Over the past three years John Hart's work has been increasingly informed by his interest in science - in trying to render beautiful or to make engaging scientific concepts which are fascinating, but often counter intuitive or obtuse. At Home with Ohm focusses on Hart's recent fascination with electronics - specifically the electronics of household sound systems: "Each time we turn on a radio, or Hi Fi system, or guitar amplifier we are unwittingly engaging with literally thousands of small electronic components which work behind the scenes, unnoticed and unrecognised, but which allow us to live in the digital age." At Home with Ohm attempts to make visible these hardworking but oft neglected electronic workhorses, and to demonstrate their usefulness in a meaningful way.Image: John Hart 220 uF Electrolytic Capacitor 2018
Like breathing in and out, moment upon moment, across a lifetime of moments, Between Here and Now explores the contradiction between the stillness of a moment and the flow of everyday life and daily routine. Much as an icon is framed to draw attention to the most important elements of the painting, Leonie Andrews uses stitch to foreground the way our lives are bound together, interwoven in culture, stitched in time.
Image: Leonie Andrews Brisbane 2017 (detail)
Amy McGregor's Episode is an exploration of narrative through visual cues and draws on techniques observed from film and television, particularly crime mysteries of the 70’s and 80’s. Each of these staged photographs presents salient features with minimal context and encourages speculation on the relationship between them. What is shown and what is hidden share equal importance in the provocation of imagination.
Image from the series Episode, inkjet print
Memory Within deals with the idea that we place personal and emotional value within the humble objects in our homes and intimate environments. Naomi Taylor Royds has focused on those collected trinkets and things, as well as the ordinary everyday objects largely unnoticed but with which we associate certain domestic ritual and their accompanying memories.
This collection of works questions the understanding in the importance of familiar domestic objects and the consideration that perhaps it is only through a personal connection that we find true value in the ordinary.
Image: Naomi Taylor Royds The Favourites 2018, pastel, ink, pencil
On the Air exhibits Ellie Chalmers-Robinson’s ongoing fascination with the experience of ambiguity present in the abstracted landscape of painting. Moving between the flat and spatial, the geometric and expressionistic, and the familiar and strange, her paintings impress a sense of becoming and undoing that perpetuate the process of looking.
Chalmers-Robinson graduated with a Bachelor of Fine Art (first class honours) from the Victorian College of the Arts in 2015. Recent exhibitions include Blueprints for the Roiled at Five Walls Projects and The Ravenswood Art Prize 2017. She is included in the Hill End Artist in Residence Program, 2018.
Image: Ellie Chalmers-Robinson Undulation 2018, oil and acrylic on linen, 72cm x 57cm
Alice, Interrupted is a new series of works exploring the extreme state of vulnerability that a child is exposed to as a dependant, and the symptomatic affects that these early experiences have on the psyche. Childhood objects, prints, drawings, photographs and audiovisual installations draw on a reoccurring sensation of helplessness and the desire for transformation as escape. Neither defined as a figment of the imagination nor a representation of some form of reality, Alice oscillates between pronoun, noun or proper noun––all of which lead to questions probing at an internalised traumatic neurosis. By opening up personal experiences to the public through an iconic narrative, the exhibition gives agency and validation to intense emotional and psychological states that are often suppressed in an attempt to subscribe to normative views, resisting shame and judgement. Alice, Interrupted discovers that there is the possibility of reasserting control through externalisation, and that the work allows one to express, recognise and thereby come to terms with bodily and emotional suffering.
Brooke Leigh is a multi-disciplinary artist from Sydney, Australia. By investigating repressed memories and anxiety through processes of drawing, her work explores how the performative act or event can become a cathartic experience. Leigh recently completed her Master of Fine Art degree at the Sydney College of the Arts (USYD) and LUCA School of Arts (Ghent, Belgium). Her live performance entitled, Drawn-Out was held at MCA ARTBAR curated by Julie Rrap (2017), Museum of Contemporary Art Australia and New Contemporaries (2018), SCA Galleries, Sydney College of the Arts. Leigh’s recent publications as author include ‘Moving Marks’, PAJ: A Journal of Performance and Art 115 (Winter 2016) Massachusetts: MIT Press, and ‘Time trace: A drawn perception’, Drawing: Research, Theory, Practice, 1: 2 (July 2016), Bristol: Intellect Books.
Image: Brooke Leigh Where I Start And Where I End Nobody Knows 2017, monoprint
Wayfinding is a new exhibition by Annika Harding featuring paintings that bridge her experiences of two very different landscapes, in Canberra and Finland. Following on from an artist residency at Arteles Creative Centre in Finland in 2016, Harding has continued to explore her practice of connecting to the landscape by walking through nearby forests regularly. In this exhibition she investigates the use of rope trail markers in the Finnish forest and how this method of wayfinding translates to her local bushland when creating new temporary trails for herself. Harding's paintings on timber (birch representing the Finnish forest, and yellow box the local landscape) and works on paper show how the artist residency experience has informed her ongoing art practice and her engagement with landscapes of different personal and cultural significance.
Image: Annika Harding Trail marker Haukijärvi 2016, watercolour on cotton paper, 20cm x 20cm
Budding is a series of works that explore how patterns can allude to organic growth. The vibrant colours and materials in each work are brought together to mimic the suspenseful moment before a plant pops into full bloom. The intricate freehand line work creates the illusion of movement and expansion as patterns sprout across the surface in shifting colours. This pregnant moment of pre-blossoming is also reflective of the artists current state - her emerging or budding entry into the art world.
Image: Romany Fairall Mouldberries (Yellow) 2018, acrylic, gel medium, pom poms and glass beads on board, 25.4cm x 25.4cm
Material Fixations showcases new paintings and textile works by Rachel Powell, which abstractly explore the layering of memories through the application of lines and scrap material. The two material processes are in dialog, with all works completed considering the similarity in processes of working with both media. The method of layering within the works sees textile pieces layered over each other to make an image, and paintings visually pieced, sewn, and layered like quilts. The collection of repurposed material and cut-up paintings embeds the artworks with past histories, while surveying the object and material state of the artworks.
Image: Rachel Powell Laminate Memories No.1 2018, acrylic paint, mica pigment, silk and varnish on linen, 80cm x 80cm
The work of Dire carries a sense of timelessness, and strives to surpass the limitations of historical or cultural context. Exploring the deep instincts that first saw primitive man paint on cave walls, or form creation stories reflecting and making sense of their own experience of the world, Solomon Grainger’s work seeks to give birth to its own mythologies, and is steeped in a rich sense of narrative.
Innocent and naïve, Dire conjures visions of dragons, voyages, and earthly wanderings through imaginary landscapes. This body of work boils away contextual constraints to reveal the purity of the human experience.