Window Pictures
Daniel Stephen Miller

In each of the videos in this series, a fixed camera shows a shop window displaying goods for sale. Seduced into looking but not buying, the artist, armed with a camera, walks into the shop. After undertaking whatever negotiation is necessary, he eventually appears in the window, makes several photographs and exits the premises. The projection of these videos in an old shop window on Gertrude Street is obviously really profound and, like, totally meta.

Freeloader
Pippa Makgill

The work for the installation Freeloader came about after thinking about the notion of ‘lazy sculpture’.  I have alot of bottles, objects and spray paint just skulking around in my garage.  After work we hang out not doing much.  I asked them if they wanted to be in an exhibition and none of them were particularly keen. The spray paint showed a bit of interest.  So I guess we’ll see what happens.

Inside is outside, Outside is inside
Yuria Okamura

Inside is Outside, Outside is Inside explores the duality of the physical and the metaphysical worlds through examining the relationships between geometry and figuration, the interior and the exterior, as well as perception and illusion of space.

Yuria draws her inspirations from Zen architecture and their gardens in an attempt to construct a meditative pictorial space, through which the viewer can imagine the spiritual world within the realm of the material world, while exploring the ways in which the geometry can inherit the nature of meditative spaces.

Artefact
Chantel de Latour, Antonia Ellis, Olivia O’Donnell

Interpretations of the ‘Artifact’ provide a conceptual groundwork for this group show by three Melbourne artists, Antonia Ellis, Chantel de Latour and Olivia O’Donnell. Across a variety of media, each investigates the complex relationship between the object/artifact and contemporary art.

Antonia’s practice references a nostalgic longing for high academic art and classicism. Her work uses pieces of iconography to reference idealism and the pursuit of perfection in the antiquity.

Chantel’s small landscapes conjure archived memories re-presented as artifacts. The elusive search for identity through recognition of place, links these fragments in an expansive geography of its own.

Olivia’s practice interrogates the relationships between travel and exploitation. Working in temporal installations that question the simulated and real, authenticity and replica, fragility and structure.

‘Still life for 2010’, is a photographic series that investigates political and historical references from
traditional ‘still life’ painting. A farm sticker, a rubber band, cling wrap and a gauze bag are signs
evoking the production and marketing of food. The work reflects our indulgence and eroticisation
of food and the accessibility of an increasing season-less market.

Fiona Estelle Blandford, A Tableau for 2010, 2010

In No Direction Home Alice Parker reflects on a continuous and meticulous refinement of a vocabulary of colour and its relationship to space and object. This work explores how subverting the plane of a geometric form through the use of colour, surface and light informs the public space.

Alice Parker, No Direction Home, 2010

Kelly Manning

Big Wigs is a series of portraits utilising images from the public domain representing individuals who are presently influential in the Australian Contemporary art scene.Through the political and economic connotations in Big Wigs, the artist aims to challenge commercialization and highlight the difficulties facing art in a consumer society where changes in the art world are dependent upon the social elites, politicians and urban planners.

Kelly Manning, Ben Quilty, 2011

Angeliki Androutsopoulos

Oil on board

June I – VI

In No Direction Home, Alice Parker reflects on a continuous and meticulous refinement of a vocabulary of
colour and its relationship to space and object.

This work explores how subverting the plane of a geometric form through the use of colour, surface and
light informs the public space.

EVERYTHING IS A COPY OF A COPY

Video text piece
Words appropriated from the film scripts Taxi Driver, 1976 and Fight Club, 1999.

Everything is a copy of a copy, questions the split between what society thinks is morally correct versus what
is truth and what is reality. Whilst investigating how capitalism, cultural propaganda and the consumer
dominant undermine the notion of self.

How does one capture the reference points that are meaningful?

Anita Belia, Everything A Copy, 2011

Gallery 1
Artefact
Chantel de Latour, Antonia Ellis, Olivia O’Donnell

Gallery 2
Inside is outside, Outside is inside
Yuria Okamura

Night Screen & Workers Window
Window Pictures
Daniel Stephen Miller

Project Space
Freeloader
Pippa Makgill

03–05 January
Opens 03 January 6pm-8pm

Our Swedish resident JOHANNA NORDIN  will open her MALE EGO EXORCISM BUREAU (MEEB)

Do you identify yourself as a male? is your ego in need of an exorcism?
Then this might be your chance! The bureau will commence operations with a demonstration

(featuring The Last Tuesday Society and List Operators Richard Higgins) at ca 6.30.

