Josh Darcy has worked with steel over a number of years as both a functional and artistic pursuit. During the past six months his work has challenged the way steel is generally perceived and used to create literal and abstract sculptures.
This is Nigel's first photographic exhibition and comprises his body of work to date. The collection does not follow a particular theme but rather reflects the memories that the photographs hold for the artist.
three is an exhibition of works by Andy Mullens that uses photographs, stitch, and sculpture to explore her Vietnamese-Australian heritage. Inspired by a recent trip to Saigon, Mullens employs found objects and old photographs, while reworking the national colours of gold and red. Drawing on the pre-war Vietnamese flag and the Vietnamese “lucky number 3” Mullens connects family, nationhood and self in her works, reflecting on what it means to experience cultural duality.
Kate Vassallo’s solo exhibition Orbit is an abstract exploration into light, movement, colour, line, repetition, optics and illusion.
Within her process based art practice, Vassallo utilizes drawing, installation, video and performance. Since graduating from the ANU School of Art in 2010, she has presented work throughout Australia including Canberra Museum and Gallery, Perth Institute of Contemporary Arts, Firstdraft (Sydney) and Bus Projects (Melbourne).
Llewellyn McGarry's work addresses the artist's preoccupation with collections regarding her self, relationships and interpersonal contamination and how these combine to define identity. familiar impurities explores these ideas in regards to McGarry's own changing health. The collections represent one hundred days of contamination, through metaphorical snapshots of her daily life using self portraits, collected detritus of consumed medication and re-creation of this medication.
Llewellyn McGarry, 1,382, 2015, plaster and gouache paint, dimensions variable; Image courtesy of the artist
catfish blues presents an exhibition of colour, reflections and blurred surfaces. The exhibition space is transformed into a laboratory for perceptual experiments with light as an analogue for understanding waves and vibrations. The idea of waves begins to question the static understanding of space. The works draw on the dual nature of light as both an object and non-object to investigate the nature spatial perception and colour.
Francis Kenna is a candidate for PhD, Graduate Studies in Visual Arts at the Australian National University School of Art, supported by an Australian Postgraduate Award.flame (2014) tungsten lamp, flouresecent light, filters, dimensions variable
Scab is an exhibition of works developed during Potter’s 2014 residency with CCAS. Potter is influenced by sources as ephemeral as colour and sound, which work as a starting point for him to push painting and drawing to a sculptural level. CCAS program manager and Blaze Nine Curator Alex Boynes emphasised the physicality and influence of sound in Potter’s work, stating “Potter’s process is a live and physical experience, as he makes works in response to the blasting noises and synth squeals that come through his stereo.” In Scab, Potter explores materiality, pictorial space and the possibilities of paint by experimenting with materials and method.
Image: Jacob Potter, In Out, 2015, mixed media
Disasters: volcanos, landslides, plane crashes, sink holes, the supernatural, the indescribable. Natural phenomena and tragedy are a part of our daily lives. We see them on the news and on the internet from a voyeuristic distance, or experience it first hand. Canberra artist Elena Papanikolakis’ exhibition Error Machine uses natural phenomenon found in the world of shared and collected images on the internet and print as a basis to explore abstraction, motion, energy, chaos, and fragility. Using paint as her main medium, but also looking at the possibilities of drawing and photography, she combines found imagery with her own abstract vision and talent to explore colour, space, texture, form and rhythm.
Photographs are a way of capturing and pinning down memories. We take photographs as aids for memory, but they in turn affect the way we remember. Kate Barker uses photographs as a basis for her paintings. By reinventing photographs through paint, Barker returns photographs’ coherent and informative remembrances into the disjointed, sometimes incoherent state of real human memory. Barker is a Canberra-based artist from Wagga Wagga, which was the focus of much of her previous work. With her exhibition A Matter of Time, Barker has turned her sights on Canberra, looking at the way in which places and people interact and imprint on each other.
Print by Numbers is an exhibition of 16 life-sized portraits by Daniel Savage. Working with an experimental photo process on plastic vinyl, Savage makes us question how and why we perceive people in different ways.
CCAS Program Manager and curator of Blaze Nine explains, “Often appearing as the central subject in his work, Daniel Savage makes photography, video and performance art that critiques society’s attitude toward gender, race, ability, sexuality, belief and the human body in it infinite variations”.
Print by Numbers will have audio descriptions, braille, and large print gallery sheets available upon request.
... all paintings employ an ingenious evocation of the name of the philosopher John Locke which is coherent and to the point. Aboriginal culture is an important influence upon the work as well as an embrace of a certain subjective wilfulness and I am very pleased with the subjectiveness of the work because in today's society there's far too much quasi objectivity, "logic", "common sense" etc. which is passed of as objectivity.
James Rowell Rosetta Stone 2014 oil on board