odradekodradekodradekodradekodradek

Aly De Groot, Lucky–The Patron Saint For All Things Protected
curator: André Lawrence

1 November—7 December 2013

 

Lucky

Artist’s Statement:
While participating in the Territory Wildlife Park’s artist-in-residence program last year, I was fortunate enough to embark upon an unlikely love affair with their ridiculously handsome resident four metre crocodile, known affectionately as Graham. While spending many an hour weaving and watching the still beast, I came to reflect on how, unlike many other marine creatures in the Northern Territory threatened by human activity and marine pollution, crocodiles are a protected species, and therefore supposedly lucky. Or are they? This ghostly figure, justifiably named Lucky, is a testament to the time spent in the presence of such a magnificent beast, and the gratitude I felt for the thick panel of Perspex that separated us.

The artist has obtained all relevant permits from the Northern Territory Parks and Wildlife Commission to possess, use and sell crocodile products in her art practice.

Artist’s Biography
Aly De Groot lives and works in Darwin. Influenced by the diversity of cultures and the intensity of climate and landscape in Northern Australia, her inter-disciplinary practice involves the creation of woven sculptures, objects and installations. Since 1994 she has been adopting and adapting basket-making techniques learnt from Indigenous, non-indigenous and international basket makers. Her recent works involve the use of man-made marine debris, in an attempt to inform people of the threat it poses to marine wildlife.
Aly De Groot was awarded 3rd prize in Sculpture in the Waterhouse Natural History Art Prize in 2009, and won the 2013 Togart Contemporary Art Award. She is currently undertaking a PhD as a post graduate scholarship recipient at Charles Darwin University.

 

Skin, Joshua Bonson
curator: André Lawrence

4 to 27 October, 2013

 

Skin, Joshua Bonson

Artist’s Statement:
Skin alludes to my people, the salt water people, and my totem, the crocodile; it can be read as a close up of a reptile’s skin, or as a landscape of rock and sand seen from a distance. The crocodile’s armoured skin is reflected through textured layer upon layer of paint, applied by hand or directly from the tube, built over many weeks. I want the viewer to feel the presence of the reptile, know its strength and also see the country from where it came, where I come from. My great grandmother was from Badu in the Torres Strait Islands and her eldest son is my grandfather, Donald Bonson senior. He is the inspiration for my work. He says everything is connected, the land, the water and us. Like the crocodile, we are saltwater people with an ancient lineage.

Artist’s Biography
Born-and-bred in Darwin, artist Joshua Bonson traces his lineage both to the Torres Strait Islands and the Jawoyn people of the Northern Territory’s Top End. He was the youngest-ever finalist in the prestigious Telstra National Aboriginal and Torres Strait Islander Art Award for two years running, aged 18 and 19. At 22, he won the Togart Contemporary Art Award in 2011 for his work Skin. This year Joshua is again a finalist in the 30th Telstra National Aboriginal and Torres Strait Islander Art Award, a finalist in the City of Albany Art Prize 2013 and Winner of the Top End NAIDOC artist of the year 2013. His works appear in several collections including the Collections of the National Gallery of Australia, Kerry Stokes, W.A, Toga Group and Art bank, NSW, as well as many private collections both nationally and internationally.

 

Back from the Colonies, Chayni Henry
curator: André Lawrence

 

Rite Price

Artist’s Statement:
Back from the Colonies is a direct reflection upon Chayni Henry’s relationship with South Australia. Born here in Elizabeth, she moved to the Northern Territory at a young age and has found her memories of SA are rather fossilised, deriving from her formative years, despite many subsequent visits.
The Northern Territory was once fully administered by South Australia, and therefore a colony of a colony. In some ways it is still considered a bit of a ‘colonial’ outpost today, something which lives in another era, and suffers from geographical isolation, a harsh climate and a small population base. Some of Chayni Henry’s more recent work has documented the unique and iconic buildings that are often overlooked in (sub)urban Darwin. These buildings sometimes go unnoticed, yet they reflect the unique style and environment of Northern Australia. In Back from the Colonies, the artist has sought to bring out significant buildings from her time and history in SA, a gesture of recollection and reconnection.

