from textiles and quilting, bringing together fragments of colour and pattern to create works that inexorably slide from order to entropy.The works play with an ambiguity of construction and destruction. Like quilts themselves are made up of multiple scraps of fabric from different spaces or places, these works cobble together disparate geometric and organic patterns into new arrangements. Using collage, photography, print transfer and paint, the splintered parts of nature-pattern and ornament are woven, layered and flattened together, aligning with or interrupting the other, seeking a final dissolution. 

Claire Mooney completed a Bachelor of Fine Arts (Honours) at RMIT in 1999, a Master of Visual Art at the Victorian College of the Arts in 2004, and a Postgraduate Diploma in Education at The University of Melbourne in 2010. She has been a practising artist for the past 15 years, and has exhibited her work regularly in solo and curated shows. Since 2006, Claire has been actively involved in the Melbourne ARI sector, at various stages acting as an administrator, gallery director, researcher, board and committee member, advisor and, most recently, Education Program Coordinator at BLINDSIDE. In addition to her ongoing arts practice, Claire currently teaches Art at Montmorency Secondary College. 

Exploring the ongoing need to be both surrounded with a personal archive of objects and create new objects by hand, ‘I Would Like To Go But I Worry About My Things’ investigates how these outputs are two manifestations of the same compulsion. The exhibition is part of an ongoing study into the power of textile matter to document memory and trace, and sewing as a process driven by projected nostalgia. Through recreating a selection of personal, decorative objects, a blurring of both public and private, collection and curation is presented.  

Kaitlyn Hickey is currently undertaking an Honours year at the Victoria College of the Arts. Her mother taught her how to sew.

Following an exhibition of new paintings presented at Kings Artist Run in August, Darren Munce’s examination into the cognitive functions of habituation and apperception continues in Romance Bloody Romance. After over 10 years of living in the same house, a move to an unfamiliar northern Melbourne suburb creates a heightened sense of awareness. These works on paper investigate responses to the aesthetics of unknown surroundings; in seeing things for the first time, in the psychology of a new moment. Detached from the world of objects and filled with analogies, rhythms and metaphors, this autobiography of abstract drawings is driven by discoveries made over the passage of time.

Regularly exhibiting at some of Australia’s top ARI’s, including most recently at Sydney’s MOP Projects and Kings ARI in Melbourne, Munce’s work has featured in solo and group shows at home and abroad. He has been recognised through a series of important scholarships, grants and awards and in 2014 was selected to undertake an international residency at the Leipzig International Artist Program in Germany. His work is held in private collections both in Australia and overseas. Munce is the Technical Coordinator, Painting Technologies at Victorian College of the Arts (VCA).

Dreams where fine silvery grains of sand coat my eyes, sucking away any moisture. Vision flickers. A ruined tower in the distance, an Encyclopaedia Brittanica on your table. 

Doubtful sound. Bitter coffee that leaves an oily coating on the back of my throat. Lush misty forests in which no birds had ever lived. The water is so still, a polished mirror to the sky above. Heath Ledger's Joker leers over stodgy tourists wearing caps and Birkenstocks, licking salt off their purple fingertips. 

He opened his mouth and she saw that the whole universe sat in buried in his chest. Lightning ravaged the west coast and the next morning branches littered the ground like bodies on a battlefield. The computer whirred and then emitted series of bleeps: A temporal fault had been detected. 

Set in an alternate reality of indeterminate time-era, this exhibition presents the debris left from the offices of an enigmatic political consultancy firm. After a schism in temporal policy, software has malfunctioned: memories leak, time collapses in on itself. 

Future Devonian Archive* uses fictional and found material to highlight the slippery relationship between memory and reality by presenting both real and fictitious documents as equally capable of constructing an acceptable narrative . Another version of events is offered, introducing a myriad of possible futures for each document, providing the chance for each event to live on in a fictional narrative.

*Devonian is the name given to the time period in which fish began to walk upon land.

