Monday, March 31, 2014

Found Object-Hood
Until 26 April 2014

Lately I have been considering randomly generated accidents and actualities in my work - it is the process of inventing meaningfulness. I have been considering this by associating overtly narrative works made many years ago with pieces I am presently making that maintain the casual appearance of their apparently accidental beginnings.

Here a tube made in 1989 inscribed with ideograms that articulate a self-invented creation myth is set against some timber off-cuts collected and stacked a couple of weeks ago in my studio during a periodic clean up.  In my studio the pile of timber seemed to juggle the contradictory ideas of intent and inevitability. I wondered how much of the narrative inherent in my art practice might leach into an activity as unconsidered yet equally uncontrived as stacking timber? Could there be a truth in accidents?

I refer to Robert Hughes' words in Time magazine: "The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning."

Saturday, February 15, 2014

15 February - 15 March 2014

This piece is an exercise in expanding painting from a 2-dimensional expression to a deeper planar experience.  Using high contrast, high-vis colours that "pop" to make the painting more visually active in its contrast with the space around it.

Looking at this painting one might consider the work of American painter Frank Stella,  however for Julia these echoes of 20th century abstraction are less important than her personal quest in understanding painting, taking the angles and planar relationships of abstraction and rendering them "physically" to understand how form fills space. Only through making, can it then be painting with a knowing.


Saturday, January 18, 2014

LISA WOOLFECoppice 4.0
19 January - 15 February 2014

Lisa Woolfe lives on the edge of the Manly Dam catchment area in Sydney - 270 hectares of dense bush abutting her home. It has been the persistent landscape of her everyday, her memories and her inspiration, as she says: 'I am interested in looking at my subject from the inside out, exploring the experience of being in it, how it moves and does not, how it sounds, smells, its scale and textures.'

As an artist who holds drawing at the heart of her practice, the sense of hand and gesture in this delicate installation of kozo (rice paper) with ink and wax fuses an Asian aesthetic with one that is quintessentially Australia.

Lisa added, 'The work explores the relationships between the elements, the spaces between adn the rhythms of the bush landscape.'

Saturday, December 28, 2013

29 December 2013 - 18 January 2014

These photographic works by Camille Serisier investigate our connection, or lack there of, with the natural environment. Made last September during a residency at Laughing Waters, 30 kilometers outside Melbourne in bush land, it was a landscape that reminded her of growing up in Wollongong on the South Coast, describing 'the bush was where you went to get away from adults and explore personal freedoms'.

Her works ask: "Are we merely stage players in this grand environment? Where does mythology and reality meet?" Camille sets about exploring narrative construction and interpretation, taking the traditional gendered narrative of the Australian bush and applying an eco-feminist critique.

Here a figure is inserted into a painterly landscape, masked with abstracted or deconstructed fragments that add to the dramatic 'stage craft' of the image.  It is not surprising to learn Camille trained as a scenic painter at Scenic Studios in Melbourne and Opera Australia in Sydney following her fine arts degree.

This exhibition comes to SLOT as part of the Dispatch project linking seven window galleries across Australia.

Monday, December 9, 2013

Sea Change
10 - 28 December 2013

My 'Sea Change' paintings can be seen as the material of future archaeology. The fragmented road surfaces allude to damage caused by storm surges, floods, land slippages etc. the increasingly familiar results of extreme weather events. The shattered assemblages are intended to evoke the sublime, the sense of awe in the face of nature's wrath.

The title 'Sea Change' refers not only to coastal damage brought about by rising sea levels, but also to a global shift in attitude regarding the future. (Charles Cooper)

Charlie's paintings are typically graphic in impact, and what appears at first glance to be a composition in abstraction, turns out to be a long interest in the vernacular of the road - signage, bitumen, road markings - aptly shown at SLOT, located at one of Sydney's busiest intersections.

Charles is represented by Annandale Galleries.

Wednesday, November 13, 2013

12 November - 7 December 2013

Translated as a room in a boarding house, the kost is popular with students in Indonesia, functioning as a complete living ecosystem: bedroom, living room, eat-in entertainment zone, storage space. When faced with the proposition of making a work for SLOT, Ida and Eko - who met in Yogyakarta in such a kost while studying art art school - realised that SLOT mirrored almost the same floor dimension of the average boarding room.

Responding to the site, they have created this urban kost for living; its bower bird-like collection of objects and make-do aesthetics  of furniture reflect both Indonesian kost living and slot's neighbourhood as furniture is often recycled and reloved, and boarding houses jostle with gentrification, blurring objects between places.

Eko said, ' Working in the window is not so dissimilar to living in a kost where everyone sees and knows everything.' Both artists work in a range of materials and this is their first collaboration in Australia.

Saturday, October 19, 2013

20 October - 9 November 2013

At the time SLOT opened in 2003, Tony Twigg was in Manila. Having spoken about the project with artists there, upon leaving the Philippines Hermisanto handed Tony a tightly rolled wad of drawings to carry on the plane. It was the first project that fully realized the ethos of SLOT: to have a conversation with our neighbourhood outside the conventional constraints of freight and the kind of  exchange routes reliant on institutional endorsement.

For our tenth anniversary, Tony has revisited Hermi's piece.

Original 2004 installation of Hermisanto's "Firedancer" 

Detail of revisited artwork now on show at SLOT