Artist’s Biography
Currently residing in Darwin, Chayni Henry is a largely self-taught Artist whose work embraces narrative as form, depicting life events, historical anecdotes and occurrences, through compositions that use large blocks of narrative text in company with a painting. Her style is reminiscent of the South American devotional paintings Retablos—from which she drew her original inspiration. She has since branched out into exploring architectural forms through cut-out designs, whilst still retaining the original narrative component employed in her earlier work.
Henry has exhibited widely across Australia, was selected for Primavera 2006 at the MCA, Sydney, and was an inaugural winner of the Togart Art Prize in 2007. Her work has been shown at Sherman Galleries, Fremantle Art Centre, Australian Gallery of Art and Design, Parliament House NT and many private galleries and ARI’s in Australia, and overseas.
She has works in the collections of National Gallery of Australia, Northern Territory Government Collection, Artbank, Charles Darwin University Collection, Wollongong University Collection, Charles Sturt University Collection, Print Council of Australia Collection, Laverty Collection, Sydney and in other public and private collections.

 

THE HOLE IN THE WALL GANG
James Dodd & Franck Gohier

Opening: Thursday 25 July, 6—8pm
Dates: 26 June—17 August 2013
Curator's & Artists' Talk: Friday 26 July, 2pm


Hole in the wall gang

 

Franck and James have known one another for more than a decade, professionally and personally.  Dodd has made regular trips to Darwin and the Top End during this period, all the time investigating nuances of the local graffiti culture.  Inherent in this subculture are stories and mythologies associated with individual gangs and the broader idea of gang culture. 

The ‘hole in the wall gang’ relates to a story by Franck about a particular gang and includes elements unique to the city of Darwin. Dodd and Gohier have collaborated in the simple retelling of the story in a way that reflects their shared aesthetic tastes.

 

Curator Bio:André Lloyd Lawrence is a French-Australian emerging visual artist and independent curator born in the Northern Territory. He graduated with a Bachelor of Visual Arts degree (with Honours) from the University of South Australia in 2012 and is currently studying and Master of Arts Degree in Visual Art & Design (Curatorship).
Lawrence is establishing a profile as an independent curator, writer and project facilitator. He has been broadly investigating, through his French-Australian hybrid identity, the affective and often nebulous realms of self-assertion in relation to displacement, belonging, place and human narratives. He curated Amounting to Something for Nexus Multicultural Arts Centre in 2013.

Artist Bio:

James Dodd has exhibited widely across Australia in artist run, publicly funded and commercial spaces.  His work traverses visual street culture, alternative use of urban space and existing gallery conventions.  While pursuing a practice that centres on painting, Dodd explores built structures, mobile objects and numerous other elements. He has completed recent significant projects for the Art Gallery of South Australia, Adelaide City Council and Splendour in the Grass festival.
Dodd teaches at Adelaide Central School of Art and works as part of a project known as the Australian Bureau of Worthiness. The ABW surveys compact socio-political landscapes and represents their findings as performance. James Dodd is represented by Ryan Renshaw Gallery in Brisbane and Hugo Michell Gallery in Adelaide.

Franck Gohier graduated from Northern Territory University in 1992 with a Bachelor of Arts degree majoring in Fine Arts. Gohier has exhibited since 1988. His works are represented in numerous collections including those of the Museum of Contemporary Art, Sydney Australian National Gallery, Canberra, Art Bank NSW, The Centre for the study of Political Graphics Los.Angeles, USA, Flinders University, Wollongong University, Wagga Wagga Regional Art Gallery, Charles Sturt University, Print Council of Australia, Casula Powerhouse, Griffith Artworks Qld, Charles Darwin University and The Northern Territory Museum and Art Gallery.
From 1992 to 1996, Gohier was a Printmaking Lecturer and Printmaking Technician in Fine Arts at Northern Territory University. Together with Leon Stainer and George Watts, Gohier established the Aboriginal Printmaking Workshops at N.T.U, which would later become Northern Editions at Charles Darwin University.
In 1997, Gohier established Red Hand Prints with Shaun Poustie as an open access studio offering free expert tuition to the community. Working with Aboriginal communities throughout the northern and central region of Australia, Red Hand continues to this day as a professional editioning program.