Males with Egos wishing to have them exorcised are encouraged to contact the Bureau at jnsmaleexorcismbureau@gmail.com.

After the grand opening the Bureau will be open for business from 10am-5pm Wed and Thurs providing full or partial Male Ego Exorcisms with a convenient and “while-U-wait” service.

Reliefs
Tim Buckovic

27.
Geoff Newman

27  is an installation-based work exploring the way shifts in material, scale and association affect the value and readings of everyday objects. Geoff Newman is a Melbourne based artist, increasingly interested in the way these devices are used to create built environments. His practice deals with issues of community and the spaces we create for ourselves. His previous work has dealt largely with issues of social history and the relationship between water and wealth.

Daily Exercise (1 to 3)
Ann Fuata

Daily Exercise (1 to 3) is the second installment of a three-part series titled ‘Walk’. The Walk series explores the synergy between nature (man), technology and performance within the civic space. Incorporating low-fi filming techniques and pedestrian gestures, Daily Exercise (1 to 3) telescopes how our actions are thoughts manifested into the future present.

⌘-C
Luke Hand

⌘-C is an exhibition of playfully iconoclastic, OTT and kind-of-random multi-disciplinary works including drawing, installation and video. A number of these works were originally exhibited on the artist’s blog and have already garnered 70+ Facebook likes, NBD. Luke Hand is a Melbourne based artist interested in obsession and appropriation.

Heat death in the afternoon
Nathan Barnett and Robbie Dixon

Robbie Dixon and Nathan Barnett present some sculpture for your enjoyment. Nathan Barnett displays the remnants of studio phenomena based on entropy, stoppage, editing, and petrochemical materiality. Robbie Dixon shows some work that transplants nautical semiotics out of water and on to land in an effort to reach a directional equilibrium, and eventually a destination. The works square off against one another in an exchange that represents the conclusions reached within an ongoing competitive debate on the topic of form.

Burger Shop Blues
Lillian O’Neil

I made these big collages while thinking about UFO’s, love and celebs. Collage enables me to make work which closely resembles the imprints and shadows left in the memory by societal visuals. These collages are time traveling historical records of memory and imagination, salvaged and re assembled to create non-linear maps of the tragicomedy of humans diminutive power when faced with the epic.

Fast fact! – If you’re in a UFO religion you have an 85% chance of being single.

In the Zone:
Jo Persson

As we watch the boy watching the ball, and as we watch the ball being watched by the boy, we too get caught in the alluring mantra composed through the ceaseless, repetitive and seemingly futile activity of a never-ending game with no obvious purpose or outcome. The blending of form, colour and movement all work together to recreate the sensory stimulating combination of boy and ball who whether motivated out of boredom; out of fantasies of grandeur; or out of an innate need, enter ‘the zone’ that engulfs their senses like a hypnotic meditation.

Palace  of tears
Hermoine Merry and Henriette Kassay-Schuster

The Palace of Tears :: Tränenpalast in Berlin operated as the customs threshold between East and West Berlin, a place of greetings and farewells. Drawing on this architecture and the Germanic landscape

p a l a c e  o f  t e a r s examines the liminal zone, mortality, cultural grief, (mis)communication and identity. The work was developed through the support of international artist residencies at Takt Kunstprojektraum and Pistorius142 A.I.R.

The Colour Notation Project
Ben Millar

The Colour Notation Project considers the interaction between colour,sound and performance. The viewer is invited to become an active participant in the work of art by reading and playing blocks of colour assigned to particular notes on a guitar.

The Colour Notation Project creates an intimate and interactive installation that develops a relationship between painting and performance. The installation contains four components – the painting, the performance, the audience and the exhibition space. Each of these will act as separate components to make a whole. The project focuses on the way both the artist and the audience participate in the work.

