Face the feeling …
Mel Pearce | Untitled | In response to Alexis lateef’s ‘Procedure’ Alexis Lateef’s ‘Procedure’ draws on the conventions of Confessional poetry by women in English – particularly on the influential work of Sylvia Plath and Anne Sexton – to make …
The subject of my work is one child, a family member in a seven-year series, and of her seven-year life. As a young woman of childbearing age, it might seem an obvious choice for me to draw children; there was a time in art history where women were limited to drawing domestic scenes of children and animals. But their social identity became synonymous with innocence and a lack of autonomy.
Winking Fever … intimate touchups
These portraits are designed to sit quietly inside the deluge of public debaters that swamp us every time there is mention of something other than heterosexuality. They are about basic trust – the foundation of belief in society and the progression of life – and how that trust can be trampled on when people are made invisible, trivialised, humiliated, derided, or seen as and spoken of as somehow being ‘wrong’.
Michael Cook | Mother | Dolls house, 2016 | Inkjet print on paper | 80x120cm All images courtesy of the artist and Andrew Baker Art Dealer.
A continuing inspiration for my projects comes from a definition of affect by Brazilian psychoanalyst and cultural critic Suely Rolnik. Affect – now a hyper-familiar term in art discourse – is utterly restless in its ubiquity, yet I remember in my early reading it provided an important alternative entry into thinking about what an artwork does or can do. Usually, I swap out its use, but here it seems fitting.
Venkat Raman Singh Shyam | Dare The Gonds are one of the largest indigenous peoples of India and are spread throughout several central states of the country. Gond paintings were initially executed only on the walls of dwellings as an …
Juan Ford | The Reorientalist, 2013 | Oil on linen | 122 x 183 cm
Abandoned spaces, places and objects are central to my photography. I am drawn to the obsolete and discarded and am fascinated by the dichotomy between the original function and aesthetics of old structures and what remains, in its abandoned beauty. Among other things, this fascination has resulted in a long exploration of the discordant application of 19th Century British building techniques in the Australian landscape. I am not documenting but rather interpreting built spaces within the landscape.
In addition to small collage works, some of which are presented here, Sofie Ramos creates colourful and chaotic sculptural painting installations that conflate the art and its space and blur the distinction between the three-dimensional arrangement of objects in a space and the two-dimensional composition of a painting.