c3 April 2019 Exhibition
'New Formation' was created around the idea of eroding the boundaries between two and three-dimensional forms through the exploration and convergence of painting, sculpture and installation. What makes a painting, a painting? What makes a sculpture, a sculpture? Why are they treated so differently? The relationship between painting and sculpture is something the artist often ruminates on: wondering how the two disciplines communicate, coexist and how [or if] they can merge together to create a new hybrid form.
'I Can Stand Tall In This Shallow Well'
Lorilee Yang’s work utilises painting to explore the nuanced and fractured nature of the diasporic identity through incorporating references to familial history, myth and symbolism. She translates this experience outside of the traditional conventions of language by reinterpreting and hybridising. With a background and formal training stemming from a Western perspective, her work is informed by the lexicon of modernist painting. Through destabilising and subverting these Eurocentric paradigms, she attempts to challenge and claim agency over an identity that is constrained due to gender and exoticisation. Lorilee Yang is an artist based in Naarm (Melbourne). She completed a BFA (with Honours) from the VCA, Melbourne in 2014.
'V. Their Bosy Swells, And Asks To Be Held'
IchikawaEdward is a Naarm/Melbourne based artist duo consisting of Joshua Edward & Lee Ichikawa. Throughout the process of art-making, the artists are conscious of and prioritise themes such as queerness, the marginalised experience, othered bodies and accessibility. It is the artists’ intention to demonstrate works that speak to non-hegemonic notions of the body, the body’s intimacy with space, the body’s interaction with architecture. The artists question how our bodies rely on or subvert architectures, and what common frictions queer/othered/ disabled bodies encounter today.
Alex Ragg and Jasper Jordan Lang
Examining the significance of our private, public and close environment through reconstruction of objects. Objects are altered yet retain time and memory through the physical processes of replication and registry achieved through a variety of sculptural and casting methods. basalt wound articulates an archaeology of the now, viewed through each artist influence of their immediate environment. Ragg and Jordan-Lang deconstruct the environment in 'Basalt Wound', which questions the traditional use of object in the everyday.
'Shut Up Mountain'
Rebecca’s practice looks at the poetic — things known and felt but which evade direct visual perception and representation — unseen and unspoken experiences of actual and metaphorical sites and landscapes. How can these things be articulated in the material? The exhibition 'Shut Up Mountain' takes Berlin’s Trümmerberg sites, rubble-mountains constructed from the second World War debris of Berlin, as a research locus. The work is a meditation on the artist's experience, and the characteristics and ideas of these landscapes: mountains in disguise, they speak of contradictions between the transient, enduring and fragmented aspects of lived experience — they communicate the illusion of stability—impermanence dressed up as permanence, a mesh of disparate and intersecting components.
Situated on the lands of the Kokatha people in remote South Australia, the Woomera Prohibited Area (WPA) is the largest and most technologically advanced weapons testing range in the world. This restricted defence area, covering an enormous 122,188 km2, was established in 1946 via an agreement between the British and Australian governments. Now operated by the Royal Australian Air Force, Air Warfare Centre, their motto reads ‘ready the warfighter’. Over the past 70 years, this theatre of aggression has subjected the WPA to nuclear bomb test, radioactive waste storage, a detention centre, the world’s largest uranium mine and countless missile and rocket tests. Damaging traditional lands and significant sites, this is imperialism hard at work; conveniently tucked away ‘outback’ – out of sight, out of mind. The exhibition 'Woomera' exposes us to this contentious and highly confidential place, drawing attention to its dramatic, irreconcilable tensions.