The SEVENTH $UPER SELL OUT SALE &
SOMEWHAT Silent Auction

…

ART, BBQ, DJs, Drinks!

…

ALL $UPER SELL OUT Artworks $40! *cash only
PLUS our Somewhat Silent Auction

Please come and support SEVENTH Gallery, & pick up an AMAZING contemporary artwork!

All artworks donated by our lovely SEVENTH artists…

With thanks to Bimbo Deluxe, event supporter.

Gallery X2
Cameron Bishop and Simon Reis

In the middle of a strange and amorphous shape comes clarity. A gallery allows for the emergence of certain objects and phrases; itself becoming an object within the cultural framework it sits. The gallery, in-turn, begets certain phrases that legitimize and perpetuate it affecting the meaning of whatever is exhibited inside of it. Bishop and Reis replicate a gallery inside a gallery so that the gallery and the viewer become the objects of display.

Generally, Bishop and Reis look to unseat the viewer from their stable foundations, architecturally, psychologically and culturally, arguing that the regime of signs that support notions of who-we-are can be displaced by destabilising the spaces we have come to place so much faith in, including the art gallery.

If my calculations are correct, when this baby hits 88’…you’re gonna see some serious shit
Christopher Dolman

My work, as part of an ongoing interrogation of the tradition of printmaking, utilizes lowbrow materials and ad-hoc methods to make explicit a contingent surface and revere institutional faux pas. If my calculations are correct, when this baby hits 88’…you’re gonna see some serious shit, uses the futurities of the past to make comment on the derivative nature of novelty and the ironic derogation of retro.

Button Pusher
Tanya Ungeri

Like trying to navigate a minefield without a metal detector, ‘Button Pusher’ examines the undetonated time-bombs that shatter the delicate fragility of our internal world, from those we love, those we fear, and those we don’t even know. Whether it be the silent treatment, a tirade of bad language, dirty looks or mean gossip, you have no clue how, what, where or when it’ll hit you, you just know it’s coming. Your buttons are about to get ‘pushed’ by both the nemesis on screen and the nemesis within.

Down by the River
Amy-Jo Jory

“All things considered, being shot is not as bad as I always thought it might be. As long as you can keep the fear from your mind. I guess you could say that about most anything in life. It’s not so bad as long as you can keep the fear from your mind.”
Dale Cooper, Twin Peaks (2.1)

Down by the River is a project that implements sound, video, and performative actions to hint at a latent threat of violence.

Problems with the location
Laura Delaney

Problems with the location frames the act of seeing as a constant shift in perceptual error. Delaney translates discrepancies in perception into assemblages of drawings and found materials to suggest multiple planes of reality grafted together.

Opens Wednesday 28 September 6-8pm

Cashmere If You Can S-5

Marcin Wojcik, Sarah CrowEST, Kristen Phillips, Federico Joni and Jamie Boys

ALIEN CHANNELING, OCCULT BRAND WORSHIP, ORGIES, DIGITAL MOUNDS and ICE CLIMBING are just some of the themes explored in this year’s CASHMERE IF YOU CAN annual exhibition. Established in 2007, CASHMERE IF YOU CAN, now in its fifth year, presents a group show consisting of the work of Melbourne artists Marcin Wojcik, Sarah crowEST, Kristen Phillips, Federico Joni, and Jamie Boys. This year’s exhibition in September will feature a collection of installation, performance, painting, photography and video media. The show will present the work of the five artists as a part of an ongoing series that explores aspiration and desire.

Opens 7 September 6pm-8pm

Untitled

Eugene Howard

Opens 7 September 6pm-8pm

Failed Gardener

Claire Gallagher

Failed Gardener attempts to investigate the urge to structure creative work through frames and containers. The elements of time, space and growth are pivotal as is the recognition that there is an element of cruelty present in the work, a determination to trap and preserve life.

Opens 7 September 6pm-8pm

ABC Wall Drawings

Molly Cook

My work is created from objects that catch my eye – shapes, shadows or things I find on the ground. This is my starting point. From here the detritus is constructed and changed. I am interested in those things that are often not noticed or discarded. I do not attempt to elevate the materials but to enhance their natural qualities so they are no longer mundane or utilitarian but altered to change our perception of them and the space they are in.

