Archive : 2022

Art is a library and an amusement park. The only rule I set for myself with each new work is to never read the same book or take the same ride twice. My primary obsession is atmosphere. I paint to see the things I feel.

Never is forever, is a solo exhibition by Hamish Carr. Fantastical and unnerving the exhibition is informed by recent cultural events. Through a practice of drawing, painting and sculpture their imbedded narratives have been subverted to address our relationship with the environment and inherent hedonistic tendencies. This subversion shifts our awareness towards the latent emotions emerging in the collective psyche.

Hamish Carr received a Master of Fine Arts (Research) at the Victorian College of Arts, University of Melbourne in 2010. Since graduating Carr has been the recipient of grants from the Australia Council and Arts Victoria. In 2011 he completed an artist residency at Youkobo Art Space, Tokyo, concluding with a solo exhibition, and was a participating artist in the Australia-Japan Immanent Landscape Project at the Kurumaya Museum of Art, Tochigi. He has been short-listed for numerous art prizes including the R&M McGivern Art Prize, John Leslie Art Prize, the Fleurieu Art Prize, Rick Amor Drawing Prize and the Geelong Contemporary Art Prize. He has held solo exhibitions at commercial and artist-run spaces in Australia and Japan. His work can be found in the following public collections, Artbank, Bullseye Glass USA, Geelong Gallery and the Museum für Gestaltung Zürich.

In these representational paintings of landscapes I alter the colours in several compelling ways. In so doing I aim to inspire the viewer to see the world afresh, to reevaluate our accepted notions of reality and to reassess our perception of nature. Via artificial perceptual transformations in these works, I reflect on the notion that ‘landscape’ is constructed. As Simon Schama asserts: ‘Landscapes are culture before they are nature; constructs of the imagination projected onto wood and water and rock.’ The works’ titles reference philosophical ideas, invented personal stories, and poetry, adding a layer of meaning and ambiguity.

Richard Knafelc is a contemporary painter from Melbourne/ Naarm. In 2017 he completed a Master of Fine Art, with Distinction, at RMIT University in Melbourne. Richard has been a finalist in numerous awards including the 2014 Sulman Prize, the John Leslie Art Prize in 2020 and 2016, and the 2015 Bayside Acquisitive Art Prize. His portraits were selected for the Archibald Prize Salon des Refusés in Sydney in 2018 and 2013

During the Melbourne lockdowns, I began to develop an interest in gardening. I took solace in the possibility of nurturing new life and in planning for a future that often seemed very far away. I learnt the basics of growing plants from seed and of taking cuttings, eschewing the expense of fully-grown plants. At the same time, I found new pleasure in the simple activity of walking. Walking was a chance to leave the house and everything it contained. I spent hours walking along every street and alley I could find, avoiding interaction with people.

At the time I took these photos I found it hard to imagine what place they could find in the world. Now, in retrospect, they seem brief moments of clarity amongst a time that seems alarmingly hazy to me. 

The clearest connection between photography and gardening is time, and the offering of a boundless potential to for growth. Furthermore, they both express a desire to trace invisible lines away from the present; towards both past and future. These activities become part of a recursive process of gestation and recognition, whereby they only become truly begin to grow clear with the benefit of hindsight.

Liam Randles-Martin is based in Naarm and completed his Honours in Visual Art in 2020. For this project Liam brought together photography, found objects and research in an exploration of archival tropes and signifiers. Liam received the Chapman and Bailey Award in 2018.

My work is a clusterfuck of found imagery and intersecting concepts that manifest in chaotic and psychosocial or surreal narratives. My intention is to follow a haptic methodology in which images are juxtaposed in the creation of an invented visual language. For the most part, I consider my work a form of sensation seeking and homage to the characters that exist within it. 

Alyssa Henderson is an artist residing in Naarm/Melbourne. She is currently in her last semester of her BFA (painting) at RMIT University. 

Language is play—with reality. We teach machines to see, and to tell us what they see; we read signs of the more-than-human; creating a multiplicity of worlds with one another. Quick Response (QR) is an alphabet of artworks blending machine vision, posthuman thinking and human communication within the playful framework of metamodernism. The exhibition has multiple readings: as a set of aesthetic objects, as animated musical motifs revealed through augmented reality, and as an alternate reality expressed through sound and light. Each of these worlds coexist within the gallery and intensify or recede through the lens of the viewer-player.

