I am interested in space and place; in the ideals of mend and make do; in what can be done with that which surrounds us, words, pictures, ideas, material resources and so on. These paintings and the floor piece are made from reclaimed materials, and have grown out of my mural practice.
Wall works are captured moments of my performed wall productions. Small elements of interesting effect/affect. They extend an ongoing mode of image production, a kind of journal, becoming more codified and less illustrative year by year. These often start during mural production on portable grounds, then retreat to the studio for reflection, refinement and resolution.
Floor pieces, such as street studio (2016), are bits of the world remade for the gallery. They become places upon which to perform paintings. Places because they bring context with them. They come already storied and yet remain available to new narratives. The street studio –my car- acts as a self-portrait that describes the connection between my mural productions; the counterpart wall-works; and my sculptural practice.
Words are like any other resource, commonly available but not strictly fixed. Words gather towards meaning, but the outcome can be shifted with context. #tagging is a kind of digital breadcrumb trail, but fidelity to spelling can be just as obscuring. Misappropriated words point two ways; at their source and towards new meanings.
Artist statement and image courtesy of the artist
The exhibition title I haven’t made the work yet, but I’ll be there a week beforehand which should be plenty of time, provides a precise account of Jason Phu’s approach to art making. His unpretentious titles tell his stories and could be notes scribbled in a diary, for instance, I walked into Glenn's office and he offered me a cup of coffee but didn't have any which was very rude, then he said "you should draw on rubbish," and I said "ok," and then I left. Phu is blunt, funny, loves pizza and Chinese dragons. The craftsmanship of his ancestors is given a contemporary makeover as Phu adeptly connects the finely tuned calligraphic skills of Chinese painters with street arts of the 21st Century.
CCAS Director David Broker said, “Many people will be shocked by Jason Phu’s crude texts on walls and discarded objects such as doors, fridges and microwaves. He is an artist who pushes his luck, however, like the masters of scroll painting and calligraphy he sometimes references, Phu is a highly skilled practitioner who intuitively gets it right. When it comes to making dynamic art from trash he has no peers.”
Image: I walked into Glenn's office and he offered me a cup of coffee but didn't have any which was very rude, then he said "you should draw on rubbish," and I said "ok," and then I left. mixed media installation (texta, spray paint, ink on used mattresses, washing machines, fridges, detritus), dimensions variable, 2015, Commissioned by Art Month Sydney.
Photo: Document Photography
Opening with Martin Scorsese’s 1967 student film of the same name, The Big Shave is comprised entirely of clips depicting men shaving in cinema. Moving between more than 80 years of cinema history, the work operates as something of a life cycle; beginning with a montage of shaving cream being applied and finishing with a collection of post shave clean ups. Within this it examines tropes such as barber shops, women shaving men and various injuries. Inspired by the found footage art of Christian Marclay, Tracey Moffatt and Candice Breitz the work explores representations of masculinity and male identity.
There’s not enough love in the world right now but as always Canberra Contemporary Art Space has the solution. With our annual Member’s Show coming up, LOVE seemed like an appropriate theme.
For centuries, artists have tackled love: from Rembrandt and Rubens to Lichtenstein and Robert Indiana’s ever-reproduced Love (1965). For the 2016 Member’s Show we call upon the Canberra arts community to show the love through their own lens. With a $500 first prize up for grabs and $250 for the runner up its well worth taking the plunge and entering into the LOVE revival.
In the words of CCAS’s David Broker, “Love is central to life and yet it remains both perplexing and mysterious. It may sound strange but love makes me think of Dr. Suess who once observed, ‘We're all a little weird, and life's a little weird. And when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love.’ That weirdness is bound to be evident in abundance as CCAS members explore the immeasurable galaxies of love. ”
The exhibition opens on Friday the 7th October with the winner announced on the night. This year’s judge is the LOVEly Monika McInerney, Creative Program Director at Belconnen Arts Centre.
The deadline for entries is Friday September 30th and CCAS accept all mediums the only restriction is size, all entries must be 1.5 x 1.5m or less. Entry is $35 and open to all CCAS members, it’s incredibly easy to sign up to be a member when submitting a work if you aren’t one already, we welcome everybody.
Entry forms can be found here!
Don't hesitate to get in touch with CCAS HQ for further info!
2° investigates climate change, it’s effect on the present, and the struggle to avoid environmental disaster by limiting rising global temperature to two degrees. Other than life and death, climate change will be one of the only collective experiences in our lifetime to touch every human on the planet. Engaging audiences through humor, seduction and intrigue, 2° effectively raises awareness and addresses the concerns of climate change. This exhibition features Daniel Bonson, GW Bot, David Buckland, Søren Dahlgaard, Jacky Green, Annika Harding, Timothy James Johnson and Andrew Styan, is curated by Alexander Boynes, and is supported by Climarte.org who promote the arts for a safe environment through their international programs and networks.
