Exhibitions & Events Archive - 2006
- Western Edge
- David Sequeira: Eternal Rhythms selected works 1996-2006
- Contemporary Kimono
- Erwin Olaf: Elegance and perversity
- Between These Walls: The Cambodian Genocide
- Tainted Paradise
- Enigma and Rose Portrait Series: Janis Nedela
- Miriam Stannage: SENSATIONS
- The Language of Photography
Hendrik Hondius, Polus Antarcticus, 1637, first published in the French edition of Jansson's Gerardi mercatoris et I.Hondii Appendix, Amsterdam, 1637, 430 x 490 mm
Western Edge will take you on a journey back in time to where you can hear the creaking of the ships’ wooden hull, taste the salt in the air as the breeze fills the sails, smell the rare and exotic spices, sense the fear of the unknown and hear the crew’s excitement as the mysterious Great Southern Land is finally in sight.
As the rest of the world was expanding and developing trade routes, the Great Southern Land remained uncharted and unknown. Early European traders first caught glimpse of this mysterious land while looking for an alternative trade route to the spice islands. The selection of engraved and hand coloured maps, charts and books in the Western Edge exhibition illustrates the first European’s experiences as they set foot on Terra Australis.
This exhibition contains one of the most extensive bodies of rare and original maps presented in Perth. It not only records the Dutch discoveries, but also the later French and English contacts with the western edge of the continent including some of the very first published maps and views of the Swan River and Perth. These maps, dating back almost 500 years, are primarily from the private collection of Jock Clough with additional items from the Kerry Stokes Collection, Perth.
An exhibition catalogue is available for purchase. For more information contact Patti Belletty on (08) 9266 2259 or P.Belletty@curtin.edu.au, or visit our Publications page.
Western Edge is part of the wider Australia on the Map celebration incorporating national and international events. For further information, visit www.australiaonthemap.org.au.
Six local artists chart Australia’s cultural landscape.
Susanna Castleden, Abundance to Abandon, detail, 2006, gesso on plywood, 1500 x 1700 mm, courtesy of the Artist and Gallery Dusseldorf, photo by Robert Frith
Bevan Honey, Franchise Landmarks: The Arrow Suite, 2006, printed paper, 750 x 525 mm, courtesy of the Artist, photo by Robert Frith
Tom Mùller, Globalisation, 2005, digital print on aluminium, 1200 x 1680 mm, courtesy of the Artist and Gallery Dusseldorf
Perdita Phillips, Herethere (left and right), 2006, looped video projection, image courtesy of the Artist
Nien Schwarz, Trail, 2006, mixed media, dimensions variable, image courtesy of the Artist
Rima Zabaneh, Master Plan, detail, 2006, paper, 170 x 120 mm, photo by Robert Frith
By creatively re-interpreting mapping techniques and challenging the meaning of maps, the six local artists in Chart open up possibilities of exploration and adventure. They consider how the boundaries of their own environments can be given visual form and how interaction with the landscape can be chronicled.
Susanna Castleden explores the Anglo-European naming of locations: ‘names of cyclones, mountains, creeks and mine sites; names are scrutinized and filtered, reflecting selected aspects of Australian cultural identity’, says Susanna.
Bevan Honey presents an immediate, domestic viewpoint of Australian identity. His fridge magnets question clichéd notions of Australianness.
Tom Mùller’s linear works focus on local environmental issues and globalisation.
Perdita Phillips and Nien Schwarz are concerned with the physicality of tracking through the landscape. For these artists, exploring a site becomes a full body experience. Nien’s maps are reminders of adrenalin pumping aerial searches for a crew of geologists tracking the landscape, while Perdita has filmed her movements in the landscape via cameras attached to her feet.
Rima Zabaneh has made use of architectural plans to consider her decision to migrate to Western Australia. For Rima, maps are a way for her to orient herself within the new landscape and culture she is now a part of.
An exhibition catalogue is available for purchase. For more information contact Patti Belletty on (08) 9266 2259 or email P.Belletty@curtin.edu.au, or visit our Publications page.
David Sequeira, Some Kind of Bliss: Visionary Mountain, acrylic on discarded painting and discarded frame, 385x550mm, 2005-06
Fascinated by museums and libraries, flea markets and junk shops, David spends much of his time trying to reconcile his need to accumulate objects with his affinity for new millennium minimalism.
A self confessed hoarder, David collects books, vases, flower petals, leaves, discarded art, picture frames, tapestries, and orange domestic ware, which all find their way into his practice. Working in sequences and series, David’s work can be understood as exercises in selection and display.
David Sequeira: Eternal Rhythms highlights the changes and continuities within David’s career over the past 10 years. Many of the works are steeped in histories that are shared, and at the same time deeply personal. David explores the idea that colour saturation, colour vibration and geometry can convey complex and compelling information about our lives, our histories and our culture.
