November 16 to December 1 Opening Fri 15 Nov 6-8 pm
India Zegan and Lynne
Barwick’s work is linked by a shared interest in cultural narratives of
identity, in the blurred ground of fiction and autobiography and in disrupting
empirical language to reveal its surrounding ghosts. In a furthering of the
artists’ discussions, Zegan’s abstracted portraits and Barwick’s painted text,
reflect and engage each other in an open-ended conversation.
Zegan’s suite of
twelve, blind-embossed prints are the latest addition to her Museum of
Fathers – an ongoing project of applying the structures and processes of
contemporary museum culture to her explorations of fatherhood and gender.
pieces incorporate literary techniques and genres to examine the uses of
language in contemporary art. Barwick’s installation for Closer presents
a series of propositions and declarations that examine the narratives that
underpin ideas of community and evolution.
Collection 4 is a collection of artworks that are grouped together by the simple criteria that they are predominately blue in colour (or solely contain the colour blue) and were already physically existent when the artists were invited to participate. The equivalence in colour allows for an opportunity to view these individual artworks collectively. Participating artists include John Adair, Matthew Allen, Daniel Argyle,
Clementine Barnes, Majella Beck, Louise Blyton, Sue Callanan,
Christopher Dean, Rhonda Dee, Richard Dunn, Nicole Ellis, Beata Geyer,
Alexandra Kennedy, Melanie E. Khava, Suzie Idiens, Kyle Jenkins, Ben
Lang, Lindy Lee, Stephen Little, Kate Mackay, Francesca Mataraga, Sarah
Newall, Alicia Poppet, Alex Pye, Samuel Quinteros, Paul Raguenes,
Margaret Roberts, Marlene Sarroff, Liz Shreeve, Masato Takasaka, Esther
Tonkinwise and Justin Trendall.
Adrian Clement is an artist and writer based in Sydney who is currently working on projects that involve the collection of blue objects according to specific contexts. So far, this has included the collection of blue rubbish, presented as an installation at Factory 49 in February, 2013, an ongoing photographic series of blue cars, and a collaboration with another artist and her daughter which involves reviewing their entire possessions to document objects that are blue and subsequently interviewing them about these objects. These projects can be viewed online at www.adrianclement.com Download or view room sheet here.
Image: Francesca Mataraga, a to b (wall work), 2013.
'a to b (wall work for ArticulateUpstairs)'
Friday 21 June to Sunday 14 July Opening 21 June, 6-8pm 'a to b (wall work)' is a site-specific painting created for the ArticulateUpstairs
exhibition space. In this latest installation Francesca Mataraga
continues her series of works based on IKEA fabrics patterns that
explore size and scale in architectural space. The wall work responds to
the architectural elements of the venue and the original pattern is
adapted accordingly. The striped element and the title 'a to be' refers
both to the viewer's action of walking along the corridor next to the
work in order to see it and to the pattern's name – Annbeth.
A parallel work is also being created simultaneously at the AUTOCENTER (Berlin). In this piece the same IKEA pattern is used but the wall painting takes on a different form. Executed as a process piece 'a to b (wall work for AUTOCENTER)' is made using Schmincke's extra soft pastels in colours that correspond to the stripes. By using such fine art materials for a piece that will only last half a day the work attempts to comment on the temporality of art and functions as a kind of art graffiti.
ArticulateUpstairs wall work painted by Creative Finish. AUTOCENTER (Berlin) wall work painted by collective action of participants in the Autocenter Summer Academy – Week 1.
Image: Yvette Hamilton, A Loved One Sleeping #5, 2013.
Opening 24 May, 6-8pm
Friday 24 May to Sunday 16 June
A Loved One Sleeping is an exhibition of photographic works by Yvette Hamilton.
Inspired by Victorian-era
mourning portraiture, A Loved One Sleeping memorializes the creative
space that was the QueenSt Studios/Frasers Artist Studio Residencies and which was housed in a Chippendale
warehouse space, offered to artists as part of the Frasers
Central Park development. Hamilton was amongst the last group of artists
to inhabit the studios before they were handed back to the developers
and her work responds to the inherent tension of
the site as it teetered on the edge of its demise. The
photographic and video works taken during and after her residency explore presence and absence.
This exhibition is presented in association with HeadOn.