________________________

14 June to 13 July 2013

SOVEREIGN CITY RIGHT, Alexis West
curator: Ali Gumillya Baker

 

Anastasia Booth



The final in a suite of four installations curated by Ali Gumillya Baker

Dates: 14 June to 13 July
Opening: 13 June, 6—8pm

Curator Bio: Ali Gumillya Baker is a Mirning woman from the Nullarbor on the West Coast of South Australia. A visual artist, performer and fimlmaker, she has a Bachelor of Visual Arts (Hons) from the University of South Australia and a Master of Arts (Screen Studies) from Flinders University, and is a current PHD candidate. She is now a lecturer at Yunggorendi First Nations Centre at Flinders University. Her areas of research interest include: colonial archives, memory, Indigenous visual arts and performance, Indigenous screen production and representation and intergenerational transmission of knowledge.

________________________

3 May to 1 June, 2013

67, Raymond Zada
curator: Ali Gumillya Baker

 

Anastasia Booth


Image: 67, Raymond Zada, 2013


A Note from the Artist

Since White settlement, there have been no less than 67 identifiable classifications, descriptions, or definitions used in Australian law to determine who is Aboriginal.1 Legislation was enacted by groups of White Australians, to be subjectively applied by other White Australians, often in ways that denied or restricted Aboriginal people's freedom, choices and identity. 1.John McCorquodale, 'The Legal Classification of Race in Australia' Aboriginal History, vol. 10, no. 1, 1986, pp. 724 Raymond Zada, 2013

 

Dates: 3 May to 1 June, 2013
Opening: 2 May, 6—8pm

Artist Bio: Raymond Zada was born in Adelaide in 1971 and grew up in Port Augusta and Marree, South Australia. He is Aboriginal with Afghan and Scottish heritage. He is an Adelaide-based emerging visual artist working primarily with photography, video, and digital design. He's also an award-winning radio broadcaster with 13 years' experience in production, presentation and technical operation. In 2012, Raymond won an award in the 29th Telstra National Aboriginal & Torres Strait Islander Art Award for his piece racebook. An edition of 10, racebook has been acquired by several public galleries in Australia and overseas as well as private collections. In 2010, Raymond was a writer, producer and performer in the work OutBlak Adventures, which toured regional South Australia and explored themes of family and sexuality. This confronting, educational and emotionally-engaging production won a Ruby Award.

Curator Bio: Ali Gumillya Baker is a Mirning woman from the Nullarbor on the West Coast of South Australia. A visual artist, performer and fimlmaker, she has a Bachelor of Visual Arts (Hons) from the University of South Australia and a Master of Arts (Screen Studies) from Flinders University, and is a current PHD candidate. She is now a lecturer at Yunggorendi First Nations Centre at Flinders University. Her areas of research interest include: colonial archives, memory, Indigenous visual arts and performance, Indigenous screen production and representation and intergenerational transmission of knowledge.

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15 March to 13 April 2013

Archive fever paradox, Natalie Harkin curator: Ali Gumillya Baker

 

Natalie Harkin

Natalie Harkin's exhibition Archive Fever Paradox is the second in a suite of four 2013 nunga odradekaeaf exhibitions curated by Ali Gumilya that present South Australian-based Aboriginal artists who work with moving images, new media, text, and performance.

