c3 February 2019 Exhibition
'Alien Nature' explores ideas of biological utopias within the context of the technologisation of nature and anthropomorphisation of technology. In this context, what once seemed familiar is made strange. New works traverse biological metamorphosis, premised by a contemporary global engagement with new technology that places us eternally on the brink of the ‘future’. This idea preoccupies King's ongoing practice, exploring the transformative potential of biological matter in humans and the wider environment. Playing upon language and material specificity to create connections to biological origins, object and text-based works play upon concepts of technological utopias/dystopias and contemporary pop-culture.
'Indoors' is an exhibition of still life paintings exploring the use of subtle gestural distortions in representational imagery. These paintings depict singular objects placed on surfaces or lying against a wall. The subjects are everyday things cluttering the studio, given unusual attention through observational painting. The solitude of each object encourages an empathetic reading of the works, while their scattered installation suggests possible relationships between the painted objects. At the same time, painterly interruptions – oddly cropped compositions, unnatural colour, a loose application of paint or a break in the picture plane – result in visual ambiguity, deflecting such a reading. This exhibition is a snapshot of the ephemera Scales surrounds themself with, mundane things made important, absurdly but tenderly considered.
The same uneasiness with which opera has historically portrayed non-Western cultures still echoes in today's mass media. 'Armida' is a multimedia installation that explores the asymmetries of race, gender and religion between the West and the Muslim world, depicted since the Middle Ages as a perpetual unknown, always exotic, sometimes a threat. Armida first appeared in the First Crusade epic narration Jerusalem Delivered by Torquato Tasso. Since then, her character has been central to more than ten different operas: the first, by Monteverdi, in 1627; the last, by British composer Judith Weir, in 2005. She is a Syrian warrior enchantress that falls in love with Rinaldo, an European knight conflicted by her beauty, mystery and sensuousness. In some versions, Armida is imprisoned in a magic island, in others she commits suicide: in none Armida and Rinaldo remain together.
"I am bounded by the curve, entirely and in parts I am swept up in Algebraic rhythm, without understanding Pain chords sweep me and I am a well in motion I am yearning to be deep within my photographs, unable to keep edges in focus, falling corners, jerking thighs, protective gesture My body is a closed book and I am the hand the covers the womb."
'Of Sampaguita, Ilang-Ilang'
Czar Kristoff, Lesley-Anne Cao, Mj Flamiano
'Of sampaguita, ilang-ilang' contains narrations and reinterpretations of the sampaguita wreath – a common object and persistent industry found throughout the Philippines. In fine white thread, sampaguita and ilang-ilang flowers are strung together to create fragrant garlands with practical and spiritual functions. They are most commonly peddled to people in transit, walking or in cars, and hung over rear-view mirrors or religious statues in homes and churches. Working remotely from their locations in Laguna, Quezon City and Melbourne, the artists will respond to the meaning and value of the sampaguita and ilang-ilang as they are carried from place to place through the exhibition.
Kari Leemcinneny-Mcrae, Ro Noonan, John Brooks, Vittoria Di Stefano
'Invisible Bridge' brings together four artists, with overlapping investigatory concerns, working in the area of object-based sculpture.Within their sculptural practices the artists hold individual and collective interest in the transformative, evocative and psychological implications of material investigation. For the context of this exhibition the artists investigate these interests with the intention of materially interrogating the notion of “the bridge” by expanding identified overlapping objectives and qualities in their practices – intimacy, memory, temporality and tactility. Additionally, the works investigate ideas regarding human/material agency within the processes of formalisation, and how constructed material conditions can facilitate a sense of flux and in-betweenness.