With reference to the anatomical definition of the show’s title (i.e., to join, to bond, to connect, to attach, to tie, to bind), Boros stitches together multiple strands of thought and experience.
Analogising the body’s internal and external structures with repurposed pieces of garment patterns, these actions (of vinculum) are responsible for the works’ sculptural constructions. Suturing and piercing by pins alludes to the process of connecting sections of two-dimensional cloth to make a three-dimensional garment. The mismatched clothing templates have undergone an anatomical reinvention.
Biomorphic formations sit proud of the wall, casting shadows, resembling wall trophies. They are mementos from the combined labour of mother and daughter, and pay tribute to manual skill.
With only individual hand-written notations made by the dressmaker remaining, instructions and identifications belonging to multiple items are muddled. The language of traditional sewing has been reduced to a puzzle missing its parts, of fragments that are re-joined.
“These works speak to the process of transformation – physical and emotional. They are remnants of change, a metaphorical shedding of skin, a refurbishment of the mind and body,” says Boros.
“The stacking of things and gestures of paint are collaged up the wall. There are three different instances of the work: a painting, a reconstructed shelf, and a long mirror. All the different forms unpack the colours to make shapes and settings to themselves – an ambiguous subject of colour that suggests it’s us and our surroundings.
Adopting a response to the interior space of the corridor at Nth., the display of this installation continues my interest in assemblage of colour. These new works contain a measure of closeness to smaller areas, enlarged motes of seen things in in-between spaces, colour blurred and abstracted in its forms in-between the rhythms of the body charged with pulse and hesitation. The distinction between the internal and external space of the work and what it rests on is like a chaotic order, remaking the organisation of colour combinations and structuring of which way they are painted-in from back to front, front to back.
Collecting and responding with immediate application of paint, where things are positioned, to various spaces outside and inside, giving intimacy to the spatial energies of that. Over-emphasising the play of light on surface to colour compositions. Settings reassembles and saturates the fleeting motes with colour, paying close attention to observing spatial substructures of colour and forms.
The scenes within the paintings are intimate but undetermined spaces, with settings that could be of anywhere or time, really; that play with the perception of surface and depth of colour placements.
This exhibition considers our emotional and remembered relationship to colour combinations. Placing perspective, and call and response to observing things and energies taken from walks, interiors and imaginings of made-up imagery in front of me. As an entry point for romancing light and dark luminosity and colour romanticism; evoking the real and imagined and fantasised – a chase-sequence of motes.” – Elyss McCleary
Time Signature explores the relationship between painting and music as indexical markers of time. In recent history, theoretical physicists have explored the notion that time as we've known it in Western Civilisation, is a linear construct; it has been proposed, alternatively, that time is in fact a spatial dimension in which past, present and future exist simultaneously.
As objects, paintings and (sheet) music exhibit the same sense of temporal simultaneity. A painting is a history of marks in the same way that sheet music is a history of notes; both forms indicate actions that were once present (such as the making of a painting or the performance of a suite), but are now past. Sheet music can be reanimated in future performances, while a painting will become something new each time a viewer encounters it, or when the light and shadow of its environment alter its surface.
The reverse-glass paintings featured in this exhibition highlight the subtle relationship between the painted surface and the fourth dimension; areas devoid of paint continuously absorb the environment into the painting's composition. "Fugue", a score composed and to be performed live by the artist on a music box, was derived from an algorithm using the artist's family tree and a program that maps the location of the planets based on the input of dates.
For years, Whitten’s photorealistic paintings have navigated the aestheticisation of absence, nostalgia and time; and most recently, after an encounter in Italy with a collection of 18th century reverse-glass paintings, she determined that glass would serve as an ideal conduit of these themes. Oil, reverse-glass and representational painting have lengthy histories, but Jennifer's edgy recontextualisation of these methods upends any hint of the conventional. Incorporating everything from steel, to video, to live music, her complex installations defy the traditional 2D confines set for painting, but preserve its seduction and sincerity.
Open Span encourages us to reflect on how we negotiate and move around the compressed and often contested space of a white cube. A constructed-on-site sculpture occupies most of the available space of this intimate gallery (i.e., a 3 x 6 metre MDF box, constructed within the old science lab of a decommissioned state school)
To enter the space through one of the two adjacent doors means one is immediately implicated in the work. A strategic positioning of the sculpture divides the gallery into two almost equal halves. To satisfactorily view the work, one must pass under the extended arm of the piece, thus furthering our complicity with it.
While political concerns of space are central to this work, there is also a deeper internal logic at play: one predicated on notions of the body and gesture, and; one which repels against the restrictive connotation of the inherent staticity of minimalist sculpture.
Incorporating painting and performance, ‘Moving the Marker’ explores notions of space, time and place.
Responding to the connection of relationships between artist/viewer/curator, Jardine uses hard-edge
geometric abstract painted forms to navigate the gallery.
The work aims to encourage movement in ways that question the layout of an exhibition and what impact a body can have on the perception of abstract art.
“The opening night performance asks the viewer to participate in the form of silent curation or observation,” says Jardine.
Jardine is a current PhD candidate at the School of Communication and Creative Arts at Deakin University.
Curated by Melbourne-raised Berlin-based artist Joanna Mortreux, Berlinworksentoverbysuitcasekunstpräsentation features works by: Anne Wölk, Daniel Chluba, Attilio Tono, Theresa Schubert, Joanna Mortreux, Benjamin Dewor, Maria Volokhova, Malte Kebbel, Eliot Markus Henning, Lukas Julius Keijser, Dominik Fraßman, and GlueHeads – with founder Anelor Robin.
Much like word construction in the German language this exhibition brings together many artists whose works, though varied, are threaded together into a singular contemporary collection. Berlin, known for hosting a great many artists, still retains its reputation for producing a great deal of artwork and creations in general. This is one compact collection selected out of the masses of work out there and lovingly brought to Melbourne via the curator’s own suitcase.
Like Berlin, the exhibition ranges widely: from the glorification of Junk food; to explorations of single cellular growth in plant life; to the macabre and magical elements of tableware; to works that make gentle fun of others, of art school and the art establishment; to an exploration of signs from the street meshing into fantastical landscapes; to clean forms that in fact allude to completely illusionary spaces; to the reanimation of museum relics into strange deities; and, dynamic collage-making events reproduced by a whole wandering community.
“From a city known for its Art this is one little snapshot of it,” says Mortreux.
Breathing Spaces is a suite of new large-scale works by New Zealand born, Melbourne based painter, Russell Dammers.
Dammers is known for geo-abstractionist imagery rooted in notions of the propulsive and the ontology of nature.
In his tenth solo show, Dammers focuses on distilling the dialectic of his own practice.
Employing newly developed aesthetic techniques, Dammers drips paint through mesh stretched over a paper background.
“The mesh serves as both surface and conduit, and allows for a semi-chaotic state of tension and movement in the space between,” says Dammers.
“Some really important ground work has been laid via recent exhibitions in Melbourne, in both institutions and artist run spaces, that has documented the current field of painting practice, and its hypothetical trajectory. I hope that Painting in Italics can be an addition and continuation of this conversation of local and national painting practice.” – Ace Wagstaff