Archive for the 'Exhibition' Category

Tracking Memory – Canoe Sheets #1 – 5

Daphne Molony

Serial Space

Ongoing Exhibition, Wednesday 28th – Friday 30th April, 2010

‘Tracking Memory – Canoe Sheets #1 – 5’

Dimensions: 45 x 50 x 245

Materials: Muslin, ochre, volcanic soil, ash, banksia pods

The ‘Canoe Sheets’ are part of the series ‘Tracking Memory’ masters project based in the Tomaree National Park, Port Stephens, New South Wales in 2006. These works are of an ephemeral nature and were made with the same dimensions of the canoes of the Worimi people. Over the period of two years, I placed five sheets of canvas and over two hundred sheets of muslin into different places within the park that successfully recorded their evolution or deterioration, collected stains and residue over time. The absence of my interference created a significant shift in my practice. My powerlessness to control the outcome of the work was an important part of their evolvement.

The purpose of the project was an exploration into the possibility of a work of art as signifier of Place or Space via memory, becoming a reflection or residue of the landscape or the body’s direct response to landscape through the oscillation of marks and colours that formed naturally across the surfaces, becoming in themselves a kind of memory or trace of the cycles of nature. My experiments with works on muslin are, in part an unconscious exploration of movement of the body in space with an investigation of the physicality of the work and its organic nature. I set out to make a body of work that would draw attention to the actual surface of landscape and to create a sense of movement through it.

Shiga Plateau Olympics

Dianne Peacock

Serial Space Gallery, Chippendale

Exhibition

Shiga Plateau Olympics

The pasted-on breasts in Martha Rosler’s Body Beautiful or Beauty Knows No Pain series, 1966-1972 and a collage from Eduardo Paolozzi’s Psychological Atlas, 1949, which transforms, with great economy an elephant into a monster are works that make me feel that I am seeing. A common link in my reference projects is the experience of wonder which occurs in their encounter. Guy Sherwin’s Man Holding a Mirror, as performed in Melbourne in 2008; and spaces with internal spatial mystery are also in this category.

Shiga Plateau Olympics is a series of simple collages on a subject of obscure personal interest. It proved useful in isolating specific functional, transformative techniques of this medium.

Dianne Peacock is an architect based in Melbourne, where her Ph.D. entitled Spatial Mystery and Parallel Works is undertaken by project at RMIT. Her practice has produced exhibitions, installations and zines in addition to built and unbuilt work. She teaches architectural design studio and at RMIT developed Paper, Scissors, Blur, a course in collage and mixed media in architecture. In 2009 Dianne established Subplot, a Melbourne based architectural practice.

Drawings in progress/Test drawings: Carroll/Green.

Katica Pedisic

Wednesday 28 April

Serial Space 7pm – 10pm

Carroll/Green is the working title of a collaborative drawing project (my colleague is Damien Chwalisz of Roarkus Design Studio) forming part of Intimate Immensities.

Carroll/Green comprises a series of ‘architectural’ drawings that test the drawing as a site of exploration for the potential of communicating something more than what architectural drawings, traditionally and straightforwardly convey.

The first thoughts were to analyse the spatial phenomena of our respective surroundings (Carroll street, North Melbourne: me; Green street, Brompton, Adelaide: Damien), noting the parity between the spatial arrangements of the spaces and the fact that we were both living and working from these sites and as we, ourselves were ‘processing’ them.

The drawings begin with the pure information of the physical elements of each respective space, and then the drawings are ‘built’ in layers of pencil, ink and other media, to attempt to articulate something other than just these physical elements of structure. Duchamp calls this the ‘incommensurables‚’- something beyond just the static material and structural reality of the space.

There are two concepts that underlie these tests, these explorations in drawings:

The first is to ask what drawing is, but also acknowledges that I don’t yet know what drawing can be, and what drawing can do.

The second is to become aware that as I act on the drawing, the drawing also acts on me.

In this circularity of process that the drawing, my ability to draw and think visually and therefore the design, is enriched in the enduring unravelling of linework.

This is an area of research crucial my practice as an architect- crucial at this juncture of the saturating uptake of digital drawing practices amongst architects- which creep stiflingly closer to crowding out the hand drawing, the potentials of thinking through the sketch, at the initial design stages of the design process. I stand up for using drawing as a critical method in my research, in my design thinking. Exploring the spaces of drawing, makes attempts at investigation and discovery in which the process and the product combine.

To cite Duchamp once more, it is this ‘blossoming’ of possibilities, intimating the idea of expansion. I am after an expanded field of drawing.

Exhibition

Katica Pedisic is an architect, but currently mostly undertaking a PhD by project at RMIT, her area of research being the act of drawing as mediating the emergence and perception of space. She has exhibited her spatially based drawings at several SA galleries and has lectured in architecture in design studios at the University of SA in 2008 & 2009, also having taught as a sessional staff member there since 2002. She has worked as an associate at Con Bastiras Architects, a tiny studio located in Adelaide, their projects recognised with numerous state chapter RAIA awards and published widely in Australia and internationally. She established her practice, antidote, in 2008, specialising in small projects with an emphasis on process-based explorations.

‘My Field Notes’

Cara McLeod

Wednesday 28 April 2010, from 7pm at Serial Space

What?

‘My Field Notes’

Can an artist who carefully observes and documents subjective and fictive aspects of their travels call their visual research ‘field notes’?
Recurrent motifs and themes have emerged in my art over the past few years.  similarly I have reflected on the cyclic nature of my adventures and returns to different cities in Europe and Sydney.