“When the power of love overcomes the love of power, the world will know peace.” 
― Jimi Hendrix

We live in a very interesting time, the world appears to have gone crazy, 65 million refugees on the move, Donald Trump for President, Brexit –all characterised by fear and the rise of the far right – a level of suspicion of the other. This seems to be mirrored in all aspects of life from the big political moves, to everyday attitudes in blog posts or the comments section of The Age.
A time where you want to assume the foetal position and return to the womb, why is the world so complicated and why has this shift taken place? Have we learnt nothing from history? It is a time to pick love over fear, a time to collectively seek peace over war. 
Panacea explores a world where there is no racism, sexism, hatred, but replaced by love. Janice Gobey has continued her love affair with fur, her paintings speak of picking light over dark, exploring the dualities of fur, attraction and repulsion, mirrored by what is happening in the world. You are also invited to enter The Peace Room – a place for contemplation where there is no language, no politics, no racism, sexism, homophobia, just a place to be, to think about peace and how the world could be a better place.
Janice Gobey is a Melbourne based artist, working in painting and installation. Her work researches the human condition, she is particularly interested in Trauma and Healing.

The Walls Can Sing sound installation is composed by Daniel Gawronski featuring vocals by the artists Ellie Thurlwell (UK), Annabelle Ng (Malaysia) and Sacha Ratcliffe (Canada). This project was completed at De Licieras 18, Artist Residence in Porto, Portugal, Jan 2016.

The composition is crafted by translating the naturally occurring patterns and imperfections on walls inside the gallery into musical notes. These patterns are highlighted by the position of motion sensor lights and the resulting notes sound the pitch and tone of the vocals.

The words in the composition are from a verse in the poem titled "To Love!" by the Portuguese poet Florbela Espanca (1894 - 1930).

'And if one day I am dust, ash and nothing,

Let my night be a dawn,

So I can lose myself...and find myself...'

Daniel Gawronski is an artist based in Melbourne. The focus of his work is about nature, time, technology and our connection to it. It seeks to identify and reveal a connection between the apparent and the subliminal impulses that shape this world. His exhibitions include ‘Dust Plate’, Seventh Gallery, Melbourne 2015, ‘Hidden Symphony’, L’Estruch, Sabadell 2015 and ‘Reminisce’, El Spacio Practico, Barcelona 2014. He has completed artist residencies at De Licieras 18, Portugal in 2016, L’Estruch and Metafora, Spain 2015.

My paintings reflect on place as an experience of the senses. So in the space of a painting I am interested in the merging of aspects of place to create forms of cultural abstraction through the language of line, colour, space and texture, all with their origins in the haptic.

Topography and cultural forms such as music and performance have informed my painting practice particularly though the sensations of sight, sound and touch. This has resulted in the putting and placing of colour within a variegated gridded structure suggesting both rhythmic and arrhythmic patterns of chance, vigour and calm.

Elisabeth Bodey 2016

Fervid is a collection of small paintings inspired by themes of law enforcement and social justice. The paintings carry an emotional weight as I attempt to inject my own personal perspective into the work. Using an extensive image collection of references, my ideas are developed through collaging or editing the image to create new compositions. I'm consciously avoiding being tied down to the initial reference, instead letting the painting evolve instinctively.

Sarah Gosling completed a BFA from Monash University in 2010. She has since had numerous exhibitions in Melbourne and rural Victoria. Sarah lives and works in Castlemaine, Victoria.

http://www.sarahgosling.com/works.html

Emergency Diagrams plays with movements and experiences of spaces encountered during air travel. It explores the aesthetic design of aircraft safety cards – the laminated cards in planes that direct passengers what actions to undertake in emergencies. Each work extracts a micro-movement or process from the abstracted and stylised diagrams. The viewer is invited to contemplate the depiction of complex emergency situations where movements are represented merely by pictographic elements such as arrows, lines, and abstracted spatial relationships. A conflict emerges when attempting to imagine the positioning of one’s body in order to enact the instructions. The intention is to amplify the ambiguity of how we represent and perceive relationships between bodies, spaces and movements. 

Kaya Barry is currently based in Brisbane. Her practice involves producing interactive installations that utilise site-specific engagements with spatial perception, mobility and embodiment. Working across the areas of mobilities, creative arts, and geography, she has recently completed a practice-led PhD at Deakin University. She has exhibited in Australia, internationally, and online. Kaya teaches new media theory and practice at Griffith University and is an Adjunct Research Fellow with the Griffith Centre for Social and Cultural Research. 

Leanne Waterhouse uses digital collage to recontextualise and reimagine new experimental work that attempts to make sense of the confusion, doubt and anxiety caused by relocating to a new place and discovering that the location left behind was just as foreign. Urban Shock explores the use of digital media to capture the direct environment and manipulate those images to evoke an emotional response. Our perception of time is often altered, our oversaturation of imagery becomes blurred and we can lose touch with the known.