Opens 7 September 6pm-8pm

Small Goods

Fiona Waters and Molly Dyson

Small Goods is a compilation of works on paper and manipulated objects that impersonate and replicate the familiar and hum-drum. We will archive and catalogue the collection of Small Goods to personal references and rhythms.

Opens 17 August 6pm-8pm

Adrift in the Void

Jon Oldmeadow

Opens 17 August 6pm-8pm

Hung

Andrew Burford

Opens 7 September 6pm-8pm

Trading Futures

Jade Burstall

This work explores the idea of us all as individuals, living within a fixed external value system, laid out in terms of gold – whilst the futures market allows for trading things that literally do not even exist yet.

Opens Wednesday 17 August 6pm-8pm

Uniquely Yours – 155a Gertrude Street, Fitzroy 2065

The OK Collective (Oliver Cloke and Kathy Heyward)

‘Uniquely Yours’ screams aloud the sign of the times as neighbouring art-spaces are sold off and threatened with gentrification, and it’s mimicry – initially coincidental – becomes both artwork and art statement.

Through spatial re-appropriation the viewer is left de-centred; the inhabitant develops their relationship to the space through action and alteration and the viewer becomes not unlike a domestic visitor or, alternately, dependent upon their own resonance within the space, a voyeur. A social game is developed as a form of artwork and allowance is made for direct observation of how people function within private space – the irony of course, being obvious.

Opens 17 August 6pm-8pm

Here is Where We Meet

Zoe Croggon and Martin King

“We know more than we can use. Look at all this stuff I’ve got in my head: rockets and Venetian churches, David Bowie and Diderot, nuoc man and Big Macs, sunglasses and orgasms.” — Susan Sontag  I, etcetera, 1979   Here Is Where We Meet is a showcase of visual and auditory collage by Zoe Croggon and Martin King.

Opens 27 July 6pm – 8pm

“la casa nueva de dios”

Tristan Wong

In a world where the divide between rich and poor seems only to widen we see more and more people consumed with the apparent need to acquire ever growing amounts of land, capital, resources, power, money.
For many people money has become their religion, their guiding light, their reason to get up in the morning. And for the rest of us we seem to be ever bowing down to the banks – the new house of god – thanking them for their interest in our small personal savings.

Opens 27 July 6pm – 8pm

“Promenade Health Spa”

Chloe Stevens and Virginia Overell

The Promenade Health Spa, a reflexology path that will stimulate organ systems and align your spine. The effect these paths have on the senses has been compared to climbing a jagged rock face with bare hands. The Project Space will function as a palate cleanser between Galleries 1 and 2 activating the viewer to be aware of, and focus on their body and its alignments, something that isn’t often engaged with in our daily activities. The effect of the rocks on our body is mirrored by the effect of our body on the rocks. Wear will be documented.

Opens 27 July 6pm – 8pm

“Green Screen”

Chloe Stevens

In recent decades the influx in culturally diverse wellness clinics has labeled a style in both architecture and a way living. This desire for complete inner health is explored in Chloe Stevens’s video ‘Green Screen”. The flowing arrangement of rocks, lily pads and crystals promotes tranquility while generating a utopic landscape typical of Japan Zen gardens. As the replicas of figures perform varying movements of tai chi, a poetic flow of ritualistic gesture is created.  The therapeutic relationship between body and nature and the harnessing of energy through tai chi initiates how forms of motion can stimulate a catharsis for our imbalances.

Opens 27 July 6pm – 8pm

“Wise Blood”

Kim Henenberg

‘I ain’t saying I’m a prophet, no it ain’t like that but it’s like that.’

Enoch Emery.

Kim Henenberg’s latest work is in response to viewing Wise Blood, a John Huston film, adapted from a Flannery O’Connor novel. Intrigued by the characters destructive journey, this work looks at several in isolation. Taken from frames poignant to each character, the artist combines a sense of lightheartedness against the haunting realism of a bleak and bizarre, southern gothic storyline. Now detached from the celluloid, in gently distorted watercolours, new interpretations can be obtained.

