Three hundred and sixty six is the outcome of a yearlong drawing project focussing on patterns and rhythms in daily life. The exhibition is comprised of 366 drawings, one for each day of 2016, charting a journey of actively engaging and recording an aspect of everyday life. The aim of the project was to deliberately capture a moment, scene or thought that encapsulated the main focus of the day.
Image: 08/07/2016, watercolour on paper, 8.4 x 8.4cm; courtesy of the artist
I don’t read books. Of course I have read a handful, and own more than I can count, but I would never describe myself as a ‘big reader’ or a ‘booklover’. Encyclopaedias in particular have always been a complete mystery to me. Thankfully the tide has turned, and what were once a symbol of intelligence, wealth, and status have now become practically worthless – dusty relics full of old information presented in an old way. Booksmart is an installation of over 100 Encyclopaedias and reference guides presented alongside a video piece. It celebrates the death of a dated, static way of storing and accessing knowledge, and the birth of a new dynamic and democratic vehicle for information that often requires more of the reader.
Artist statement and image courtesy of the artist
I am passionate about the environment. My immediate surroundings of different plant species makes me think of their life cycle and growing conditions. In today’s climate, I am interested in how native and introduced plants compete with each other and how evolution and climate change play a role. Structure and colour combination becomes a viewpoint to the work, suggesting the idea of cross-breeding.
Image: Crossed over,(weed flower x Fejoia flowers) 2017, resin flowers, 20x20cm; courtesy of the artist
Third Eye is an interactive exhibition to be recorded and experienced through the third eye we carry. We often use our phones to excessively document our lives, for most the camera on our phone is the only camera we ever use regularly. Third Eye is a series of analog objects constructed from plywood, string, photographs and some outdated forms of technology revisited for the pleasure of your third eye to see. Once the experience is over the owner of the device is encouraged to review the memory and see the experience for the first time.
Image and statement courtesy of the artist
Morph is a series of small-scale acrylic paintings that use a restricted palette of ten colours and a dotting technique to create atmospheric colour effects. Cat Mueller employs this construct to explore the possibilities of colour relationships by subtracting colours to demonstrate how changes in tone affect the overall mood of the painting. Throughout the series, opposing dotted gradients confined to geometric zones reveal themselves at a distance. Every work has small variations that mutate from the previous painting, each emitting their own otherworldly light source.
Cat Mueller, Static Field 5, 2017, acrylic on board, 35.6 x 27.9 cm; courtesy of the artist
Fueled by a lifetime fascination with manned spaceflight and frustrated with Australia’s lack of a space program, sculptor Tom Buckland has developed his own DIY backyard space expedition agency. Contact Light chronicles Tom’s homemade space odyssey into the unknown, displaying hand-made equipment, artefacts, spacecraft and spacesuits to recount a fictional journey into the unknown.
Image: Tom Buckland, Voyager (detail), 2017, mixed media; courtesy of the artists
A bed is a place where we are at our most vulnerable. Our beds have witnessed countless incidents; our restless nights, sexual conquests, sound sleep, adolescent tears and much more.
Someone Else’s bed showcases used sheets and pillows in small booths to create an experience of these intimate belongings within a gallery context. In doing so, I aim to explore the significance of acquainting yourself with a stranger’s bed and what it means to have a such a private moment in a public space.
A series of figurative paintings featuring scenes of meditative ambiguous intent, investigating the visual potency of an ordinary moment. The works are crafted from a sporadic collage of references from life, film and print; attempting to re direct narrative in the pursuit of an authentic vision. The subjects are strangers to the artist in order to encourage an uninhibited approach. The figures inhabit almost cinematic scenes of contemplative introspection. This series is a salute to the figurative tradition, drawing inspiration from a rich and intimidating history.
Artist statement and image courtesy of the artist
I use my ongoing practice to reciprocally investigate and challenge my own perceptions within a culture of conflicting truths. I question an ability to empathise with other animals on the one hand and disconnect on the other. Forcing these emotions to clash, there is a strange sensation. A push and pull that results in perceptual dissonance. Of particular interest are our convoluted relationships with introduced species. Rabbits, in particular, have manifold meaning to us. Through blurring the contextual boundaries between pest, product and friend in a bodily experience I hope to communicate hypocrisies hidden in our everyday cultural experiences.
Image: courtesy of the artist
In this body of work, I continue my investigation of how we set up home. Ode to Frosta is a lament. Working with the mass produced rip off of Alvar Aalto’s stool sold at Ikea, I examine how the 21st century first world nomad establishes domestic space. I have painted the stools with patterns to refer to the tribal patterns that nomads carried with them on textiles and utensils before the advent of globalisation where the flat pack has replaced the saddlebag.
Image: Frosta 4,2016, acrylic on ikea stool; courtesy of the artist