Tasmania’s famous wilderness landscapes, water courses and fabled river spirits. From mythological origins, land and river find their way into the stories that explain the unique and unpredictable traits of the Tasmanian environment.
Over two weeks, Sarah will develop a site-specific response in the Outward space. Working in collaboration with a local outdoor company and the Museum and Art Gallery of Tasmania. Sarah will unearth and re-present the stories and mythologies that form the local landscape. Utilising the visual and sonic elements of light and sound, terra et fluvius will include river spirit stories, sampling of local habitat, and images from Sarah’s personal archive of her experience in the Tasmanian wilderness.
Sarah Edwards is inspired by museums and their role in preserving and interpreting the past. Sarah is currently undertaking a PhD within the School of Art at RMIT, Melbourne. Her research investigates the tension that exists between the quest for permanence in museum practice and the ephemeral nature of the natural world. To that end, she interprets and re-presents museological collection management techniques, engaging the ephemeral mediums of light and sound to develop site-specific responses to locality.
Wallpapered Topographies responds to the unique space of Outward.
Works on paper activate architectural features to offer an immersive viewing experience. The landscape beyond the gallery is negotiated
in the ink paintings and prints where marks, patterns and surfaces reference rock formations, vegetation and perceptual experiences in local, natural environments. Drawn from my interaction with sites as a rock climber and artist, these interpretations emphasize tactility of ink and paper with illusory 3D qualities and visual plays on indeterminate scale.
Paintings and prints occupy an uncertain position as a sort of wallpaper suggestive of domestic interiors yet declaring preciousness in their hand painted execution.
Sue Henderson works with various media on paper ranging from large scale ink paintings to ephemeral works. Her arts practice references ways of interacting with places, with recent work exploring the perceptions of a rock climber in the landscape. Sue was recipient of a University medal in 2006, graduated with a PhD in visual arts in 2010 and is currently Drawing Lecturer at TCotA, University of Tasmania, Launceston.
Sat. 12 October 12 – 4pm
Sat. 19 October 12 – 4pm
Sat. 26 October 12 – 4pm
This project takes as its departure point Rosalind E. Krauss’ Notes on the Index first published in 1976. Revisiting post-structuralist ideas around the dissolution of the Saussurean sign it proposes a reading beyond the indexical model of conceptual practice as discussed by Krauss. Instead proposing a critical evaluation of the indexical sign, it touches on Derrida’s ideas around différance, the supplement, the trace and cinders in order to transgress the expectation of the that-has-been inimical to photography and casting. Arguing that the trace as a linguistic figure cannot prove the existence of any prior object or event, the cinder is invoked as the ‘remainder without a remainder’ thereby short circuiting any attempts at locating an origin or source. The subject itself is dismantled in this process via the Lacanian real and objet petit a, and textualised by Barthes’ ruminations on jouissance and the rupturing potential of the Text. The objects and images in this exhibition are understood as visual texts to which a written text cuts through with presuppositions and positions important to the reading of the project; a writing that attempts to articulate the same ideas in its content and method. In this sense the visual texts of this project are but elements as traces of citations and references never really present. notes on the index publication
1. Slug Oil (2013): Lead slugs cast from molds made from the plug holes in the walls at Outward. Slugs imbedded in pigmented epoxy resin. Slug Oil occupies the central floor area at Outward that was re-concreted. It reflects the ceiling and the walls, but it also reflects Polaroid for (R.B) as though it is immersed in oil; how would R.B read the evasiveness of the photographic image in oil? The ‘black oil’ metaphorically runs down the walls of Stain in three parts. In may flow from the spout of Spout and Vessel (a leaky one). [Also see Slug text from Lilt]
2. Polaroid for (R.B) (2010-2013): The signifiers of the Polaroid photograph removed—contextual size, white frame of particular proportions—to open the potential of a rudimentary analogue technology into the digital realm. This transposition draws attention to the technical limitations of the Polaroid yet enhances its evocative and subtractive potential (less detail and information that is counter to the obsession with clarity and sharpness; faith that the photograph is closest to the referent through the most advanced ‘capturing’ technology). The intent was to imagine an image based on words and then to make that image guided by this language: the text that is turned into image.