Dr Innocent is an artist gamemaker, urban play scholar, and creator of 64 Ways of Being, an AR art trail platform blending game design with live and public art. Based at RMIT University, his work connects digital media poetics, creative code, visual language, mixed realities and urban code. Innocent develops augmented reality games that blend physical objects with digital interfaces to reimagine everyday urban environments in playful ways within a diverse range of public spaces from Barcelona to Hong Kong. Working with the city as a material, his practice explores ways of being that reimagine, reconfigure and reconnect with the world.

The title for the show ‘A and not A' is taken from ideas of quantum physics where, until observed, objects remain in two states at once. These theories indicate that our observations might actually contribute to our creation of physical reality. I find it amazing that before something is observed and becomes 'something' that thing could be 'anything'. There are infinite possibilities in that moment. I think that this understanding is groundbreaking for Art. Especially since artists work in a realm where they are continually reaching into the 'void' and creating form from ideas. The paintings can be described as atmospheric and hazy. They aim to capture the moment between formlessness and form and allow one to experience the indistinguishable; a space where something is emerging out of a range of possibilities. After graduating with a painting degree from the Victorian College of Arts, I have developed an extensive exhibition history that includes shows locally, nationally and internationally and I have received several accolades including Besen Family Foundation: Arts and Culture Grant, The MCollection Award; Peoples Choice Award, Copyright Agency Limited; Creative Industries Development Fund and Calleen Art Award; finalist. My work can be found in government, corporate and private collections nationally and internationally.

I’m painting about my experiences whether it be walking in the rainforest or buying a coffee from 7-Eleven. I don’t conspire to any ideology or rigid framework because I fall prey to the problem of contradiction. A recurring undercurrent is how humans fit into the rest of natural world and this nakedly paradoxical relationship. The paintings are fundamentally about feeling, which is not implying there isn’t considered personal agency in the painting assemblage. I believe feeling is where everything can grow from authentically, when identified at the stem, summoning beauty and gloom.

All of Humanity is derived from an African woman and share the same DNA. Humanities narrative and cyclic pattern of us and them and the pursuit of hierarchy. The journey of change, emerging cultures and beliefs as well as differences in appearance and language.

Cint Clare displays work annually at East Melbourne Library in September and creates digital art from sketches and mixed media paintings www.cintclare.com.au BA (Visual Arts) honours - Ballarat Uni and Graduate Diploma in Design at RMIT.

My artistic practice has been specifically focused on time, layers, fragmentation, and the encounter. I like to question and find new implements for my practice, which I do through conceptually planning, extreme deconstruction, and exaggeration. I believe this is necessary because there is so much that has been done in art, that it’s hard to stay true to your own authenticity and find new ways through. 

I also believe an artist doesn’t need a reason to exhibit work, or rather have a concept proposed and expressed to the viewer. Instead, the viewer themselves are the reason and project their own interpretations and concepts, which inevitably happens within the encounter regardless. 

Happiness has a limit for me.

A limit where I can’t take any more.
This limit comes to me much quicker than other people.
It comes even quicker than a tiny ant’s.

(A bride for Rip Van Winkle)

I was born with it.

It was hiding inside of my cells, veins, bones, brain, and soul.

It was waiting, quietly.
One day it was triggered,
and it started to sprout, grow, and spread.
Now,
it is inside of me everywhere.

Because of her strong sense of self-control to hide her depression from others,
photography might be the only medium that Starry can use to express and release her
inner self. She poured her unspeakable shame, feelings, and consciousness into visual
imagery, creating a visual conversation without the need to explain herself to other
humans.

“It’s Inside of Me Everywhere” is a series of work that conveys the sensations and
experiences of living in depression. Besides, it also has become a medium that utilised to
explore and investigate Starry’s personal identity; therefore, it also has become to the
extended self-portraiture.

Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. The nightclub as a hedonistic plasma pool and human petri dish of flesh, meat and the end of the body as we know it. 

Drawing on the transhumanist musings of Yuval Noah Harari….”We need to re-invent democracy in this new era in which humans are now hackable animals…Transhumanism is a means by which we exterminate homo sapiens as a species, and go into a post-human experience of reality, where the only thing relevant is the computational synthetic process of a selected set of inputs controlled by a cloud computer”

“Waves All the Way Down” explores the connection between my emotional experience and the natural world depicting an immersive, liminal space existing somewhere between waterscape and mindscape. 

