Gorman Arts Centre

"Deb Mansfield also works with landscapes to transform them beyond the mundane. Here the boundaries are again interfaces: mangroves being at the junction of land and sea. The next layer Mansfield explores is the boundary between the external world and the domestic interior. The mangroves are brought inside, first into her apartment, then into galleries. Following the ravages of hurricane Katrina, the swamps of Louisiana forced the outside in. The disruption of the interior finds expression in an Albino alligator, an ectoplasmic discharge, and an inverted house. By converting the image to tapestry Mansfield returns us to the domestic world from whence we came."

From essay by Daryl Hewson for Queensland Centre for Photography.

Image: Deb Mansfield, 2010, installation view.


Pete Volich’s Dirty Finger Prints is an exhibition of video, photography and collage about memory, habitat, and how we affect these inanimate things. Showing suburban areas, Sydney gangs, old clothes and animals among many other things, the works ties together this diverse subject matter to create a vague narrative that makes us question and contemplate the experience of human life. Introspective, environmental and humorous are all parts of the puzzle, which Volich explores as social voyeur, never attempting to solve but instead simply present.

Image: Pete Volich, 2010, installation detail.


Space. It seems to go on and on forever. Then you get to the end, and a monkey starts throwing barrels at you.

Phillip Fry, Futurama

From time immemorial artists have looked to the heavens with a sense of awe and wonder but infinity (as we know it) is definitely not the concern of Innerspace. Christopher Bennie, Jacqueline Bradley, Ham Darroch, Shellaine Godbold, Ellis Hutch, Claire Pendrigh Elliott, Rusty Peters and Jed Wolki take a view of space that is more about reverie than comprehension. Deep space thus becomes a profoundly personal matter. Whether employing cosmic clichés, scientific research, observation or stories, the universal is to be found at home; in the kitchen, the nursery, the studio or the extended backyard. Materials are nearly always appropriately modest, with for example, cardboard boxes, toilet rolls, chocolate wrappers, wool, old newspapers, trash and breakfast cereal expressing grand(iose) ideas that engage with a futile struggle to conquer the meaning of life. Quite simply, Innerspace is an exhibition that sees the notion of space grounded by the gravitational pull of prosaic imagination.

Jacqueline Bradley, Universal Breakfast, 2013, wood, bronze, steel, silverware, ceramic, card, plastic paper; 130cm x 130cm x 70cm

Photograph: courtesy of the artist; photography by Brenton McGeachie.

Chris Bennie whose work features in Innerspace, is also exhibiting ,The Waves + Control Rooms at PhotoAccess from 2-26 July. His visit to Canberra is supported in partnership PhotoAccess and Ainslie and Gorman Arts Centres’ Visiting Artists Program.


Room is a sculptural installation that addresses notions of individual choice and decision-making in relation to the habitual and familiar. Human-scale sculptural objects evocative of humble bedroom or motel-room furnishings inhabit the gallery. The objects reference black and white directional signage of Australian suburban and regional roadways, inviting the audience to navigate the space. In this work tactility and aspects of the everyday coalesce with the absurdity of the objects to prompt subjective memories and responses.

artist's statement

Amelia Zaraftis Two Way 2015, installation, dimensions variable; photography by Brenton McGeachie


Gregory Hodge's work is characterised by psychedelic abstraction; while it may have evolved from postmodernism, his neon clashes of churning colour seem to owe more to a box of exploding origami.

Alexander Boynes

Gregory Hodge Untitled 2015 acrylic on paper mounted on PVC 183cm x 152cm; Photography by Brenton McGeachie

Gregory Hodge is represented by sullivan+strumpf, Sydney


Working in an expanded painting practice, Zoe Kirkwood uses the visual language and extravagance of the Baroque spectacle to create engulfing worlds that bring together painting, sculpture and installation.

