• Benjamin Werner, Blinded by the Lights, HD video still, detail, 2014.

  • Benjamin Werner, Blinded by the Lights, HD video still, detail, 2014.

  • Benjamin Werner, Blinded by the Lights, studio shot, HD video still, detail, 2014.

Christian Flynn: the sheer potency of this dynamic aesthetic is none other than an exuberant, intelligible reconfirmation...more

Judy Millar: how one experiences the work, how the work relates to itself and the medium of the work is all metamorphosed...more

Joel Rea: hesitates offering definitive meanings preferring to leave interpretation to the prerogative of the individual viewer...more    

Caitlin Franzmann: encourages us to bear witness to the temporal interplay of our subjective psychological impulses...more
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Blinded by the Lights #1, Welcome Home, Oil on canvas, 1200 x 1800mm, 2014.

Where once the locations in Werner’s paintings were clear, this new body of work sheds the referent to engage more purely with colour, composition and sensory experience. Photographs and sketches taken from various cities initially inspire Werner’s circles of light, but during the creative process the artist becomes a composer, directing the circles like musical notes to create symphonies of colour. Many artists have explored correlations between colour and music over the past one hundred years. There were those who tried to capture the emotional intensity of music through colour…more

 

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Karike Ashworth ‘Pillows’, condemned hospital linen, thread, 6 x objects, 15 x 68 x 40cm, detail, 2013.

Ashworth’s Lamentation marked the two-year anniversary of the passing of her mother in July 2012. The exhibition conveys the collective grief of twelve women including the artist who have all lost their mother to death. A celebration of life viewed through the lens of artistic contemplation? Perhaps, though one is drawn to a speculative rending of the mind and body in the face of a perceived culmination of events amounting to the sublime certainty of finality. It is a dialogue that as a society we tend to dismiss. And yet framed as artistic eloquence in a recognizable public space, a space in which dialogue is encouraged and permitted to take shape, enables the viewer to constructively consider the many complexities surrounding the human inability to explore the absolute certainty of our collective demise…more

 

Carolyn V Watson “matterovamind”

Carolyn V Watson “matterovamind”

Carolyn V Watson is part of a wave of artists who are reviving traditional art making practices. Integral to Watson and other artists working in this marginal way (think Lae Oldman, Juz Kitson and Lindsay Pichaske), is the wholehearted commitment of the artist being immersed in each stage of their artistic process. Embracing the physicality involved in the act of making, these artists privilege the handmade over the technical, the humble over the ostentatious and the organic over the manufactured. As a result, making art is a labour intensive, obsessive and at times ritualistic experience. This emphasis on process counters much mainstream contemporary art where the role of the artist is limited to the creation of an idea and the making is outsourced to skilled technicians. Yet, as witnessed in Watson’s work, the investment of the artist’s time and care confers a gravitas that cannot be achieved in any other way…more

 

Gary Carsley Astria Portia 3 2014 Courtesy Thatcher Projects New York and the artist.

Gary Carsley Astria Portia 3 2014 Courtesy Thatcher Projects New York and the artist.

Carsley’s meticulously constructed inferred environments within the gallery setting can clearly be seen to privilege the durational hand of the artist. In fact each work is the product of months of planning and execution. There persists a distinctly meditative instability throughout these works, a slipperiness of a multitude of surface that knowingly commemorates a photographic process that has been infected through the artist’s digital sampling. Carsley’s composite Draguerreotypes of architecturally constructed global gardens – in the main – fashioned through the use of sampled swatches of wood grain, sourced by the artist from various hardware stores throughout his travels, in effect, has supplemented the photograph and in the process has overwritten that which was, thereby challenging an understanding of the supremacy of the original with that of the inferred…more

 

Brendon Scott French, Tectonic Trace - Binary # 6, 2012. kiln formed glass, 1200 x 960 x 40mm.

Brendon Scott French, kiln formed glass.