Leanne Waterhouse finished her Bachelor in Visual Arts in 1998, completed a graduate certificate at VCA in 2014 and is currently completing a Masters of Fine Art at RMIT. She has exhibited extensively around the country in both solo and group exhibitions. Her work is multidisciplinary and includes digital media, sculpture and performance.

Ecotone is a transitional area between two ecosystems. It is where two communities meet and integrate. An ecotone may appear on the ground as a gradual blending of two communities across a broad area, or it may manifest itself as a sharp boundary line. It is this notion that has been used as the basis for the subject matter for this series of paintings and prints. This idea has also manifested itself as an analogy for Ferry’s working practices, as he explores the middle ground where technology and tradition meet.

Brett Ferry has completed a BFA-Printmaking at Victorian College of the Arts, and a Graduate Diploma of Education at The University of Melbourne. He is currently working within education, living and exhibiting in the Melbourne area.

'Nowhere now here’ is the second installation of small to medium scale paintings produced whilst living in Shanghai and in the most recent months in Melbourne. Peter Summers’s work exhales a full acceptance of the futility of painting in the 21st century. He is responding to the situation not with cries of protest, lament or frustration, but with whispering assertions of the memory and potential instinct in the materials of painting, thanks to its long history. Over the past 20 twenty years Peter Summers has become known for his abstract oil paintings that are at once reductive and expressive. His subtle and arresting works on canvas demonstrate a complex, intriguing expression of Minimalism. The paintings are built up layer by layer with various colours of alternately opaque and translucent oil paint. Summers’s paintings marry a meticulous investigation of the fundamentals of the painterly process and an emphatic insistence on the materiality of both canvas and paint, with deeply resonant explorations of the affective qualities of colour, light and hue.

“What I'm attempting to paint is very much involved with the application of paint and the idea of how to make a painting where the application of paint is actually a structural element. But it's not predetermined, and so each painting is extremely different. They are very pared down, very quiet, and the kind of activity that's happening in the paintings are not always overt.”

Chatter is a solo exhibition by Sabrina Baker, an emerging artist from Canberra. It ponders the artist’s insatiable need to communicate. Baker collected the data of her conversations conducted over the course of six months to varying degrees of accuracy and using coloured wool and rope she creates visual representations of this data. Patterns start to emerge with giving an insight into the artist’s networks. Alongside the ropes, Baker has reconstructed blankets into oversized maritime signal flags that spell the word STAY. Canberra is a transient city where everyone seems to be coming and going often passing like ships in the night, these blankets are the artist’s response to the constantly changing movements of those around her.

Sabrina Baker is an emerging artist from Canberra. After graduating from the ANU School of Art in 2013 she began working at Canberra Contemporary Art Space as Gallery Manager. Recently presenting her first solo exhibition Pack and Unpack at ANCA in Canberra and is shortlisted as a finalist for the 2016 Yen Female Artist Award.

Out of place, out of touch is a series of paintings which explore the contrast of tourists to the harsh environment of the outback, Northern Territory. Each painting contains a termite mound, a figure and cut outs from Australian tourism magazines. Termite mounds are a significant tourist attraction in the NT and are repeated throughout the landscape. These structures can be seen in the background of tourists photographs where the tourist is often the focal point. Maddison Kitching’s current practice explores the commercialisation of the Australian landscape.

A grid depositing form into a structural hierarchy, conveying a fatalism or an impermanence to a fixed state. Relying on self reflexive process the work engages with a certain material trajectory wherein elements from previous investigations are recycled founding new arrangements, existing between this cyclical procedure and each works assertion of this continuum experienced through sighting the installation. Approaching materials with the tactility of painting in mind, the elements that compose much of the work borrow from modernism or rather encompass material aesthetics associated with it, depositing them as props within a 'structural hierarchy' or having their presentation suggest an almost domestic function.

Thwack uses video-based performance and persona to explore a character’s endurance after a stressed encounter in a fraught environment. Tytler creates a character in a puzzling situation of post-violence. The recovery from a physical fight is the metaphorical context that is used to highlight the female body as a site for violence both literally and figuratively in our culture and the apathy we have in confronting it.

