c3 May 2018 Exhibition
the dinkiest di
I think you’ll see eye to eye
Looking true as blue
Southern cross tattoo
on his barbecue
‘Knock Off’ presents faux / fabricated objects of Australiana whilst referencing the term “knocking off” from the work-site. The exhibition invites patrons to take part in a sausage sizzle and consider what fuels the fire that is the ocker male stereotype in Australian society.
between two summers
Trudy Moore uses paper and charcoal to take three-dimensional impressions of objects and architecture. Through this work, she explores a space between drawing and sculpture and considers notions of transformation and memory in relation to human experience. The empty, sculptural drawings suggest notions of absence and presence, while also dealing with ideas of artifice and illusion. The techniques Moore employ to manipulate the paper indicate an expenditure of physical energy, illustrating both force and support and creating a tension between resistance and collapse.
The Rock Hunters
'The Rock Hunters' is a photographic series inspired by the shared hobby of artist Lauren Bamford’s grandparents, Bonnie and Roy in the 1960s and 70s, and the town of Lightning Ridge. The work is a result of Bamford’s experience of ‘fossicking’ through their home and discovering these treasures in unsuspecting places – gold nuggets wrapped up in tissues, amethysts in old cigarette tins. In contrast with their own fossicking through dirt, clay and streams, the artist discovered these uncut gems and minerals inside cardboard boxes and mouldy calico bags. She salvaged what she could, before the rest were unceremoniously sent to the tip, back to the earth.
Bamford travelled north and created a series of documentary images throughout the area of Lightning Ridge, NSW – the town most frequented by her grandparents. Like everyone that makes the pilgrimage to 'the ridge', they were looking for rare black opal. The monochromatic images are printed by hand, in the darkroom, onto rocks and scrap metals, using liquid emulsion. The rocks are Finch Claystone, and were fossicked off the mullock heaps by the artist, in Lightning Ridge. The scrap metal comes from anywhere Bamford can find it, much like the residents of the ridge, who create signs, claim covers and even homes out of whatever scrap they can find.
Tinieka Page and Nick Mahady
Memory is inadequate but by making it physical it becomes more inadequate.
Tinieka Page is a Melbourne-based artist who works in painting, sculpture and installation. Often about critiquing taste, aesthetics and their social context, her work becomes a tightly sewn portrait of collusion, a labyrinth of commemorative imagery; constructing narratives concerning taste and history.
Working primarily in sculpture and installation Nick Mahady’s work relies on light and space to create, confound and divide form. Using minimal structures, which often relate to his body’s dimensions, the artist plays with viewer participation through a number of devices, which become more present with the audience in the space. Encouraging interest in gravity, light, movement and stillness.
Since early 2015, various iterations of reverse glass painting have provided the vehicle through which Jennifer Whitten pursued the aestheticisation of absence and time.
‘Anchrony’ considers that one of the most ubiquitous mediums through which we channel our understanding of time is light. Many rely on the security and simplicity of a time that flows, using shifting wavelengths to quantify the passing of a day or season, the shrinking and growing shape of the light of the moon to mark the months. On the other hand, light — on which we have depended to uphold the tenets of absolute time — also reveals our capacity to step outside of linear time. For example, the enormous amount of time it takes for light to reach us from distant stars means that we are are actually viewing the “past” while simultaneously living in the “present.” Photography and representational painting exhibit the same non-linear simultaneity — both employ light to arrest a specific present which in turn will become a specific past when viewed in the future.
A Midsummer Day’s Dream
'A Midsummer Day’s Dream' was made primarily on location in the landscape at the Nuggetty Hills in central Victoria. Elizabeth Nelson began work on one sheet of paper, using ink, and then the work expanded sheet by sheet over months, subsequently incorporating collage and studio-based reconfigurations. 'A Midsummer Day’s Dream' is both an observed response to nature as well as imagined. Nelson seeks to convey a dream-like and languid mood through the depiction of light, and to bring a surreal quality into play with colour. For the artist, landscape – particularly when experienced up close – can be a theatre of the strange. Nelson recognises in this landscape narrative possibilities, like a stage set for a play.
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