Image: Soren Dahlgaard, The Maldives Exodus Caravan Show, photograph courtesy of the artist; photography by Brenton McGeachie
Canberra Contemporary Art Space may have missed out on this round of Australia Council funding but that’s not going to stop us from doing what we do best. That is, producing gutsy exhibitions and having fun while doing it. On July 9 CCAS will introduce a completely new concept in fundraising where everyone is a winner. Quick Draw is a night of fast paced fancy-free fun and entertainment, where everyone goes home with an artwork. You just don’t know which one it will be … but there will be some surprises along the way.
50 of the hottest artists from Canberra and around the country have generously donated artwork that will be randomly assigned to our guests over the course of the evening. This means that tickets will be strictly limited and will sell out fast. Supporting ACT artists has always been at the core of CCAS’s operations and the proceeds from Quick Draw go directly towards maintaining artists fees, rent free gallery space and professional support.
CCAS Director David Broker said, “In the aftermath of “Black Friday” for the arts, CCAS has experienced overwhelming community support. Quick Draw is a wonderful opportunity to exchange words for cash, to show support for CCAS and the many talented artists it has served over 34 years. As always, artists have been quick to respond and we have received some astonishing pieces from established and emerging artists such as, Mariana del Castillo, Jacqui Bradley, Mandy Martin and Peter Vandermark. Which ever work you end up with Quick Draw is a great investment for your own collection as well as Canberra’s creative future.”
Tickets are on sale now and there is not a moment to loose. $250 is a small gamble for a big reward, with Quick Draw you simply can’t lose.
Clickhere to purchase your ticket now!
Facilitated by nationally and internationally renowned curator, writer, artist and Creative Director of Not Yet It’s Difficult, David Pledger, Strange Attractor: make-think- speak is a two week choreographic development platform for choreographic and interdisciplinary artists.
Gorman Arts Centre becomes a hotbed of creative ideas and energy with eight local and interstate artists engaging in artistic research, critical dialogue, exchange and collaboration. Artists will be challenged to reinvent and/or refine their creative methodology, develop a language when speaking about their practice and define what it is they are making and saying through their art.
The Strange Attractor artists are: Liz Lea and Alison Plevey (ACT), Shona Erskine (WA), Loren Kronemyer, Daisy Saunders (WA), Matthew Shilcock (SA), Alice Dixon (VIC) and William McBride (VIC).
Strange Attractor: make – think – speak is supported by Arts ACT, Ainslie and Gorman Arts Centres, QL2 Dance and Canberra Contemporary Art Space.
Image courtesy of Lorna Sim
Obnoxious Ladies in the Australian Landscape brings together work by Emma Beer, Jacqueline Bradley, Anna Davern, Lucy Forsberg, Alex Pye and Camille Serisier, a group of women with new perspectives on the landscape and their position in it.
Australian art history frequently references male depictions of harsh and unforgiving lands to be conquered or celebrated as a great untouchable beauty often leaving out women’s experience altogether. This exhibition takes a new approach through cities, suburbs and sad country towns through the eyes of women who make work that is both unapologetic and humorous, disrupting the usual story of landscape.
Image: Camille Serisier, Ken Done It!, photo print; 165 x 120 cm; photography by Brenton McGeachie
The “Great Australian Dream” is a national reverie from which we have not entirely awoken. At its most vivid in 1950s and 1960s it flourished in a time of full employment, burgeoning wealth and the sub-urbanisation of Australian cities. Central to the nation’s aspiration was the idea that success and security could be measured through the ownership of a quarter acre block and detached house with garden, barbecue, hills hoist and later, from the 1970s, a swimming pool. Artists, writers and film-makers, however, were suspicious, and the dream was ridiculed and parodied in paintings of John Brack, Nino Culotta’s They’re a Weird Mob (1957) and Robyn Boyd’s critique of Australian architecture, The Australian Ugliness (1960). Howard Arkley (1951-1999), perhaps the most enthusiastic creator of suburban iconography, occupied a period between “the dream” and its imminent demise. If Arkley’s work was at all critical, his critique was tempered by ambivalence; occasional disdain but mostly nostalgia and romance.Thoroughly Modern brings together a new generation of artists after Howard Arkley, who with Modernist art, design and architecture as their tools, revisit and reinterpret the utopian dreams of post-war Australia.
Artists:Janet Angus, Grant Hill, Alex Lewis, Matthew de Moiser, Stephanie Wilson, Danny Wild
Image: Stephanie Wilson, Palm Down, oil on canvas, 107 x 122cm; photo courtesy of the artist; photography by Brenton McGeachie
Stephanie Wilson is represented by Martin Browne Contemporary, Sydney
Matthew de Moiser Home Sweet Home courtesy of the artist and Noella Lopez Gallery
A real sum is a sum of people
Blaze is the CCAS annual group show dedicated to emerging artists in the ACT; for 2016 it includes the work of 8 artists: Joel Arthur, Reid Bedlington, Christopher Burton, Hayley Lander, Dierdre Pearce, Millan Pintos-Lopez, Kael Stasce and Julia Thwaites. For its 10th anniversary edition Blaze has a subtitle, A real sum is a sum of people, which broadly refers to the concept of community and its different readings. On one hand, it indicates a possible way to interpret the rich, vibrant artistic scene of the ACT; on the other, it encourages the artists to engage with a wide idea, and to go beyond their usual practices and conceptual challenges. Photography by Brenton McGeachie