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Curtin University of Technology
John Curtin Gallery

Past exhibitions
2008

  • lost, new work by Kate McMillan
  • The 20 x 20 Project
  • House of Tarvydas
  • Looking Out
  • dOFa08
  • Abbingaheim - Jason Hendrik Hansma
  • Who Do You Think We Are?
  • Tanisha Percival and Christina Putland
  • Brenda Croft Alt(a)red Angels Series
  • Brook Andrew: Eye to Eye
  • Just in Time - Juana Terpou
  • Sonia Payes: Portraits of Australian Artists
  • Matthew Ngui: Point of View
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    Denise Green: Out West
    31 October - 5 December 2008

    curated by Ted Snell

    Over the last several decades, Denise Green has produced a substantial body of art - paintings, drawings and installations that "both honor and challenge myriad sources while also blurring and smudging established boundaries."- Barbara Zabel.

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    Denise Green: Out West, installation view, 2008, photo: Denise Green

     

    Densie Green install
    Denise Green: Out West, installation view, 2008, photo: Denise Green

     

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    lost
    new works by Kate McMillan
    31 October - 5 December 2008

    Based on the history of the Buried Village in New Zealand and personal narratives of loss and grief, McMillan tries to create an emotional viewing experience that is neither didactic nor entirely evasive. Rather it hopes to negotiate the difficult and uneasy terrain of knowing and not knowing.

    Kate McMillan install
    lost, installation view, 2008, photo: Jedda Andrews

     

    Kate McMillan install
    lost, installation view, 2008, photo: Rob Frith, Acorn Photo Agency

     

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    House of Tarvydas
    22 August - 10 October

    curated by Anne Farren

    House of Tarvydas will be a major survey of Ruth Tarvydas' work from her first collection in 1968 to the present. Tarvydas' career and significance to the local industry will be illustrated through the presentation of key works, images and media.

    Tarvydas image
    Ruth Tarvydas, 1984 Collection, photo: Justin Smith 2006

    Tarvydas image 2
    Ruth Tarvydas, Vintage Love, I have a dream collection, 2007, photo: Justin Smith

    Tarvydas install 1
    House of Tarvydas, installation view, John Curtin Gallery, 2008

    Tarvydas install 2
    House of Tarvydas, installation view, John Curtin Gallery, 2008

     

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    Looking Out
    22 August - 10 October

    curated by Anne Farren

    Looking Out will present key contemporary Western Australian fashion designers whose work has an international focus as well as reflecting the dynamic and innovative nature of fashion design in WA. The exhibiting designers are: Alvin Fernandez (ae'lkemi), Aurelio Costarella (Aurelio Costarella), Erica Wardle and Lucas Bowers (ericaamerica), Mic Eaton (Material Boy) and Megan Salmon (dd by Megan Salmon).

    Alvin Fernandez (æ'lkemi)

    2008 is set to be one of æ'lkemi's biggest with continuing growth on its already strong following in Europe, participating in Pret a Porter in Paris and launching new lines from the brand AE home ware. æ'lkemi's latest collection, 'Strangers on a Train' Atumn/Winter 08, epitomises a journey of love lost and found. This collection mixes old world opulence with visually seductive and playful surfaces and textures.

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    ae'lkemi, Strangers on a Train, Autumn/Winter collection 2008, photo: Gary Sandford

    Aurelio Costarella (Aurelio Costarella)

    Aurelio Costarella the creative behind Aurelio Costarella (ready to wear) and Aurelio Costarella Couture, launched in 2000, is earning a formidable reputation internationally as he turns his Western Australian based company into an international luxury brand.

    His exquisite evening wear designs have been admired and worn by a plethora of international stars including Rihanna, Eva Mendes, Rosie Perez, Mia Maestro, Melissa George, Leelee Sobieski, Dita Von Teese, Jenna Jameson and Sharon Stone.
    Aurelio's collections are a regular feature at New York Fashion Week.