It is dedicated to my brothers who not only shared the same watery womb with me but were also present during my formative experiences with bodies of water. They were there when our mother encouraged us at a young age to not be afraid and to hurl our small bodies into the waves at Manly beach on Guringai land. I remember being dunked and pulled under and those breathless and seemingly endless moments pinned to the sandy bottom as the weight of waves held me down. 

They were there as we drove around Darug land/The Blue Mountains as children and I begged my parents to stop so I could dive into whatever waterfall, river or creek we passed, swimsuit or not, such was my passion for being off terrestrial land. 

They were there when we explored our new ocean home in Onkaparinga, snorkelling on Port Noarlunga reef, and we gathered our courage to jump off the jetty into the clear water below. 

Later in life, my elder brother Justin sailed halfway around the world on a tiny yacht. I remember his stories of endless horizons and epic storms. He described a windy day north of the equator when the seas were big and there were no people or land around for weeks. He remembered thinking it was marvellous that all this amazing weather was happening on earth completely absent of any human observers and also thinking that if he drowned it would all be ok because it all just seemed so big and glorious. 

I think me and my brothers share watery souls. Water connects us through memory and experience, and to a feeling more significant than ourselves, a sense of beauty and ineffability that is difficult to put into words. Yet I feel that we understand each other when we look out over a great expanse of the Southern Ocean where we meet every summer as the sun sets. 

It was Freud who articulated this notion of ‘The Oceanic Experience’. An experience he described as a ‘sensation of eternity, a feeling of being one with the external world as a whole. A state we experienced in childhood where there was no distinction between what was inside and what was outside, where our mother was us and we were our mother. 

Perhaps water connects me to a time when I wasn’t so separate from my brothers at all. 

Perhaps ‘Waves All the Way Down’ is a fantasy of complete submersion. 

And yet a fantasy of complete submersion is not a benign fantasy. 

As sea levels persistently rise, there are islands in the Torres Strait that will be inhabitable within decades. The philosopher Timothy Morton has described climate change as a ‘hyperobject’. Meaning that it extends beyond the human conception of space and time, and is difficult for us to imagine or visualise. It’s an object that exists everywhere and yet can be difficult to spot. An object that is capable of invisibility to those who deny it. Yet it continues to exert its influence within the complex, myriad systems of our world. It is both encroaching and already upon us.

- Alanna Lorenzon, Written on residency at Bilpin international ground for creative initiatives (BigCi) March 2022

Decayed, discarded, and disintegrating. Why are we as human beings so intrigued by objects and places that have been neglected, abandoned, and forgotten. What is it that draws us to crumbling buildings filled with rusted and rotting objects that are a stagnant reminder of a passage of time. “Breathe” is a series of argyrotype photographic prints that captures and preserves a brief moment from a locations journey towards total decay, a destruction of not just form but memory held within the essence of a place.

Each image returning these places and objects into the spotlight with the argyrotype alternative photographic process enhancing the textural beauty of the subject matter. The goal isn’t necessarily to seal its fate, taking a morbid glimpse at its decayed corpse, but to revel in the life it housed and the stories it gathered. A last breathing of life into a space being reclaimed by the world, the earth itself crushing the structure back into the dirt from which it came, slowly fading away from ever existing. Can you hear the whispers through the peeling paint, rusted hardware, and piles of rubble? If only they could talk.

Olivia Siddaway is a Melbourne based photographic artist that works with both analogue and alternative processes. She is a process driven artist that is fascinated by the act of sensitising different types of surfaces to produce images with ultra-violent light and enjoys exploring new ways of image making. Olivia is drawn to natural and urban landscapes and compositions that employ shallow depth of field to sway her audience to take note of specific elements of her photographs. 

Merging the abstract and the tangible this exhibition investigates the intimate relationship between the body and the object to examine the physicality of reduction. It seeks to demonstrate the agency of the object by manifesting its’ ability to anchor the self during times of crisis. 

Informed by personal narratives it recalls the memory of my mother after a traumatic event. She is seated in an armchair, her body supported; in her hands a white tissue, which is turning repeatedly, between her fingers. Seeking comfort in the object she holds, her attention is drawn to the repetition of movement and her awareness of the surrounding space is reduced. The interaction between her body and the objects around her, creates a shift in perception, things don’t quite fit anymore. The chair seems bigger, her body seems reduced, the tissue, once insignificant, now salient. 

Abstraction has appropriated logic. The residue of the self has merged with the structures of the object to become a singular entity in which form is altered and scale illogical. One, has now become, another.

