Until 30 August 2014

This exhibition brings together two very different artistic practices and yet, surprisingly, holds much in common. Just as Slot sits within a landscape of temporal experiences – of staccato traffic, people passing, grabbed moments between here and there – this exhibition captures ‘the creative process of interruption’, a phrase Sue Bessell used to describes her digital photographic prints.  

In a similar way, Joni Braham’s assemblage sculptures are collected fragments; found objects that carry narrative, interrupted, and retold in new forms. A piece of lace blown up Sue's black and white digital collage forms a backdrop while a fragment of material embellishes story-telling through a fantastical object. Both consider placement and material to draw our meaning.


Sue adds: ‘In unsettling the relationship between the photographic image and its corresponding reality, a space of contestation opens up, where new meanings and experience are located, where the liminal self resides.’
This installation screams and jars and yet celebrates life with humour and poignant checks and balances. ‘The evocative (re)assemblies transform self portraiture into self representation,’ Sue continued in her statement.

It is a sentiment echoed in Joni’s words: ‘There is a joy in making art from materials that originally were used for a completely different purpose…In some sense the figures often have a sense of power tinged with foreboding or mystique juxtaposed with playfulness and eccentricity.  Almost always female or androgynous they are bold and strong.  A feminist ethic informs works.’

Therein the work of both artist carry rewritten histories. The juxtapositions within Sue’s photographic work, between original and imperfect hand-manipulated marks are amplified by Joni’s completely idiosyncratic sculptures – both exploring the multiplicity of self representation, and beyond.

But mostly, what both artists do, is offer the viewer the platform upon which to invent their own story.

This exhibition has been facilitated by artist Mai Nguyen-Long as part of Slot’s Illawarra Series. Showing until 30 August.
e Wasted
Until 5 August 2014

Judy Bourke simply writes:

I don't send regular hand written letters anymore
I get e mail
I read e newspapers
I send e Christmas cards
I receive e newsletters
I generate e messages
I use e remote controls
I am creating e waste

Her sculptural collage takes the universal symbol for e-commerce and constructs it from antiquated technology: brick-sized mobile phone casing, data chips from superseded products, circuit boards from perhaps a transistor radio or facsimile machine - all against a backdrop of a data stream.

Sydney (Quantas)
@ D.I.P - Darlington Installation Project

Jimmy Nuttall's artfully draped silk scarf offers, as he says, 'a playful take on nationalism' with a 'luxury item presented in a provisional manner.' Of course, it is the Qantas silk scarf's iconic symbol and corporate logo draped across the gracious necks of flight attendants across generations, the "trolley-dolly" ambassadors of Australian good will, that might not be so.

Nationalism can become murky territory if we think too long, while Peter Allan sings along to "I still call Australia home", lifted as a Qantas commercial that might come back as a memory ruffling the playful elegance of Nuttall's iconic "sculpture", which also play's with the corporate name through its title.

D.I.P - or the Darlington Installation Project - is a satellite project of Slot and is a corner window gallery located at 30 Golden Grove on the corner of Abbercrombie Street.

Jimmy's exhibition continues Slot participation in Dispatch - a project linking window galleries across Australia.


Two artists go for a walk at Kamay, Botany Bay National Park
Until 5 July 2014

Slot is located at the start of Botany Road. This exhibition takes the other end of this urban artery as its inspiration - a wild landscape where the city meets the sea. It is the shared journey of two artists - Janice Fieldsend and Marie McMahon - and while their working styles are extremely individual, their passion 'to explore how nature becomes incorporated into culture'. as Jan describes, unifies their work. Their regular walks to this landscape over a prolonged period have brought about an alert synthesis in the work - one the found object more literally, while the other the texture and meter of that walk. Both have deep embedded poetics of location, history, time and memory.

Light Collaboration 2
27 May - 7 June 2014

A little over three years ago Roger Foley-Fogg (aka Ellis D. Fogg), Australia's doyen of psychedelic lighting design, proposed a work for Slot for the cooler months of the year so that he would warm the street with his art.

This is Roger's third response to Vivid Sydney, and another collaboration with Jess Cook, artistic director of the independent art space 107 Projects in Redfern - a shot walk from Slot. 

Extending this piece in Slot are two wall-based Lumino Kinetic works at 107 Projects, one after the late Martin Sharp and the other after Sonia Delaunay. 

In a third work Roger collaborates with Slot co-director artist Tony Twigg, projecting video works from his celebrated live light shows onto a "paper" screen made by Twigg.

In comparison to the soaring production values of Vivid, Redfern’s offering is a more spontaneous response to light and space. 

No Conclusion
26 April - 17 May 2014

S.A Adair is an outstanding installation artist working at an edge where conventional drawing meets ephemeral sculpture. Using materials such as found objects, pigment and felt - as presented in this piece for SLOT - she creates images that evoke the cellular structure of the organic world. 

'Forms and ideas are generated through experimentation where chance and errors have an integral part to play in the development of my work,' said Adair. 'I like to think that my work functions as an undercurrent, a murmuring - whispering to the viewer and encouraging subtle reflections of self, space and environment.'

To view other works by S.A Adair visit her site
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."