3. Stain in three parts (2013): The stains accumulate over many years running behind the industrial sink in a workshop: the citation referred to as Inside-out. Stain in three parts is located in the rear, lower ceiling section of Outward, opposite Spout and Vessel (which sits below the deferred referent of Inside-out). The spout of Spout and Vessel points towards the central stain of Stain in three parts. The stains run from three horizontal fixtures since removed to run around three oval bathroom fixtures since removed. The stains being a range of substances from art pigments, ink and acrylic art mediums to shellac, Prepsol, and melted surf board wax mix and react as they chase down the wall to form pools on the floor.
4. Yield (2010-13): Upon entering Outward with a glance to the very rear a silver grey object sits in an open doorway that leads to another door into a bathroom. This small space in between the rear gallery space and the bathroom is where the lead object rests. The object even upon close inspection is indeterminate in its signification. Yet it is the close inspection of this object that reveals its partner image on the wall of the alcove—a view directly down a disused goldmine. This photograph confronts the viewer in the small space between bathroom and gallery, the openings and textures simultaneously confine and release. [Also see Yield fragment]
5. Spout and Vessel (2013): An industrial indeterminate object cast in modelling wax sits on the floor below the traces of a former plumbing fixture—referring to Inside-out. The cast lead spout stands atop pointing towards Stain in three parts. The first version of Duchamp’s Objet Dard (1951) was in plaster with a lead strip inserted into the length of it. The subsequent edition was in bronze with a painted lead strip. The vessel is the fragment of the whole that can never be complete. It is a reconstruction and rematerialisation in the false image of something that has been. Wax is a vicarious substance, especially its role in lost wax casting.
6. Inside-out (2012-13): The first text for this project was the mold made from a section of wall where a plumbing fixture was formerly mounted (above Spout and Vessel). From this area of wall the web emanated, not as a centre but as a moment of diffusion and release. The photograph of this section of wall is placed at the same height but located in the front area of Outward. It points to its Other in the rear of the space. Offset lying on the floor below is a casting of this section of wall. The thickness of the Hydrostone plaster makes it an object to which the other displaced referents cannot but form tenuous connections. This shift—to the side, down the gallery, in another material, in a photograph—all highlight the problem of the referent, the mold, the casting, the photograph, the text as textual displacements; inside-out.
Colour Circles negotiates the particular architecture of Outward, including its abraded surfaces, volume, geometry and light. In Colour Circles the impermanent character and shape of this space is abstracted by manoeuvering the implied intervals between a straight line and a circle – the ellipse. The inherently unstable character of the ellipse form allows infinite variations of lines of sight. In Colour Circles this form is mobilised to articulate multiple spatial realms using formations of coloured objects and watercolour paintings.
Since graduating from the Tasmanian School of Art in 1970, Penny Mason has participated in group shows and undertaken regular solo exhibitions. Recent solo exhibitions include; And Then… at the Academy Gallery, TCotA, Launceston in 2013, Sets & Series at Sidespace Hobart and Excess at the Academy Gallery, Launceston in 2006. She participates in an ongoing collaborative project with David Marsden and Sue Henderson under the name art3 which presented Space Antics at Burnie Regional Art Centre in 2011 and Swerve at Carnegie Gallery, Hobart in 2012 and Paper Planes at Sawtooth Gallery, Launceston in 2013.
Penny Mason is represented in public and private collections and is currently lecturer in Painting at TCotA, University of Tasmania, Launceston.
The installation transforms the whole space as a complex work with collaborative effort. Museums have special places to commemorate special persons. They are mostly scientists, writers, poets or artist and exhibitions usually show their memorial study room. The study room is a space of the fertile loneliness, the hallow realm of creating human knowledge.
