A bed is a place where we are at our most vulnerable. Our beds have witnessed countless incidents; our restless nights, sexual conquests, sound sleep, adolescent tears and much more.
Someone Else’s bed showcases used sheets and pillows in small booths to create an experience of these intimate belongings within a gallery context. In doing so, I aim to explore the significance of acquainting yourself with a stranger’s bed and what it means to have a such a private moment in a public space.
A series of figurative paintings featuring scenes of meditative ambiguous intent, investigating the visual potency of an ordinary moment. The works are crafted from a sporadic collage of references from life, film and print; attempting to re direct narrative in the pursuit of an authentic vision. The subjects are strangers to the artist in order to encourage an uninhibited approach. The figures inhabit almost cinematic scenes of contemplative introspection. This series is a salute to the figurative tradition, drawing inspiration from a rich and intimidating history.
Artist statement and image courtesy of the artist
I use my ongoing practice to reciprocally investigate and challenge my own perceptions within a culture of conflicting truths. I question an ability to empathise with other animals on the one hand and disconnect on the other. Forcing these emotions to clash, there is a strange sensation. A push and pull that results in perceptual dissonance. Of particular interest are our convoluted relationships with introduced species. Rabbits, in particular, have manifold meaning to us. Through blurring the contextual boundaries between pest, product and friend in a bodily experience I hope to communicate hypocrisies hidden in our everyday cultural experiences.
Image: courtesy of the artist
In this body of work, I continue my investigation of how we set up home. Ode to Frosta is a lament. Working with the mass produced rip off of Alvar Aalto’s stool sold at Ikea, I examine how the 21st century first world nomad establishes domestic space. I have painted the stools with patterns to refer to the tribal patterns that nomads carried with them on textiles and utensils before the advent of globalisation where the flat pack has replaced the saddlebag.
Image: Frosta 4,2016, acrylic on ikea stool; courtesy of the artist
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