The inversion of signs and signals in our lives has the potential to create great confusion. What if tomorrow a red traffic light meant “GO” rather than “STOP”? The world may not end but there would certainly be widespread confusion ! When the meaning that is associated with commonly known signs and signals is upset and reversed then there is the potential for disconnection, dislocation and chaos.
Oscar Capezio examines these themes in his exhibition The Signal Is The Message which examines the relationship between signals and the viewer. In describing the work for this exhibition, Oscar is cryptic. It is up to the audience through their own participation, to decipher the work as he states, “I want to say… exactly what I am trying to tell you”.
Quick fix is an immersive audio visual installation that looks at the effect of toxic materials on the natural environment.An evolving video collage is created in the space using multiple projectors and screens. Fragments of cheap plastic household items smear across a large image of a constructed natural landscape. The work fluctuates between the ‘Quick Fix’ that these cheap materials suggest and the long term and irreversible damage that they cause to our delicate landscapes.
Historical medical and scientific instruments and devices are sources of great fascination. For Nat Randall it is the devices that were used to harness the power of orgone energy (or orgasmic energy) which have captured her imagination and become the focus of her first solo exhibition Afterglow.
Randall says “Afterglow is an experiment into how to capture and represent this acute yet impermanent state of mind”. Video, light and soft sculpture are all employed as Randall seeks to examine our bizarre relationships with the world and other people.
Turkey Beach is a silent, black-and-white, two-channel video installation. Channel one presents a dream-like journey into the everyday life of the inhabitants of Turkey Beach, a small coastal fishing village 50km southeast of Gladstone. Channel two features compelling and mesmerising footage of the large-scale infrastructure and industry situated in and around Gladstone Harbour. Turkey Beach is a visual poem exploring relationships between people and the environment. It is a sympathetic portrait of people and place.
Luminous Earth includes new watercolour paintings, lithographs and drawings remembering my experience exploring the depths of the Grand Canyon last year.
Rafting, hiking and camping, the mighty Colorado River cut my path between the majestic, seemingly insurmountable, canyon walls that constantly framed my field of vision and, for a time, defined my world. It is a singular feeling to be inside the narrow arm of a canyon network, yet know that the network stretches outward beyond belief. Similarly, it is possible to stare at a wall of rock, excited by its visually dynamic form and structure while overcome by the history of movement scrawled across its surface.
A quest to find order amongst chaotic collections, drawings and objects inspired Saara March and Michelle Day to create and construct Taxonomic Infestation. This collaboration has resulted in the classification and presentation of their not-so-scientific musings and articles. An array technical drawings and bric-a-brac Taxonomic Infestation sparks curiosity and rewards inquisitive snooping.
Up and down, round and round – these are the patterns and movements of our daily urban existence and the focus of Swings and Roundabouts, Long’s sculptural works feature an intriguing engagement with grids and patterns. In contrast Huf employs flickering light and shadow in order to investigate the domestic sphere. Their works combine to pursue the elusive moments that constitute our increasingly urbanised and domesticated lives.
In exploring the world of childhood crafts there is an absolute abundance of materials, textures and a riot of colour to be found. Plaster, string, wool, confetti, crepe paper, glitter, drippy paint brushes, shredded paper and other incidental items are all brought together. Together these are what Lefebvre playfully calls “The tools of imagination explorers”. In Papier-Mache it soon becomes apparent that to Lefebvre, the art making process is of equal or greater importance than the finished product.
Having long been obsessed with the sea, Jeffery's work is not figurative; rather, it expresses itself through the texture of the overlapping paint along with the depth and breadth of colour, mimicking the expanse of the sea. In the catalogue essay, Yolande Norris describes Jeffery's works as “catching the light and swallowing the dark, Jeffery’s paintings are as reflective as water and as hard to hold”.
The experience of being awash in a sea of colour vivid, chaotic and dynamic is not to be missed. Jeffery expertly charts the waters of emotion and expression in this accomplished and mature show. Come set sail with us; be inundated by a sea of colour, texture and emotion.
THE INKSMITHS - ZOYA GODORJA-PRIECKAERTS, CLARE JACKSON, SACHA JEFFREY AND CHRIS SUTEVSKI
From the time that we are young we are encouraged to draw, to depict the people, places and experiences that we encounter or imagine. Through drawing, we have the ability to express new ideas and create our own realities. In Ordinary Problems four artists have joined forces as The Inksmiths exploring the complexities of drawing. Each of the artists is seeking to utilize their drawings to question the fundamental creation and discovery of new thought.
Chris Sutevski 99 Problems, detail ,2012, digital print on Hahnemühle, 17 x 12 cm each