ARTWORKS
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
To Change the World: Baxter As the Eternal Reader
It is difficult to paint from a grounded meaning, and for me the search has been intuitive. Both my father and I were deeply influenced by James K Baxter (1926-1972).
6 Film Photographs from Isa Lausas
The inability to root myself in a society or in a specific country is reflected in my work by a mesh of elements from different time periods and cultures.
11 Artwork by Christian Thompson
Christian Thompson | Danger Will Come | 2012 | We Bury Our Own series | 100cm x 100cm
4 Artworks by Kelly Richardson
In ‘Exiles of the Shattered Star,’ a beautifully colour-saturated lake is the backdrop for a slow, majestic rain of fireballs, perhaps fragments of the star of the title.
2 Artworks by Kim Adams: Autolamp and Breughel-Bosch-Bus Detail
Kim Adams | Autolamp
1-bit Signals: Computation as Music and Visual Art
There’s a thin but substantial line that separates the abstract mathematical world of computation and the concrete physical world that surrounds us. We rarely interact directly with the processes of computation, instead we look at full-colour images on computer screens, type on QWERTY keyboards, or glide our fingers across glass digital phones.
Terrance Houle and Adrian Stimson: Performative Gestures from the Canadian Prairies
Italo Calvino argued that writing was a combinatorial exercise and that, for him, reading represented ‘a way of exercising the potentialities contained in the system of signs’. I would like to keep this declarative at the forefront of our investigation into the work of Terrance Houle, neither with a confirmative bias not leaning towards negating the statement of Calvino, but thinking through his statement in our analysis of a few of Houle’s images.
Some Art and Text: David Egan, Thea Jones, Nicola Bryant, Lauren Burrow, Nicholas Smith and Saskia Doherty
This folio presents six recent graduates of Monash Art Design & Architecture’ (MADA) Fine Arts Honours program. As an art school embedded within Monash University, it facilitates a program that encourages students to contextualise their art practice within a discursive and to an extent, ‘exegetic’ practice.
6 Ian Friend Artworks in Response to Poetics
I have worked allusively in relation to poetic texts for most of my professional life. I suppose the first was T.S. Eliot, and I have correspondence with Valerie Eliot on that matter (she told me Eliot didn’t like the idea of a direct relationship between text and image).
Concrete Sequence: APPEAL IN AIR
APPEAL IN AIR parallels the names of birds with the names of poets, particularly those from the avant-garde tradition. APPEAL IN AIR assumes the form of a spreadsheet that adds together a suicide, a list of bird-names and a valedictory roll-call of poets. By using an accounting tool for an anatomy of sadness, the poem questions the way that we place value in our own lives.
Fiona Annis’s Celestial Measures in Ferrotype
Common threads in my work include the use of instructions, time-based media, and esoteric technologies. This is paired with an ongoing interest in how the past inhabits the present. In this respect, the prefix re is in constant use: return, revenant, remediate, reinvent, and residue all reoccur in the writings that describe my various projects. Most recently, the impulse to riffle through discarded or disavowed material objects is interwoven with an exploration of obsolete lens-based technologies.
4 Artworks by Lily Mae Martin
The details of our bodies are unique. I’m drawn to studying the human figure through art where I am allowed to see what people actually look like. In a world plastered with images of an uncontainable, fleeting notion of beauty, I try and amend this within my own world by making paintings and drawings of myself and those around.
6 Artworks by Jeremy Balius
I’m interested in language as a material of making, particularly in states of formation and cessation. I’ve been working at the crossroads of calligraphy, pre-Renaissance German handwriting and graffiti, while referencing a cursive mode of writing I was taught in school while growing up in Germany.