Cassandra Tytler is an artist working within single-channel video, performance, and installation. Her work explores contemporary cultural iconography and the idealized signs that exist within it. She is particularly fascinated by the symbolism of popular clichés, and within her work pastiches isolated and fragmented cultural conventions, and shapes them into revealing stories or situations. Tytler's work combines an unsettling, wry humour with a pop sensibility. It is an ongoing examination of the mechanics of performance in the embodiment of persona and its spectatorship. She has received residencies and fellowships from numerous organizations internationally and has exhibited, screened and done live performance work, nationally and internationally. Tytler completed her Masters degree at RMIT University in 2003 and is currently a PhD candidate at Monash University.        

 http://cassandra-tytler.squarespace.com/work

Translation: taking a text from one language to another has parallels with what artists do. ‘Sublunar’ will foreground these transformative processes by bringing together the work of three Melbourne painters with four Russian translators from Sydney, New York and San Francisco. The writers will translate the same poem (Russian to English) and the artists will then respond to these different translations. This exhibition will highlight that translators and visual artists often work within unbridgeable gaps.

This series of paintings emerge from research and observations taken from the artists current home, Cottesloe WA. The works develop through a process of adding and removing paint, both on site and in the studio, acting as cues for the remembering and forgetting of history. Sleazy Vignette employs paint as a way to laminate local mythologies and histories with present day experience, combining banal every day glimpses with imaginings of the once sacred significance of the coastal area, a history that is largely unknown by present day inhabitants and visitors.

Teelah George (b.1984 Perth) is a visual artist, working primarily in painting, 
drawing, print and installation, employing archives and collections as a point of 
departure and questioning within her practice. Recent exhibitions include: Epic 
Narratives (PICA, Perth), Face Vase and Rag Painting (Bus Projects, Melbourne), 
Getting Things Done (Fontanelle Gallery, Adelaide) all 2015. George was selected 
as the non acquisitive winner of the Fremantle Print Award 2015, overall 
acquisitive winner of the City of Joondalup Community Invitation Art Award 
2014, has been a finalist in the Guirguis New Art Prize 2015, Rick Amor Drawing 
Prize 2014, Fremantle Print Award 2013, and a semi finalist in the Doug Moran 
National Portrait Prize 2013. Her work is held in the Art Gallery of Western Australia, University of Western Australia Collection, Cruthers Collection of Women’s Art and the City of Joondalup Collection

Bedrooms can be perceived as private spaces, repeatedly hosting the dreamer resting for they say up to one third of a lifetime. The presence of their inhabitants, guests, objects and occurrences come about day and night. In this series the approach to this setting is engaged in a process of conversations and visits to friends to paint their room, accompanied by a taped up photocopy still image of a film or tv show that the person holds strong in their memory.
Throughout the discussions about the selected imagery a formation around what is perceived, imagined and recalled in media and film reveal the connection of the subconscious. The actuality of the person’s lodgings they are currently in and the screenshot placed above the bed reference a hovering of stored afterthoughts and existing moments in both real time and sleep time when images are created. The absence of the room dweller/s in the paintings produces an interior of a portrait of thoughts which sit in both past, present and future worlds. This project began in late 2015 and records collaboration between the space in a way being the protagonist for scenes of its own inhabitants over time. 

IMBUE brings together four emerging artists, across the mediums of Drawing, Gold and Silversmithing and Video installation. The selected works question the ways in which the inner self fragments and dissociates itself from the sacred concept of the ‘individual’. The artworks presented are imbued with a sense of fragmentation relating to our human experience, that of the material, the immaterial and of memory. The purpose of this exhibition is to explore how these works relate to poststructuralist views of the body as ‘subject’ more so than enlightened views of the intact ‘individual’ body. To view one’s body as ‘subject’ is to 

believe that the self is a reflection of cultural, discursive and symbolic structures. These structures all interrelate to create an understanding of the body, situated within the texture of time. Influential philosopher, Jacques Derrida, stated that there is no ‘outside of the text’, that all meaning is textual and intertextual. In this sense, all meaning is drawn from systems of symbols, and language governed by grammatical and linguistic elements which create discourse; ways of speaking. It is only through the world of symbols and language that we can understand our being and thus configure the body and one’s sense of ‘self’.

In a practice that encompasses drawing, painting and sculpture, Mia Kenway reconsiders found imagery to create a softly abstracted version of reality. The work is often subtle, in tone as well as application, and offers a new perspective of our field of vision, one that is ultimately more light and optimistic. Kenway identifies a parallel between her meditative arts practice, and the rising popularity of relaxation and mindfulness colouring books for adults. This recent series of paintings takes elements from these books and combines them with found geometric patterns in highly crafted compositions. Mia Kenway has completed a Bachelor of Fine Arts at the VCA in 2010 and a Diploma of Visual Arts at RMIT 2007. Mia has shown in various exhibitions including her solo show Common Ground at TCB in 2012. Selected group and collaborative exhibitions include Untitled, SNO Contemporary Art Projects, Sydney, Can’t Quite Pin it Down, TCB 2013, Subliminally Yours, Platform Gallery 2013, Looking at the Overlooked at George Paton Gallery in 2011 and Abstract Nature at Seventh Gallery in 2011. She was also a recipient of Maude Glover Fleay Award in 2010.