 

A Note from the Artist

love-letter offerings to blood-memory-haunts that pulse and repeat-without-end where invisible clever-maneuverings trace beyond the colonial-archival-record, our evidence, as sacred as her last breath whispering new beginnings to breathe-in deep, and in that moment before exhale I know with clenched-fist-resist to remember.. remember… to thank her

Natalie Harkin, 2012

 

 


________________________

1 February to 2 March 2013

Moving through the Aboriginal landscape, Michael Bonner

curator: Ali Gumillya Baker

 

Michael Bonner


A Note from the Curator:

These four seasons of nungaodradekaeaf 2013, connect four South Australian based Aboriginal artists who work in moving image, new media, text, and performance. There is a long history of singing to the stars and the whales in the lives of my Nunga ancestors. There is a long history of collection in the lives of my colonising ancestors: knowledge, objects, ideas, faces and data. Small and large things link us all to these moments - this land and our stories. Invasion and unsettlement. Fleets of words and images. Framed. Bound by the words. Active silence. Our bodies in the land. The best ways to use our time. If you look you can find us here. Sovereign protest.

A Note from the Artist:

Aboriginal and Torres Strait Islander people have always been connected to this land. The landscape around us continually changes and we have always adapted. Today it is no different in the city. When you know your history and take in the landscape, you will see we have survived and will always be connected to the land. Everywhere I go, I see my brothers and sisters, aunties and uncles. I see our flag sometimes in the most peculiar places and I remember the things that most do not. Join me on a journey around the sovereign landscape and see what I see as an Aboriginal person.

Artist Bio: Michael Bonner is a descendant of the Yanyuwa people from the Gulf of Carpentaria in the Northern Territory. He is an independent filmmaker with a working background in Archaeology, Cultural Heritage and Museums.

Curator Bio: Ali Gumillya Baker is a Mirning woman from the Nullarbor on the West Coast of South Australia. A visual artist, performer and fimlmaker, she has a Bachelor of Visual Arts (Hons) from the University of South Australia and a Master of Arts (Screen Studies) from Flinders University, and is a current PHD candidate. She is now a lecturer at Yunggorendi First Nations Centre at Flinders University. Her areas of research interest include: colonial archives, memory, Indigenous visual arts and performance, Indigenous screen production and representation and intergenerational transmission of knowledge.

________________________

09.11.12–08.12.12

Specter Ophrys,Anastasia Booth

curator: Riley O’Keeffe

 

Anastasia Booth


Objects within my practice are rarely left in their original state without particular material intervention, deconstructing, altering or amplifying their original purpose beyond what I had originally had in mind. The found or adopted object, when placed in relation to a series of other forms, has the ability to subsume everything under the banner of the sexual. There is a sensuous materiality in objects that exist in close proximity to the body, the animism in these objects is directly linked to a feeling of sexual gratification.

Artist Bio: Anastasia Booth is a Brisbane based visual artist. Working predominately in sculpture and installation Booth's practice explores sexual fetish as an instrumental strategy, seeing it as a mode to work across different theoretical and material discourse, with a particular focus on the re-imaging of female desire. 

Curator Bio: Riley O’Keeffe is a an artist, musician, writer and curator based in Adelaide. He is currently undertaking a Master of Arts degree by Research at the South Australian School of Art, Architecture and Design as welll as Co-Directing the artist-run initiative, FELTSpace. Riley has exhibited and performed widely in Adelaide, including at the Contemporary Art Centre of South Australia, The Experimental Art Foundation, FELTSpace and Format. In addition to this O’Keeffe has exhibited at Bocxopy in Brisbane and Inflight ARI in Tasmania. His multidisciplinary work focuses on notions of mortality, time and the infinite.

________________________

28.08.12–9.09.12

half-gifts, Nathan Farrant

Odradek

Image: Nathan Farrant, Home-tide (installation view), 2011 Photo: Courtesy of the artist


In his suite of three odradekaeaf exhibitions, curator Riley O’Keeffe has invited three artists to respond to his concept of the nothing-object, a liminal state of the object’s transformation into art.