Based in Canberra, David is in Perth for a limited time as the Artist-in-Residence at Curtin University of Technology. He is working on campus in the Department’s of Art and Design, and within the John Curtin Gallery.
David Sequeira: Eternal Rhythms is the inaugural exhibition of the IBT Education Australian Artists series. Sponsored by IBT Education, the series presents a major survey of work by a leading Australian Artist who has built a solid professional reputation over the past decade of their practice.
An exhibition catalogue is available for purchase. For more information contact Patti Belletty on (08) 9266 2259 or email P.Belletty@curtin.edu.au, or visit our Publications page.
The John Curtin Gallery showcases the latest productions by local artists exploring new and adventurous pathways for creating electronic and living art works. The artists featured in the BEAPworks exhibition investigate creative practices at the intersection of science and new technologies. Their works challenge existing notions of art and stimulate debate about the social implications of current scientific and technological advancements. Viewers will be encouraged to interact with the new works.
A copy of the BEAPworks Floor Sheet can be downloaded here.
Tanja Visosevic, Guy Ben-Ary and Bruce Murphy
Tanja Visosevic, Guy Ben-Ary and Bruce Murphy, The Living Screen, performance, semi-living cinematic apparatus, 2006, courtesy of the Artists
The Living Screen is a primitive Bio-Kino toy
designed to travel the side show alleys of art.
Peer thru the Bio-Projector
and experience the astounding 1/2 millimetre projection
as it transforms with the living canvas.
Take savage pleasure in how the screen made from blood
splatters the dead back to life.
Delight in primeval horror
as the Cellular Dentata lurches towards you for a bite
OR look away, as the Monstrous Other gazes back into your eye.
The Living Screen project produces a new poetics, made possible by fusing bio-technology into a living cinematic apparatus. It embodies and anticipates renewed cinematic techniques and modes of expression, while also offering an alternative approach to understanding Bio-Art, which is ‘Bio-Art as Freak Show’. The project re-travels early cinema history and brings film theory into play to approach ones engagement with a Bio-Kino. Screens are grown or scavenged from different tissue sources and Nano-Movies are projected over these living canvases via the Bio-Projector.
So don’t wait, don’t hesitate, and gaze into The Living Screen!
Special performances of The Living Screen are scheduled for the following days and times:
Thursday 20 July (Exhibition opening night) 6.30-8pm: The Cornea Screen in The Curse of the Uncanny Eye, starring Barbara Creed as the Monstrous-Other
Sunday 13 August, 1-4pm: The Blood Screen in I spit on your blood, starring Lloyd Kaufman
Sunday 27 August, 1-4pm: The Skin Tissue Screen in The Cellular Dentata, the world’s smallest living skin flick, starring Barbara Creed eating Lloyd Kaufman.
Donna Franklin, Seduction and the Sinister, DVD projections and installation comprising of: fabric, thread, fungi, plastic mannequins, time lapse cameras, spot light, plastic wall, 2006, courtesy of the Artist
Imagine clothes that grow with you, which change colour from season to season and that require nutrients: fashions that entice yet are of a substance usually associated with skin.
Considering the garment as a vehicle of communication, these living clothes aim to confront the viewer with a physicality of forms that parallel the existence of our own bodies. The garments interface biological (fungal) and digital surfaces to raise questions about the futures of bio-textiles and their application through interaction, beauty and the implications of manipulating living entities.
This project would not have been possible without the assistance of: BEAP; ArtsWA and the Government of Western Australia; the John Curtin Gallery; CCA Contemporary Performance Students, Edith Cowan University; Faculty of Natural and Agricultural Sciences; Professor K Sivasithamparam; Gary Cass; and Elizabeth Halladin. Films by Sharon Custers.
These garments contain: Pycnoporous coccineus, Aureobasidium pullulans, Fusarium sp, and Penicillium sp.
Nicola Kaye and Stephen Terry
Nicola Kaye and Stephen Terry, Bypass, digital projection, 2006, courtesy of the Artists
Nicola Kaye and Stephen Terry's collaborative research spans more than a decade, culminating in their present investigation into digital 3D imaging which incorporates real-time 3D video interfacing with Internet and webcam technologies. Their work Bypass displays constructed 3D video narratives of specific Perth sites of desirable and undesirable spaces which make reference to social inequalities. Real-time 3 D editing involuntarily places the viewer into these contexts. The viewer, now inserted into the narrative, is forced to re-negotiate his or her space. By making the viewer complicit within the projection, the artists hope to create a level of discomfort paralleling issues of social concern.