Opens 27 July 6pm – 8pm

“Variations of [minor] nature may have an adverse effect on levels of risk”

Tristan Da Roza

Spatial awareness can be prompted by potential risks involved with occupation; negotiating risks may be a productive process

The ‘performance’ of materials may be a means to inquire into protocols and assumptions that are constructed by the notion of authority

Allowing for architectural devices to be pliable can extend one’s reflexivity whilst inhabiting ‘space’

An imperative value of Western culture resides in ideas of ‘perpetual growth’. How does this culture deal with the potential of it’s own destruction and decay?

An event that is considered to be disruptive can be constructive by opening tangential approaches of viewing

Interpretations of instructional signs are contingent on a subjective position

Opens 29 june 6pm – 8pm

Propeller

John Waller

Propeller—a long drawn out moment in a digital pond.
Propeller uses computer code to produce an infinitely varying animation of rotating propeller-like shapes. The random timing of the animation produces a constantly changing environment reminiscent of fish tanks, wind chimes, or perhaps insects in the bush—or some other similar but not quite definable domain.
Originally developed as a four screen video, with sound, for either monitors or projection (seejwaller.com.au/dt/propeller.html), in this exhibition it is shown as a silent, single screen projection.
DVD, SD/HD video, 1-4 channels, 2009.

Opens 29 June 6pm – 8pm

Renee Jaeger

“Whenever you dream you’re holding the key to open the door and let you be free”

-Ronnie James Dio

A reflective corner for exploring a fictional library, curios and carpets.

Opens 29 June 6pm – 8pm

Stabilisers

Jasmin Coleman with Cara-Ann Simpson

Stabilisers is a site responsive installation by Jasmin Coleman with sound composition Transitioning by Cara-Ann Simpson. Stabilisers explores tensions between permanency and flux, stability and instability through the installation of large industrial structures. In the gallery space, a braced, industrial composition transitions from an inanimate structure to a physical, material, even anthropomorphic entity. In contrast, Transitioning explores movement, tension and the changing states of energy to build a state of unease. Using manipulated field recordings from urban, industrial locations, Transitioning reveals the constant fluctuating rhythms that society has invented and drawn around itself since the Industrial Revolution.

This project has received financial assistance from the Queensland Government through Arts Queensland.
Stabilisers is also supported by Coates Hire.

Opens 29 June 6pm-8pm

“Anal Systems Conglomerate”

Tyler Clark and Ed McAliece

A collaboration between two artists whose work has been informed by systems and formats of the everyday. The work engages with institutional structures, emblems, and prosaic conventions, suggesting that reality equates to an array of networked systems.
Exploring the fluidity accessible within rigid configuration and alignments of these systems, the drawing based installation will lay out, chart, and map new constellations and arrangements.

This project is sponsored by

Opens Wednesday 8 June 6-8pm

Partnered Dance: Both Lead

Danae Valenza

Partnered Dance: Both Lead is an investigation of power relations in social interaction. Both participants take the dominant lead position, abstracting the ritualised dance so that the connection (or disconnection) of each subject can be observed.
Danae Valenza blends sound and video traditions to investigate interpersonal dynamics and gain insight on varied capacities of a collective consciousness. She graduated with first class honours from Monash University in 2010. Recent Exhibitions include Innovators 1, at Linden Contemporary, Hans Arp if you like Dada at ArtBeat and Phonologies at Blindside Artist Run Initiative.

Opens Wednesday 8 June 6-8pm

‘You Geysir Crazy’

Kim Jaeger

You Geysir Crazy is an exploration of time and space – sounds sci-fi doesn’t it? Trust me, it’s not. I’m building an Icelandic cave.

Opens Wednesday 8 June 6-8pm

Panopticon

Marita Lillie

As surveillance, spectatorship, reality TV and ‘Facebook’ increasingly invade our space, restrictions as a photographer become more questioned and uncertain.
The Panopticon Project is an installation work that consists of hidden camera devices that capture video surveillance within the gallery space. Still images are created from the footage and are then projected on the night screen the following month.  The exhibition highlights the restraints and problematic nature of photography today.  What is allowed and what isn’t? What and whom can be photographed?  Indeed, how frequently are we photographed without our knowledge?  This project explores various interpretations of surveillance while questioning the ethics and legalities of this ever-expanding phenomenon.

