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Curtin University of Technology
John Curtin Gallery

Exhibitions & Events Archive - 2002

SofA 02
24 November - 15 December 2002

SofA (School of Art) is the John Curtin Gallery’s annual exhibition of work by postgraduate and honours students from the School of Art, Curtin University of Technology. It will feature a diverse range of art from the more traditional painting to large-scale installations incorporating cutting-edge electronic, audio-visual and digital artworks.


My work endeavors to unveil the subtle yet unsettling shadows behind the niceties in what may be perceived as ordinary domestic and everyday life. I am interested in challenging the sense of comfort we have with familiar settings and situations of human interaction, to suggest the core of horror lurking beneath.

Frances BLYTHE
By using notions of incompleteness or 'blanks' and using images in differing stages of disintegration, I am exploring ways of evoking the fallibility of memory and ensuing ambiguity and absence. The paint process is the filter or mask through which the image is made available to the viewer.

The inspiration for this body of work is the dynamics of interpersonal relations. I am interested in the ways we relate to, or react against each other in various circumstances. Human beings intuitively demand a certain distance from each other, and that distance varies according to the degree of intimacy between the individuals. I am currently using the grid as signifier for the invisible barrier that exists between individuals, to preserve personal space.



My work questions the relationship between the individual subject and collective social formations. I am interested in how an artwork can reveal something of this relationship by placing the viewer at the centre of the piece. I work in the field of installation, and often integrate sound, video and performance elements.

Annabel DIXON

I’m interested in the beauty and strangeness of shape. My shapes are partly derived from the limp fall of bodies at the moment of sudden death.


Jennifer HARCZ



Michele LAROSE

My work throughout the year has been dealing with memory. At the moment, I am focusing on an image (photograph) of a swing. Using the swing image as a signifier of childhood I am investigating the poetics and authenticity of the image and looking at the symbolism and metaphorical meanings, which can be seen within the photograph.

Tan Teck Weng is a Malaysian arts student that has lived, worked and studied in Australia for most of the last decade. The role played by new technologies and new media in our everyday lives and its possibilities have remained as his passions through this period.

Diana Baudains Webster: metaphors of interior space: spaces of interiors created  for exploration, remembering and discovery: providing a glimpse into other times and histories.

My work looks at an issue, which I have pondered for some years. Why does breast cancer attract such a lot of attention from female artists when other diseases and disorders get comparatively little? I am now caught in the paradox of contributing to the great mass of work about the subject, while at the same time suggesting that the balance ought to be redressed.

Michael WISE

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Without Classification: Hazel Hawke
Merging archival documents with 1980's poster art
27 September - 10 November 2002

without classification install
Without Classification: Hazel Hawke, installation view, JCG, 2002

Recapturing a socially vibrant period in recent history, Without Classification brings together the voice of Hazel Hawke during her Canberra years with that of artists making poster art to air their commentary and pleas of the times.

Extensive material such as photographs, letters, radio broadcasts and speeches from the Hazel Hawke collection at the John Curtin Prime Ministerial Library will be presented amid a lively array of political art posters from some of the most vigorous poster collectives and prints artists working in the 1980s. It is apparent that Hazel Hawke embraced her time in Canberra as a means to champion wide ranging community causes, from women's education, to the environment, indigenous rights and the role of advertising, childrenÕs television and drug awareness. She took an open and declarative stance on issues of wide public concern, while being astutely careful not to comment too directly on the machinations of government policy.

Often, though not always, her messages were parallel to the call of socially minded artists. While the poster medium afforded the artists greater freedoms in their use of language, imagery and ideology, the sentiments when combined, as they are in this exhibition, convey an equally charged and driven energy. The posters have been selected for their artistic inventiveness and the stridency of their messages in relation to matters of public debate. The exhibition is humanist in emphasis, sometimes optimistic and sometimes anxious. Most revealing is the extent that issues remain relevant today, though the dialogue of today is possibly more managed, veiled, cautious and classified for and by the media.

Without Classification enables us to reflect on this and to revisit the impact of Hazel Hawke as a leading voice of the 1980s. and publications on recent art and culture involving Australian and International artists.

This exhibition is presented in conjunction with the John Curtin Prime Ministerial Library.

Further Information and images from this exhibition can be found at the John Curtin Prime Ministerial Library's webpage for the exhibition.

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on writing: writing on 1994-2002
Narelle Jubelin: installation of works
27 September - 10 November 2002

on writing - install
on writing: writing on 1994 - 2002, installation view, JCG, 2002

  1. "Where criticism explicates, opening out the folds of the writing in order to arrive at the meaning [On writing. Writing on 1] is offered as a permanent interplication, a work of folding and unfolding in which every element becomes always the fold of another in a series that knows no point of rest." Stephen Heath, Ambiviolences: Notes for reading Joyce, published in Post-Structuralist Joyce Edited by Derek Attridge and Daniel Ferrer Printed in Great Britain at the Cambridge University Press 1984.
  2. "Space and Time. The thing [here, the specific (re)-installation On writing. Writing on 1] is born in time as well as space. It inscribes a specific duration and concrete boundaries within the broad outlines of temporal succession or flow and spatial mapping. It emerges out of and as substance. It is the coming-into-existence of a prior substance or thing, in a new time, producing beneath its process of production a new space and coherent entity." Elizabeth Grosz, Architecture from the Outside, Essays on Virtual and Real Space, Writing Architecture Series, The MIT Press Cambridge, Massachusetts London, England 2001.

