Yhonnie Scarce | N0000, N2359, N2351, N2402 | Blown glass, archive photographs, dimensions variable; 2013 (detail)
Over the course of her outback chapters, spanning close to a decennial, I have taken over 56,000 photographs covering some 500,000 square kilometres since immersing into the greater desert regions of Central Australia.
Behold was made unexpectedly, and without design. I was travelling in a city that I sometimes return to, and I got to know a group of gay men. There, where they live, these men (and many others like them) are mostly left to be. But only on the condition that they lead one part of their lives in secret.
My mixed media tableau incorporates the transformative process of bricolage and photomontage to draw the viewer in to consider more insidious subtexts such as disturbed ecologies and dispossession from colonial incursions. A combination of field trips and archival research into my family past have fostered a deeper understanding of the inherited and ongoing legacies of colonial settler culture.
My practice examines a personal conflict of cultural plurality at the conjunction of Filipina ethnicity and Australian nationality. My work navigates the simultaneous sensations of acceptance and rejection of adopted and inherited cultures, which has been conditioned by autobiographical experiences within and between developed and developing worlds.
Deploying humour to disrupt the aesthetic of authority built into these figures, (S)laughter features a soldier who is laughing and shooting transforms into a clown, and finally a soldier-clown.
Robert Andrew | Data Stratification My research investigates denied and forgotten personal and family histories. As a person who has a connection to different lineages, I am choosing to move between them by constantly cross-referencing the old and the new. …
Mid Century Modern-Aboriginal Corroboree | 2016 | pigment print on paper | 50 x 50 cm, edition of 2 + 1AP Image courtesy of the artist and Sullivan+Strumpf. Tony Albert’s art practice interrogates contemporary legacies of colonialism in a way …
Face the feeling …
In stanzas 1 to 3 the speaker begins in conversations experienced as attack, with a metaphor of a hunter trapping an insect, and the speaker expressing herself as insect under threat of being devoured.
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.
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.