Regular updates of constructed movies based on audience interaction within the Gallery context will be featured on the Bypass website. The audience may also participate and contribute comments or feedback to the issues raised on the Bypass blog. The website can be found at: www.bypass.physicalvirtual.com
Mark Cypher, Concrescence, digital installation, 2006, courtesy of the Artist
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
T.S. Elliot (The Hollow Men 1925)
Concrescence is a term used in biology to refer to the growing together of related parts, or to growth caused by the addition of particles. The term is also employed by the philosopher Alfred North Whitehead to designate the growing together of diverse elements into a newly evolving entity that never fully congeals. These definitions suggest that the relationships that we have with objects are mutable and intricate, inevitably involving many more materials, ideas and agencies than current definitions of subjects or objects can explain.
Concrescence is a metaphor for the hybrid combinations of object and subject that are formed through a lifetime of intimate relations with objects: where do we start and where do they begin? Karl Marx defined human social relations as constructed through the relationships we have with commodities. Likewise, the collective force of social, economic and personal interaction with the ‘economic cell forms’ (commodities) changes the identity and meaning of both objects and subjects.
The installation Concrescence enables participants to accumulate virtual objects onto their shadow, generating hybrid compositions of subjects, objects and sounds.
Erwin Olaf, Di 1997, 2000, courtesy of Flatland Gallery, Utrecht
This exhibition by renowned Dutch photographer Erwin Olaf has been curated from a series of works completed between 1999 and 2005. An exuberant and imaginative photographer and film-maker, Olaf has carved a career from staging his own realities and pushing humorously beyond the accepted values of our consumer society. Erwin Olaf: Elegance and perversity is an Australian Centre for Photography touring exhibition.
dOFa06 is an exhibition of works by First Class Honours, Master of Art and Postgraduate Diploma with Distinction students from the Department of Art, Curtin University of Technology.
A copy of the dOFa06 exhibition invitation can be downloaded here (108KB PDF file).
My work deals predominantly with what has become known as relational aesthetics. This practice focuses on the relationship between artist and audience rather than on the 'art object'. The relationship between audience members is also a privileged aspect of relational works. Audience/artist interactions may be involved but not necessary. It may sound like straw splitting but relational aesthetics is not about facilitating interactions, it is about developing and investigating relationships.
My art practice is concerned with the beauty and anxiety of impermanence. I choose to paint detailed moments of the evocative in the everyday; that which is glimpsed and briefly remembered while passing through. More importantly I am concerned with evoking a sense of transience, a sense that moment-by-moment, the present appears and erases itself. This awareness is simultaneously a site for anxiety and solace.
I wish to create paintings that explore the vulnerability and beauty of the human subject, the nuances of desire and anxiety that permeate our lived experience. Through the application of a quiet and gentle aesthetic language the experience of dislocation and uncertainty is shown as a vehicle for compassion and sympathy.
Jane Hardy Pritchard
I view landscape as site and subject matter. I experiment with a broad range of media, creating works that emulate textures taken from nature’s surfaces. These are then taken out to various locations in the Ludlow Tuart Forest (34km south of Bunbury) where they are carefully placed and documented through photography.
This series of images represents an exploration into the idea of landscape and how photography in its two dimensional format has the ability to represent landscape beyond the “mere” visual experience. The imagery I create is a highly staged temporary event. The camera acts as a framing device for the inclusion and exclusion of certain information I wish to convey. Placing a “foreign element” in the landscape plays on the notion of what is “real” and what is constructed in the terms of what is natural and what is not.
This is further heightened by the cool metallic surface appearance of the black monochrome print, a dramatic effect that contrasts with the otherwise predictable forest setting. Photography is utilised as a form of mediator where my interpretation of landscape attempts to blur the boundaries between the “natural” and the “unnatural”.
Simple is the central principle behind my jewellery. My work is based on and inspired by basic geometrical forms. I particularly like to reduce decoration and utilize structured line, giving the work a minimal feel. Another predominant focus is the use of symmetrical or contrasting shapes. Chinese traditions influence my jewellery, especially the theory of Tai Chi where there is a balance between the negative force ‘yin’ and the positive force ‘yang’. I also bring my previous experiences in gemmology to my practice. Ultimately I want my jewellery to become a part of the body.
My work deals with ideas of human fragility and the emotions that result from dealing with this concept. I investigate the symbolism of flowers, as they are an appropriate means of exploring aesthetics and morality. The work has a subtle corporeal element: the use of materiality references skin, veins and blood, as well as beauty. My intention behind the work is to enable the viewer to deal with their own mortality and that of others through beauty and hope.
Tipping point: the point at which a series of small ineffective changes acquires enough pressure or importance to cause a larger, more significant change. Uncertainty. A territory where situations become unstable and the experience of reality becomes less solid. Subtle shifts in perception states that hover towards an edge, towards an unknown. I look at the spaces we occupy, especially public and institutional spaces.
