Category: curatorial

The OK Collective – featuring Melanie Neal – @ Seventh Gallery from August 17th – September 3rd.

The OK Collective – featuring Melanie Neal – @ Seventh Gallery from August 17th – September 3rd.
What was borne out of our developing frustration with, and consequent despair of, Melbourne’s escalating real estate prices has developed into a tongue-in-cheek reflection upon the ironies of inner city housing. It seems somewhat comical that folk are so quick to pay the exorbitant prices demanded for stacked-shoe-box apartments within the vicinity of the very commission style housing that has been historically lampooned as inhumane and culturally offensive. What also becomes dryly amusing, whilst at the same time so fascinating, is that almost anything is becoming housing; warehouses, petrol stations, silos, telephone boxes….

The long believed Australian notion that all could find a space for living is flailing and so, we aim to rectify this issue for at least one person, and in doing we develop an installation that grows as the projection screen for our combined artistic and social interests and endeavours.

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Uniquely Yours – 155a Gertrude Street, Fitzroy 3065

SEVENTH GALLERY


155 Gertrude Street Fitzroy

 

Exhibition Opening
Wednesday 17th August 6-8pm

Exhibition Dates: August 17th – September 3rd 2011

Gallery Hours: Tuesday – Saturday 12pm-6pm

Gallery Two

THE OK COLLECTIVE (Oliver cloke and Kathy Heyward)

Uniquely Yours – 155a Gertrude Street, Fitzroy 3065

‘Uniquely Yours’ screams aloud the sign of the times as neighbouring art-spaces are sold off and threatened with gentrification, and it’s mimicry – initially coincidental
– becomes both artwork and art statement.

Through spatial re-appropriation the viewer is left de-centred; the inhabitant develops their relationship to the space through action and alteration and the viewer becomes not unlike a domestic visitor or, alternately, dependent upon their own resonance within the space, a voyeur. A social game is developed as a form of artwork and allowance is made for direct observation of how people function within private space – the irony of course, being obvious.

light projects show

the mind of itself and the world
A collaborative project facilitated by Brooke Shanti Fenner, Oliver Cloke and Tahlia Jolly, with artists Laura Carthew, Nickk Hertzog, David Mutch and Mattie Young

Artwork for Substance show

I started this project as I would most projects nowadays, as they tend to be site specific. This started with the word ‘substance’, The name of the show. I knew what the word meant but only in its common language usage, and so I looked at the meaning of substance:

It is a noun, From Middle English, or Anglo-French and derived from Latin substantia, from substant-, substans, present participle of substare to stand under, from sub- stare to stand.

It originates in its common English form in the 14th century, but has been found in documents in the early 12th Century

However has come to mean:
1 a : essential nature : the essence or fundamental or characteristic part or quality
2 a : ultimate reality that underlies all outward manifestations and change
b : practical importance: usefulness
3 : material possessions : property <a family of substance>
4 a : physical material from which something is made or which has discrete existence
b : matter of particular or definite chemical constitution
c : something (as drugs or alcoholic beverages) deemed harmful and usually subject to legal restriction <possession of a controlled substance> <substance abuse>

After reading this I became far more aware of the process of making words, I did not know that substance is loosely derived from the word to stand…This became interesting to me. I am constantly fascinated by histories. The processes and procedures that I go through, as a person, especially in terms of my art making, the processes that objects go through, even ones that words are propelled through.

And so I wanted to make a piece of art about the word substance, but wanted to include my interest in Etymology as a process, within the artwork whilst also skewing  the viewer’s perceptions and understanding, whilst subverting their tacit knowledge. But the question for me was how to do that using ‘substance’, as a framework. This is where I struck upon the idea that the understanding would be about a substance that is used and under appreciated daily. So I decided to engage with a material. The question was which?

Firstly I wanted to make things out of cocaine, which was one of the dictionary definitions for substance abuse, but it seemed too obvious… So, eventually, I decided to create an object out of paper that would stand up on its own tensile strength. Its own constitution.

I wanted the object to be amusing, stupid, and useless because the art piece could not function. But is representative of that object. Just like a word…

I am constantly blathering on about the framework for art making and appreciation. Therefore It made sense for the object to critique the artworld in some fashion. This is where I realised that a beautifully simple display case would fit the bill.

It was simply made from a single sheet of paper, that measured 150 cm by 300cm I then cut out spaces for the legs and all the tabs, so that it could be securely held together. The 1st attempt used 120 gsm paper, which fell in on itself so, the 2nd attempt used 200 gsm paper which held up for the two weeks of the show.