Opens Wednesday 8 June 6-8pm

Untitled (snow-white)

Fiona Williams

Whether falling through the air or as a layer on the ground snow is made up of mostly air space. As light reaches snow, there are so many points for it to be reflected that no single wavelength is absorbed or reflected with any consistency. Almost all of the white light from the sun hitting the snow will reflect back and still be white light. Therefore, snow appears white. (http://weather.about.com/od/winterweather/a/snow_white.htm)
Fiona Williams works somewhere between photography and painting. Untitled (snow-white) is a compilation of new work exploring presence, or a sense of something that is at once brightly pointed and strangely muted.

Opens Wednesday 8 June 6-8pm

Transparence

Camille Hannah

In order to allow for a broad discussion about the possibilities of painting as an active participant with its own language, as well as ideas about what constitutes a spatial experience in relation to painting, Camille Hannah’s paintings explore concepts pertaining to a Baroque vision, its connection to installational forms of painting and how this relates to the notion of an ‘erotics’ of painting.  Her work traverses the paradox between the prohibition of touch in relation to art – and the erotics of painting, through ideas of correlation and its relationship to the Baroque with an emphasis on notions of sensation and affect, whilst positioning her work within the visual language of ‘the screen’.

Opens 18 May 6-8pm

Untitled (In Silvery Grey)

Jasmine Fisher

My work deals with the psychological condition, encompassing feelings of anxiety, neurosis, tension and dysfunction. It is commonly based around the domestic setting with visual cues relating to memory and nostalgia.
There are suggestions of longing and repression, with allusions towards the artifice of the display home and its associations with unrequited desire and false aspirations.
The work symbolises the idea of the home as a beautified sanctuary as well as a source of anxiety via entrapment.
My practice involves minimalist sculptural works and ready-made installations, extending to video and photography.

Opens 18 May 6-8pm

Panopticon

Marita Lillie

As surveillance, spectatorship, reality TV and ‘Facebook’ increasingly invade our space, restrictions as a photographer become more questioned and uncertain.
The Panopticon Project is an installation work that consists of hidden camera devices that capture video surveillance within the gallery space. Still images are created from the footage and are then projected on the night screen the following month.  The exhibition highlights the restraints and problematic nature of photography today.  What is allowed and what isn’t? What and whom can be photographed?  Indeed, how frequently are we photographed without our knowledge?  This project explores various interpretations of surveillance while questioning the ethics and legalities of this ever-expanding phenomenon.

18 May – 4 June – Project Space

8 June – 25 June – Night Screen

Opens 18 May 6-8pm

Food Porn Nightly

Fiona Blandford

Amidst the explosion of the cuisine culture, a sub culture has formed with a language that blurs the lines between voyeurism and the image of food into Food Porn. Food Blogs such as, Food Voyeur and Food Gawker are just a few networks obsessed with the image of food. Physical oral satisfaction is not crucial to the experience. The dripping syrupy fresh Strawberry reduction and silky Ginger infused Mascarpone are to die for, ‘Click, Drool, Repeat’. So close and immersed in the pores of the food, it is felt in private spaces and revealed in flowing juices.

Opens 18 May 6-8pm

String Strung Out

Liang Xia Luscombe

String Strung Out presents a body of work that playfully stretches the concept of painting across into three-dimensional assemblage. Through the incorporation of cast and prefabricated objects that lean, balance and teeter on the edge of the canvas Luscombe develops a language that integrates provisional sculpture with painting. Luscombe’s new body of sculptural pieces takes its cues from Anthony Caro’s 1966-1969 Table Pieces in which were made to sit on the edges of tables. Luscombe’s work will also use this same tension of the edge as a means to negotiate gravity and balance.

Exhausting Objects: 01

Kasia Lynch

Sporting equipment offers users the means to self regulate and control the body. Variables such as weight, resistance, speed, time and energy expenditure are constantly monitored and recorded with the aim of maximizing the end result.

Exhausting Objects: 01 aims to illuminate the physical and social geography of the gymnasium as a field of unique creative potential. Transforming the gallery into a quasi-gymnasium, this project looks for new means of exchange between bodies, objects and space that are motivated by creativity, indeterminacy and transformative potential.

