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.
My name is Abdul-Rahman Abdullah. I am a West Australian artist working primarily in sculpture and installation. My practice draws on the storytelling capacity of animal archetypes, familial space and the subjective nature of memory to explore and define personal experiences of cultural identity.
Oyster Prue Stent’s photography appropriates common icons of beauty and desirability into unknown and uncomfortable settings. Often bordering on the gleefully pornographic, Stent’s most provocative work takes aim at the aesthetics of heteronormative sexuality. In her Pink series we see …
Matt Arbuckle’s work explores a dialog between the construction and deconstruction of a painting. The narrative is one of space and perspective, where planes and illusion of depth are the topic for discourse, rather than direct representation. The viewer is therefore denied obvious footholds for interpretation, encouraging the experience to be dictated by an individual’s visual sensation and perception. The foundation of these paintings is the concept of accessibility for all. The blatant and at times aggressive marks encourage the experience of these paintings to not be over conceptualised, but rather a celebration of painting for paintings sake.
In terms of the image I’ve produced for ‘I don’t hate you, but …’ I thought a lot about the poem’s call for the reader to be self-reflective, to observe, and in particular to preach. The stylised pōhutukawa symbolises Māori …