Pretty Im-pressed is an exhibition of prints I began making during my recent residency at The Art Vault in Mildura. Translating my visual language into etching and woodblock printing encouraged me to be playful and open to new ways of exploring texture, colour, mark and materiality. The prints demonstrate new techniques I learnt such as Collography, Carborundum and woodblock printing by hand. I specifically used pink, pearlescent pigment and glitter as a way of challenging the negative stigma surrounding craft and associations with the terms ‘child-like’ and ‘girly’. These elements are visual cues that reclaim the idea of ‘girliness’ and are also a way of expanding compositional and material possibilities.
Adrift is a body of work developed over the past 12 months, in which I attempt to visualise the intangible nature of love and the absolute certainty of mortality. The drawings are made of dust and nothing.
Image: Adrift I, Patsy Payne, 2016, mixed media; courtesy of the artist
A show exploring the theme of fashion within the context of contemporary art – a look at what’s hot in painting and fashion today.
Ruby Berry creates organic woven sculptures that push scale and material contrast. Ideas of protection, comfort and containment are explored through these intricately detailed forms using wool, cotton and beeswax. The slow and deliberate weaving creates a strong relationship to the body, through process and final form.
Image: Ruby Berry, Enclosed (2015) Beeswax, cotton, stones; Photo Brenton McGeachie
My work is an exploration of public spaces such as shopping centres, train stations and supermarkets. I explore my interest in the way in which people move in these spaces and the impression screen technology is making on our public space. Footage stills from different places are digitally collaged. This visual information is then translated into my painting with the use of scale, fragmented perspective, repetition of imagery and pictorial digital troupes. These compositional approaches are used to draw a link to the fragmentation and disorientation of public spaces and time in transit.
Manuka on a Saturday Morning is an exhibition sourced from films that are particular to the Urban Manuka area. Filmed over one Saturday morning the exhibition is a site specific painting installation for CCAS Manuka.
Image: George and Pitt St, 2016, image and artist statement courtesy or the artist
What if we didn’t have a word for day and a word for night – if we didn’t split our understanding into two apparent opposites? What if instead, we paid close attention to the subtle qualities of certain moments throughout the 24 hour cycle; the period just as the moon appears over the horizon, the moment the temperature drops before the dawn, or the changing light as rainclouds obscure the sun. What happens when we immerse ourselves in an unfamiliar environment? What is it about stepping into the unknown that simultaneously embodies hope and fear, dreams and terrors? Can we map our experience of night and day in the way we map the earth and the night sky?
Jessica Brooke Anderson and Ellis Hutch have created a contemplative installation of screen prints, drawings and artist books made whilst working as Artists in Residence at Megalo Print Studio and Gallery. Their work has been created in response to a recent journey into the Flinders Ranges in South Australia. Their research site – the rich and fascinating Arkaroola Station – is a wilderness area marked by stunning ridges of sedimentary rock and alive with the stories of the original Indigenous inhabitants and marked by the complicated history of colonial settlement.
Into this environment the artists have brought their own interests in how humans encounter unfamiliar spaces, how we respond to the environment around us and view it through our existing lenses. Learning to navigate the physical landscape we question our individual identities, our relationships with our surroundings and the layers of cultural and social conditioning that can both aid us and blinker our ability to perceive.
About the artists
Ellis Hutch (AUS) and Jessica Anderson (USA) had their first conversation on a snow-covered road in rural Finland. As they walked they discovered mutual interests in mindfulness, embodied practice and practice-based research. Since that meeting at the Arteles Creative Centre where they were both undertaking artist residencies around the theme of Silence, Existence, Awareness; Ellis and Jessica have continued their dialogue and are investigating their intersecting interests through a process-based collaboration.
Image: Ellis Hutch, Dreams and Terrors (installation detail), 2016; image courtesy of the artist
I am fascinated by ruptures in perception and their potential to prompt new and unpredictable visual experiences. I take patterns from Islamic geometric decoration and use competing visual cues to hold these structures on the verge of collapse with tension between flatness and relief, between abstract form and spatial illusion, between the centre and the infinite repeat, between lines collected into shapes and lines as single temporal trails.
I am interested in manipulating these forms to generate permanent states of doubt. Paintings which cannot be seen at once but which dissolve and reform as meditations on the impossibility of knowledge.
Image: Shilly Shally, 2016, acrylic on laser cut ply, 60 x 50 cm; image courtesy of the artist
Animal Magnetism continues Davidson’s investigation into the alluring power screen based technologies have on contemporary culture. For this exhibition Davidson samples 1950s footage of techniques used by hypnotists. The source material has been edited, looped and reconfigured to form multiscreen assemblages. Animal Magnetism aims to draw attention to the mesmeric appeal of the screen, asking what it means to think, see and filter affect through the digital and to question ways in which new technologies are impacting our relationship with perception, social relations and reality.
Shanti Shea An's work explores the role of intimacy and touch in painting. Working in both figuration and abstraction, she looks at how images of love are both experienced and “read” through our understanding of language and narrative. Other Loves is a collection of recent paintings and drawings on theme of love as both an emotion and an activity. While these have been informed by historical interpretations, they are also reflections on the contemporary experience of romance.
Image: Laetitia's Boy, 2016, oil on canvas; 28 x 26 cm. Courtesy of the artist
An exploration of storytelling, narrative, and the vehicles we use to tell them. Focused on memories real, borrowed and fictional, and the line we draw between truth and fiction.