c3 June Exhibition
'Dirtied Glyphs' is an installation of painted fabric banners by Jonas Ropponen. The banners were once sexual health centre examination table sheets sourced from one of the artist’s places of employment when the medical centre transitioned to disposable sheets. The bedding received a second life as studio drop sheets, catching paint while the artist made other pieces over the space of a year. The final ink paintings on the banners were made in a way that played with the bleeding and dripping of the watery ink, which often proved difficult to control as it soaked into the unprimed fabric. Images and text were generated quickly – a kind of mind spillage. Themes in the work centre around flow and sedimentation expressed through text and imagery about the human body and its secretions, sexuality, religious sacramental wine, the flood of internet information and receding youth.
The photographs in this series were taken around the urban landscape and later buried there. Distilled over lengthy durations, these film transparencies interact with minerals and humidity of the soil to decay, transform and mutate over time. Once the film has been excavated, it is carefully washed in rainwater and left to dry in the sun. The film eventually attracts insects and bacteria, which eat away the image into material abstraction, demolishing the pictorial, and freeing the photo-object from the burden of depiction. Through collaboration with the landscape, 'Fossils' attempts to describe the inherent disorder, chaos, turmoil and beauty of nature; qualities reflected formally in the colors, shapes, and texture of the work itself.
Marina Breit has a creative practice spanning textiles, jewelry, object, and site-specific installation. In her work she explores emergent relationships between viewer, object and site. She engages with sculptural studies that are created and arranged intuitively in staged settings. Through a process of material investigations she works with relational elements and characteristics of aesthetic intrigue that manifest in the assemblage of the works. Her practice expresses a sensibility toward minimalism, balance, scale and the subtle textures and forms alluding to human presence and the handmade. Found objects and everyday materials are transfigured and re-contextualised to invite narrative tensions and opportunities for dialogue between the viewer and the conditioned object.
'An Introduction to Liminal Aesthetics'
Ali McCann’s 'An Introduction to Liminal Aesthetics' explores the liminal phases of artistic pedagogy and art production. The works examine the aesthetic disorientation an artist experiences during this learning process – a disorientation that creates an environment for errors, unintentional transformations and new interpretations. The backdrop in these works originates from a collection of 'failed attempts – a collection of photo-sensitive paper McCann salvaged from a darkroom bin at a photographic college where she once taught. The abstract silver gelatin prints, creased and torn, marked by light-exposure and chemicals, show evidence of her students’ darkroom errors and unsuccessful experiments. These 'failed attempts' now become backdrops for still-life arrangements of obsolete teaching aids and found objects.
'Between You and Me'
Laura Moore and Ron Adams
This exhibition presents two solo bodies of work with independent concepts but when placed together in conversation, expand in meaning. Facing each other, these works reflect and bounce off each other in interesting ways, creating a space in between them that is void of judgment yet loaded with questions – simple yet essential questions about existence, self, relationships, perception and love and how we're looking for those answers today. Ron Adams’ work invites an awareness of the way perceptions of ‘signs’ operate. You might call his artworks ‘meaning composites’. Understanding that emotion and thoughts are complex and abstracted things and not able to be adequately pictured, Adams presents compositions that contain multiple elements and symbols. The works are like pages of an autobiographical narrative or account. Laura Moore's large-scale portraits strive to capture both the adolescent subjects and the medium of photography during a shared period of evolution. Captured on a smartphone, with the phone then placed in the enlarger to make a traditional silver gelatin print. The entanglement of photographic histories and technologies results in portraits that become unclear the closer you get to them.
'Elast (i) city'
Amalia Lindo’s practice considers image politics through the critical application of practical methodologies such as montage, archive and narrative. 'Elast(i)city' offers the image as a point of departure through which viewers will be invited to think about how meaning is constructed – how it becomes distorted through virtual distribution and how it can be detached and drained of its original intent to produce specific or slanted narratives. The decoding of the photographic and filmic work presented in this exhibition requires the viewer’s active participation in looking beyond the frame of habitualised representation.
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