Contemporary Localised Survey
Featuring Jacqui Lewis, Stacey Maree and Rhys Knight
Featuring: Michelle Clark, Hung Lin, Susan Earl, Andrew Brown, Freÿa Black
Having been influenced by arts and films, literature, and music for a long time, Hung particularly focuses on the everyday lives of the people surrounding him, examining the complex interweaving of both the mundane and surreal aspects of life. Hung Lin is constantly pouring his life into his artwork; everything that surrounds him inspires and intrigues him to create. Hung has always liked to put hope and human conditions into his work, he wants his art to relate back to the people and to pose query to issues that need to be discussed with an open mind.
This exhibition is about my own view points on the environment and my surroundings. Using color and figurative description, these images are a dive into my sub-conscious. Each work involves layers of messages; narrative about a specific topic and our corresponding state of mind. The vortex from the past, present and future, the questions, and issues that constantly appear. What is courage to say, present your own view point, many shades of colors that cannot be over look, what is the use of communication and language if we cannot communicate to one another…
Passing Place: The Threshold of Edges is a transitory flight through an environment of temporal shifts; beginnings and ends, unfathomable time and timelessness, where forces of energy, both tranquil and turbulent, approach and entangle with one another.
As each place draws near it becomes apparent that this merging, this sense of becoming, signifies a constant and continual alteration of forces. The location remains but exists within a perpetual state of flux; no two moments can be the same and nothing remains as a fixed point in time.
Freÿa Black is an emerging Melbourne based artist. Her practice is a conceptual exploration of the passage of affect that exists between artist and process, artist and observer and the individual in the environment. In consideration of these relationships her work seeks to reveal how precognitive thought and subjectively experienced feeling, or Affects, may be communicated and shared through an interdisciplinary art practice.
In her approach to practice Freÿa seeks to examine her own methods of art-making, which are often driven by an idea or concept that is not fully recognised or acknowledged in the process but rather felt intuitively. These concepts are informed by ideas surrounding perpetual delay, repetitions and cycles of creation, manifestation and decay.
Passing Place: The Threshold of Edges is a work resulting from a travelling residency through the Western Isles of Scotland for which Freÿa was a recipient of the RMIT School of Art Honours Travelling Grant (2015). Freÿa graduated from RMIT University School of Art in 2015 with a Bachelor of Fine Art Honours (1st) and in 2017 will commence a Master of Fine Art by Research at the Victorian College of the Arts.
Andrew Brown is a Melbourne based artist whose practice examines the spatial and intellectual interactions humans have to each other and their environment. A psychiatric nurse for the past ten years, he has developed a significant insight into the cognitive processes of the human mind, which informs his creativity. He enjoys creating art, utilising both digital and analogue techniques. Using a Polaroid SX-70 or Diana toy camera, has assisted Andrew to capture serendipitous results from poor aesthetic photography. Photographing in this way has encouraged him to compose and structure images in a measured manner.
Across all mediums, Michelle reveals the beauty of the natural environment whilst acknowledging our relationship with nature. She seeks to understand and generate discussion around the subsequent impact we have on the land and it's inhabitants.
Michelle’s meditative, yet methodical approach is supported by her artistic ability to balance and place colours, marks and subject matter in a way that is visually appealing to her. Michelle’s watercolour works are influenced by her love of incorporating bright colours, layers and detail into her pieces to create whimsical naturalistic scenes. These works aim to celebrate imagination and creativity. For Michelle Clarke, art is an outlet of expression, a means of emotionally processing events within her life and communicating what is important to her.
Michelle is fascinated by reflections within nature, which distort and abstract her surroundings to create a final result that could almost be mistaken for a painting. The selection of photographs displayed have a large focus on discovering and capturing the spontaneity of the forever-changing outdoor environment. Too often the genuine beauty and benefits of immersing yourself within nature is ignored and underestimated. Taking the time to explore a natural environment such as an inlet, park or weir and photographing the findings can be seen as an attempt to connect oneself where a disconnect is felt.
I am a Melbourne based cartoonist, illustrator, animator and film maker. This is a collection of cartoons, drawings and paintings created over the last year. There is no particular thematic thread running through them other than thoughts that were sparked from living; some from public events, seasonal festivals or daily life.
Featuring Kailum Graves, Stephanie Ellis, Joe Samuel and Jemma Cakebread
Jemma Cakebread's series of oil paintings and embroideries depict her effort to combine craft with fine art to legitimise craft in contemporary art culture. Material and method is an important aspect of her practice and utilising embroidery and other 'feminine' hand crafts to create conceptually charged, challenging work is key to re-introducing craft in a fresh, relevant way.
Crafts have been historically perceived as inferior to fine art, possibly due to the implication of it being 'women's work'. Crafts such as hand sewing lack the stigmatic masculinity of painting and adds a gentleness and a dedication to the work. It is time consuming and often takes its toll on hands and fingers. Juxtaposing this ostensibly 'gentle' craft with fine art medium creates a tension that echoes the struggle of female artists throughout history to be recognised and seen as legitimate.
