THE INKSMITHS - ZOYA GODORJA-PRIECKAERTS, CLARE JACKSON, SACHA JEFFREY AND CHRIS SUTEVSKI
From the time that we are young we are encouraged to draw, to depict the people, places and experiences that we encounter or imagine. Through drawing, we have the ability to express new ideas and create our own realities. In Ordinary Problems four artists have joined forces as The Inksmiths exploring the complexities of drawing. Each of the artists is seeking to utilize their drawings to question the fundamental creation and discovery of new thought.
Chris Sutevski 99 Problems, detail ,2012, digital print on Hahnemühle, 17 x 12 cm each
Lorrimer's work is abstract minimalism at its best, exploring the possibilities of form and highlighting the beauty of his raw materials. Sheets of steel are transformed into elegant three dimensional structures that play with the viewer's perception of space, volume and movement, elements that are integral to all of Lorrimer's work. The pieces in this series play with perception by giving the illusion of weight. The visual weight of these works is more than their actual weight, as each unit of work is hollow and only gives the illusion of solid bars of steel. The volume remains the same as it would if the pieces were solid; it is the viewer's perception of the space displaced that is the illusion.
Excerpt from essay by Vanessa Wright
In the past few years, Daniel Edwards has made tapestries and weavings that explore notions of masculinity and family heritage, popular culture and tradition. Empire draws inspiration from a quilt in the Victoria and Albert Museum collection, titled ‘Military Quilt’, probably made by Private Francis Brayley around 1863-77.
Natalie Mather uses simple materials to phenomenal effect. Her paintings possess a galactic meets geometric aesthetic, gleaned from science fiction films, spacecraft, architecture and geological formations. This aesthetic is a clever metaphor for Mather’s very real journey into (pictorial) space and the painting process. An important part of the construction of each painting is a battle between preciousness and abjection, the finished and the unfinished.
Beer’s recent paintings are dark and deliciously heavy, but these qualities are complemented and enriched by sensual subtleties of tone and texture; layering and detail; chaos and order. Through these formal tensions, the viewer can’t help but be drawn into the all-important construction process vital to Beer’s work: a practice that explores all that painting encompasses, paint’s properties as a substance and different ways of mixing and layering paint and colours. Beer’s paintings question the place of abstract painting in contemporary art, and contribute much to this ongoing dialogue.
Once in a while an artist is able to give you an ‘aha!’ moment, in which the world and its possibilities open up before you. Chris Carmody is one such artist finding and exposing the sublime within the everyday. Carmody’s obsession with these ‘keep clear’ markings, lays bare a common signifier, a system of knowledge and participation, that we take for granted in our day-to-day lives: now that you’re thinking about them, you’ll see them everywhere.
Dan Vukovljak’s Something or Nothing is an experience in interactive art. After spending six months as a studio resident at the Canberra Contemporary Art Space, he has made the shift from painting to new media.
In Something or Nothing the art no longer stays on the walls, waiting patiently for you to come and stare it down. Bet you never thought art could be this addictive, but just wait till you pick up a singing pencil. You may need someone to come and tear you away from it. As you take the pencils in your hot little hands and start to draw you are no longer the same person, suddenly you are a conductor, a musician and an artist. You might be used to talking about drawings, but this drawing talks back. Listen to what it’s saying, it might be something, or nothing, but this is definitely one artwork that is not going to stay quiet.
Words by Alice Dickins
People often confess that they don’t know what to feel when faced with the work of Eadie Newman and Merryn Sommerville. Newman’s work is introspective, with strange human bodies and animal characters that are surreal, poignant and fiercely witty. She draws intuitively, with delicate line, a fleshy colour palate and intimate scale. Sommerville’s ostensibly innocent pastel drawings employ the figure of the child to communicate complex feelings about adult awareness of life and death. The dark background, luminous application of colour and sensitive mark-making give her portraits an intensity and dark beauty.
Lauren Hewitt’s new exhibition Some kind of Melancholy is both breathtaking and personal. She contrasts large scale, isolating landscapes with the homey and personal hand stitching. The combination of majesty and domesticity is both compelling and striking. Hewitt has long been enraptured by the beauty and mystique of the mountains. A self-described ‘armchair adventurer’ Hewitt showcases not just the beauty of mountainous landscapes but a profound sense of isolation and melancholy. Rather than the freedom of space, they map the topography of sadness.
Boathead explores the ways in which experience and encounter help us to build the stories which inform our lives. This animation, developed through the work of drawing and erasing, piecing together and eliding, creates a narrative and also references the process of building one. The marks left on the paper through erasure, like a palimpsest, recall, as I draw, the past that remains, blurred perhaps, but real, while I am constructing the future of my characters.