Manuka

 

“where is the map shop?” “what is it?”

“how does it fit in with the other three doors?”

“maybe you’re saying that the map shop is a state of feeling, like failure or emotion”

“maybe you’re saying that failure and emotion are places”

Tom Campbell / Kute Bash presents an investigation into critical ideas of place through textiles, objects and documentation. Begun as a site-specific project in the Bendora Arboretum, Campbell is interested in understanding how places/nature is constructed and (in this exhibition) drawing connections between fraught ideas of ‘wilderness’ and other areas where we might experience a constructed sense of nature. The works included in Arboretum / The Map Shop are designed to encourage multiple readings of place and location. Objects can become sites for inviting questions rather than asserting a universal answer. Come see several textile constructions, text-based works, and leave your feedback in the visitor’s book.

 

Following the route taken by his spiritual guides Mitzi, Felicia and Bernadette, In the Footsteps of Priscilla is an exhibition of new ideas and works in progress that document Christus Nóbrega’s pilgrimage across Australia after The Adventures of Priscilla, Queen of the Desert.

Brazilian artist and lecturer Professor Christus Nóbrega has been in Australia to present his solo exhibition Labirinto at Canberra Contemporary Art Space, and spent the hottest January since records began travelling from the heart of LGBTIQ+ Sydney to Central Australia. This exhibition showcases potential futures that this project may take, and poses many new questions along the way.

Christus Nóbrega is supported by the Embassy of Brazil, Canberra, and the Canberra Contemporary Art Space.

 

Portals is an exhibition of works on paper created from images that Clare Jackson has photographed, collected and drawn over the past few years. Jackson is interested in the relationship between photographs and printmaking, and how they can be interpreted through both traditional and contemporary print mediums such as etching, lithography, and laser engraving.

Image: Clare Jackson Practice Cloud 2019, lithograph on paper, 16cm x 12.5cm

 

 

 

[INSERT TITLE HERE] is presenting the collection of data from the active participants that have become a part of Belle Palmer’s series, Symbiosis 1 & 2 (2018) and Use with Extreme Caution (2019). Using interactivity as a focal point, these art systems reflect the relationship between the artist, the art objects and observers. Palmer has focused on extending her honours research and will be displaying her latest drawing machine as well as the results from her previous installations. [INSERT TITLE HERE] encourages viewer participation, it is crucial to these systems as it is their action and/or presence that informs the process of making.

 

Flesh d'Lite is an exhibition by Ellen Sleeman-Taylor, recent graduate of the ANU School of Art and Design and recipient of the EASS CCAS Exhibition Award.

Ellen is interested in the politics of the digital identity, in particular, the sacrifices made by users of technology in order to enable us to live in the new conditions of existence (Émile Durkheim). There are unavoidable sacrifices of our privacy and person made in the name of participation; participation in a culture of which we inextricably are a part of. In this sense it is a false choice, we participate or we are left outside. Our digital footprint demonstrates that our actions and desires can be predicted algorithmically and by all indication, they can also be influenced. This is exploited for capital gain. The contracts we sign, both unread and unreadable, with a click of our screens make a mockery of meaningful consent.

In Flesh d'Lite Sleeman-Taylor is interested in the body and in the ownership of the 'soul'. In Discipline and Punish, Foucault describes the transition of the punitive system from openly cruel, exhibitory displays of their power and ownership over the bodies of the citizens they govern, towards the hidden, the quiet and with outward appearance of rehabilitation characteristic of the prison system. He describes how this new system amounts to the ownership of the soul. Sleeman-Taylor extrapolates these ideas and applies them to the tech giants who are arguably more powerful and influential than some governing bodies, with unprecedented access to knowledge of the most personal nature, including literal ownership of our DNA. She explores these ideas with a series of posters laden with information, soft-sculptures and digital prints and animations. The work is a soft pink that languishes around the room, the colour of 'default flesh', as stipulated by Google's algorithm.

 

Holding Pattern

My sculpture is concerned with camouflage and its relation to form transformation and illusions of materiality. Through the use of pattern, light, and scale, camouflage can change the perception of form. A natural phenomenon, camouflage can be adopted to disguise man-made objects and blend them into their immediate localities. It transforms the artificial into the organic and disintegrates structure by making it appear to shape-shift. In my sculptures, colour schemes and markings obliquely reference nature, but the choice of synthetic paints and their method of application render them completely artificial. This process removes the camouflage patterns from their normal context, highlighting the juxtaposition of imitation and the organic, and accentuating the sculptures by disguising them, paradoxically, in a conspicuous manner.

Holding Pattern is a mid-sized PVC pipe sculpture atop an elevated platform. Pipe elbows combine to create an infinite knot or loop, which, although non-objective, reference the organic. Its modular components suggest a repetition of form, but each is unique in its arrangement, reflecting a free-form process of assembly. An innovative camouflage design using adhesive vinyl wrap covers its surface.

Schema (Yellow) & Schema (Orange) are 2D wall-based works that reflect the designs on Holding Pattern. To create these, a tessellated, random pattern generation technique was used based on Voronoi diagram image processing. These patterns occur naturally in nature and biological forms (cell culture), and are used in complex mathematical programs for mapping systems, information technology, and anti-face recognition. The enlarged pixelations on the panels challenge notions of image representation, and the camouflaged shapes on the sculpture distort form perception. Schema relate directly to the sculpture they adjoin in the gallery – their subject matter and method of display correlates with the industrial-ness inherent in the utilitarian pipes and support system of the sculpture, while the exaggerated pixel designs match the systematic patterns on the sculpture’s surface.

These innovative and unconventional artworks have their origins based firmly in both the urban and rural environment. They have obvious and distinct correlations with specific natural systems, such as woodland habitat. They also reference more civic locale, and it's this connection between the urban/suburban that I hope will activate rigorous discussion and debate with the audience.

Mark Booth

October 2019

 

Wandering between the past and the future brings together a family of four for their first collaborative exhibition. Their themes revolve around the Human Condition. The centrepoint of this exhibition is a diorama: a long panoramic tableau across which a procession of figures trudge. Each character possesses attributes symbolizing their personal identity and social role but the procession is a metaphor for society’s collective journey through life, one that is shaped by political, social and personal forces. The journey might be that of the refugee fleeing conflict and environmental catastrophe, a perennial human predicament, but can also be viewed with regard to our own passage through daily life as we shoulder our various burdens and negotiate its challenges. The artists have utilised a range of approaches including sculpture, collage, drawing and print media to create a visually potent and thought-provoking spectacle.

Gallery Hours for this exhibition only: Wednesday to Sunday 11am to 5pm.

 

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