Opens Thursday 28th April 6-8 pm

“Curtin”

Curated by Andie Tham and Johann Rashid.

Featuring Artists Dan Moynihan, James Eisen, Martin Bell, Andie Tham, Beci Orpin, Kate Moss, Rowan McNaught, Jarrah De Kuijer, Stephanie Hughes and Johann Rashid

Curtin is a recent survey of ten emerging artists, who all site sourced and found material as the starting point of image making and technical process. Linking themes and joining narratives through juxtaposition of high and low brow imagery, this exhibition aims to be a fun exploration of different modes in contemporary culture. Curtin is a group of friends, who’s work directly addresses their surroundings. Inspired by found and sourced imagery from the internet, magazines, old books, and film, these processes involve conscientious cropping, collaging, and re-appropriation.

The opening of Curtin will also double as a book launch, celebrating a free limited edition publication also titled Curtin, that was made in conjunction with The Toff in Town and Cookie, that showcases images from all artists in the exhibition. The book takes inspiration from The Toff and Cookie, the businesses that house these creative minds and also the building.

We would like to say thanks and acknowledge The Toff in Town, Cookie, The Ippolliti family, Lucie, Grolsch and Tim Peach for all their help and support in this exhibition and the making of the publication Curtin.

ARTISTS FEATURED

Dan Moynihan – bagger-ce.blogspot.com/2011/03/dan-moynihan.html
James Eisen - www.taylorslakesupercolony.org/jameseisen
Martin Bell - www.martinbell.com.au
Andie Tham
Beci Orpin – beciorpin.com
Kate Moss – eternalsweettimes.blogspot.com/
Rowan Mcnaught - www.taylorslakesupercolony.org/hollyandrowan
Jarrah De Kuijer – jarrahdekuijer.com/
Stephanie Hughes – halftruecatfood.blogspot.com/
Johann Rashid – johannrashid.blogspot.com/

Kindly sponsored by The Toff and Grolsch

Opens Thursday 28th April 6-8pm

“Without Boundaries”

Emily Taylor

‘Without boundaries’ plays with notions of reality and its ability to present temporal shifts and cycles, focusing on domestic settings.  There is an element of the absurd in this work.  Emily’s work has a richly detailed aesthetic, which plays a crucial role in seducing spectators into the intimate realms of her personal realities and their re-enactments.

Emily wants to take the viewer into her centre, her turning point, which is a dreamscape of memories and desires linked to reality by common visual elements.  By creating narratives of containment, darkness, isolation and longing played out through lighting, theatrical elements, and the construction of the miniature spaces she can entice the viewer into a world that without her would not exist.

We
Jessica Kritzer

The central axis of my work is the human body. My practice considers how the body is represented and understood. We is an ‘art experiment’ in which I attempt to construct an image of the body that exists simultaneously within the realms of biology, society and history. The figures in We are arranged in the manner of an 18^th century genre painting known as a ‘conversation piece’. (Society, History) A collection of urine is displayed in a glass jar near each model. (Biology)

The Human Remains
Alesh Macak

Macak uses a combination of handmade and digital media to accomplish a visual language within which the artist can move, construct, learn and encapsulate ideas. Through a stream of consciousness and a lo-fi framework the process of creation is achieved in an inventive and playful way.

“Yeah we’ve all been there”
Roberta Rich, Paul Yore, Ka-yin Kwok and Hubert Algie

Curated by Devon Ackermann

Yeah we’ve all been there is a playfully reflexive exhibition inviting artists to engage with and question notions of stability surrounding cultural understandings of text, language and identity.

Rebecca Joseph

Mr Justin Case (Project Space)
A full length-umbrella is a handful. And you’re as likely to use it for something other than deflecting rain.

Replacement dialogue
Heidi Freihaut

Eating one’s own words. Physically returning to a certain space. Stating something is one thing, but bodily action is another. Replacement Dialogue looks at words that once written on paper, are ever so slightly accepted and then to be consumed orally.

