920.01.SHA is a lifelong, non-figurative self-portrait using index cards and the Dewey Decimal Classification System, by ACT artist Shags. This work distills the artist’s life into a book title for each year, which allude to bigger stories and touch on the idea that no-one ever fully knows another person, we all just fill in the gaps.
1. Biography, genealogy, insignia: Philosophy and theory
Made possible by the generous Canberra Contemporary Art Space Emerging Artists' Residency Award from the 2017 ANU School of Art & Design Emerging Artist Support Scheme
Image: Shags Self portrait (1970 - ____) (detail 20/50 so far) 2018 – , inkjet print on index cards, dimensions variable
The Philosophy of Time Travel is an immersive exhibition of soundart installations by Brian McNamara. Through changing sound and movement this exhibition highlights the uniqueness of moments in time. The artworks include interactive and autonomous devices inviting interaction between the viewer and the artworks. Some pieces use unusual movements or senses to be played, others sense the surrounding environment and make sound in response to it. The sculptures use a range of materials including timber, 3D printed plastic, recycled electronics and found items. During the exhibition McNamara will design and build soundart works in a small workspace within the CCAS Manuka gallery using a 3D printer, programming platforms and hand soldering materials.
This exhibition is the outcome of 3 years work with sound, electronics and movement and is McNamara's first solo exhibition.
In Perforation Keith Bender responds to perforated steel with a series of sculptures that combine his fascination with abstraction, light, negative and interactive space and the surface texture of steel in a series of wall mounted and freestanding works. The interaction of curved and flat sections of perforated steel and Corten play with the shadows and light generated from within and outside the work.
Skye Jamieson is a Canberra based artist who graduated from the ANU School of Art in 2017. Jamieson works with painting, drawing and print-making practises. She is interested in water and the incessant appearance of blue in a developed environment; its constancy amongst rubbish. The artist often works in immediate ways on canvas and paper in reflection to found objects.
Image: Skye Jamieson Vicks Vapour Drops in a Carpark 2018, pigment, oil paint on canvas 120cm x 100cm
After a resent personal loss I entered a period of introspection/retrospection where I reflected on my 30 years as a painter. I subconsciously began gathering those elements and themes I love about the medium and revisiting them from a more personal perspective as I worked towards this exhibition.
My journey began with a series of portraits exploring male beauty, especially that of the queer male through representations of his allure and his power. All the while looking at a wider range of influences from the modern cultures of fashion and advertising to the historic influences of romanticism, symbolism, loss and love.
This then lead me to the landscapes of the classical romantic vocabulary - ephemeral vistas given layers of meaning with each layer of paint. They were also setting these works in a modern context heavily influenced by artists Claude Lorrain, Jean-Baptiste-Camille Corot, Eugene von Guerard, and Tom Roberts.
I hope you enjoy these thematic works, influenced by modern fashion/culture and 19th century romanticism, and I invite you to create your personal narrative whilst viewing.
Image: Gerald Jones Untitled (detail) 2018, photograph by Brenton McGeachie
Image: Dierdre Pearce Untitled, 2018, digital photograph
Parataxis is the result of speculating on the extent to which human bodies have adjusted to digital immersion. The interactive installation is an idiosyncratic exploration of mutual dependencies between human and algorithmic systems and includes text, images, sound and objects. These occupy the gallery as an imagined experience of life with and without the influence of digitally assisted time, organisation, navigation and memory. The audience is invited to enter, explore and become part of the work.
This exhibition is an outcome of research in the Sculpture workshop, ANU School of Art & Design and ANU College of Engineering and Computer Science and is supported by an Australian Government Research Training Program Scholarship.
How does a quilt relate to endangered Australian flora and fauna? Local artist Michele England has drawn parallels between the comfort afforded by a quilt and the fragmented habitat faced by many Australian species in her latest solo exhibition.
England utilises the techniques of screen printing, machine sewing and embroidery to make work in her exhibition Remnants. Quilts, by nature, are many small pieces bound together to make a larger single piece. Quilts provide warmth, are made with love and often use favourite fabrics, imbuing them with memories. England's new work utilises these quintessential quilt elements to discuss habitat fragmentation across our contemporary landscape.
Not satisfied with just making her unique quilts, England also collaborated with four conservation groups to raise funds and awareness for their grassroots activities. On sale during the exhibition are the artist’s designed and hand printed tea towels, showcasing these not for profit organisations and their excellent work.
Image: Michele England Fragments 2018, screenprinted reclaimed fabrics, builders synthetic line, woollen blanket, heart charms, 68cm x 51cm
Profile is a continuation of my current work presenting a study of the female form from the unique, subjective line of sight we have of ourselves. In this way, I aim to map and record the female figure through abstracted and layered photographic imagery in order to analyse form and surface - the body unfolding from itself as line and tone. This also allows for consideration of the role of the gaze, providing a female perspective on the female form. Using decals, I transfer photography to glass with water and heat, layering images to investigate ways to observe and experience the body - expressed visually through soft dappled imagery, evocative of feeling and sensation.
Image: Rose-Mary Faulkner A single perspective 2018, kiln formed glass with decals, dimensions variable. Photo: David Paterson
Alex Lundy’s exhibition, Seen and Foreseen, is a response to the 1962 film La Jetee by Chris Marker, focussing on the way time can be conveyed within a static image using methods of screen-printing and large digitally manipulated drawings. This method of image manipulation references Marker’s predetermined narrative in La Jetee.
Using the photocopier as a tool to reimagine how an event can be observed at different points through space, a static image is manipulated by hand to document a fluctuating, stretched, compressed or duplicated version of the original image. The outcome becomes both familiar and uncanny versions of itself, something similar to a déjà vu in the eye of the viewer, or subject.
This process continues Lundy’s investigation of the interdependent relationship of digital and analogue methods of image making, with contradictions in the work serving to highlight gaps between the experience and memory of human time, and the digital measurements of spatial time.
Image: Alex Lundy Seen and Foreseen 2018, graphite on paper, 150cm x 100cm (approx.)