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    Aurelio Costarella, Goddess Pant with Cloud Blouse, Winter 08 collection,
    photo: Di Vidos, model: Emily C @ Chadwick

    Erica Wardle and Lucas Bowers (ericaamerica)

    Welcome to our world. And it is a world.
    For us ericaamerica is not just about clothing. It is an all encompassing alternative universe inhabited by the creatures of our imagination. A universe of rich textures, old world charm and unashamed masculinity. A world in which everyone from the birds to the men, preen themselves with lavish style and no stone is left aesthetically unturned. Captured and bought here to the gallery are a range of handcrafted objects from this world, each and every one created in the world that is ericaamerica.
    Our World.
    Welcome.

    ericaamerica image
    ericaamerica, Council of War, Revolt collection, 2007, photo: Rob Grima

    Mic Eaton (Material Boy)

    Launched in Perth in 2003 by a brash young ex-pro-surfer Mic Eaton, Material Boy saw a meteoric rise which culminated in being named WA Fashion Designer of the Year in 2006.

    Material Boy clothing is distinguished by its provocative approach to menswear which pushes the boundaries of male fashion. Mic Eaton describes the Material Boy design ethos as avant-garde and sights John Galliano, Bernhard Willhelm, Com de Garsons, Bless, Jessie Hill, Marjion Pejoski, and Adam Entwisle as his favourite and most influential designers.

    The Material Boy collection 'Honey I shrunk the Boy' released for Autumn/Winter 2006 captured the attention of the Australian and international fashion world.  It featured the now signature exaggerated silhouettes with oversized hoodies, and prints on low crotch drain pipe skinny leg jeans. A series of equally distinctive collections have followed: 'Level 19, Super Material Boy, 'A Vomit Affair', inspired by all things vomit and the Spring/Summer '08, Celebration of Your Inner Gay, which saw the Northern Hemisphere pay closer attention.

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    Material Boy, Celebrate Your Inner Gay Collection, Spring/Summer '08,
    photo: James Dimitri, model: Tane Andrews

     

    Megan Salmon (dd by Megan Salmon)

    As a fashion designer I explore very similar concerns to the disciplines I examined as a painter, being texture, form, colour and mood.  My ranges are seasonal investigations of ideas that have evolved from my last body of work.  Rather than following trends in fashion, I create a range that builds organically yet is sympathetic to general shifts and contraints in the fashion and commercial world.
    As an Artist I have been trained to look at things in depth, to see potential in materials, to push boundaries of technical expertise. I believe in work that addresses innovation and craftsmanship and I am sympathetic to the concerns women have of image and body.

    Megan Salmon image
    Megan Salmon, recon dress and jacket, 2008,
    photo: Megan Salmon, model: Dempsey Stewart @ Viviens

     

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    dOFa08
    20 June - 1 August 2008

    DofA is the John Curtin Gallery's annual exhibition of work by postgraduate students from the Department of Art, Curtin University of Technology.

    Presented in collaboration with the Department of Art, Curtin University of Technology.

     

     

    Beth Kirkland

    My research is based on the possibility that art practice can function as a site of resistance to pressures arising from the training organisation in which I work. The imperative for large organisations to become efficient and accountable can contribute to high stress levels as the pace of work quickens and staff become dissatisfied with often having to complete tasks in a superficial manner. In my re-thinking of workplace activity I embraced "mindfulness" as a way to resist to this environment. I am interested in making marks mindfully, that is, slowly and with alert concentration and focus. I explored three marks - the line, the watercolour brushstroke and the rips and powder burns made by a gun. Although simple in themselves, they are subject to the making process. Mindful practice is like a crucible, wherein irrelevancies are burned away and what is truly valuable is left behind.


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    Beth Kirkland, Repititions,watercolour and pigment ink on paper, 2007

    Dragica Milunovic

    My practice is influenced by a minimalist, process based aesthetic and its central technical concern is mark making. I explore a defined range of mark making though the investigation of its materiality, scale and colour. I work with a specifically restrictive marking methodology that is immediately evident on viewing the works.
    A further objective in the paintings is to achieve an intriguing illusion of depth imbued with movement and to convey a feeling of transcendence to the viewer.
    Variation in the density of mark deployed allows for interplay between the positive and negative space make by or left by each mark. Slightly uneven edges and ridges in the painted marks help to create a texturally vibrant surface. The hand-made nature of these works is essential.

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    Dragica Milunovic, #28, oil on canvas, 150 x 150 x 4 cm

    Kuemhee Oh

    Empty, Mindless space

    This work aims to transform perception and experience and to synchronize the mind and body. The process of training for a synchronized mind and body is based on Zen doctrine of Buddhism as a means of meditative training and attending carefully to inner ego through meditation. This work is oriented toward searching for the essence of the universe composed of one force, comparable to the ascetic practices for examining the inner world through Zen philosophy of Buddhism.