The recent return of craft to the contemporary art scene is a welcome move. This new turn sees artists working in process oriented art practices as a counter to the extravagant spectacle privileged throughout the celebrated biennale circuit. The foundling vision of JamFactory was concerned with nurturing creative talent to develop ‘a world-class crafts and design facility.’ Through its 40-year colourful history, the institution has had plenty of detractors and endured strong criticism. Thankfully, the gritty determination of the people involved has ensured its survival. As an educative and creative institution, JamFactory stands alone in Australia’s cultural history. This travelling exhibition presents an opportunity to see the latest work by some of our leading artisans. Many exhibitors are current or past educators at JamFactory, and their work appears in national and international public collections. From the quality of the works on show through to its clever curatorship, Designing Craft/Crafting Design is testimony to…more

 

"Black Dog", readymade found object, 2013, mage courtesy Carl Warner via the artist.

“Black Dog”, readymade found object, 2013.

The critical discourse currently surrounding conceptual art positions it as an art form that seamlessly dovetails and intermingles with the disciplines of painting, music, video, sculpture, photography, performance and installation art. This trans-disciplinary approach, birthed by Duchamp, toward a fluxus manifestation: a movement that artistically supplemented a contemporary positioning of conceptualism, is clearly evidenced throughout Moore’s work. Spanning the performance of alter egos, video, spoken word, participatory installation, sound art, appropriated texts, an ironic play on meaning and the readymade artistic object, the choices Moore makes are all imbued with his ongoing thesis surrounding implied and overt racial gestures of discrimination and the unceasingly inherent scripting of Indigenous identity by forces that lay outside of Indigeneity…more

 

Anvil (nut cracking stone).

Anvil
(nut cracking stone).

written on the body runs to the heart of an ongoing conundrum of museum ethnographic collections in that ‘while objects reflect the situation from which they are derived, they also present a distorted image of that situation even as they often come to stand for it.’ As highlighted in this exhibition, the early 20th century practice of labelling objects perpetuated the lacuna between the museum object and what it purports to represent. Many of the objects in this show are those sourced from the 1930s to the late 1950s when the Museum’s founder, Lindsey P. Winterbotham, amassed a considerable collection. As was common practice in this period, objects were written upon as a means of identification and interpreted according to the collector’s background and own set of meanings. The exhibition promulgates that these crudely scrawled numbers and initials deface…more 

 

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Kerry Tribe: ”There Will Be________ ” 2012.

Throughout her complex and multi-faceted oeuvre Tribe is well known for her pathological amounts of appropriation. The cult of postmodern cultural quotation is simply inescapable. The language that Tribe utilizes – sourced from the sixty three films shot on location at Greystone mansion – intelligibly operates as the trigger that ignites this felt push/pull from the clearly signified to a distinctly disenfranchised contextual unease and yet it is this language that manifestly resonates with an audience’s lived cinematic memory. The complication of language utilized throughout the work can be seen to be operating as an artistic strategy initiating an awareness, a bodily recognition within the viewer and speaks to just how out of step we can become in the construction of and the seemingly indiscernible organization of a working memory…more

 

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“I Feel For You 3″

A fearless and at times brutal re-imagining of the act of contemporary figurative painting, the artwork of Celeste Chandler unmistakably engages with the development of a new set of strategic maneuvers in her reconfiguration of a visual lexicon with which to communicate ideas. This was clearly evidenced and importantly felt in her most recent solo exhibition The Embarrassment of Sincerity: The Changing State of Contemporary Figurative Painting, shown at the Margaret Lawrence Gallery, Melbourne, from the sixth to the fifteenth of February 2014. The unmitigated import of Chandler’s visual grammar of potentiality surrounds an artistic economy of sensation mediated by the inherent instability of an ambiguous perception…more

 

Megan Puls: Although there is much talk in art journals of the ‘drive for equality’ across all mediums in 21st century art...more  

Chris Inwood: as a whole the most striking and visually immediate theme of the collection is the emphasis on technical process...more  

Kitty Horton: what becomes apparent is an order and intention through this body of work that gradually reveals...more

Nic Plowman: produced in the wake of Australia’s first parliamentary enquiry into institutional child-sex abuse, Plowman’s subject is...more