Kailum is critically obsessed with the Web and born-digital content. He is particularly interested in image-rich technologies and the way global media communication—a landscape controlled by a handful of multidimensional oligopolistic corporate-run networks—can be sampled, organised, and considered in new philosophical, sociological, and political terms. He uses the Internet, which has normalised the act of collecting and compiling information, to preserve and curate found images and raw material. The aim is to engage with the cultural space and aesthetics of the Internet—and the vast amount of digital information it contains—as a subject, material, and tool of artistic production.
Kailum’s photographic practice, which differs from his web-based appropriation work, explores the disappearance of clear boundaries between culture, environment, and technology. He is particularly interested in the way humans use technology to transform, manipulate, and transcend natural environmental limits. There isn’t a one-way correlation between culture, technology, and environment; instead, a culture develops a technology, such as agriculture, to change the environment, and this technology, in turn, changes the culture and society that created it. The three—culture, technology, and the environment—are in a circular relationship, where the last object references the first, resulting in a closed loop. He explores the closed loop by creating large-scale prints that sit somewhere between imagined landscapes and abstract portraits.
Stephanie June Ellis has been working as a professional Artist for the past 10 years and is a qualified Colour Therapist.
Her creative practice aims to transcend viewers beyond the physical world and encourage a wider vision of awareness through spiritual and enchanted themes. Exploring symbolic references, Stephanie plays among geometric and organically formed abstract patterns influenced by vibration, energy and light.
The Totem Animal collection explores the power of spirit animals and the unique and highly personal human animal relationship to nature and being. The bond of this relationship offers us something fundamental, a direct and immediate sense of both the joy and wonder of creation.
Influenced by the concept of the golden ratio and focusing on meridian lines, this collection aims to reveal to us what we already glimpse, a feeling and the organization of feeling that forms the core of ‘self'.
Animals propel us into an economy of abundance. They teach us the language of the spirit. They are guardians and keepers of the planet. They never lose awareness of themselves as spirit, and their innate connection to all of life. Ultimately, animals can help teach us who we really are, to reconnect our awareness of self as eternal spirit, to awaken our minds to the idea that we are all linked physically, mentally and spiritually.
I’m not afraid of the dark but I am afraid of what the darkness holds.
Temptation, deception and curiosity are tools we carry for survival. Though seen to be negative these tools possess healing qualities, likened to the wild Aloe vera (/ˈæloʊiː/ it has defence mechanisms yet the healing qualities are endless.
Bright coral flowers call to our attention and draw us in to the darkness, curiosity takes over and what we believe to be true isn’t so.
This small series is accompanied by the soundscape Deception, which is a journey through the depths of these tools and the metaphor I’ve created.
Featuring Esther Poyas, Owen Bomford and Steven Makse.
I recently attended a Masterclass in Painting at the VCA. These works are a result of a week’s intensive using gouache, a medium with which I was entirely unfamiliar. Having previously worked with very absorbent paper and very wet mediums I found the gouache difficult to manipulate at first, as it is such a dry medium. After the initial struggle I then decided to work with my materials, rather than letting them get the best of me, and this strategy resulted in relishing a new way of working. Having a model every day for a week was a rare treat, as painting the figure is not only a time-honoured tradition, but in the world of contemporary art it is acknowledged as a foundation of art practice. This was an opportunity to devote an entire week to this genre. Another aspect to this experience, which I found to my liking, was to work with a limited palette, two colours plus white, and to discover just how many variations of colour are possible with this limitation. I would like to thank the VCA and its benefactors for making this possible.
I am currently enrolled in the Graduate Certificate of Visual Arts at the University of Melbourne, VCA Southbank Campus. In 2015-2016 I was engaged in completing an Advanced Diploma of Visual Arts at Box Hill TAFE, CAE Campus. I completed a Diploma of Fine Arts NSW the Lismore TAFE in 2004, which commenced at the CAE in Melbourne, during which time I majored in Print Making.
Whilst living in Northern New South Wales I exhibited in many local exhibitions, including the prestigious Border Art Prize. I also held a number of solo exhibitions at Haiku Framing & Design, Byron Bay. From 2009-2014 I taught Ink Brush painting (Sumi-e). I had a number of students who committed to this discipline for 5 years (until my return to Melbourne), and during this time we held a number of successfully received exhibitions at a local venue.