The project will create a special place to commemorate a fictive, collective personality: you, me and anybody we can know. If the study room is the space of the fertile loneliness, the living room is the space of the fruitful social practice. A memorial living room of us.
In many cultures, he appeared in folklore as a symbol of cunning and trickery. The common iconism of him as a cunning creature most probably originates in the old indo-Iranian fables gathered in the Kalīlah wa Dimnah. In Dogon mythology, he is the trickster god of the desert.
He is “foxy” what in English is defined as meaning – as the obvious “having the qualities of a fox”. And “to outfox” means “to beat in a competition of wits”, the synonym of “outguess”, “outsmart” or “outwit”. In Finnish mythology, he is depicted usually a cunning trickster. It symbolizes the victory of intelligence over both malevolence and brute strength. There is a Tswana riddle that says that “Only the muddy fox lives” meaning that, in a philosophical sense, only an active person who does not mind getting muddy gets to progress in life.
Saturday, 10 August 12 – 3pm
Friday, 16 August 1– 3pm
Saturday, 17 August 12– 3pm
Friday 23 August 1– 3pm
Saturday, 24 August, 12 – 3pm
This is an experiment in drawing, attention, and memory. Twice a week for three weeks I shall come to Outward and draw. Draw from my memory of being there last. Draw the drawing I drew.
If each act of recollection can alter a memory, through these drawings I will attempt to chart the distortion and misremembering. This project will explore what happens when I draw the space I am in – the Outward interior – and then redraw the space from memory, and then redraw the memory…
Originally from Western Australia, Laura Hindmarsh relocated to Hobart in 2010, receiving First Class Honours at the Tasmanian School of Art. Alongside her solo practice Hindmarsh is the Chair of Constance ARI (formerly Inflight) and recently launched Nuclei, an interdisciplinary writing project profiling Tasmanian creative practitioners.
Her work has been included in Hatched 09: The National Graduate Show, Redlands Konica Minolta Art Prize, Hobart City Art Prize, ‘The Churchie’ National Emerging Art Prize and in 2012 she won the Tasmanian Youth Portraiture Prize. She has recently developed projects for PACT and Sound to Light, DARK MOFO.
In 2011 she held a studio residency at CAST and later founded Economy studios, a shared resource space in Hobart. In 2012 she undertook an Australia Council JUMP mentorship with Lucas Ihlein and is a current Artstart grant recipient.
ARTISTS: Lucy Bleach, Kate Stewart, Colin Harman, Emma Hamilton, Bronwen Davies and creative collective Shift. CURATORS: Ariele Hoffman and Matthew Perkins
Second in the Material Matters series of socially- inclusive exhibitions that utilise the power of art and culture as tools for social exchange, education and participation comesMaterial Matters:You, Me and Every Space We Know.
Material Matters: You, Me and Every Space We Know draws together a range of contemporary practices and artwork that address the myriad of ways we inhabit our ‘lived’ spaces expressing and inspiring new ways to consider our habitation, participation and reaction to our environment.
There are endless ways to conceptualise and interact with space.
What constitutes the landscape, environment, communal and personal spaces surrounding us? What are the foundation blocks and divides?
If we are to examine our traditional perceptions and instead begin to re-address and re-configure our surrounds, what might this look like?
The exhibition interacts with our surrounds physically and psychologically building on provocative discourses and heightening our spatial sensibilities in regards to the home, the landscape, the urban, and the televisual. The audience is encouraged to consider these new conceptions of our environment in order to explore possibilities for their own future social investment, exchange and reaction in regards to their space in the world.
Material Matters: You Me and Every Space We Know is the second in a series of exhibitions that responds to Matthew Arnold and Maya Deren’s ideas about the power of art and culture as tools for social exchange, education and participation.