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    Kuemhee Oh, Mindless Space, monofilament and ink, 2007

    Mark Parfitt

    My art comes from a desire to make an ordinary life more celebratory, more personalised and more fun. It singles out problems, circumstances and events that exist between home and work and goes about asking questions, planning solutions and taking action.
    I keep a diary as I go along. This is where the process is visualised by photographs, drawings, writings and object making. The diary acts as a kind of project journal that records the events. It visualizes how I think and can possibly show people how I do things.
    The investigation attracts attention and focuses on an ordinary situation and in doing so elaborates, decorates, renovates and parodies it. I hope for my viewers to see when an everyday, diurnal situation is amplified in such a manner, it can reveal concerns to do with endeavour, futility, significance and responsibility.

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    Mark Parfitt, Carlisle Buffalo, mixed media, 2007

    Lynn Smith

    My practical work in the past has largely deal with loss or death. Embedded into that has been the notion of desire which instigates and or perpetuates a perception of loss. The work has also involved the investigation of status, conspicuous consumption and power. These themes still underpin my new work. It is my contention that cultural reality is often concealed by rhetoric and complex social mores but becomes more visible in the domestic or personal sphere. The alpha personality wages war largely in the personal domain - a secretive, silent, sanitized battlefield for the most part devoid of blood but not of collateral damage. An assessment of the personal domain can, thus, make visible the underlying 'truths' of contemporary existence.


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    Lynn Smith, Tic Tac Toe - The Histnonics of Lust, Digital projection, 2008

    Fong-Yeng Soon

    The concept of Nothingness persists as an un-manifested and very subtle concept. Subtlety has led to a profound series of questions with, it seems, infinitely extendible implication in fields such as mathematics, theology, and philosophy. Ponderings on the implications issuing from the concept of nothingness have shaped research parameters even in engineering and physics. Science sees a perfect vacuum as a physical possibility, but technology has yet to demonstrate this. When it seems that everything has been removed from a vacuum container, there is always something let...including the space itself and the ubiquitous and irremovable vacuum energy that has been detected in Quantum physics. It is my belief that there could not be anywhere a region containing absolutely nothing. The curiosity of the Nothing has led me to investigate its profound implication.


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    Fong-Yeng Soon, Folded Truth, Paper, 2007

    Julian Stadon

    Art is primarily concerned with the representation of the human condition within its surrounding environments. SLARiPS facilitates greater investigations into this notion, through the development of a system that links all phases of reality, through creating objects that move freely through these environments.
    SLARiPS (Second Life Augmented Reality in Physical Space) is the development of interactive augmented reality constructs that appear 3D in physical space when viewed through a head mounted display. The work explores the evolution and impact of networked digital environments, particularly in Second Life.


    stadon image
    Julian Stadon, Slarips, mixed digital media, 2008

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    Brook Andrew: Eye to Eye
    4 April - 30 May 2008

    Ngui photo
    Brook Andrew, I Split Your Gaze, 1997, duraclear mounted on acrylic, ed. 3/10, 
    1350 x 1210 x 60 mm, courtesy of the Artist and Tolarno Galleries


    Brook Andrew: Eye to Eye is an exhibition that spans the artist's practise over the past decade and features photography, neon lighting and installation. Andrew has created a powerful body of work that challenges dominant points of view regarding Indigenous people and issues of identity – who constructs history and who history excludes. The works in this exhibition speak of an unfolding or recovery of a lost history, a lost identity and a lost language.

    A Monash University Museum of Art Touring exhibition.
    Presenting partners are Penrith Regional Gallery & the Lewerws Bequest and John Curtin Gallery.

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    Matthew Ngui: Points of View
    8 February - 20 March

    Ngui photo
    Matthew Ngui, Swimming; at least 8 points of view, 2007, four-channel digital video, sound,
    10:10 minutes, installation view, Museum of Contemporary Art, Sydney © the artist, Photograph: Jenni Carter

    The John Curtin Gallery presents Matthew Ngui: Points of View. Curated by Russell Storer from the Museum of Contemporary Art, the exhibition draws together Ngui's works from the past two decades.

    Continuing his investigation of space and perception, Ngui’s drawings, installations, video works and performances fragment or transform images, objects and experiences from everyday life, calling attention to their cultural value as they move between contexts.

     

    Exhibition organised and toured by the Museum of Contempoary Art, Sydney, Australia
    Presented in partnership with the UWA Perth International Arts Festival 2008

     

     

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