Artist Bio: Nathan Farrant graduated from the Honours program of the Bachelor of Visual Arts Degree at the South Australian School of Art, Architecture and Design in 2011. He is a Format Space committee member and has shown at Magazine, SASA Gallery, Format, Fontanelle, Seedling and FELTspace in the past 13 months.

Curator Bio: Riley O’Keeffe is a an artist, musician, writer and curator based in Adelaide. He is currently undertaking a Master of Arts degree by Research at the South Australian School of Art, Architecture and Design as welll as Co-Directing the artist-run initiative, FELTSpace. Riley has exhibited and performed widely in Adelaide, including at the Contemporary Art Centre of South Australia, The Experimental Art Foundation, FELTSpace and Format. In addition to this O’Keeffe has exhibited at Bocxopy in Brisbane and Inflight ARI in Tasmania. His multidisciplinary work focuses on notions of mortality, time and the infinite.

________________________

28.08.12–9.09.12

Purpose-made Nothing-object, Katie Barber
curator: Riley O’Keeffe

 

In his suite of three odradekaeaf exhibitions, curator Riley O’Keeffe has invited three artists to respond to his concept of the nothing-object, a liminal state of the object’s transformation into art.

Artist Bio: Katie Barber is an Adelaide-based visual artist and curator. Katie is a founding member of the TwoPercent Collective and has co-directed the Artist-Run Initiative from 2007 to present. Katie graduated a Bachelor of Visual Arts with Honours from the South Australia School of Art in 2010. Currently holding the postion of curator for Australian Experimental Art Foundation's Odradek Project Space, Katie is also dedicated to her professional practice, exhibiting regularly in solo and group exhibitions with local Artist-Run Initiatives.

Curator Bio: Riley O’Keeffe is a an artist, musician, writer and curator based in Adelaide. He is currently undertaking a Master of Arts degree by Research at the South Australian School of Art, Architecture and Design as welll as Co-Directing the artist-run initiative, FELTSpace. Riley has exhibited and performed widely in Adelaide, including at the Contemporary Art Centre of South Australia, The Experimental Art Foundation, FELTSpace and Format. In addition to this O’Keeffe has exhibited at Bocxopy in Brisbane and Inflight ARI in Tasmania. His multidisciplinary work focuses on notions of mortality, time and the infinite.

________________________

20.07.12 – 18.08.12

odradekaeaf

 

Incubator Alligator, Patrick Rees

 

Patrick Rees is an interdisciplinary artist who explores the intersection between video, performance and installation in order to question notions of the ‘refined’ and ‘rarefied’.

Bio: After graduating with a Bachelor of Arts degree with Honours, in Performing Arts and Screen Studies from Flinders University, Patrick Rees was involved in the film industry in Sydney as a performer and film maker before returning to study Visual Arts at the College of Fine Arts at the University of NSW. Rees completed a Bachelor of Visual Arts degree with Honours, at the University of South Australia in 2011.

Rees has exhibited in group exhibitions at Magazine Gallery (SA), Format Gallery (SA), Next Wave Festival (VIC), Boxcopy (QLD) and the Contemporary Art Centre of South Australia. In 2012 he became a co-director of FELTspace; has had solo exhibitions at FELTspace and CACSA's Project Space; and will travel to the United States to undertake a 3 month artist residency at RAID Projects, Los Angeles and exhibit at Co/Lab Art Fair also in L.A.

 

________________________

Katie Barber: Curator

Katie Barber is an Adelaide-based visual artist and curator. Katie is a founding member of the TwoPercent Collective and has co-directed the Artist-Run Initiative from 2007 to present. Katie graduated a Bachelor of Visual Arts with Honours from the South Australia School of Art in 2010. Currently holding the postion of curator for Australian Experimental Art Foundation's Odradek Project Space, Katie is also dedicated to her professional practice, exhibiting regularly in solo and group exhibitions with local Artist-Run Initiatives.

