Tuesday, August 31, 2010
This is a little bit of a last minute/ post exhibition post about Marija Patterson's beautiful works that were in Re-invent, Re-interpret, Re-make. Her delicate apples are crocheted using thread made from plastic bags. In fact, nearly all of the materials that she uses are carefully recycled from other materials.
Marija talks about her work:
My sculpture is an ongoing investigation into ideas and responses to the relationship between the environment and the human spirit and culture: about the fragility of nature and the human footprint and our need to respect and venerate what we have. In making my work I use recognisable symbols that exist in cultures throughout the world. I use these images to express my ideas and emotions about the delicate balance between man and the environment.
In my work I like to use materials that have a history (pre-used); from deconstructed and discarded objects. Creating an object to express an idea using “second hand” material fits in with the notions that “life is cyclical”, “same atoms - different configurations”, “use of resource and manipulation” By giving materials life in another genre the material is transformed – embodied memories threaded, layered and shaped. And at the same time the materials have their own stories, they are remade and reinvented.
The materials I use, and processes I employ in my practice are a shift of materials and techniques generally used in the domestic and craft arena to the fine art arena. The materials are every day materials found in the home, the domestic environment. The practice of crocheting is associated with home decoration and clothing. Paper mâché in modern times is considered a craft material, for making school projects, decorations and carnival masks. In my current work I deconstruct objects from the domestic environment, (that have had another life), to use the materials (bringing their own stories with them) to make another object. The threads and strips of materials are stitched and layered together to create a new fabric of ideas.
Plastic shopping bags have been with us for only several decades and already they are impacting significantly on the environment; the ramifications will long outlive the time the bag was enjoyed as a convenience. This useful, “disposable” article is not so disposable. By using the limited materials and techniques, ie plastic bags, shredded into yarn and crocheted to represent an apple; paper, torn and moulded to form a vessel, sardine can cut and shaped into a leaf, I am able to make objects that are both aesthetically pleasing and provocative. - Remaking a shopping bag, re-using a manipulated sardine can, and reinventing the paper messenger.
Thursday, August 19, 2010
Natalie Kosnar presents her series of mixed tape watercolour works as part of the Re-invent Re-interpret Re-make exhibition.
She describes her inspiration and working method below:
"As the world appears to become smaller, my artworks reflect on the thoughts of one individual. A general theme throughout my work revolves around the human condition; who we are and how we relate to others in a complex world. I regularly sway between producing digital and handmade artworks. As technology has developed I use a combination of digital and traditional techniques. "
"A common process for me is to take digital photos which are then manipulated in Photoshop and then painted onto a traditional surface such as canvas or paper. This way of working is a constant re-interpretation of works and ideas. "
The works depicting cassette tapes, highlight the nostalgic 'mixed tape'. By adding various songs, taped onto each cassette, a message is given to another via the songs. The careful placement of songs in an order on a mixed tape is another form of re-interpretation for both the creator of the mixed tape and the recipient.
During the In Conversation program, Natalie spoke about the direction of her new works which looks at teenagers and their obsession with technology; camera phones, ipods etc. These works move away from her retro vibed works that are shown in the current exhibition. I can't wait to see how they look!
Friday, August 13, 2010
Town Hall Gallery is pleased to have Erin M Riley exhibit her amazing hand woven tapestries for the first time in Australia. Erin is based in Philadelphia USA and is currently doing a residency in Boston. You can see more of her works at www.erinmriley.com
She talks about the process of her tapestries...
"In most of my work I am finding images of strangers using Google Image search or Facebook, in order to find pictures of young adults in precarious situations. I am using imagery that I find to be shocking and excessive, that they might find to be temporary, fun and fleeting and weaving them into tapestries to solidify the event in yarn. I am remarking on the generation of excess by documenting images that are thought to be yesterday's dirty laundry but which might linger on the internet, or in the mind forever.
In the tapestries, the figures are faceless, a response to the methodology of finding these unknown people to me who then become the stars of the tapestries. "
Make sure you come in and see these tapestries as part of the Re-invent Re-interpret Re-make exhibition which ends on Saturday 28 August at 5pm.
Tuesday, August 10, 2010
Madeleine Preston lives in NSW and is currently lectures in art and design at the Whitehouse Institute of Design.
Madeleine talks about her work for the exhibition:
"The works for Re-invent, Re-interpret, Re-make, have at their heart an image that is itself a re-interpretation of Chinese sensibility and ceramic styling - that of the willow pattern plate.
According to the V&A website, 'The legend of the Willow Pattern was invented by the English about 200 years ago to promote pottery sales." Many Australians have grown up with this pattern on dinner plates and mugs believing the story to be an ancient Chinese one. Being born in Australia of English parents and spending my childhood in China I was attracted to elements of the 'ancient' story and to the idea of re-inventing what was already a fabrication.
The demand for the authentic and the need for narrative are great drivers in promotion for any period of history perhaps none more than now. I chose to change the nature of the material representation to another now 'ancient' circular form, that of a record. By taking an image that is misunderstood and misread and re-contextualising the materiality of its representation I hope to re-invent an image that is neither eastern nor western but an imaginary east at the point where commerce and storytelling meet.
