c3 March Exhibition
A Small Garden Hideaway
Yoko Ozawa is a Japan-born, Melbourne-based artist. Working primarily with ceramics, she is interested in how vessels might be experienced beyond their tableware functionality - as objects occupying a space, engaging with light, shadow, and the atmosphere of a room or building. Working with subtle tones and geometric, simplistic forms, spatial surroundings are emphasised. This is embodied by the Japanese notion of Yohaku (blank space) and informs the installation in the gallery, in which a suite of new ceramic forms interacting with the unique architecture, light and surrounding gardens of the front gallery space are displayed.
Historical Fiction and the Order of Things
Coming from the foundation of photography, Kate Hodgetts’ practice plays with the limitations of the medium and its associations with memory, nostalgia and truth. Utilising the camera-less photographic technique of cliché verre, her work aims to reframe photography’s ability to “capture a moment” by shifting focus to surface: scratch, dust and fingerprint. The works within Historical Fiction and The Order of Things explore ideas of time, trace and touch. Whilst abstract, there is a narrative structure to the work, and by referencing temporal media such as cinema, these works aim to remind us that no two frames are identical, that no moment is the same as the last.
Give Them Distance
Give them Distance, a projected video and mirror-sculpture installation, explores the paradoxical coexistence of entropy and the infinite. Created from hundreds of slides discarded by a university Earth and Planetary Science department, the looped video animates a journey from Earth, through the solar system and space, returning to our planet via fallen meteorites. The accompanying audio is the degraded sound from a super-8 film, Walt Disney’s 1979 sci-fi “The Black Hole”. Juxtaposed with the video is a mirrored infinity box sculpture, which becomes activated when a viewer peers into it, reflecting the exterior space in infinite form: placing the viewer and space in a sense of infinity. By employing the conditions of entropy and infinity, the aim of the installation is to point to the challenges of comprehending the cosmos and what lies beyond our perception.
The sound in the form of a word
in terms of living
as a body
to relate or be isolated
from things we can’t relate to
“It is as if the organic and the inorganic have re-found a possibility for intimate partnering. In this partnering, things reveal their subjectivity, while humans reveal their thingness, to the point where it becomes hard to say who moves whom, who choreographs whom, and who is choreographed by whom.” A. Lepecki
Virginia Cummins’ photographic work examines notions of belonging and connection to place. The idea of time is often skewed through her use of obscure vintage cameras from the 1950s and ‘60s — whose inherent lo-fi aesthetic seems to manifest the period of their production. This series of large-scale silver gelatin hand prints calls on the old-world landscape tradition of Romanticism and the quest for “the sublime”. Shot in remote areas of South Gippsland, they explore the positive power of nature and how our immersion in this world can move and change us. Technique is also key. To immerse oneself in the process of traditional photographic techniques, to capture the light of a landscape in a little tin box requires an attitude of meditation. It involves a slowing of the breath, a steadying of the heart and mind, and a synthesis with the natural world.
Ivy Marie Apa - Nice Buenaventura - Alfred Marasigan - Nomar Bayog Miano - Gigi Ocampo - Soika Vomiter Curated by Tania Smith
Proximity is an exhibition of works by contemporary Filipino artists from Manila and Cebu. The exhibition considers our relationship to place within the framework of what geographers have termed the “new mobilities paradigm” (Sheller and Urry 2006) - an increasingly mobile world of migration, social media and accessible transport. Furthermore, rather than places acting as settings or surfaces upon which things or people move, the idea of approaching place as an ongoing process, as a verb - ‘placing’, ‘spacing,’ ‘landscaping’ (Cresswell 2003) - is proposed as a provocation when grouping together works by artists from one country and presenting their work in another. This project is supported by the University of San Carlos and Ateneo de Manila University.
Tania Smith and four of the Proximity artists will hold a free artists talk on Saturday 11 March from 2 – 3pm at c3 Contemporary Art Space to talk about their works and the Filipino art scene.
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