The show ‘Portal’ is a series of works that are a response to my autism diagnosis. Each piece of work is a series of paintings that serve as an act of escapism, diverging from a world that is perplexing, to a new space that is comprehensible to my personal existence. Positioning multiple paintings and ceramic vessels together, as though a ritual, the work functions as a portal, using bold colours to push out from the wall and draw the viewer’s gaze into an unknown. This creates a new environment, immersing the audience into a
geography that is both abstract and dynamic in its presentation, introducing them into a world similar to my own. Holly Goodridge is a Naarm/Melbourne-based multidisciplinary artist that graduated with first class honours in Fine Arts from Rmit in 2021. In 2022 she was awared the Situate Residency from Rmit as well as a mentorship programe from West Space. Her work involves producing documents that occur at the intersection of painting, sculptural objects and installation, with colour being her primary focus.

In recent years my practice has manifested as a synthesis of the ancient and the
prospective, the stable and the temporary and the linguistic and the technological. Past
works have dealt with an ongoing fascination with an archaeological aesthetic sensibility
of object making. Using this sort of ‘false artifact’ sculptural framework, this exhibition
explores my positive and negative sense of place and to unearth and probe my own
memories relating to place. Memories present as fractured, achronological things to be
constantly re-examined and reconstructed, like the ancient or refuse, and aren’t always
decoded accurately. It’s this ambiguity and whether memories can start to be, at least in
part, reconciled through form that make up some of the guiding principles in the work.
Fool’s Gold also speculates on the materiality of future artifacts, confounding our sense
of chronology and what constitutes a priceless relic or worthless debris, though both
these things can tell stories.
Matt Fairbridge was born in 1991 and currently lives and works on unceded Dhudhuroa
land

Baskets hold, gather, and store; their utility enriched by their ease and fit to the human body as they assist in the labour of carrying. Skilled hands are required to craft a basket form, often with make-do, natural materials. In this new work, Phelan has merged techniques from her academic studies in ceramic with her lifetime of textile knowledge gathered whilst yarning and watching her mother’s hands make, in pandemic online workshops and alongside Yolngu and Gunaikurnai women.

Cloth and clay are both malleable materials requiring repeated actions and time to generate form. Coiled and pinched clay and twined and braided textiles reclaimed from cast-off family clothes record the hours of making whilst tracing the action of the maker’s hand. Assembled and stand-alone sculptures are characterised by a relationship between materiality and form, bringing together clay and textile with an interdependence on the site of making and the affect of being in the world. In The weight of waiting, Phelan’s world of waiting depicts her identity as mother/carer/artist and the ebb and flow demands of caring. These intimate works were generated and influenced by the long shadow cast by Melbourne’s two lockdown periods where the confines of the home became the site of making and sourcing material.

The weight of waiting continues Phelan’s process-driven practice which investigates the generative and transformative potential of pliable materials and their capacity to suggest meaning beyond themselves – poetic, cultural, social, and as keepers of time. 

While walking or driving at night I take many photos in the urban landscape, I stay open to what I may find and often it isn’t realised until I am back in the studio with the photographic images that the subjects are found, it may be a sliver of light, something eerie, atmospheric, shadowy monstrous trees or a fragment of something that captures my interest but finding my way into painting through the act of looking is the subject along with found imagery.

These nocturnes were painted at night with a dark palette and a cinematic aesthetic. I like to set a specific palette to work with colour affectively as I am interested in how colour culturally and experientially evokes embodied experience and how painting itself may conjure a psychological place as the paintings merge with the night explorations.

My paintings deal with the connections we make to place, whether they are based on a personal whim, rite of passage, recreation or an inherent need to connect to nature.

Spending time traversing the cliffs and rocks I’ve developed a respect for the power and precariousness of the elements.  Combining a sensory experience and drawing from anecdotal stories, I explore ideas of exploration, solitude and isolation within the landscape and contemplate the positive and negative values of place.

Referencing the sublime and interchanging between paint driven marks and considered marks, I use an exaggerated perspective of natural elements to explore the theme of connection to place.  My practice process combines sketches and photo montages drawing back into the painting to eventually find my image. 

I’d like to respectfully acknowledge the Wurundjeri people of the Kulin Nation who are the traditional owners of the land that this gallery is upon and pay respect to their Elders past, present and emerging.  I like to acknowledge the Bunurong People who are the traditional owners of the place that I have made an emotional connection with in researching and preparing for this show.  I pay my respect to the Bunurong Elders past, present and emerging.