Prior to my engaging in a diploma course I held a solo exhibition at Theatreworks, St Kilda of ink brush paintings. Since 1985 to the present day I have practised Sumi-e, which is considered to be one of the Zen Arts. A selection of my images have been published in: Montage A Collection of Poems and Images, 1999 Artist Proof, 2000 Coastal Arts Magazine, 2009
For all that we can see and hear, our depth of perception is rather shallow. There is a truth to reality that we can never experience in our physical state. The pursuit of trying to expose this has lead to the creation of instruments to reveal these 'unknown' layers. Sometimes it is the accident that brings a great understanding, as is the case with this body of work. An accident that opened a door which lead to an investigation and experiment to alter the angle of perception. These photos are the result of capturing light using one of the oldest and newest pieces of optical technology together. Light is both a particle and a wave, it depends on how you want to understand it. Reality is more than we perceive, it's up to us to change our idea of reality to try and find what lies beneath..........
But then again......this could all be a cover for the fact that I had a number of experiences with strange lights in the summer of 2016. I was lucky enough to have my phone with me and I was able to take photos and audio recordings of what I witnessed and experienced.
Is it a record of an experience with lights in the sky? Is it an exploration of the nature of reality and perception? Is it a result of one of life's beautiful accidents that every artist hopes to have at least once? That's up to you to decide.....they're just a bunch of cool photographs to me!
For me, making art is not about finding a particular subject or theme and repeating it ad infinitum. Every painting begins as a ‘known unknown’, that is, I know that I don’t know how it will end. This exhibition is the result of allowing every work to emerge through constant experimentation in the studio. Thematically and stylistically diverse, ‘Known Unknowns’ includes portraiture, still life, landscapes and other works. This series comes at a turning point in my practice as I move away from pure realism to what I feel is a more expressive, gestural way of painting.
Makse is a mid-career West Australian visual artist with a broad range of influences. He works across a range of subjects and media, specialising in oil paintings that are often characterised by an underlying existential idea about contemporary life, death and the space in-between. The varied conceptual nature of each artwork demands a diversity of image-making techniques, which goes some way to explaining the range of styles and techniques he employs as a visual artist.
Makse is a three-time finalist in the Black Swan Prize for Portraiture, has participated in two artist residencies in China, and one in Queensland. His work is held in many private collections and in the Foreign Affairs Office in Chengdu, China.
Featuring: William Sit, Elly-Louise Tyquin, Kathy Lloyd
In Listen, my frames follow the path of a listener. They embody the concept of eavesdropping. A physical translation of documenting what I hear. You could call it overhearing or the expansion of thought. I am reaching outside of myself and notating the thoughts and conversations of others. I reflect on these once they are written. What happens to these words when they are recorded and combined in their fragments?
I feel detached. I feel the inner turmoil of emotions surrounding the separation between me and my family. Why won’t they talk to me? I want to explore ideas of feeling torn and confused. Piece by piece, Detached reveals my own feelings about disconnection.
Elly-Louise Tyquin is a multidisciplinary artist from Melbourne, who has an intense interest in the processes of understanding materials, such as painting and craft.
The act of painting is used as a process to interrogate and deconstruct imageries individually and collectively. Through the juxtaposition of these images at various phases of realization, each multi-component work aims to engage the viewer in an enveloping and contemplative experience by invoking a mood state. The collective experience of images attempts to create a sort of static movement, which slowly and harmoniously unfolds.
I use images of flora, still life and landscape in my paintings as they are steeped in history, painting tradition and symbolism, which invoke immediate familiarity or even nostalgia in the viewer. In particular, I became interested in flora for its adaptability as still life well as an expansive pattern, hence images can easily shift between a contained object and/or a contained part of an infinite reality. The use of landscape is for the latter purpose, providing space and referencing an external reality. By reversing the orientation of the landscape, subject matter no longer holds importance compared to the experience as a whole.
The use of collective imageries is my way of consolidating sometimes contradicting and competing elements in the construction of identities/narratives/memories and suspending them in the paradoxical and symbolic medium of representation painting. Objects and images shift between expression and representation, allowing contradictions and subtle relations to operate simultaneously to create an experience. The use of the grid is to hold these images into focus, allowing images to both be containing and contained within their own reality.
Sydney born and now Melbourne based photographer Kathy Lloyd has been creating for nearly a decade. Since graduating with a diploma of photo-imaging from CATC Design School, Kathy's work has been published in online magazines and exhibited in various group shows, gathering accolades and achievements along the way. Kathy's imagery explores the human condition, fragility and intimacy in a way that's dark, rich and technically intricate; each piece exposes the natural beauty of human fragility. Just below the surface lurk disharmony and a stormy struggle for balance. Tender, raw and honest, her vision whisks you into the void.
“My photography is a way of expressing myself, a way to unlock the hidden stories of my life. I have found a place of curious self-expression with in my photography and created a path to lead me to a variety of destinations and experiences. Each image incorporates a part of my life journey and is also a story within itself. With the use of textures I can hide or reveal the parts I wish to show. I like to use my camera to open unexplored worlds, truths, fears and journeys”.
Shinsei is a Japanese word meaning "New Life, Rebirth, New Birth" These images were inspired by my dad after his kidney transplant. I wanted to show hope and new life coming through what was thought to be lost. It shows how the body can once again thrive even through pain and tough conditions.