I wanted to locate the materials of my re-imagining in the list of wedding anniversary symbols; paper for one year, cotton for two, wood for five, tin for ten and gold for fifty. The willow image is contained within the circular form of an LP/single and only part of the story is shown. There is no function for these products as their functionality has been removed or obscured through their re-invention. In each remade and remodelled patter the image of the 'prison' and the doves is repeated."
These works are absolutely beautiful and the photographs don't capture the intricate detail of the patterns applied onto the vinyl records. They really are works that you need to see in the flesh!
Monday, August 9, 2010
Town Hall Gallery is pleased to have Jasmin Coleman exhibit as part of the Re-invent Re-interpret Re-make exhibition. Jasmin is a Queensland based artist, so for her to get her amazing series of hand cast cubes to Melbourne was quite the feat!
Jasmin says about her art practice...
"My hybrid art practice investigates contemporary social issues such as societal value systems, truth, beauty, illusion and change. I am interested in exploring the potential of 'ordinary' materials both through their innate physical function as tools for transformation and as metaphors to discuss broader social concerns.
My 'hands on' approach to art making involves the appropriation, dislocation and glorification of a variety of 'common' materials and processes employed by trade specialists in developing, building and deconstructing the built environment.
Art movements and trends which have had the greatest impact on my practise include key artists associated with the 1960's and 1970's minimal/conceptual art. My work also draws parallels from the philosophical, stylistic and social concerns of Futurism, Neo- plasticism, Suprematism, Constructivism and the De Stijl. The Constructivists belief is that the function of the artist is inherently linked to social responsibility, this has been of particular interest to me. Likewise, the future oriented philosophies that sustained the Suprematists and Neo-plasticist
artists such as 'purity of form, purity of thought' and new art, new life.'
My work which consist of only handmade concrete cubes also discuss material integrity, beauty, function and truth (concrete) versus illusion (the superficial) in art and beyond."
We are very excited to have Jasmin in Melbourne for the launch of the exhibition as well, so hopefully if you attended the opening, you said hi!
Thursday, August 5, 2010
Elizabeth Nelson is a Melbourne based emerging artist. She is currently producing her first body of work for exhibition so we are pleased to have her as part of the Re-invent Re-interpret Re-make exhibition. She is inspired by her feelings and observations about the changing landscape of Melbourne.
In this body of work, Elizabeth is re-making artwork from pieces of paper that are no longer serving their original purpose. These papers have been collected from old Melways, postcards, magazines and paint samples. She creates imagery of Melbourne's landscape by mixing collage with pencil, pastel, crayon and paint.
Elizabeth works with a process of re-incorporating all materials into new artworks, even past works that she hasn't found successful will then be later used in the future. "Nothing is wasted", says Elizabeth. These works are a result of interpretation and constant observation to the changing society and environment of Melbourne.
Elizabeth states, "The pace of change in the twenty-first century shows us that nothing is fixed or permanent; everything that exists today may some day be part of something else".
Elizabeth Nelson is part of Re-invent Re-interpret Re-make, which is on show until Saturday 28 August.
Wednesday, August 4, 2010
Thanks to Lou Pardi at Beat Magazine for this article on our latest exhibition Re-invent Re-interpret Re-make, which will be at Town Hall Gallery until 28 August. Click on the image above to make bigger.
Adrian Conti is a Melbourne based artist who previously worked in printmaking but now has taken his grafitti style to painting and works on unusual surfaces such as metal and unprimed wood. Town Hall Gallery is pleased to have some of his new series of works as part of the Re-invent Re-interpret Re-make exhibition.
These recent works have emerged out of regular drives to Fulham Correctional Centre in East Gippsland. Stagnant inside an interior for the two hour drive, the external landscape shifts and changes.
"My work seeks to describe this landscape but with no fixed point of reference. Painting from my memory, my vista is the constancy of the horizon line through my driving window and the amalgamation of shapes through out the journey. I live predominately immersed in an urban environment with little connection to the rural land. This journey interspersed with ever changing brackets of industry and nature has engendered a response to the juxtaposition of our planned and sometimes regimented environments with what it is to have and enjoy natural space.
My re-interpretation of the physical landscape is via the lens of a 'city boy', the abstract nature of the image both references the 'actual' and internal landscapes. It is here that I'm caught, investigating the dichotomy of the 'real' and imaginary, the inside and outside, urban and rural."
The use of contemporary materials, the abstract and graphic depiction still acknowledges the consept of 'real space' and the traditional use of the 'horizon' within landscapes. Adrian uses industrial materials like spray paint as it enables the simplification of form, clean lines and the abscence of marks. All of this serves to highten the sterility of the experience of the destination.
Emphasis is placed on the interplay of positive and negative space, there is little in the landscape and yet they are full; each part sharing equal importance. Despite the horizon line's inference to depth, the work operates on surface with discordant colours and shapes vying with the raw state of the ground. The works themselves function as a space of reflection for each viewer to interpret and own.
You can find out more about Adrian Conti's work via his Facebook fan page or his blog page.