In her most recent body of work The Screen Set, Zoe engages with the history of painting and its relationship to the three-dimensional world through the creation of large painted screens. Drawing on elements of her earlier painting and sculptural work, these screens take on the appearance of theatre props; functioning together as an elaborate stage set that directs, diverts and obscures the audience’s view; extending her painted work into the physical space of the viewer.

artist's statement

Zoe Kirkwood, The Painted Fold Series, 2013, installation view, dimensions variable, acrylic and oil on canvas, stainless steel, mild steel, wood, enamel; photography by Brenton McGeachie


Gorman Art Centre and the streets of Canberra (Parliamentary Triangle)

Robert Ladislas Derr visited Canberra to complete another episode in Chance, his capital cities project. From Columbus, Ohio where he teaches at Ohio State University, Derr walks through the capital cities of the world guided by chance, by people who roll dice providing numbers that determine his path. Thus the people of the city determine the course while having no impact on the actual route. Attached to the mirror suit are four cameras that photograph 360 degree views of the city placing Robert and his performance at the centre of capital city pyschogeography with all its symbolic architecture and public art. In a sense he becomes a public art work that reflects the city he is working in.



There is often something good about bad movies and The Wasp Woman, (1959) fits neatly into this category of cult classics. The Wasp Woman is the shocking story of Janice Starlin, a beautiful cosmetics entrepreneur who develops an elixir of youth from the royal jelly of Queen wasps. Needless to say the experiment goes seriously wrong and all hell breaks loose. A beautiful woman by day, lusting queen wasp by night - there is a message here for everyone. Along with Them (1954), Attack of the Crab Monsters (1957) and The Fly (1958), The Wasp Woman is one of several post war sci-fi/horror movies in which humanity’s quest for supremacy over nature unleashes sinister forces.

As part of Bloom Festival (Gorman and Ainslie Art Centres) and CCAS’s Science Fiction exhibitions Monster and Kynic, David Broker (curator) and Erica Seccombe (artist) discussed the malevolent role of isopods and insects in b-grade science fiction movies of the 1950s.


Saturday 27 April 2 - 5pm Theatrette Canberra Museum and Gallery

Introduced by Virginia Rigney Senior Curator Gold Coast City Gallery and Curator Imprint Growing Up Planned and Deborah Clark Senior Curator Canberra Museum and Art Gallery A seminar presented in conjunction with the exhibition Imprint Growing Up Planned showing at Canberra Contemporary Art Space 12 April – 18 May 2013 and the Society of Architectural Historians of Australia and New Zealand and the publication of a special issue of their Journal Fabrications for Canberra 100.

Deborah Van der Plaatt: Research Fellow School of Architecture The University of Queensland; Co-editor Fabrications Journal of the Society of Architectural Historians Australia and New Zealand Aesthetics, Spectacle and ideology in the Griffins’ proposed Capitol Building.

Quentin Stevens: Associate Professor and ARC Future Fellow School of Architecture and Design RMIT ; Reader in Urban Design Bartlett School of Planning University College London Visiting Research Fellow Humanities Research Centre ANU Planning Canberra’s Memorial Landscape: Death, Obscurity, and Reincarnation.

Roger Benjamin: Australian Research Council Dora Fellow 2013- 15 Dept of Art History & Film Studies Visiting Professor of Art History United States Studies Centre The University of Sydney. 10 Gawler Cres Deakin A paper which examines both the lived experience and architectural history of 10 Gawler Cres Deakin, one of only two domestic heritage listed properties in Canberra

Antony Moulis: Associate Professor Director of Research School of Architecture The University of Queensland Gods and Monuments: Figuring Canberra’s architectural landscape.


An evening or sound, performance, film and music in which the "players" produce a spontaneous cohesive composition based on an number of independent "acts". Using the entire gallery the audience is invited to wander among the performers, listening, watching and participating in the action. Spartak+ includes Shoeb Ahmad, Evan Dorrian, Matthew Lustre, Jonathan Corcoran, Sebastian Field, Paul Heslin, Grahame Thompson and Louise Curnham.