Material Matters is a curatorial project developed by Sweetness & Light Art Projects [Facilitating Socially Inclusive Curatorial-focused Projects]. firstname.lastname@example.org
On the odd occasion I have had need to calm my wandering mind, I have found an ailment in the ambiguous mysteries poetically sent from the pen of Lao Tse and his ancient and highly regarded text of spiritual encouragement the Tao De Ching. Throughout this guide many ideas and subjects are dealt with but I would say the overarching principle that lies at its core is that, according to Lao Tse, the Tao (translated as “the way”) is an eternal force that pervades everything and the world of things we are surrounded by around is mere materialism and the best we can do to cope with our existence is to get out of “the way” and do as little as possible. “Thus,” it says “a great tailor cuts little” and the sentence I lifted from it for the title of this show reads, “Return to the state of the uncarved block.”
To extend, increase, boost,
supplement, modify, gain…
Augmentor presents sculptural investigations of material and experiential enhancement, grafting, plasticity and potentiality.
Augmentor brings together artists Colin Langridge and Lucy Bleach, producing new works that function as agents of transformation and possibility. Langridge’s work responds to discarded cans and drums with careful wooden insertions.Wood rots and metal rusts. Selections from a pile of old cans and a stack of wood coalesce in this body of work that springs from a whisper about an old garage – a place to work on machines, to store things and for invention. Remnants suggest a forgotten past but new relationships spark a fresh narrative of blurred edges and the discarded finding itself not yet depleted.Bleach’s work explores material and temporal lag, testing the capacity of impact and delay to extend and heighten experience.Drawing on viscosity as a
measure of physical and emotional elasticity, solid materials become fluid in response to outward forces of time and gravity. Siphoning public web-based documentation of random encounter
with natural phenomena, our surprising and extended relationship with chance is suspended.
Augmentor – brief statement
Wood rots and metal rusts. Selections from a pile of old cans and a stack of wood coalesce in this body of work that springs from a whisper about an old garage – a place to work on machines and to store things. Remnants suggest a forgotten past but new relationships spark a fresh narrative of blurred edges and the discarded finding itself not yet depleted.
Colin Langridge’s art practice is varied but predominately reflects his interest in ontology – how artworks can reveal aspects of being not usually noticed. Through his artworks he especially pursues the relationship between knowledge and indeterminacy. Though he has explored other artistic strategies he is best known for coopered wooden vessels that sit somewhere between the organic and the manufactured.
From WA and active in Tasmania since 2000 he has exhibited nationally and internationally. Colin researched ontological questions regarding sculpture through an MA and a PhD at The Tasmanian School of Art in Hobart where he has taught on a casual basis in the Sculpture Department since 2005. He has won several awards – notably the Rosamund McCulloch studio residency in Paris, the Australia Council Residency in Rome and the City of Hobart Art Prize in 2011. Colin has also completed several public art commissions and his work is held in private, public and international collections.
He is represented by Colville Gallery in Hobart.
List of Works – Colin Langridge
Empty, 2013, steel, celery top pine, plywood, acrylic paint
Pour, 2013, steel, celery top pine, copper
Seal, 2013, steel, celery top pine
Strain, 2013, steel, celery top pine
Augmentor – extended statement Colin Langridge
Augmentor names the exhibition and also acts to describe an artistic strategy – adding in order to increase the potential for complexity of meaning.
In this case the adding comes about through bringing together several old cans and drums discarded from a local garage with constructed wooden inclusions. The historical link between Outward and a 1920’s motor garage is what originally influenced my decision to work with these rusty drums. Wooden casks being the functional precursor to metal containers, established the relationship. The marriage of wood with metal heightened their earthy connection – both will one day return to dust.
Wood and metal reveal the procession of time as they oxidise. Focusing upon the rusty holes in the cans drew me into an ontological relationship with them that disclosed something essential about containers – holes in the wrong place ruin them and they lose their status as containers. This shift in status suggests a fundamental change in being, one that usually relegates them to the scrap pile. Now these ‘once were containers’ have again shifted status and re-appear into the world of art where political, social and cultural meanings are accentuated and relationships between things can be read as carefully as words on a page. Where the transition between the smooth painted surface and the jagged rusty edge can show us what steel is.