The work of Narelle Jubelin marks the journeys that objects make through the world and the history that accrues to them. Her practice acknowledges that any notion of modernism has been fraught with dislocations, constantly changing and reinterpreting how the work comes to be received in one place or another. Much of her investigation has involved the theory, history and practice of trade, text and textiles. Narelle is Australian born and has worked in Spain since 1997. This exhibition of major installation works is an accumulation of her working methodologies over the past eight years.
The Narelle Jubelin catalogue is now available for $AU 5.50 - please email if you would like to purchase one.

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at the John Curtin Gallery and spECtrUm
2 August - 15 September 2002

beap install

beap install2
Immersion, installation views, JCG, 2002

Immersion, at the John Curtin Gallery and spECtrUm will explore our relationship with concepts of external Virtual Realities.
Immersion is the highlight of the BEAP Ñ 2002 Biennale of Electronic Arts, Perth Exhibition program. The inaugural thematic focus of BEAP is Locus Ñ where we believe consciousness exists. Immersion offers a glimpse of the range of possibilities for new modes of communicating. The artists in this exhibition utilise a wide range of electronic/digital technologies Ñ some familiar, some cutting edge and some never seen before. These artistÕs creative investigations explore our own potential for immersion in alternative realities. Immersion explores the way we rely on our understanding of the world and the struggle we have with making sense of our surroundings and comprehending our place within it. Immersion is a digital/electronic mediation in tangible space on the ways that continuing developments in science and technology assist us with our own development as human beings.

Immersion curated by Chris Malcolm, will present works by local, national and international artists including artists from within the CAiiA-STAR group. Donna Cox, Char Davies, Robert Nideffer, Kenneth Rinaldo and Victoria Vesna are among the international artists invited through the John Curtin Gallery. Local and national artists include Stelarc, David Carson (in collaboration with Brian McClave and George Millward both based in the UK), Nigel Helyer, Lynne Sanderson and Richie Kuhaupt in collaboration with Geoffrey Drake-Brockman.

Immersion will open at 6pm on Thursday 1 August 2002 This event will include the official opening of the Biennale by Hon. Sheila McHale MLA, Minister for Culture and the Arts.

For location and opening time details phone John Curtin Gallery on 9266 4155

To view the whole BEAP program go to the website

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Out of Site
a survey of the IASKA international artists program (1998 - 2002)
7 June - 21 July 2002

IASKA install
Out of Site, installtion view, JCG, 2002

IASKA (International Art Space Kellerberrin) has become a significant regional gallery and site for collaboration between local, national and international artists with the Kellerberin and surrounding communities.

This exhibition features works produced and inspired by the many artists, volunteers, schools and local community groups who have contributed to IASKA's success.

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7 June - 21 July 2002

An exploration of works from the Curtin University of Technology Art Collection

The works in Elucidate illuminate the Curtin University of Technology Art Collection. This exhibition explores a diverse range of media and subject matter representative of the range of experiences and expression of artists working within Australia and particularly Western Australia. The exhibition throws light upon the works and in turn reflects a myriad of possibilities for learning and inquiry.

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From the Generative Eye: Paintings 1990 - 2001
Brian Blanchflower
5 April - 26 May 2002

brian blanchflower install
Brian Blanchflower, From the Generative Eye: Paintings 1990 - 2001, installation view, JCG, 2002

This exhibition of large-scale works by Brian Blanchflower, the majority of which have never been seen in Perth, is testimony to his lifelong commitment to painting as a means of communicating effectively ideas that are intangible. Blanchflower investigates in his painting fundamental ideas such as existence and perception - producing works that are not mere images but feelings in transcendence.

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João Penalva
27 January - 24 March 2002

Penalva displays in all his work a deep interest in how culture is mediated, categorised, presented and even translated. Kitsune mesmerises the viewer with an hypnotic conversation about remembered ghostly stories, immersing us in the haunting beauty that is forever re-emerging through shrouds of creeping mist.

This installation received critical acclaim at the recent 2001 Berlin Biennale and this will be its Australian Premiere

This exhibition received financial support from the Perth International Arts Festival.

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Around Now
Grace Weir
27 January - 24 March 2002

Grace Weir's work inhabits a space at the intersection of science and art. In attempting to invoke the sublime, the gallery becomes an in-between space where the journey is more important than the destination. The installations presented in this exhibition include the acclaimed works featured at the Irish Pavillion in the 2001 Venice Biennale, presented here for the first time in Australia.

"[The works] offer openings to a world where all is movement, all flux, all on the point of becoming, within which the viewer is at liberty to recreate a perspective, to discover alternative event space." - Gemma Tipton

This exhibition received financial support from the Perth International Arts Festival.

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The Spectacle is not over and Apparitions
Matthieu Laurette
27 January - 24 March 2002

Laurette chooses the Champs-Elysees in Paris as a set, and interviews passing people with a professional TV crew. He stops the passer-bys and invites them to read exerpts from The Society of the Spectacle by Guy Debord, holding the cue cards just beside the camera so the monologues appear spontaneous. He attempts to exploit the transformationof life into an endless accumulation of spectacles and creates a parallel economy of images, starting with himself.

Apparitons combines Laurette's multiple television appearances, starting with his first televised performance in 1993 on the set of Tournez Manege (Blind Date). He has also appeared as a candidate on a game show, a talk show and been an audience member of numerous broadcasts. He is "the illustrious nameless one who...uses up his fifteen minutes of fame so dear to Warhol" Documents sur l'art

These exhibitions received financial support from the Perth International Arts Festival.

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