JUNE/ JULY at VERGE GALLERY
June 18 – July 11
Gallery 1: ACCREATION: UN-BECOMING AND THE SURFACE AS SIGHT, Niall Robb, Laura Hunt, Kath Fries, Alma Studholme and Charlotte Richardson.
Gallery 2: COMMON SUBJECTS, Diarmid Campbell and Luke McMaster.
Opening 6-8pm June 18
Saturday 27 June: CREATIVITY AND THE WANDERING MIND PANEL DISCUSSION
The Elevator Pitch: Communicating the value of creativity.
Cuts to arts funding in the recent Federal Budget, and the debates that ensued, highlight the necessity of continuing to communicate the value of creativity & the arts to the broader community. How do we work towards making the arts sector less vulnerable to attacks, and stronger in the face of them? While anti-Brandis rants can be cathartic, it’s important to share strategies of broader continuing relevance so that we can move beyond times of crisis, survive and thrive.
Saturday July 4 DOUBLE VISION
SECRET BIRDS (MELB)
Altered-states through drone, psych and noise.
CLOCKS & CLOUDS
Comprised of core players and composers Kraig Grady and Terumi Narushima.
A new collaboration between Jannah Quill and Laura Hunt (Ghastly Spats).
Saturday July 11 AGGREGATE ART CRIT
ACCREATION: UN-BECOMING AND THE SURFACE AS SIGHT
Niall Robb, Laura Hunt, Kath Fries, Alma Studholme and Charlotte Richardson.
Accreation: Un-becoming and the Surface as Sight brings together five artists from disparate practices, each exploring surface as a site of the imperceptible, and the space between process and actualization of work. Robb understands surface as a sight of enchantment, coupling the circulatory nature of moving image with the materiality of surface to explore the imperceptible in a space between reality and mythology. Richardson’s bespoke jewelry pieces explore the everyday, collapsed and reformed. Her up-cycled domestic plastic products hold an uncanny sensibility, forming a new relationship with the viewer via the mirrored surface. Hunt’s practice is based in the documentation of action, she takes imperceptibility of sound as an ever-evolving and circulatory surface. Fries installations looks at the ephemerality of the physical surface as a site of creation, suggesting impermanence and transience.In Firing Enzo, Studholme draws on the properties and processes of the ceramic material. In the process of documenting her work, Studholme reveals slippage inherent in process, and the impossibility of control. The resulting works transform the gallery into a many-layered space of to uncover and re-imagine the surface of things.
Kath Fries’ practice traces the impermanence of present experience, as an ongoing personal reflection on the passage of time and fragility of life. Working with tactile materials to explore interconnections between our senses and our surroundings, her sculptural installations are quiet, sensitive engagements with site and materiality. Divest is a beeswax and ash installation exploring uncontainablity and porous intersections between artifice and nature. In this work, beeswax polyp forms cluster in a vertical crevice, seemingly seeping inwards to gradually invade the gallery space. These aromatic translucent shapes suggest embodied presence but their surfaces are smattered with ash, which in turn conjure a sense of uneasiness, vulnerability and loss. www.kathfries.com
Laura Hunt creates communicable exchanges between otherwise inaudible objects. Hunt’s practice involves making impermanent autonomous instruments with water and amplification inside ceramic and plastic vessels. She explores the relationships that arise between performance improvisation and control. The sonic sculptures enter into an exchange beyond the artists control; they exist temporally as well as fixed and Hunt takes on the role of both creator and spectator. Hunt’s work manifests from a history and connection to collaboration and playing music. Music in a group environment often begins as a spontaneous, performative and communal pursuit. Replicating qualities of live communal performance is seen in Hunt’s visual practice.
Niall Robb is a Sydney based video and installation artist. He graduated with a Bachelor of Arts (Anthropology) from The University of Sydney in 2009 and a Bachelor of Visual Arts (Honours) from Sydney College of the Arts in 2012. His practice explores surface materiality as a possible site of enchantment. Robb has exhibited in a number of group shows in Australia and is currently a MFA candidate at Sydney College of the Arts.
Emerging sculptor Alma Studholme is a Sydney-based artist, originally from Croatia. At the core of Studholmes’ work is the ceramic medium. Her interdisciplinary mixed media practice draws on the particular performative and interactive elements of each work. Through an experimental framework, Alma is currently working on a PhD project at the University of Sydney. The project is designed to explore various ontological aspects of the embodied human experience and extend her sculptural practice across cognitive sciences, neuroscience and contemplative religious traditions.
Charlotte Richardson is currently completing her Bachelor Of Visual Arts (Honours) at Sydney College of the Arts. Inspired by the waste within our consumer society she attempts to challenge the labels we give every day objects by utilising the associations between jewellery and value.
*Accreation: Un-becoming and the Surface as Sight is the result of our single work application callout and has been curated by the Verge Gallery team including Nina Dodd, Victor Lo, Ana Perez, Andrew Smart, Yves Lee, Minji Kim and Gabrielle Steele.
Diarmid Campbell and Luke McMaster
Common subjects brings together material and conceptual concerns shared between Diarmid Campbell and Luke McMaster in order to interrogate the role of design and technology in mediating our negotiations of social spaces. In particular, the ways in which the technological gaze, surveillance and social control cohere in relation to physical and virtual architectures of visibility and openness.
Like the advent of modernist architecture aspired to abolish distinctions of inside and outside, so too does current digital infrastructures that corrupt boundaries between personal and public. Visibility has developed in conjunction with the increasing privatisation and surveillance of seemingly public domains. In the spaces of pedagogical institutions, shopping malls and online platforms we are watched and scrutinised; our actions become information.
Of the types of public space they can be viewed within the context of a veil. There is a level of transparency, however therein lies the potential to mask and selectively reveal aspects of oneself. As the rapid development of digital technologies re-orients our experience of space the placement of the body is inescapably seen, exposed and revealed yet hidden, masked and disguised. Existing between the logic of the virtual sphere and nature of the classical world, multiple identities emerge of a single individual.
Through exploring our movements through the dimensions of informational and corporeal realms within this framework of openness and concealment, common subjects examines the efficacy of virtual and physical structures.
Diarmid Campbell lives in Sydney. He has a forthcoming solo exhibition at Feltspace, Adelaide in 2015. Recent exhibitions in 2014 were Counter Image, ICAN and You need to take two images of everything, Firstdraft, both in Sydney.
Luke McMaster is a Sydney based artist. His recent work uses painting, sculpture, photography and installation to explore affectations of design, space, value and artifice. He is an ArtStart recipient from Australia Council for the Arts and in 2015 undertook a residency at the Dr Denise Hickey Memorial Studio, Cité Internationale des Arts, Paris. Recent exhibitions include Counter Image, ICAN (2014), Determining Factors, Archive Space (2014) and An Unstable Living Arrangement, Firstdraft (2013).