On the streets of your town is a celebration of suburban ornamentation. Drawing on the vast array of ironwork designs adorning fences, gates and verandah railings in the artist’s own neighbourhood, the exhibition maps out the themes of place, memory and belonging.
Image: Stephanie Jones, On the streets where you live (detail), 2017, colour pencil on Stonehenge paper, 26 x 93cm
Chartjunk represents a portion of a larger, collaborative work under the umbrella of the Nomadic Research Unit, a tribute to the incredible research produced by the Australian National University (ANU) Urban Research Unit, established by my late, great, Uncle Max Neutze. The project questions the notion of the dérive, searching for patterns, emotions and rhythms in the collected data.
This ongoing mapping project combines psychogeography and traditional cartography drawing and reproduction processes. The maps and data collected in the past 12 months reflect emotions and experiences related to acts of public art installation in urban space – street art.
Chartjunk is the first visualization of this unique data – covering 489 kilometers, 5465 minutes over eight cites.
Image: Chartjunk, 2017; courtesy of the artists
In all these works camouflage relates to form transformation and illusions of materiality - they appear to be constructed from a base-material other than plastic. Some sculptures are wrapped in fabric. Pattern jumps off their surfaces, breaking up shape, rendering the base-structures unrecognisable. The guns re-appropriate children's toys. Combat designs transform them from harmless playthings into menacing weapons, reflecting on child desensitisation to violence. The panels use digital pixilation to render landscape.
Image: Mark Booth, 40.90-90° (digi-green), 2016, PVC pipe, nylon netting, 56x68x60cm; courtesy of the artist
Totally-ish features a collection of artworks ranging from 2012 to 2016. Throughout this time, my practice has explored tone. Specifically, the role tone plays when constructing a surface and an image. Incorporating screen-printing with the occasional painting, this is the first time the selection has been exhibited side by side. It offers a reflection on my time as an artist, including my thought process, experiments and progression. The reason behind its creation is distant when looking back at past artworks, but the surfaces are familiar.
Since graduating from the Australian National University School of Art in 2010, James Lieutenant has exhibited across Australia including shows at Canberra Museum and Gallery, Bus Projects (Melbourne) and MOP (Sydney). In 2016 he was selected to participate in the National Artists’ Self Portrait Prize at the University of Queensland Art Museum. Lieutenant has completed professional residencies, artworks commissions and been curated into group exhibitions.
This exhibition represents an ongoing theme of figure studies – in this instance focused on the seated form and the form of the seat! Motivations include the themes of loss, celebration, memorial, cultural and gender identity. The subtle chiaroscuro styled figures and objects – spanning several eras and chairs of differing practicality, trigger numerous memories and feelings in mine, the viewer’s and the sitters’ lives. The titles - and the exhibitions’ - also reflect these ambiguities.
Image: Moorehouse and beige suede, 2016, acrylic on canvas; courtesy of the artist
This body of work is a response to two trips through an around Australia, using second hand lead on geometric backings. To define or recreate what I saw is unnecessary, it's the sensibility of that experience that remains. Thus, these interpretations attempt to convey the aspiration of the allusion of the harsh beauty that I encountered and I hope to again.
Image: Lars Wetselaar, Gorge, 2016, lead; courtesy of the artist
She Walked in and Pulled Out a Chair are print based collages resulting from a residency in the Print Department at the ANU School of Art this year. Collage allows me consider and adjust my choices in composition and colour, minimising my usual image-making processes to two or three basic elements. Screen printing allows me to easily reproduce pattern and large blocks of saturated colour, I add to this hand drawn line and lino print, all of which I cut and paste onto a basic, woodblock ground.
Dionisia Salas graduated from the painting department of the ANU School of Art in 2007. She has since lived and practiced in Canberra, Melbourne and Berlin where she was assistant to the artist Katharina Grosse. She has participated in residencies including at Megalo Print Studio, the inaugural Glint residency with Canberra Glassworks and Megalo, and at Baso studio in Berlin. Group exhibitions include Here and Now, Nuttall Kibel Nguyen, Melbourne, Word of Mouth, Canberra Museum + Gallery; The Presence of the Past in the Future, Stedefreund, Berlin.
In this series of work, Jay Kochel utilises 3D scanning, machine code and mechanised drawing to explore the aesthetics of meaning and mark making. No feeling whatsoever explores mapping unseen spectra, translating machine vision into machine drawing. This exhibition continues ongoing research into 'reading air’ as a concept and process to manifest the invisible. The foundation of this work began in Japan as a series of artificial inflatable rock gardens constructed by the artist to mimic karesansui or Zen gardens.
Image:Karesansui 2, 2016, pen on chalkboard on paper, 150 x 195 cm; image courtesy of the artist
I like making oddly shaped canvases. I create them by weaving materials I have found or collected; such as cardboard, fabrics and plastics. As I build colour using acrylic paint, the materials in my canvases define the gestures I make. I enjoy playing with this relationship between illusion, through gestural mark making, and representation, via the inclusion of physical materials. Rather than my paintings being full of gestures, the painting itself is a gesture.
Image: Boxes of contrast, 2015, acrylic on canvas
Jenna Poore’s work explores the divide between the conscious and subconscious realms through dream interpretations which ask the viewer to re-evaluate their perception of reality. She creates objects that represent her own personal dreams and, by giving them form, aims to create an awareness of the importance of our dreams. Dreamsake is an installation of mixed media collages and assemblages that incorporate the idea of dreams as personal keepsakes.