Monthly Archives: May 2014
Winter is upon us, hard to believe though considering its been fairly mild so far! Thank you to all who check this space and to my regular readers and subscribers, you help me to keep the passion alive! If you haven’t subscribed to my newsletter, please do by clicking on the pop-up that you see on your screen. I send out a newsletter every few months with a quick round-up of my favourite posts. Any questions or ideas, please don’t hesitate to contact me on my email address listed under ‘About Me’. For those who have been following this space, or checking in at different times, you would have noticed a few improvements over the past two and a bit years. All good canada goose modle ontario on sale take time! Stay tuned for more interviews and photographic delights of Melbourne’s Arts scene and the surrounds soon.
A reminder also that ‘The Light in Winter’ festival kicks off in Melbourne from the 1st to the 22nd of June. I wrote about last year’s event here. Over the years, Fed Square has truly become a spectacular gathering space for this and many other events. See the program here and have a great week!
This year marks the celebration of 20 years of Top Arts at the NGV. ‘Start Up’ contains the work of 49 students, whittled down from about 3,000 applicants from VCE Studio Arts and Art students around Victoria. More sophisticated entries seem to be appearing every year, as technology becomes more accessible and students strive to create extraordinary contemporary pieces. Traditional mediums such as drawing and collage still appear alongside a range of these contemporary works. Computer aided design software and laser cut shapes were employed to inform one series of sculptures. In another, vertical blinds are used as a surface for an image that draws a reaction from many. An increasingly common theme is the idea of gender, which is explored in works this year. Some young artists paid homage to their grandparents, producing outstanding works that provide a visual narrative of their lives.
The exhibition is now treated very much on par with the rest of the exhibits and increasingly patrons of all ages (as well as busloads of students) enjoy the exhibition. Prominent Melbourne artist Ash Keating and Orb Weavers lead singer Marita Dyson are past winners and have gone on to forge successful careers. There is no doubt that such an opportunity for a student to have their work in the three month long exhibition would help propel them to greater heights. What a fantastic canada goose modle ontario on sale for Melbourne and great for highlighting the value and importance of Art Education in our schools and wider community!
Yes it’s true.I tend to have a ‘boom and bust’ type approach, where I spend a lot of time reading and researching a general topic or set of ideas (say gardening, or plant collecting, or new materialism), and then I’ll make the work itself in a short burst of activity without thinking too much about all that research – I just trust that it’s sunk in and is influencing how I’m approaching the artwork. I’ll make sound recordings, do sketches, take video footage and photos and write like crazy, then see where this leads me. Text is pretty central to my working methods – a lot of the time a whole work will develop out of a couple of sentences or some words or ideas that I’ve jotted down. I find I work well when I have a specific space to respond to (like my recent residencies in the Docklands and at Testing Grounds in the city), where I can really get in there and play with the ambiguities and the interesting canada goose modle ontario on sale that arise when you look closely at the overlaps between human and non-human spheres of life.
Yes! Slapstick and humour are pretty central to my work – it’s tied in with me being drawn to the absurd, and making work that’s a little side step away from everyday life, which in the end is what humour itself is I’d say. I guess I think of what I’m doing as a kind of ‘serious play’, taking ideas or spaces or things and finding the point where they twist into something less ordinary, where you look at them anew. Humour is one of the most efficient (and, for me, enjoyable) ways of achieving this effect.
I’ve got a few works, which are marketed at birds and other creatures. I’m drawn to the visual language of advertising in my work as I think it provides a good bridge for looking at how the spheres of commerce, nature and culture overlap – how animals and plants adapt to and function within environments built for humans, how economic concerns can change the form and fabric of ‘natural’ things such as flowers, fruits and vegetables, and so on.
The binoculars function as a nice succinct symbol for the ways we approach the natural world – that sense of intimacy and removal at the same time, and distortion, and also the sense of ownership and collecting but also wonder and having a new world opened up to you, and yes, gaining some kind of perspective from the point of view of the observed. I’m very interested in the idea of living creatures as individual, functioning beings as well as playing a role in their wider community or ecosystem.
I grew up in a suburban area with a creek and huge park directly behind my house, and would spend hours climbing trees, collecting acorns, pretending to fish, making cubby-houses, and bird-watching with my family. I think that did have a big influence on me, in that it made me inherently pretty aware of and responsive to nature or the living-non-human in everyday, urban environments – as something around us all the time, rather than ‘out there’ or something you go to visit. I think once you have a view that this kind of stuff is important or meaningful, it can’t help but start to inform your views about sustainability, how humans and non-humans fit together, and also the ambiguities of categories such as ‘nature’ and ‘the wild’.
I’m drawn to artists whose work is funny, or poetic, or which engages with and utilises ‘real life’ in some way.
Francis Alys and Stanley Brouwn’s works are fantastic in their mixture of playfulness and formality, and their engagement with the mechanisms and workings of city life. Rivane Neuenschwander’s pieces using ants and parrots are both funny and beautiful, and bring up ideas of how we use or collaborate with non-human subjects in art. George Gessert’s works and writing on plants have been really influential for me – particularly his idea of plant breeding as a kind of ‘genetic folk art’, which stretches back millennia, and the role of commerce and fashion in changing the form of flowers and plants.
Jane Bennett’s writing about ‘thing-power’, the ephemeral artists featured in http://www.potz.blitz.szpilman.de/, Documenta 12’s ‘The Worldly House’, Fischli and Weiss, Luke Gottelier’s garden photos – the list goes on.
What are your plans for future exhibitions?