c3 November 2019 Exhibition
Ceri Hann (of Public Assembly)
This work invites audiences to engage in a kind of three dimensional twister, as one of a group of people holding lengths of plastic tube in order to form geometric shapes just long enough to be photographed. Awkwardly gesturing toward the unachievable perfection of a platonic solid is an ideal way of contemplating our existence as a valuable artistic material. But will drawing closer together through collective action render otherwise unthinkable platonic relationships more accessible? Platonic Informality actions will take place at random, spontaneous times across the Open Spaces festival weekend with an artist talk at 2pm & 4pm both days. Please feel free to join in the shaping of what might become affectionately known as ‘Platonic Informality’. An additional “arsenal of tools for cultivating collective action” will be on display in Gallery One.
'Views to remember '
Painting to dissimulate. Painting to narrate. Painting as a form of verisimilitude. Painting as a way to remember. In an age saturated by the digital, painting provides a point of respite amidst the chaos of the everyday. Observing how painting can act as a device to translate and construct memory, Views To Remember explores the capacity of painting to affect the way we see and remember the past. Informed by photographs taken in transit and wait, the works look to relay a narrative of loss amidst the disintegration of environments once known. Working within the sphere of representational painting, Wallace is driven by a desire to record and translate her own experience of place and urban living through scale, cropping, repetition and detail (or lack there of.) In an ever fast and frenzied world, Views to Remember forms part of an ongoing investigation into how past is depicted and preserved through painting.
Recasting the relationship between the body and painting, Mantle/Mantel explores how material elements such as garment, sculpture, wall and lighting are implicated in the realisation of an artwork. Geometric shapes in the painting are reiterated in the surfaces of the garment, cast shadows and shelf: coalescing as a total composition. The resulting assemblage of surfaces elaborate Eckersley’s ongoing interest in the human subject implied in encounters with art.
Eugene Perepletchikov and Georgia Nowack
Memory-work is part of ongoing research by Georgia Nowak & Eugene Perepletchikov into historical narratives and latent stories hidden in the Victorian landscape. Presented as an expanded narrative this body of work aims to increase the public’s connection with land and its complex past, retold and reimagined through investigations into material history. This installation examines basalt and interrogates the systems and technologies of the extraction and processing industries that now shape this commodified material into precise forms dictated by cultural and economic dynamics. Fundamental to Victoria’s land and identity, the genealogy of basalt reveals a slow evolution - material becomes process within a mesh of geological and social systems. Today these material transformations are accelerating, a radical intensification in energy flow through body and land alike.
Travis MacDonald's exhibition, Clock Face, features a selection of new sculptural works concerning time and an ongoing conversation between painting and the everyday object.
Emanuel Rodriquez–Chaves’ work aims to question contemporary painting and its mechanisms of production. His practice emphasises the elasticity of painting as a medium and addresses the relationship between philosophical aspects around the manipulation of images and socio-political imaginaries. For this, he collects images, texts and documents that serve as the basis for his works. For Pintura, Rodriguez–Chaves will install a minimal set of objects, including paintings, photos, videos and text. These will serve as accessories to create a narrative.