Abstract Nature
Malcolm Lloyd, Craig Burgess and Mia Kenway

Mia Kenway

Abstract Nature is an investigation of our surroundings. In this exhibition the artists examine the idea of abstraction in relation to our environment through the use of found, acquired and recycled objects. Naturally occurring events and mistakes are juxtaposed through the investigation of the everyday, drawing attention to and heightening the abstract qualities in the world around us.

Hair Peace
Juliet Rowe

“I don’t know about you, but I’ve been seeing peace signs everywhere!  I  noticed peace sign scarves popping up all over the place… Well that’s it!  I can ignore this trend no longer. To me, the return of the peace sign to the fashion scene is a reflection of how the masses (and designers!) feel about some of the issues we face today.  So, picking up a peace sign graphic tee or scarf or necklace doesn’t just have to be about great fashion or being part of a great trend, it can be a real statement.”  – Posted on 20. Jul, 2009 by janelle in fashion bailout

Inhabit
Rebecca Bladen

Inhabit is a reflection on ideas of uncertainty and crisis, in particular the role played by the home, by the domestic, in an age in which we are increasingly stranded without a comprehensive system of guidance and truth.

Our homes become a repository for our memories and the expression of our desires and self-image.  We surround ourselves with that which we deem precious – photographs of loved ones, collections of plastic trinkets – intuitively gathering objects together, creating a space of sanctuary and protection.

Inhabit is as much an investigation into the quirks of memory and imagination as it is a reflection on the meaning of inhabited space. The evocation of a larger narrative through a banal fragment is a characteristic of modern allegory as defined by Walter Benjamin – these drawings are mere suggestions, scenes permeated by narrative disjunction and inconclusiveness that leave the task of deciphering to the viewer. Viewers are presented with images of rooms and the closely packed connections of history they might contain.  As such, they are gently prompted to trace connections between the drawings and to speculate on the lives that have been lived or are being lived within the spaces depicted.

IRENE FINKELDE
PHOTOTROPISM

SAM BARBOUR
ONE THING

ELENA BETROS
visible, invisible

PAUL WILLIAMS
TIMEFRAMES

THESE ARE YOUR INSTRUCTIONS
Dylan Martorell, Lou Hubbard, Scott Mitchell, Charlie Sofo and Amy Spiers

DETOURS ALONG THE SPECTRUM OF VISIBILITY
Thea Rechner

Elena Betros

GROTTO
Jonas Ropponen

INSIDE STORY
Eliza Jane Gilchrist

WHOLE PIECES
Curated by Pip Wallis

Renee Cosgrave, Alanna Lorenzon, Merryn Loyd, Kate Woods & Andy Hutson

AND THE NIGHT ILLUMINATED THE NIGHT
Nicole Henderson

PROJECT #1
Adam John Cullen

MILKRASH
Martha Ackroyd-Curtis

SURE AND NATURAL UNION
Adrian Stojkovich

A FRACTION OF THE WHOLE
Lucy Fahey

RESPOND
Curated by Kim Jaeger

Rebecca Agnew, Matthew Brown, Lauren Brown, Adam John Cullen, Jessica Dean, Dead Dog, Christopher LG Hill, Sean Hogan, Houlette, Kim jaeger, Renee Jaeger, Amy-Jo Jory, The Artifishal Limb, Chris Lawrence, Emma Morgan, Pissy Paw, Dunja Rmandic, Damien Sutton, Simon Taylor, Pip Wallis

Alec Lewis
SPECTATOR SPORT: The Divine Perpetual Motion Machine

Joanna Anderson
CARE FACTOR

KENT WILSON
PLANE OF COMPOSITION

I Might Be Wrong
Curated by Danny Lacy

Ardi Gunawan, Erika Wells, Kiron Robinson
Julie Davies & Alex Rizkalla, Ola Vasiljeva
Salvatore Panatteri & Kjell Bjorgeengen

VOYAGER
Vittoria Di Stephano

WHO CUT THE CHEESE?
Hell Gallery

COUNTING THE WAVES
Andrew Liversidge

SPATIAL ITINERIES
Natasha Carrington

CAT AND BIRD: THE EUROPEAN COLLECTION
Bianca Durrant

AMBITION AND SELF-LOATHING DRINK TOGETHER
Andrew Phillips