My paintings are relics, re-recorded images from the recesses of my mind, the peripheries of photographs, the trailing edge of a piece of fabric, the abrupt interruption of one surface by another. They are thoughts in colour, lines, shapes and how these fall together. They are experiments. They are questions.
Bleached, saturated, uncomfortably laden with pattern, just a little bit tired, my paintings speak of their working process, the scars of their birth on their face. I tread a delicate line between beauty and ugliness – I am baited and seduced by the idea of creating work that is both. In this way I interrogate my own judgements about what successful art is, I celebrate frailty, expose what is vulnerable, share something private, question perception.
The Divided Works pay homage to minimalism and the process of construction. These compositions incorporate building materials where a horizontal element is introduced to allude to the horizon line. The main idea in this series was to stick to a set of rules around proportion and let the surface of the work convey a sense of space.
Image: A Place to Wait, 2015, contact on board, 685 x 427mm
Immersed by Kate Bender is exploration of colour, the representation of light and the perception of space through the traditional medium of oil paint on canvas. Elements of illusionism are merged with abstraction creating a degree of playfulness in the immediate visual and aesthetic experience, along with a deeper philosophical and metaphorical reading of the works. The paintings radiate with a visual energy that comes from not only the contrasting colour, but also the ambiguity of the nature of the spaces depicted. The paintings contain moments of energy and tranquility, the colours are intense yet balanced by degrees of understatement.
Image: Dance, 2016, oil on canvas; 122 x 91 cm
Using an organic approach to making, Clare Jackson and Zoya Godoroja-Prieckaerts create an exhibition of ceramics, textiles, installation and works on paper. As the title suggests, the exhibition explores tensions between various elements and concepts. Erratic marks are paired with fluid watercolours, soft textile sculptures with solid ceramic vessels, muted tones with vibrant colours. The two artists look at the ways in which their works align and depart, where they inform each other and where they look inwards. While G-P is influenced by the impact of personal and collective experiences, Jackson is fuelled by a desire to retain amorphous moments in time.
Image: Courtesy of Clare Jackson
✌GVCCI☯THVVG✌ is an irl exhibition that explores the representation and misrepresentation of women within cyber-culture, particularly focusing on the cyber-gaze, online consumption and the increasing blurs between cyber-femininity and cyber-masculinity.
Image: ▽▽ CTRL ▽▽, 2016, video still, image courtesy of the artist
Rock, roll, repeat is an exhibition of 100 drawings by Chris Sutevski. This is the first of six exhibitions by the 2014 Canberra Contemporary Art Space studio residents and is sure to set the standard for those to come.
Beginning with an unassuming rock, Sutevski employed a dice to determine how many drawings to make, the tool, time, input, feedback and hand used for drawing. Between 1-6 drawings were made initially, with one then being selected as a starting point for the next round. This process was then repeated until 100 drawings were produced.
Chris Sutevski is a notoriously methodical artist, continually setting up complex rules and parameters to determine the nature of his work. Sutevski displays both the rules and the drawings, allowing the audience an insight into his creative process.
The evidence of a mark can be read as a record of ones presence. In this recent body of work Isobel has investigated how her mark making, which includes carving, drawing and imprinting, has recorded her physical presence and also her absence. Isobel has used both traditional and non-traditional mark making techniques to create this body of work that ultimately stands as evidence of a moment in time from which each of the works were made.
Image: Imprint, 2016, Polymer resin; 10.8 x 15 cm, image courtesy of the artist
Colour, line and light are recurring themes in the work of Kirsten Farrell, Waratah Lahy and Al Munro. The investigation of these themes is fundamental to our practices.
They each explore notions of colour, line and light in different ways and use those differences as the starting point for the cross over of new ideas and ways of working. The artists' inspirations are diverse: colour theories & systems, everyday life, scientific codes, formulas and data. Although the three interpret their subject matter in varying ways, their work shares a love of colour and the use of unusual and interesting materials.
Image: Courtesy of Waratah Lahy
The drawings explore the relationship between the memory based architectural linear language, and the visual spatial flow created by investigating density, mark, space and immersion. Each work uses different ways to break up the drawn density and create a connection with the negative space.
Individuals’ humble actions to organise nature can give rise to a sense of familiarity, security, and ultimately connection to the land that they inhabit. The Foundations of Place displays a series of still life paintings by Hayley Lander that feature pruned branches from local gardens. This recent body of work explores the interdependence of self and place.
“Place is security space is freedom; we are attached to the one and long for the other.”
—Yi-Fu Tuan, Space and Place
Image: Origin, 2016, Oil on board, 60 x 80 cm. Image courtesy of the artist.