Frontman is a solo exhibition by emerging local artist Campbell Chalmers. Based around hardcore music, the energy and passion of performance and creativity through this type of musical expression. The works look into the psyche and motivations of the hardcore audience and how aggressive and violent music and performance can have a cathartic effect for both performers and audiences at hardcore shows. The selection of prints and drawings highlight both the outward energy and inward reflection of the emotions of those involved in hardcore music.
Image: Hit your friends, 2017, etching; courtesy of the artist
Unstable Ground explores themes of instability, uncertainty and chaos in the form of mixed media collages which are painted onto various unconventional supports. The works undergo an iterative process whereby photographs of previous paintings, as well as digital drawings, are printed and collaged into new works. Shown together, these paintings form networks of colour and line, which are disjointed in parts, revealing their instability. These collages possess a dense materiality, and their over-saturated colours and sculptural textures create a sense of information overload. This is a reflection on the turbulent world we are living in, and the precariousness of being an emerging artist.
Image: Amy Campbell, Hanging in the Balance 2017, mixed media collage, dimensions variable; courtesy of the artist
Sweet Nothings features the work of emerging artists Johanna Butler and Louella Raynolds, and examines a sense of beauty in absence. Butler uses the motif of drapery in lieu of the figure. Her paintings depict draped forms layered in bright abstracted spaces. Through the relationship between fabric and flesh, Butler’s work expresses the movement and liveliness of the body. Raynolds explores the connection between nature, time and loss. Her paintings evoke imagery that harks back to the Victorian curiosity, a period of beauty despite death. By fragmenting her subjects, she explores a lost sense of identity within the Australian landscape.
Image: Louella Raynolds, Jamais vu, 2017, oil on canvas, 50x40cm; courtesy of the artist
A history of wind is India Zegan’s new multi-part project. The first chapter, The tree would only be found at higher altitudes (2015-2016) presents a suite of seven large automatic drawings that allegorise slow building, wild weather events. To steer us through unknowable waters, these cartographical drawings imagine an encyclopedic study of cloud patterns. Zegan will also present a selection of new and recent works that bookend and contextualise these new drawings.
India Zegan is a Sydney-based conceptual artist who works in sculpture, installation and drawing. This is her first solo exhibition in Canberra.Image: The tree would only be found at higher altittudes, 2015-2016, 150cm x 100cm, photograph by Felicity Jenkins; courtesy of the artist
Luke Aleksandrow’s practice investigates the breakage of the ceramic form and the silence that follows. Aleksandrow is fascinated that ceramic art objects are normally experienced through our eyes and are rarely handled, and questions if this makes them any less functional than a broken object. For at least a moment a broken object was felt; it was heard.
The Break Collection: Volume One is a collaborative exhibition which includes works donated by fellow ceramic artists that Aleksandrow has been taught by, mentored by or exhibited with over his years of practice: Sandra Black, Greg Crowe, Grahame Hay, Kim Lyons, Alana McVeigh, Jacob Ogden Smith and Stewart Scambler.
Artist statement Image: Luke Aleksandrow, 2012, Top View Break, video stills
Three hundred and sixty six is the outcome of a yearlong drawing project focussing on patterns and rhythms in daily life. The exhibition is comprised of 366 drawings, one for each day of 2016, charting a journey of actively engaging and recording an aspect of everyday life. The aim of the project was to deliberately capture a moment, scene or thought that encapsulated the main focus of the day.
Image: 08/07/2016, watercolour on paper, 8.4 x 8.4cm; courtesy of the artist
I don’t read books. Of course I have read a handful, and own more than I can count, but I would never describe myself as a ‘big reader’ or a ‘booklover’. Encyclopaedias in particular have always been a complete mystery to me. Thankfully the tide has turned, and what were once a symbol of intelligence, wealth, and status have now become practically worthless – dusty relics full of old information presented in an old way. Booksmart is an installation of over 100 Encyclopaedias and reference guides presented alongside a video piece. It celebrates the death of a dated, static way of storing and accessing knowledge, and the birth of a new dynamic and democratic vehicle for information that often requires more of the reader.
Artist statement and image courtesy of the artist
I am passionate about the environment. My immediate surroundings of different plant species makes me think of their life cycle and growing conditions. In today’s climate, I am interested in how native and introduced plants compete with each other and how evolution and climate change play a role. Structure and colour combination becomes a viewpoint to the work, suggesting the idea of cross-breeding.
Image: Crossed over,(weed flower x Fejoia flowers) 2017, resin flowers, 20x20cm; courtesy of the artist
Third Eye is an interactive exhibition to be recorded and experienced through the third eye we carry. We often use our phones to excessively document our lives, for most the camera on our phone is the only camera we ever use regularly. Third Eye is a series of analog objects constructed from plywood, string, photographs and some outdated forms of technology revisited for the pleasure of your third eye to see. Once the experience is over the owner of the device is encouraged to review the memory and see the experience for the first time.
Image and statement courtesy of the artist
Morph is a series of small-scale acrylic paintings that use a restricted palette of ten colours and a dotting technique to create atmospheric colour effects. Cat Mueller employs this construct to explore the possibilities of colour relationships by subtracting colours to demonstrate how changes in tone affect the overall mood of the painting. Throughout the series, opposing dotted gradients confined to geometric zones reveal themselves at a distance. Every work has small variations that mutate from the previous painting, each emitting their own otherworldly light source.
Cat Mueller, Static Field 5, 2017, acrylic on board, 35.6 x 27.9 cm; courtesy of the artist