Nets and Traps is a series of paintings and sculptures that combines diagrammatic elements, colour fields, figures and patterns to explore ideas of systematisation in response to living in a chaotic and unpredictable world. This series emerged through an iterative process of making shapes and forms, gradually creating systems of symbols and motifs that are in dialogue with each other. The work contrasts curiosity and wonder at the unknown with a sense of disorientation and confusion. 

This exhibition has been supported by the City of Melbourne Arts Grants.

'we keep growing but the sky's never seemed so far away' investigates our perceptions of control and the accompanied sensations a physical body may experience during periods of restlessness. How contrary feelings like these become when countless days are spent feeling overly dominated by the invisable. It is these inevitable moments of submission the artist chooses to explore in his latest installation: a series of appendages and sculptural interventions, wiped of their physical histories, allowing the audience to project their own relationship (and lived experience) with power and control.  

This exhibition has been supported by the City of Melbourne Arts Grants

Craige Andrae is an Adelaide based contemporary visual artist who has practiced since 1985. He has exhibited broadly including in the Adelaide Biennial of Australian Art in 1996, the Institute of Modern Art in Brisbane (1997, 2003) and the Tate Gallery in London in 1999. Craige has also shown work extensively within Australia including at the Contemporary Art Centre of South Australia (1987, 1993, 2000, 2001, 2002, 2003, 2010), The Australian Experimental Art Foundation, Adelaide (1997),  Australian Centre for Contemporary Art, Melbourne (2002), Ivan Doherty Gallery, Sydney (2002), The Palmer Sculpture Biennial, Adelaide (2004, 2006, 2010), Art Gallery of South Australia (1996, 1997), as well as various gallerys in London (1999, 2000). Craige had a long association with the Contemporary Art Centre of South Australia as well as being the Creative Director of SPUD and Kipler design companies. He has been the Director of Southwest Contemporary Gallery in Sturt st, Adelaide since 2019, curating Project based shows as well as exhibiting in group shows (2019, 2020) and in the solo show "Backyarder" in 2022.    

Andy Petrusevics is an Adelaide based contemporary visual artist who has practiced since 1984. He exhibited in The Adelaide Biennial of Art in 2009 and whose work "ethink and Laminex Maleviches", a performance art video with 14 people and installation, was aquired by the AGSA. Andy has exhibited and performed in The Adelaide Fringe 1984 - 2019, in 2017 he was a co-presenter in The Adelaide Festival of Ideas and created new work for the fledgling Adelaide Cabaret Festival in 2007. Andy has exhibited across Australia and in Japan. He has worked in television production at ABCTV in Adelaide for 14 years, lecturered at tertiary level at UNISA and TafeSA and worked in allied arts production industries. In 2020 his conceptual art mini series "The Age of e" screened on Adelaide C44 and will soon come to Melbournes C31. Andy is an Creative Associate at South West Contemporary at 205 Sturt St Adelaide, Directed by Craige Andrae, where Andy curated Project 7 "The Video Show" in 2020 and exhibited a solo exhibition in Project 3 "Dissonant Nation" in 2019 and the group show Project 12 "The Producers" in 2022.                                                                  

Chris Reynolds is a Melbourne based artist, formerly of Adelaide. He had a first phase of creative practice in the 1980's & 90's, often collaborating with Andrew Petrusevics in performance and installation work. During this time he mainly worked with kinetic machines that explored and exhibited aspects of the human psyche. This 1st phase culminated with the public artwork 'a history apparatus', which stands on the cnr of Russell & Bouke Street's in central Melbourne. He then worked for 20 years in the art/mental health field. Since 2015, he has had the opportunity to re-engage with his own creative practice, in the form of painting, sculpture, and performance. This second, and likely final phase, is quite different to the first. As a re-emerging artist, not everything is possible, thoughts and ideas have to be curated for possible realisation, a kind of pre-curatorial curating. This exhibition represents the first result of this.

'I am attempting to give form to the devices, machinery, and paraphernalia we encounter as we navigate our way across the palaestra of lived experience.'

Recall examines personal and curious perceptions of the world and the absurdities in
everyday life. Through making and remaking found objects collected from second-hand
shops, dollar shops and urban environments, I explore how personal history can demonstrate the magic of the uncanny and build a strange narrative that questions the self. I have created individual artworks that together inhabit an installation space which I consider as a whole, to suggest the domestic place, and convey an idiosyncratic ‘homely”
feel.

I use autobiography as a method in art making to record the existence of “the self”. It is
used as a mirror to reflect certain aspect of myself (such as alienation and loneliness) to
conjure up feelings of unease and disquiet in our corporeal lives. 

