c3 February Exhibition
I Watch a lot of Science Fiction
As our technological systems gain complexity, our natural and digital worlds are seemingly less distinct; merging via a kind of mutual mimicry. I watch a lot of Science Fiction explores ideas of technological utopias in a world where simultaneously nature is increasingly enhanced by technology, and technology is anthropomorphized. Channeling language and material specificity to create connections between technology and their biological origins, Alicia King’s new work plays upon the concept of ‘the future’ as a mythical entity that can never actuate.
Dreaming on a Bus
Violetta Del Conte Race
Dreaming on a Bus is a set of woodcut prints derived from everyday experiences, particularly encounters with constructs such as the urban environment, and notions of lifestyle such as aspirations to luxury.
These images both depict and abstract various scenes of the everyday: people in a city street, a close up of a person’s face made generic in its simplicity, or a textural study of the surface of a street or building. The works explore the tension between experiences of bureaucracy, labour and transport and the space of imagination and the subsequent aspirations that inevitably accompany these experiences.
The repetitive process of printmaking can be seen as an alternate to the repetitive perfected images we see online / in real life. In contrast, woodcut printing, due to its slow labour intensive process, leaves room for variation or imperfection.
Gallery 3 + 4
Devika Bilimoria, Alan Constable, Michelle Hamer, Amanda Marburg, Jackson Slattery, Sean Whittaker – Curated by Juliette Hanson
Media Hype brings together the work of six artists who critically engage with materiality by using one medium to explore another.
The exhibition spans painting, drawing, textiles, photography, ceramics, film and installation. The works are hybrid by design, compounding different media in a way that disrupts the conventional relationship between medium, form and content.
Photography is a binding theme within the exhibition and is integral to all of the artists’ practice, as a point of departure or reference, a source of inspiration, a mode of investigation, and as a practical tool. The exhibition is testament to the ongoing impact of the photographic medium, and an exploration of its limitations and possibilities.
Media Hype focuses on media and materiality as a response to the flattened or virtual world of screen culture, serving as a reminder of the importance of unmediated experience.
Rabbits Rumble, Dancers Tumble while Cats Meow
This exhibition loosely uses the logic of “Cadavre Exquis” and “Broken Telephone” (formally known as the culturally insensitive “Chinese Whispers”) as a mechanism to retell a story with paint. The Surrealists played this collaborative parlour game, typically involving four artists as a way of disrupting the waking mind’s penchant for order. For this project this rationale is applied to image collation and creation using Google as a collaborator, sometime friend, sometime foe. By playing the game with Google, the works are imbued with imagery from popular culture, Internet memes, spiritual symbolism, the history of art and personal memories. As each image dissolves into another painting the possibilities and failings of digital networks are explored. Just like the game, each retelling alters the whisper trail – revealing a glimpse into the random, often spilling into the absurd, whilst creating opportunities for unpredictability and chance. Moving between scratchy, gestural mark making, abstraction and figurative painting, some works are painted in bold, bright colours while others are rendered in mute monochromatic hues. Individual works communicate with each other with colours and motifs that appear from piece to piece, capturing abstract rhythms that hold elusive meaning within the sum of its often quite unrelated parts. The process is ultimately about making a painting.
The practice of intentionally including slight and minor irregularities in Persian rugs is derived from the belief that god is the only perfect being. But who wants to follow a perfect god? An imperfect deity, or ‘false god’, one that is deemed unworthy of divinity is more relatable. A god that shits and pisses, makes mistakes and apologises.
Modern mechanised modes of production allow us to flirt with perfection and approach unfaltering precision. However, no matter how advanced technology becomes all material production is imbued with a human element – it’s this part that contains risk and the ‘perfectly imperfect’. Shay Colley explores these notions through a series of digitally woven and printed rugs comprised of hand-cut collages, endeavouring to display balance and stasis between disconnected elements. The collages are then scanned and interpreted by an online ‘photo’ weaving service. Though striving for perfection the software will make approximations of the images rather than perfect replicas.