Cameron Gill graduated with a BFA- Painting from the VCA in 2010. He has since regularly exhibited throughout Melbourne and regional Victoria. In 2014 he undertook a three month residency in Leipzig Germany, as part of the LIA program.His practice is currently based out of Daylesford, and his work reflects this new rural environment, with an emphasis on landscapes that are somewhat analogous to the human condition.

Tobias Koster is a Melbourne based artist, who graduated from the Victorian College of the Arts in 2011. He is a multi disciplinary artist, working across the various mediums of painting, drawing, printmaking, photography and sculpture. In this exhibition, the body of work reflects on ideas of permanence and decay within architectural and organic structures.Tobias draws his inspiration partly from his travels throughout Holland and France, as well as his family history. These works particularly investigate abstraction through the painting, photography and drawing process. The pieces explore different realities of generational change, nature’s cycles, decay of historical structures, which reflect time and history.

A combination of existing and newly made sculptural masks/objects, the exhibition will be a series of 'traditional' hand made headdresses constructed from items found within the artist's local environment.  The objects will question our notion of how art is labelled and read in various contexts such as fashion, popular culture, religion, militia, foreign media.  The headdresses aim to look at the transformative aspect of adornment - adornment as invincibility and adornment as used as contradiction. 

Chantal Fraser is a multimedia artist with a BFA (Honours) from Queensland University of Technology. Fraser’s practice engages in pushing the boundaries of adornment through mediums such as installation, performance and digital media. She has exhibited at various institutions such as QUT Art Museum, UQ Art Museum, Museum of Brisbane, Contemporary Pacific Arts Festival, and at international institutions including La Cité internationale des Arts in France, Les Brassières in Belgium, Tjibaou Cultural Centre in New Caledonia and Harris Gallery, University of La Verne, California USA.  In 2015 Fraser was featured in 'GoMA Q', a survey of Queensland art at the Queensland Art Gallery/Gallery of Modern Art.  Fraser will also be included in two satellite exhibitions as part of Virgin Australia Melbourne Fashion Festival at Blindside and Phillip's Shirts heritage building.

Lady Voodoo is the convergance of a shared belief in the transformative powers of ritual and invocation as experienced through shamanism, witchcraft  and meditation. Artists Cybele Cox, Ali Noble and Helen Shelley consciously employ magic in their art practises; they turn one thing into another. Not simply earth into ceramics, paint into pictures or fabric into wall hangings. But dissonance into resonance, death into immortality, and despair into solace.

Cybele Cox’s ‘magic’ is realised through the metamorphosis of objects dissassembled and recombined with ornamental ceramic configurations. Cybele says ‘I am concerned with the reconstruction of a mythic prehistory. Witchcraft, hallucination and the ornamental substrata of art suggest another reading which may reveal the repressed feminine; the existance of another  symbolic order based in the omnipresence of the mother; both as nuturer and destroyer, creator , dissassember and reassembler of the materials of life’.

Ali Noble’s process offers alchemic possibilities, whereby cutting, gluing, and sewing invoke reinvention, renewal, and re-presentation of her reality. Ritualistic and repetitive actions bring focus to confusion, and comfort to anxiety. ‘My creative process is characterised by a spirit of transformation and reparation. Action and creation. A strong maternal (my mother was a seamstress) influence is revealed through my preoccupation with fabric and its latent sculptural possibilties.  

Helen Shelley’s practise explores the means by which her art-making integrates the departed into the present. Helen coined the phrase ‘Magical Particle Transference’ in reference to a transcendent experience when her father died. She had a vision of ‘tiny colourful specks of light emanating from my father’s body that were then subsumed by my own. The vision was at once transcendent and exceptionally comforting. At that moment, I sensed that my father as I knew him, a living, breathing human, continued to live but in a different form. In my mind, he was deemed omnipresent and thus he had been immortalised‘

Borrowing what they like from existing modes of spiritual inquiry, combined with intuition, and a good dose of ‘making it up as they go’, these artists create idiosyncratic sites of resistance and refuge.  Lady Voodoo optimisitically extols the virtues of DIY for the spiritual seeker.