ArcHIVE://2019
2019.01 d.i.y?
Billy Bain, Joshua Bentley, Jennifer Brady, Zoe Gojnich, Millie Mitchell, Rumpa Paweenpongpat, Natalia Stojevski, Matthew Varnay16 January - 2 February 2019
Opening Night Tuesday 15 January 2019, 5-8PM
D.I.Y. (adjective)
Do-it-yourself; describing something that may be constructed by one’s self without the help of a trained professional.
d.i.why? is a cross-disciplinary investigation into low-fidelity, do-it-yourself and process driven artmaking practices. Glorifying failure and inadequacy, the exhibition celebrates the home-made, man-made, found-object, cheap, damaged, broken and breaking.
This curated mess prioritises process and the act of making, in the production of materially-aware artworks. The works are united not through media or thematics, but instead through an overarching grunge aesthetic and layered approach to artmaking. Encompassing assemblage, ceramics, photography, printmaking, installation and performance, d.i.why? disregards ‘perfection’ in order to actively engage and communicate with the audience.
Cover Image: Natalia Stojevski, Ew Vom Don’t Call It That (detail shot), 2018
d.i.why Room Sheet (opens in new window)
This Is That
Bradlee Wiseman6 - 23 February 2019
Opening Night Tuesday 5 February 2019, 5-8 PM
This is That investigates a deeper involvement with self and space. Working across mediums of painting and installation, this exhibition is offering up a new pictorial perspective of how we shape and perceive our physical world. Playfully using colour, form and composition, Bradlee Wiseman explores facets of people, objects and the outside world. Through an accumulation of physical experiences, on screen and in tactical painting mediums, this exhibition aims to acknowledge these links between art and everyday spaces. By presenting a series of whimsical happenings across 2D and 3D forms, This is That seeks to manifest the potential for the medium of painting to re-configure the way we perceive the world around us.
Image: Bradlee Wiseman, Open sesame (metaphorically), 2018, acrylic on paper, 21.0 x 29.7cm
Images courtesy of the artists and Kudos Gallery. Photos: Liam Black
This Is That Room Sheet
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Northern Tales
Vilma Bader6 - 23 February 2019
Opening Night Tuesday 5 February 2019, 5-8PM
Using three locations, Northern Tales explores the mnemonic function of linguistics, semiotics and space in the construction of identity. The work emerges out of two years of travels and artist residences in Iceland, Finland and Estonia. All three locations, while indisputably European, are peripheral within the European imagination. Contemplative immersion and engagement within these locales’ communities and experiencing the landscape in all seasons was important. The approach differs and culminates in a compelling, kaleidoscopic world where fact, fiction, myth, history, the old and new merge and play off each other. The hand-made appliqués in the Icelandic component refer to the country’s medieval sagas, and stories and events from its not so distant past. The extensive use of textile and hand stitching evoke long dark northern winter nights and storytelling. The Finnish component functions as a collection of visual poems and as a comment on the unsustainable timber industry in Finland. The Estonian component brings forth the strikingly colourful doors of its capital city. Northern Tales is foremost about the local and particular, while suggesting multiple narratives which link universal histories and the common memories they may share.
Image: Vilma Bader, Women in the Age of Settlement 2018, 62 x 210, acrylic, canvas, hessian, hand stitched and painted appliqués, textile, cotton thread
Images courtesy of the artist and Kudos Gallery. Photos: Liam Black
Northern Tales Room Sheet (opens in new window)
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2019.04 Heirlooms for Mutant Children
Hugh Black, Rosy Leake, Sena Kosaroglu, Lihnida Krstanoska-Blazeska, Joshua Reeves, Patrick McDavitt and Ella Tindal
27 February - 16 March 2019
Opening Night Tuesday 26 February 2019, 5-8PM
Our mutant children will not understand our creations.
You might not either.
They are born of a time which once was but will never be again
A future and a past unknown, a present understood but uncertain.
They will remain, vitrified and permanent in their states until perhaps one day their parts are realised again.
Bitchumen, Earth, Bolts, Glass, Perspex, Glaze. Our immediate environment fired in our guts.
They are not precious
But they are the remnants of our most darling flesh
Fired into being.
They are the heirlooms we pass down to our senseless children.
Heirlooms for Mutant Children suggests trajectories for a future through ceramic objects which engage with traditional and contemporary ceramic production methods. This disparate selection of contemporary ceramic works explore concepts of the queer body and identity; archaeology and environmental degradation; loss; language and text; and childhood, while responding to an overall theme of physical and mental malformation. We have created art that is experimental, provocative and at times grotesque. They are the precious heirlooms one might pass down through generations yet they are signifiers of a tense and confused modern climate.
Image: Rosy Leake, ‘Mangrove mountain 1970-2018’, (detail) 2018. Fired found clay and objects, dimensions variable.
Images courtesy of the artist and Kudos Gallery. Photos: Liam Black
Heirlooms for Mutant Children Room Sheet (opens in new window)
