Jones' exhibition, titled Lookin Up, explores ideas of how certain gendered and raced bodies are socialised to look up to masculine heroes, idols and role models. In examining which identities were privileged in her memories of growing up as a young girl, Jones moves from the personal effects to the wider implications of why specific figures were present in the position of role models or aspirational figures.
From essay by Dr. Odette Kelada.
Image: Dianne Jones, Ye Must Be Born Again John 3:7, 2008.
"In Bailey’s work, it’s okay to feel a little lost. These non-sequiturs are set in unsteady terrains. In the video work Desert Mouth (2009) Bailey himself is stoned and lost in the desert. He stumbles around in only a t-shirt adorned with a marijuana leaf and sneakers: ruder than nude. Lost and confused. The work could be construed as a portrait of a resident of post-heroic society. He is intoxicated by the reiteration of slogans, mottos, headlines, mantras, buzz words, jingoistic catch phrases and epithets. He hides in a haze of escape and intemperance. Like the portrait jamais vu."
Image: Stuart Bailey, installation detail, 2008.
"Cathy Laudenbach's photographs take on the difficult task of grappling with notions of the land and its capricious nature by reproducing images of sites where people have mysteriously disappeared. And there are many. Her images often emanate a seductive beauty and yet, tied as they are to specific events, they are also sometimes unassuming views. Unassuming because it is not only Australia's beautiful or significant landmarks that are culpable - and that's notwithstanding the most sensational disappearance at Uluru in 1980. This aspect of the work poses problems for both Laudenbach and her audience as the question arises how do we know what happened at this site and is it even necessary to know? Does the landscape produce a different aura following a disappearance and is it possible to generate a feeling of absence through a photograph which is essentially about presence?"
From catalogue essay by David Broker.
Image: Cathy Laudenbach, installation detail, 2008.
Image: Starlie Geikie, installation detail, 2008.
"In formulating the work for Gorman House, I was interested in activating the transitional zones between hearing and touch, between conscious and unconscious perception, the real and the illusionary, the understood and the not understood. I'm entertained by the notion that we are all world receivers tunes to a certain narrow range of frequencies, and that paradoxically it is our mechanism and action of reception which constructs the world to be received, floating as it might be on a sea of absolutes."
From essay by Chris Fortescue
Image: Chris Fortescue, installation detail, 2008.
The story of Erica Seccombe's Nanoplastica begins with a residency at the ANU Research School of Physical Sciences and Engineering when Dr Tim Senden x-rayed a variety of miniature plastic models from the artists collection on the Microcomputer Tomograph (XTC). In modern and post-modern times the "art of the everyday" has made frequent attempts to raise objects of humble origins way above their station and into the heady heights of masterpiece. Even so, there is something particularly "sad" about Seccombe's tiny plastic toys, representing as they do, a point at which consumerism and futility meet. Using scientific equipment that is rarely accessible to artists, Seccombe effects an extraodinary transformation in which her work becomes "a metaphor for contemporary scientific techniques and processes such as nanotechnology to examine issues of visualisation, replication and simulation of the natural world."
Image: Erica Seccombe, installation detail, 2008.
Image: Carla Cescon, installation detail, 2008.
"Touching Space explores the intersections between sign language and English, between codified sign systems and the half unconscious gestures we all make, between intelligible images and abstraction... The moving hands in Touching Space have been abstracted to a point where they begin to evoke other imagery, medical imagery, strange skeletal creatures, trees and landscapes according to different viewers. I am interested in the way people’s brains can get caught in a kind of feedback loop, that experience of having a word on the tip of your tongue but not being able to access it. This has inspired the construction of images that move between being recognisable and being somehow abstract so the viewer has the imaginative space to respond and construct their own imagery.
Image: Ellis Hutch, installation view, 2008.
"The board bow you stealthily utilise to deliver your funny and familiar magazine and TV inspired messages manage a hit to the heart of material and consumer culture. Are you suggesting that the TV and IT generation should change position on the couch, reach for a GPS and take a new course through the mall, perhaps even look out the window? By placing us, the distant viewer, in scenes such as Abu Ghraib, I get the feeling we are all deeply implicated. This brings a double edge to our sense of cultural belonging and patriotism... We take in your images and objects like any others we may see on TV or in magazines, but after the initial wise crack you don't really give us any answers. We are left wandering around the mall thinking and feeling and that is exactly what you want. You are telling us to put away the facial mist, pull our sporting beanies over up from over our eyes and take a long hard look at who and where we are."
From an open letter to Bernie Slater by Julian Laffan.
Image: Bernie Slater, installation view, 2008.
Image: Akira Akira, installation view, 2008.