My works explore the idea of whether the method of creating can become an introspection
into this disturbed life through the process of intuitive making. Informed by the significance
of found material, I connected and transformed selected objects into anthropomorphic
characters as souvenirs that archive my individual memories and reflect personality. In
many ways, throughout society we express part of our depression through anthropomorphic character/monster forms. The tradition of monsters in popular culture cartoons, and horror films create ambiguous humanity and tensions between attraction and repulsion. I invite viewers to find the strange, absurd and the “unreal” in themselves

Not long ago I discovered we had rats living in our garden and in my studio. I hopelessly tried to
eliminate them and it seems they collect the plums from our trees and harvest them in their nests formonths. That is how they make it through the winter.

I imagine they store a plum pit close to their hearts and I don’t want them to leave my garden
anymore.~

Repurposing fantasy as an intimate geography, Botanica-Induced recreates a mental garden. A naïve animism that recognises the unexpected emergence of life in everyday objects. In such manner, the surreal is revisited and reinterpreted, repositioning the everyday as extraordinary and the extraordinary as real. Through a fantastical twist, elements such as a plastic bag and a plum pit, become a tool for identifying life in unexpected places; an amateur-automatism operation to bring forth new imageries and narratives.

A collection of works exploring my inner workings, personal experiences with turbulent thoughts and anxiety, distancing myself from others, and the environmental and social influences in my life. ‘what are you comprised of?’ is an open invitation to viewers to reflect on what has impacted them throughout their life and how that has shaped them.

 Sarah Catania draws on her own life experiences to create works that engage with trauma, loss, grief, and memory.  Exploring the impact of her own psychological struggles using recycled and found objects, she investigates the consequences of negative experiences in her life.

My work explores the affectual residue of discarded bodies – those that are socially erased by processes of power and exclusion - In particular the body of the offender. I view this
body as a colonised ‘site’, one Othered by its own spectral contagion. For this project I have collected trace remnants (castings/latex pulls/video and sound loops) from Lithgow Prison.
These are -contextualised in the studio through the framework of hauntology, to develop of body of work that re-visualizes the offender subject as an object of social contagion.

1,000 Tiny Wounds is a collection of work that confronts, asking: can non-objective art have
a confrontational presence while retaining a nuanced, formal experience after the initial
encounter?

Adrian De Vries is an Australian artist with an installation-based painting practice, approaching
the medium with a multidisciplinary attitude to produce playful and experimental installations. In
2018, he graduated from RMIT University with Bachelor of Fine Arts (First Class Honours) and
has been regularly exhibiting in group and solo exhibitions since completing his studies. He is
currently based in Narrm (Melbourne), Australia

The Absurdity of Pearls is an exhibition which presents new painting and textile works alongside an existing fabric work. The works are a continuation of the themes explored in my Honours year; the recollection and uncovering objects of beauty that surrounded me as a child. 

Through the creation process and the detangling of associations, the works are remnants of memories referencing my grandmothers’ pearls, hydrangeas, forget-me-nots, and clothing found in the family dress up box. They act as visions of my childhood that hold a joyful, sad quality - playful, yet hinting at the absence of family. Tears falling from the fingers of gloves, hydrangeas providing protection from the beating sun, forget-me-nots embroidered on the chiffon which shrouds and comforts the body and the absurdity of pearls protruding from the walls that enter our realm.

The exhibition ultimately results in an interwoven collection of objects that act as a shrine to loss, hovering in the space of duality which sits between whimsical and melancholic.

Fascinator is a brand new interactive work by digital artist Ego.

Wade into rocky shallows,

the dappled realm of a glamorous recluse.

Startled into hiding at the slightest movement,

beneath a hurriedly (high-)fashioned camouflage.    

Couture hand-crafted from otherworldly treasures.

Refractions invites participants to engage with light, colour and motion from multiple perspectives as they move throughout the space. 

Drawing participants to immerse themselves in the sensory presence of light and contemplate the luminous essence of their own beings. 

Refractions is a new series of work by Jasmine Grace which uses light and dichroic effects to investigate atmosphere, affect and embodied experience.

One of the feature immersive works within this series is ‘Beaming’ which has been supported by the City of Melbourne Arts Grants (2021). 

Each of the fluctuating refractions throughout the space are metaphorical representations of the light we carry within, and it’s mesmerising ability to project unique multicoloured arrays of light across surrounding landscapes.