ARTWORKS
12 Works by Lara Chamas
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.
4 Machines by Robert Andrew
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. …
12 Pigment Prints on Paper by Tony Albert
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 …
Selections from ‘The Face: a feeling’: 8 Portraits by Kwesi Abbensetts
Face the feeling …
Mass Culture: Artworks by Chun Yin Rainbow Chan
My work explores the intersections between mass culture, diaspora and globalisation. I am interested in the counterfeit as a unique aesthetic category that re-reads the uncanny. My works investigate how mimetic objects and symbols, such as bootlegs or fake luxury goods, problematise the socially-regulated impulse of consumerist desire.
Mansplaining Abortion in Alexis Late’s ‘Procedure’
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.
‘Often Said Apologetically’: Merryn Sommerville’s Child of the High Seas
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.
But you’re not ugly: 28 Portraits by Therese Ritchie
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’.
Mother and Rule: 8 Prints by Michael Cook
Michael Cook | Mother | Dolls house, 2016 | Inkjet print on paper | 80x120cm All images courtesy of the artist and Andrew Baker Art Dealer.
Contemporary Monsters: 11 Works by Marian Tubbs
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.
7 Works from Venkat Raman Singh Shyam: Pardhan Gond Artist and Story-teller
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 …
10 Works by Juan Ford
Juan Ford | The Reorientalist, 2013 | Oil on linen | 122 x 183 cm
Remnants: 12 Photographs by Annette Willis
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.
8 Collages by Sofie Ramos
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.
Divergent Culture, Historical Influence: 11 Works by Abdul-Rahman Abdullah
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.
The Beneficent Radicalism of Prue Stent
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 …
9 Artworks by Deedee Cheriel
My work explores narratives that recognise the urgency and conflict in our continuing attempts to connect to the world. With influences derived from such opposites as East Indian temple imagery, punk rock, and her US Pacific Northwest natural environment, her images are indications of how we try to connect ourselves to others and how these satirical and heroic efforts are episodes of compassion and discomfort.
4 Artworks by Matt Arbuckle
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.
Alters; Aspects from La Trobe Track, Karekare (after Anita Heiss)
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.
‘Oki fa’a kama Samoa moni lou ulu / Cut your hair like a true Samoan boy’ and ‘White Sunday’
Siliga David Setoga | Oki fa’a kama Samoa moni lou ulu / Cut your hair like a true Samoan boy | 2015 Photograph: Setoga Setoga II | Barber: Maligi Junior Evile