In ‘My Field Notes’ I will fragment, layer and sequence various images in order to create an open, non-linear narrative structure. I plan to show the results of my idiosyncratic selection process by reorganising and reproducing found images.  I’m exploring the notion of field work in places I may have visited vicariously or virtually and the effect this fictive representation can have on our memory making of places both real and imagined.

‘My Field Notes’ will be based on photographs of places I have visited, my notes and sketches, but also source material I have found in Op shops and flea markets, such as a collection of vintage tourist postcards, non-fiction books with printed colour reproductions of iconic natural landscapes, retro urban architecture and old city guides featuring hand-drawn maps and antiquated printing techniques.

Why?

Since attending the Transmediale Deep North conference in 2009 in Berlin, I have been keen to contribute artwork to the kind of cross-disciplinary dialogue that Open Fields proposes. The Deep North conference and exhibition highlighted many successful collaborations between artists and researchers, indigenous communities, scientists, programmers etc, which explored  environmental, social, technological perspectives, concerns and possible solutions now and for the next hundred years.


Cara MacLeod is an energetic and inspiring art educator with seven years of experience teaching art in primary and secondary schools in Sydney. She exhibits regularly and works with diverse media including painting, drawing, sculpture and installation. She has collaborated with Kyla Ring on a number of art festival projects and installed outdoor sculptures in Next Wave 2006, Peat’s Ridge 2005 and Walking The Street 2004.

Research from Laughing Waters Artist Residency 2009

Kath Fries

Wednesday 27 April, from 7pm at Serial Space

Watching the heavy rain, waiting for moments of respite between downpours to see the surfaces of puddles and ponds lie still and flat, reflecting the surrounding trees, rocks and sky. Recalling my earlier explorations of lying square mirrors flat on the ground facing upwards to engage the viewer in looking down to see what is above. I was prompted to further my investigations of simple reflections and surroundings.

Variously positioned outside, my site-sensitive installations with mirrors were both subtle and confronting – depending on the viewer’s awareness and angle of approach. Hidden within foliage, some mirrors duplicitous reflections were lost in the bushlands’ surrounding complexity. The hard flat unnaturally reflective surfaces became illusive and camouflaged as their double images vanished amongst the setting’s abundant detail. Other mirrors were placed in the earth, like holes in the ground suggested portholes that viewers peered down into and simultaneously looked up towards the sky. Further panels were
balanced in tree branches like hovering windows allowing glimpses around invisible corners into other realms. Confusing and inverting the viewer’s usual vertical sense of gravitational reality, as though free-falling into a more cyclic unity between the elements of ground, growth and air.

www.kathfries.blogspot.com

Exhibition

Kath Fries completed her Masters of Visual Art in 2008 at the University of Sydney. She exhibits in Sydney and Melbourne ARI galleries, outdoor sculpture festivals and was recently an Artist-in-Residence at Laughing Waters VIC.

Fries’ art practice explores metaphors of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space, inviting viewers to discover their own sense of narrative within poetic subtleties of ephemerality, trace and residue.

SPATIAL MYSTERY AND PARALLEL WORKS

Dianne Peacock

Thursday 29th April 1-3pm

Bon Marche Studio

Presentation: 20mins.

SPATIAL MYSTERY AND PARALLEL WORKS

My research is conducted through practice. Parallel projects in film, collage, writing and architectural design are undertaken with an eye for mutually productive play. I do not attempt intersections of project media: “collage architecture” for instance, is not an aim here. However there are certain themes: shadows, edits, sites of indeterminate use, abandonment and collating which have a tendency to recur across projects. Spatial mystery has been identified as a central theme and so its nature, role and potential in my work are under examination. Currently I am collating example

s of spatial mystery as I work to define this term. I am looking for the relationship between the phenomenon of spatial mystery and that which allows it to appear.

A photograph of Junction Dam, a subject of a proposed short presentation on spatial mystery in the Kiewa Valley hydro-electric scheme

An aging hydro-electricity dam and its neighbour, a new power station, share specific and compelling architectural qualities. There is cool air, great mass and the matter of access to their depths. They elicit a sensibility of internal spatial mystery.

In a short presentation I would like to illustrate a specific instance of spatial mystery.

Dianne Peacock is an architect based in Melbourne, where her Ph.D. entitled Spatial Mystery and Parallel Works is undertaken by project at RMIT. Her practice has produced exhibitions, installations and zines in addition to built and unbuilt work. She teaches architectural design studio and at RMIT developed Paper, Scissors, Blur, a course in collage and mixed media in architecture. In 2009 Dianne established Subplot, a Melbourne based architectural practice.


It would be ideal if we could stop…

Nikola Knezevic

Installation, Bon Marche Studio, Rear.

It would be ideal if we could stop forcing words into contrived and limited arrangements of communication.

Rather than adhering to prepared methods or attempting to articulate ideas that not only communicate but also interact, I will try to hint at how audience can begin this interaction themselves.

Primarily as a writer, I began with investigating other methods and mediums to bind ideas into a perceptible, palatable and understandable manner.  This initially was theatre and performance, then photography and finally film, adopting a manner of expressing usually associated with writing.

How to present a series of images  or scenes so they would be a poem, as an example.

Hence a living, breathing unborn flesh of what can be understood as a poem, infused with  thought and time, tries to find itself in and through different mediums. Initial association would define the “protocol” of this interaction. As these mediums (frames) build up, work gains self-awareness.

Aim  is for this body to become independent  from the concept of a “creator”.

As an artist I cannot claim with certainty, what my final contribution to Open Fields will be, photography, film, performance or an installation. Currently i only have estimates and hints as to what may take place.

Exhibition

Describing inner work which takes place as a playwright and poet, a pinnacle was reached where these notions required more than words so they can be portrayed.
This is now an attempt that through mediums of theatre, film and photography I continue writing poetry.