Manuka

Kael Stasce and Hayley Lander reveal experimental bodies of work that engage the act of creation and deconstruction in their exhibition, Intimate Obessions. This thematic concern delivers two unique approaches in practice. Stasce’s constructions deal with relationships between the experience of the machine and Lander portrays her interaction with sites of anthropogenic change in Canberra. The exhibition features sculptural assemblages and painting installations that show the connections between the artist, subject, material and methods.

 

Detailed patterns and a refined colour palette form the basis of Megan Jackson’s recent work, exploring ideas of simplicity, minimalism and functionality within our living environments. Drawing inspiration from the observed to the imagined, Jackson has extended her exploration of form and colour into a playful installation of interior objects and textiles.

 

Elaine Camlin, Rebecca Stapledon and Sairi Yoshizawa cohesively explore abstraction in their upcoming exhibition, Nuances This exhibition consists of works on paper which draw from aesthetic considerations, such as composition, colour and form. Individual approach is evident within the body of work while showing a consideration toward the interaction within in a shared environment.

Nuances is refreshing take on abstract art, the variety of approaches enlivens the paper surfaces with diverse media and explores the link between the exchanges of presence within the exhibition space.

Sairi Yoshizawa Spirit, 2014, synthetic cotton threads, paper and mesh, dimensions variable

 

Dierdre Pearce and Isobel Rayson explore mark making as a means to record their presence in the world. Following a sequence of processes, Rinse & Repeat exists as a series of tools exchanged by the artists together with drawings and photographs documenting their use.

The works are installed as timelines documenting the relationship between makers, tools and surfaces, exploring ideas of physical presence, authorship and influence.

Dierdre Pearce and Isobel Rayson First tools ready for use, 2014, mixed, 15 x 10 cm

 

The staircase is the recurring motif that winds its way through each of the pieces. Stairs are a common architectural device but here they are turned on their head. These stairs do not deliver their intended function instead turning in on themselves and repeating in unusual and unexpected ways.

The exhibition features all new sculptures fabricated using digital techniques: 3D printing, laser cutting, CNC routing and digital printing. These are some of the exciting technologies that are changing the face of society and contemporary art.

 

Heavily drawing on mass media culture and contemporary commentary, the practice of Martin James lends itself naturally to print making with particular attention to screen printing. The history of the mass-produced screen printed image and poster with their politically motivated messages are the logical supports for James’ inquiring works. He primarily addresses Australian history, Australian’s modern national identity, as well as refugee and human rights issues. Starting with the range of imagery available in these spheres, James drives familiar icons of the Australian visual landscape through processes of remix, remaking and juxtaposition that result in scenes of confusion, dry humour and subtle social comment

Martin James, Hold Your Tongue, 2014, screen print, 70x50cm

 

May Contain Nuts is a solo exhibition by 2013 CCAS Studio Resident Heather Brenchley, is a collection of absurd, sculptural works that make comment on society’s reaction to food allergies and intolerances.

 

A spontaneous group exhibition with Alex Asch, Mariana Del Castillo, Ham Darroch and Tara Sheild

Alex Asch courtesy of Beaver Galleries

Ham Darroch The Measure 2013

 

Embodied looks at the human body through the lens of social, historical and economic context and considers the way populations over time have projected their collective anxieties regarding status and identity onto the body.

The artist takes these concerns and makes visible their transcription in a series of assemblage and other mixed media works, elevating in the process human corporeality, taking it's inherent vulnerability towards a philosophical resolution which evokes both humor and transcendence.

Jo Walters Medicine Chest II: Specimen, 2014, mixed media, 118 x 46 x 16 cm

 

Floored is an installation that continues Susan Buret’s investigation of painted pattern in an extended pictorial space. Buret has been working with geometric form and pattern and is currently a Masters candidate at the ANU School of Art.

In this show Buret takes the picture plane from wall to floor, and uses painted tessellated triangular ply working with colour, form and fragmentation to explore some of the characteristics of both the materials and the patterns themselves.

Susan Buret floored,,2014, detail, acrylic on ply, dimensions variable

 

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