Opening 20 November, 6pm
21 November – 14 December 2014
The John Curtin Gallery in partnership with Curtin's School of Design and Art (SoDA) is proud to present the work of graduates from the School's Postgraduate Program. This is an annual project that has been ongoing since the Gallery's inception in 1998.
SoDA features five discreet projects by visual art practitioners:
In her one-woman multiscreen performance installation, All MySelves on YouTube and I, performance artist Meredith Godley considers if it is possible for us to escape from our everyday selves by performing the ‘Other’ online. Godley tells real life stories live, amid multiple screens that play her non-autobiographic YouTube video logging (vlogging) personae. Coexisting in this intimate setting, the relationship between her ‘real’ self and her online identities is tested. This performance reflects on how iCulture influences manifestations of selfhood.
Meredith will perform from 26 November to 14 December: Wednesday, Thursday & Friday 1:30pm and Sundays 3pm
BOOK NOW for All MySelves on YouTube and I
BETA BLOCKER is a continuation of Green’s xylem series, paintings that combine unlike materials; these interactions are then encapsulated within layers of resin. Using mixed media on aluminium, he creates translucent, colourful surfaces that seemingly capture movement. Pigments, inks and resins are mixed with resistant media creating structures that react and emerge within the surfaces of the works. These vivid microbial-like forms are paused in motion as the resin seals, trapped in opposing interaction. The structures appear both natural and unnatural; shapes that suck and spill - retreat and extend. It is this paradoxical space, set between two extremes in which the work evolves.
In addition to the two-dimensional works, Green collaborated with filmmaker Chad Peacock to produce shifting states: mikros kosmos, a video installation documenting this live action of painting processes. The work hints at bodily organisms, external geographies and the origins of living matter: repositioned under resistance.
Kate McMillan’s work reflects a kind of psycho-geography that ties together our emotional experiences within landscapes and domestic settings. Her series of photographs taken at Governors Lake on Rottnest Island/Wadjemup illustrate the forgotten history of atrocities committed on the Island and belie the reality that some 400 unmarked aboriginal graves are located nearby.
McMillan’s sixties-era sideboard is a reference to the same time period. One leg is missing – in its place history books are used as a prop. These particular books were published in an attempt to provide some kind of national framework and identity for Settler Australia including the romanticisation and categorisation of Aboriginal cultures. In 1963 Wadjemup/Rottnest Island ceased to be used as an Aboriginal prison, the same decade that Aboriginal people were federally declared Australian citizens. The references to domestic interiors, the painted wall, the ‘arranged’ artworks, remind us that these are our histories, hidden away in the homes we live in.
Naidansuren’s art practice aims to trace parody in Mongolian Modern Art - in particular the period of socialist regime (1921-1990) and post-socialist period. He reworks ideological art of the socialist period and highlights its distinct shift from soviet styled propaganda, realism, posters and caricatures, to freedom of expression which encouraged public discourse around current social-political concerns. It also reveals the historical truths to viewers that were distorted by the Mongolian chronicle during the Soviet regime and so criticize Soviet styled propaganda art. Therefore, it could be providing a chance to analyse and deconstruct the models of development in Mongolian Contemporary Art.
Hitesh Natalwala’s artwork is the result of study into the impact of Indian culture over the past 40 years on societies of the old British Empire and the symbiotic personal culture that develops by negotiating different cultures.
The works show how he first observes the way subcultures adapt to new environments and situations and inevitably become hybrid, layering bits of cultural experience one on top of another, and then uses this as a strategy for marbling together his own exposure to a host of culturally diverse norms—each with different, rich chromatic and iconographic traditions.
His first project is a series of collages that continue an existing body of work, which explores the subjects of diaspora and ethnography.
Indian and African textiles and sculpture, merge with a plethora of western forms in the second art project; not to mention an awareness of collage and assemblage techniques from the history of modern 20th century western art by artists such as Kurt Schwitters and Joseph Beuys.