When they were functional containers we focused our concern upon the contents. Our understanding of these things as containers, their labelling and the materials they are made from come to the fore when they become artworks. The holes in the cans and the wooden inserts open up our potential to understand what a container is, not just that it is hollow and holds but that it has an opening, one that can be closed and through which the contents are poured. The transition from outside to inside and back out again is essential to the container. Besides storing the contents this passage into and out of the opening makes the container useful to us.
The labels on the drums add a further element of complexity – the connection between trees and fossil fuels is both physical and political. However, as attractive as the signs are it is the container aspect of these drums that interests me, and the subtle shift between categories of being that has occurred with them.
Augmentor – brief statement
Bleach’s work explores material and temporal lag, testing the capacity of impact and delay to extend and heighten experience.
Drawing on viscosity as a measure of physical and emotional elasticity, solid materials become fluid in response to outward forces of time and gravity. Siphoning public web-based documentation of random encounter with natural phenomena, our surprising and extended relationship with chance is suspended.
Lucy Bleach’s research focuses on humans’ varied relationships to contingent and volatile environments/situations.
Lucy has produced solo commissioned works for the Tasmanian Museum and Art Gallery and the Devonport Regional Gallery (2011); she exhibited in Iteration:Again, Tasmania (2011); exhibited in the 4th Echigo-Tsumari Art Triennial in Japan (2009) and has participated in five Ten Days on the Island festivals, Tasmania (2007-12). In 2010 she received a Qantas Contemporary Art Award (2010), and was an Asialink Visual Arts Resident in Japan (2009). She has received numerous New Work, Skills Development and Professional Practice grants from the Australia Council and Arts Tasmania (2012, 2010, 2008, 2004).
She has a Bachelor of Visual Arts, College of Fine Arts, University of N.S.W, 1990, and was awarded a Master of Fine Arts, Tasmanian College of the Arts, University of Tasmania in 2007.
Lucy is a Lecturer in Fine Art, acting Coordinator, Sculpture Studio, and Arts Forum Coordinator, Tasmanian College the of Arts, UTAS.
List of Works – Lucy Bleach
Lag, 2013, toffee, steel
Entry, 2013, single channel video compiled from the following youtube links:
Pitch, 2013, slide and slide projector, bitumen
Augmentor – extended statement Lucy Bleach
Within my practice I find diverse ways to explore signs of strain, to materially engage with the way things fall apart and the care associated with repair/maintenance/ and the propping up of something hardwired to a cycle of collapse …I am interested in the diverse ways that lag can present in tandem with the poetry of the strain, as discussion points for our tenuous engagement to uncertain sites, provisional places and situations…
I am interested in developing strategies that frame big concepts of environment in relation to instability, disaster, trauma, and ruin via domestic simulations of disaster zones; how these imaginary engagements with volatile environments can present in initially unremarkable forms, yet their very prosaic framework offers leverage to a frisson of uncertainty and ambiguity, alluding to an epic sense of scale.
The works in Augmentor reflect viscosity and plasticity, explore material and emotional capacity to yield under duress/stress, and present impact from random encounter.
Entry presents a video loop of various dashboard cam footage of a meteor that entered the atmosphere over Russia before crashing into a lake. All the videos have been downloaded from youtube, still hovering in a public domain long after the event.
Lag consists of cast toffee discs stacked to form a column, suspended in the space like an ambiguous core sample. Over the course of the exhibition the liquid content within in the toffee returns to its fluid state, evidencing a slow motion viscosity and transformation of form.
Pitch projects a slide image of the Bitumen Pitch Experiment, an experiment at the Museum of Queensland set up in 1929. The bitumen drops every 13 years (and is due to drop later this year). This still image is projected down onto a pool of black liquid, contained in a square baking tin, heated beneath by a portable hotplate. The heat causes the liquid to move, and the reflected image on the wall shows the still image in motion.