Substance at GLG…

Studio Gallery

kathy in the studio gallery

The Studio Gallery Was a space that I created, which allowed artists to have a place to exhibit their artworks without the brain damage that comes with critique, self doubt or a big party. This Space was quiet and solitary, it allowed the artist a way of making or displaying artwork that may have not fitted their usual oeuvre, or even pushed them to do something artistically uncomfortable. I asked only that the participant leave something of their work so that I became a repository and the next artwork would then have to find some cohesion with the previous occupants.

Studio Gallery Indigo O’Rourke

dorkey's work in studio gallery

I also set up the Studio Gallery inside Kelly Space, and used it as away to get people to think about what they want to display and how they wish to use space. The only requirement was that they would have to leave a little piece od their work behind for the gallery. This then influencing the next person to use the space. In this image the work of Indigo O’Rourke sits quietly but boldly in the edges of the space. Commanding the viewer to crouch down and peer into the fine drawings that she painstakingly produces. Then you notice in the bottom right hand corner a chalk circle and a pile of sand that was left by the previous occupant Graham Brindley.

What is an Artwork?

Breakfast Club!

What is an artwork?

How do you formulate a constructive argument?

What makes you an artist?

Why make art?

What do you receive when discussing art?

When is an artwork finished?

How do you become an artist?

Does art have to be clever/ quirky to be good?

How do describe a practice, when you have tried to run away from a practice for so long? My ideas are based in the creation of an exciting environment where art can be understood and discussed. The first hurdle that I have had to overcome is that fact that in the discussion of artwork you must start with generic ideas in order to engage the audience. They seem to feel that we have art school inside joke where we can laugh at the uneducated. However I have found in discussion that we all fall foul of the “fear”.

Did I say the wrong thing? Did I insult the artist? Should I have drunk that fifth glass of wine?

I believed that I could dispel all these notions of the inside art joke by propagating the understanding that if one could easily describe a personal experience, then they can decipher the  artwork of others through their own experiences. Which I thought would enable people to go into a gallery ‘situation’ without feeling intimidated.  This I may add did not however improve the quality of the work!

I would like to describe my work as collaborative. I believe in the idea that two heads are better than one. Also the idea of having a working partner enables you to discuss your ideas openly instead of having a raging battle in your head (that never seems to go away). I have found that the artwork produced is always slightly bi-polar.

If you go to the pharmacy you are looking for a solution to a problem, usually an illness. The formula seems simple. Artists problems however have no simple prescription.

My work is a synergy between what is seen and the conversation that creates the work. I am less interested in the actual finished aspects of the final works. I more interested in the process of creating the artwork. The investigation gives rise to an organic process which usually is born out of the two dimensional field and grows into three and four dimensions. Ultimately I want the viewer to encounter an experience

Sum @ the Victorian College of the Arts

ConsumeCreate, the Henley Show

I would just like to thank everybody who helped out and came along to the private views or any of the events in the gallery. It was great fun to do, and a great success. I would especially like to thank those who came out to bring me cake! (Eemyun Kang)

It’s going to be hard to critique my own curation, so any comments would be appreciated. The show is a mixture of artists from the Slade School of Fine Art. The artworks range from large kinetic copper sculpture (Candida Powell-Williams) through to four colour silkscreen printing (Sonke Faltien), with touches of brilliance dotted around the gallery. I formulated the show as way to enhance my own practice as an artist and also to engage with the local community.

We started the wee off with a bang on Sunday when more than 90 people came into the gallery to take part in the ‘Big Draw’, which was tremendous fun. Children and adults were literally sprawled out everywhere, even on the pavement outside. Within the cacophony there was some amazing drawings going on. It was brilliant to see children remonstrating their parents for not drawing properly as if they had switched roles and were not holding their knife and fork with proper etiquette. The whole event has to commended and a special mention has to go to the lead role, Diana Schiler.

The week rolled by so fast and so much happened but the highlights have to be the Punch and Judy (Andrea Greenwood) which was performed in the marketplace on Thursday lunchtime and at the private view on Friday evening. Both were a riot, the mishaps seamlessly sewn into the plot line as these ancient rivals battle it out but not in a traditional beachside manner. The other sculptors in the show were Susan Stainman with her abstract sculptures that play with your perceptions of objects, and Luke McCreadie who produced smaller but just as cryptic artworks. You visually rummage through his secret number 1, but to no avail. One guy spent 20 minutes pouring over the piece, shouted ‘got it!’ and then left. He never told me if he had got the answer or not.

On the painting side there was a great diversity. Sam hackings miniature landscapes attracted a lot of attention, as they were dotted around the gallery. As did Tom Yeomans’ 9 panel painting that bedazzled and bemused all who walked in, as it seemed to bring everybody who passed in the street. Another major artwork was Eemyun Kangs the skull that also seemed to hold peoples attention as they deciphered the fungal shapes and realised the skull shape. Last but no means least were Chloe Le Tissier who had some beautifully elegant portraits in the show and Jack Killick who exhibited his fantastic abstract drawings.

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