The series Junction is fundamentally about portraiture. The subjects stem from direct observations within common places. These unscripted engagements are key to the sincerity of the work; forming a dialogue between observer and the observed.
The exhibition features intimate drawings, lithographs and screenprints. The use of printmaking allows the artist to respond to the original impulse of drawing, making it denser, more convoluted and complex in thought.
Drawing on the multi-disciplinary skills of the artists, John Hart, Saara March and Sui Jackson this collaborative (and immersive) installation transforms the gallery into a pseudo-Victorian drawing room, peopled with glass flora, fantastic fauna and views of impossible landscapes.
The exhibition title is a quotation from the popular 1980’s television series, Monkey Magic. Just as Monkey Magic operates on multiple planes - entertaining and comical whilst dealing with some of Buddhism’s most important philosophical concerns –the title references our shared (pop) cultural interests and the light-hearted nature of our collaborations whilst simultaneously hinting at the more serious underpinning to our practices; an interest in the transformative power of cogitation and imagination - central to the Monkey saga.
Claire Lenehan and Alycia Moffat explore intrusion and anxiety in their upcoming exhibition Unmentionables. Utilising different modes of drawing, the artwork in Unmentionables represents different aspects of female body experience. Alycia Moffat uses clothing to convey emotional and physical tension. In her series of drawings, Moffat studies underwear, cutting away the fabric and warping the remaining structures. She is interested in the delicate material qualities of paper, distorting the picture plane with duct tape. In deforming and recreating intimate garments, Moffat observes the anxieties that accompany sexuality and bodily condition. Claire Lenehan aims to give a greater, more empowered voice to women who have experienced gendered violence in all its forms. Her body of work was manifested whilst noticing frequent casual dismissals of inappropriate attitudes towards women. Lenehan uses feminine art forms to create portraits; these confront the implications of such behaviour with the emotional reality for the victims.
Riley Beaumont explores the x, y and z of a, b and c by counting backwards through the alphabet beginning with the number 8. As trees on the highway take the exit lane, a series of paintings, drawings, and sculptures were developed.
Investigating the sound of a plane flying over a curved surface within a pictorial plane, the works use a combination of assemblages and paint on canvas to further explore the inconsistencies between subject and representation, figure and ground, seventy words and five.
Image: P.E.G., 2015
Josh Darcy has worked with steel over a number of years as both a functional and artistic pursuit. During the past six months his work has challenged the way steel is generally perceived and used to create literal and abstract sculptures.
This is Nigel's first photographic exhibition and comprises his body of work to date. The collection does not follow a particular theme but rather reflects the memories that the photographs hold for the artist.
three is an exhibition of works by Andy Mullens that uses photographs, stitch, and sculpture to explore her Vietnamese-Australian heritage. Inspired by a recent trip to Saigon, Mullens employs found objects and old photographs, while reworking the national colours of gold and red. Drawing on the pre-war Vietnamese flag and the Vietnamese “lucky number 3” Mullens connects family, nationhood and self in her works, reflecting on what it means to experience cultural duality.
Kate Vassallo’s solo exhibition Orbit is an abstract exploration into light, movement, colour, line, repetition, optics and illusion.
Within her process based art practice, Vassallo utilizes drawing, installation, video and performance. Since graduating from the ANU School of Art in 2010, she has presented work throughout Australia including Canberra Museum and Gallery, Perth Institute of Contemporary Arts, Firstdraft (Sydney) and Bus Projects (Melbourne).
Llewellyn McGarry's work addresses the artist's preoccupation with collections regarding her self, relationships and interpersonal contamination and how these combine to define identity. familiar impurities explores these ideas in regards to McGarry's own changing health. The collections represent one hundred days of contamination, through metaphorical snapshots of her daily life using self portraits, collected detritus of consumed medication and re-creation of this medication.
Llewellyn McGarry, 1,382, 2015, plaster and gouache paint, dimensions variable; Image courtesy of the artist
catfish blues presents an exhibition of colour, reflections and blurred surfaces. The exhibition space is transformed into a laboratory for perceptual experiments with light as an analogue for understanding waves and vibrations. The idea of waves begins to question the static understanding of space. The works draw on the dual nature of light as both an object and non-object to investigate the nature spatial perception and colour.
Francis Kenna is a candidate for PhD, Graduate Studies in Visual Arts at the Australian National University School of Art, supported by an Australian Postgraduate Award.flame (2014) tungsten lamp, flouresecent light, filters, dimensions variable
Scab is an exhibition of works developed during Potter’s 2014 residency with CCAS. Potter is influenced by sources as ephemeral as colour and sound, which work as a starting point for him to push painting and drawing to a sculptural level. CCAS program manager and Blaze Nine Curator Alex Boynes emphasised the physicality and influence of sound in Potter’s work, stating “Potter’s process is a live and physical experience, as he makes works in response to the blasting noises and synth squeals that come through his stereo.” In Scab, Potter explores materiality, pictorial space and the possibilities of paint by experimenting with materials and method.
Image: Jacob Potter, In Out, 2015, mixed media