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symbol for e-commerce and constructs it from antiquated technology: brick-sized mobile phone casing, data chips from superseded products, circuit boards from perhaps a transistor radio or facsimile machine - all against a backdrop of a data stream.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

Paper Knots 
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.