I have been investigating ideas of peeping, peering and peeking through gaps and crevices in architectural forms. At the same time I have been exploring the deconstruction of an image into Benday dots and investigating how the dots interact with each other in layers, creating a more architectural space.
In The Liberation of a Bored Monk, I have constructed or reconstructed a number of iconic historical scenes into one compounded sculptural installation. In staging the post-apocalyptic narrative a variety of consumer objects have their function and meaning compounded pushing the objects toward their own natural limits and beyond their designed intention. The humble household pedestal fan is reconfigured by excessive geometric multiplication into a satellite-like industrial wind/propaganda machine. It becomes a symbol of the triumph of cheap labour and the joys of excessive consumption. This giant fan provides the fuel for a post-apocalyptic wasteland, white flag, debris and wreckage…the symbol for surrender is staged as a victorious archetype.
“A cage went in search of a bird”
“I saw at once that the bird was flying into the cage of herself”
While attending a conference in Atlanta, Georgia eighteen months ago I witnessed the suicide of a young Nigerian woman. She took the elevator to the hotel’s 50th floor and, launching herself from the guardrails at the top of the cage-like atrium, flew to her death on the lobby floor. This body of work began there and continued with the quiet contemplation of one wishbone.
Cathedral de St. Icarus the Wishful and Icara Oubliette: The High Priestess of Wishing are two pieces from an installation of six works bearing the title Soul Cages. While exhaustively researching and single-mindedly collecting wishbones (I have collected 50,000), I realized that there is a relationship between the seemingly individual rituals of wishing and the more traditionally religious rituals of prayer. Further, many periphery secular practices have a rhythm, a dogma if you will, a practice and/or articulation that is also not dissimilar to organized religious rites. While it is quite common to de-religious-ize or secularize ideas and language for ecumenical understanding, in this body of work I have chosen to religious-ize seemingly secular ideas and language (specifically, wishing) for the purpose of comparing and questioning the very boundaries of religion.
Icara Oubliette is the hyperbolic incarnation of the religious fervour of wishing. Fabricated from the self-manipulated flight desire of Icarus and the various trappings of a High Priestess, she is perhaps part bird wishing to be human, part human wishing to be a bird. While amply feathered she is rendered earth bound by the length of her tail (30 ft). While elevated by wishing, she is grounded by her desire to control its outcome. While an expert in the techniques and rituals of wishing she is divested of a meaningful relationship with capricious Fate. The audience is privy and somewhat complicit in her soaring rise as wishing expert and her spiralling demise on the pointy rocks of futile desire for control. From the confines of her Babelish cathedral for one, Icara contemplates the consequences of her next wish...
My name is Bevan (Howard) Thompson.
I am a Yamaji/Noongar contemporary Artist. I started my art career in the Goldfields and I have traveled throughout the state of WA. My aspirations have always been towards art, however, my options were limited and I was not able to easily access resources.
My Grandmother influenced me, as she would tell us stories relating to the land, stars and different animals. By observing her when she sat down and worked on her bark paintings. I was given the opportunity to make Indigenous art, with the assistance of my cousin Terry. Once I mastered the steps, I then moved on with my art. My main interest in life is perfecting my art through experimenting with many different art forms and techniques.
The 1960s was a boom period in British printmaking due in part to new developments in photo-screenprinting and offset lithography that enabled artists to play with visual images and set them within fields of flat colour. Artists such as Allen Jones, Victor Pasmore, David Hockney and Joe Tilson created works that epitomized the 'swinging sixties' and were extremely influential across the world and particularly in Australia. Conflux is an exhibition of British prints from the 60s and prints by Western Australian artists from the 70s made in response. The works are drawn from the Curtin University of Technology Art Collection, and include works generously donated by Dr Douglas Kagi and on loan from private collectors.
A copy of the Conflux catalogue can be downloaded here (3.1M PDF file).
above: Tim Burns, Sons of Gwalia, screenprint and linocut, c1970, 62.5 x 50 cm, courtesy of the Artist
below: Robert Juniper, Rider, colour lithograph, 1979, 71.5 x 73 cm, Curtin University of Technology Art Collection
Miriam Stannage's work exposes the fear that lies below the surface of contemporary life. Crime scenes and acts of terror distort everyday experience, transforming the commonplace into images of danger and dread. In her work over the past twenty years Stannage underscores the fragility of our lives and the potential for the mundane and ordinary to trigger our deepest fears.
A copy of the Miriam Stannage: SENSATIONS exhibition invitation can be downloaded here (217KB PDF file).
Sunday 26 February 1-5pm
Sunday 26 March 1-5pm
Lux Aeterna, 2005, LED message sign, 10 x 73cm,
courtesy of the Artist
Developed and produced with support from the UWA Perth International Arts Festival