c3 February 2018 Exhibition
'Spirit Phones' are electronic devices created for speaking with the dead. They open up an electronic link between the world of the living and that of the deceased. Drawing on 100 years of Electronic Voice Phenomenon research, as well as the early necrophone prototypes developed by Thomas Edison, 'Spirit Phones' is a collection of functional prototypes for communication beyond the grave that visitors are invited to test for themselves. If not connecting us with our dearly departed, these devices at least put us in touch with the vast psychological and emotional landscapes within ourselves.
Hugh Davies is an artist and researcher. Trained as a sculptor and media designer, his creative practice draws on mapping, games and media archaeology. He is a post-doctoral researcher in Design and Creative Practice at RMIT.
What the hell is with Stone Henge?
For this exhibition, Dettmer presents a new collection of oil paintings that translate a flux of dissociated images into his own distinctive language of flat realism. Here, a textural focus on surface and shade flesh-out flat surfaces with a sculptural sense of softness and weight, creating figures of intense and specified interest by abstracting everyday scenes from their broader contexts. Inexplicably varied in subject matter, Dettmer’s disparate images obliquely reference the rich visual history of our global past. Yet by refusing to explain themselves through a clear conceptual narrative, Dettmer’s paintings reveal how moments of radical visual difference may begin to converse through a uniform style of painting. What captures Dettmer’s attention thus also intrigues his audience: how and why do all these images fit together, if at all?
'Second Sight' is an exhibition that examines the human relationship with spirituality, religion, ritual, and faith. Positioning a cynical look at our collective need for meaning, the work examines the idea that 'seeing is believing', and uses the trickery of photography to hijack the everyday in order to capture the ephemeral.
Kasia Lynch, Eddy Carroll, Trevor Flinn, Carmen Reid
By definition, an altar is an elevated place or structure, a mound or platform where rites are performed or on which sacrifices are offered. Affecting the atmospheric qualities of environment through a specific demarcation of space, either publicly in a place of worship or devotion, or in the personal domestic space of a home, an altar establishes an intent to communicate – to commune.
In this exhibition, the symbol of the altar is employed as a thematic gateway for the artists to question and elaborate on the ways in which humans seek deeper meaning within and beyond the conditions of daily existence. Collectively, but also through the current concerns of their own individual art practices, Eddy Carroll, Trevor Flinn, Kasia Lynch and Carmen Reid provoke viewers to contemplate and question the strategies, tools and behaviours that humans have developed, adopted and adapted throughout history in their quest to know the unknown.
My Jindabyne II.
Steaphan Paton, a Melbourne-based artist, is a member of the Gunai and Monero Nations – he grew up in rural Victoria. His work explores colonialism, tradition, concepts of race and conflict. Influenced by his home country, ‘Gippsland’ and his experiences, Paton uses painting, sculpture, installation and video to articulate his worldview. Paton’s most recent solo exhibitions include; 'Muraskin' at Tristian Koenig (2017), 'Contrecoup' at COMA Gallery (2017), 'Doublethink' at RMIT Gallery (2016) and 'Come in' at Alaska Projects (2016).
This project is supported by Creative Victoria.
Hesperia: Land looking West
'Hesperia: Land looking West' brings together a series of artworks by Matthew McAlpine that examine the colonial legacy of Western Australia’s first Governor, James Stirling, the man initially responsible for invading Nyoongar boodja (country). Through an interdisciplinary arts practice, the work aims to critique the celebration of his legacy; which contributes to the ongoing concealment of Indigenous experiences and versions of history. A range of processes including reproduction and performance have been used to question the privilege given to the portrait of Stirling in Government House, Perth, and The Presentation Cup guarded by the Western Australian Museum. Through the manipulation of forms and materials, the artworks aim to subvert the colonial legacies by rejecting and disrupting their intended functions as symbols of power and authority.
This exhibition has been supported by a Creative Development Grant from the Western Australian Government’s Department of Local Government, Sport and Cultural Industries.
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