 

Julia McInerney & Tom Squires: Pome

Katie Barber: Curator

 

I
The story begins with the Apple: at the beginning of everything, there is an apple, and this apple, when spoken of, is spoken as a fruit-not-to.1

Biting into an apple is like forming a corner in its surface, an edge made, a point of no possible return to a state of never been, never happened, as like the coming of life, the coming of its awareness, the bead of light that is its seed, its tasted corner negative, remained, now here in its absence.

Each time that we come to know something, in reality it is a step. Then we have to strike out for the un-known, to make our way along in the dark, with an “apple in our hand” like a candle.2

pome

II
The moth has forgotten the bead of light that sits inside itself, she is only aware of the absence where which she would seem to remember something at some time had been.

The night sky is an all-encompassing black, there is no moon, and no stars to be seen.

There is nothing amongst to allow her to navigate through this dark.

She is left to zigzag aimlessly, without a trace of direction or sense of place.

In the state of a hopeless impossibility, she imagines, invents, and projects, a character, a body, an other, that would be herself before and outside of this flight, who is, a hungry caterpillar.

She selects and maps out a section of the blank black sky, that where which is presently at hand.

She places the caterpillar behind this section, and says to it, this is a leaf.

The caterpillar begins to eat, and, as it happens, where through the negative that it leaves behind, a light is left to shine.

As more of this light is come about, she finds herself drawn in to it, until she is left zigzagging aimlessly, over and across its surface.

Julia McInerney & Tom Squires

Bio

Julia McInerney is an Adelaide-based artist. She completed a Bachelor of Visual Art (Honours) degree at the Adelaide Central School of Art in 2011. In July 2012 she will travel to Reykjavik, Iceland to take up a residency as part of the SIM (Association of Icelandic Visual Artists) program.

Tom Squires is an Adelaide-based artist. He is currently undertaking a Master of Visual Arts degree by research (History and Theory) at the University of South Australia. His solo exhibition THERE/TRANSPARENT/NOT THERE/MIRROR took place at FELTspace, Adelaide, in April 2012.

Sam Howie: Covariant


Katie Barber: Curator

Sam Howie

 

Covariant
“In looking at [Jackson] Pollock’s work, we can see a good example of the kind of problem that faces abstraction now, particularly in what we call overall painting. To go anywhere with the thin paint skeins that Pollock activated, we have to give them more moment and definition. We have to imagine a kind of tubular displacement and disposition of fluid pigment, as if it were coming out of a hose and could hold itself together, keeping its definition until it chose to disperse itself for dramatic effect, and then regaining its definition and composure in order to move on again to drive painting toward completion…In Pollock it is not the coherence that is at stake, but rather the depth of the available space and the expansiveness of delimitating boundaries. A fear is aroused that shallowness and constriction will be our perpetual companions. Today, running around and dripping paint on a bare canvas does not carry with it a sense of aesthetic excitement, does not create enough of pictorial sensation or illusion. More important, it does not create enough working space. We want to build a pictorial space that accommodates the reach of all our gestures, imaginative as well as physical.”*

This account of Pollock’s work by Frank Stella is a nice summary, in a way, of an idea of art that goes back to cave paintings—a model of a type of evolution of ideas with, in this case, a particular interest in painting. However it could be applied to any situation. It highlights a simple standard of “play”, engagement with predecessors who have created pathways that are now closed off and redundant. Pollock could be seen as an idea of “yesterday” while I see Stella’s role, in my use of the quotation, not as an artist in particular but as somebody with a megaphone appealing for change and revolt.

Sam Howie
*Frank Stella “Working Space.” Harvard, United States of America. 1986.

Bio

Sam Howie is an emerging Adelaide-based visual artist who works primarily with paint. He holds a Bachelor of Visual Arts (Honours) from the University of South Australia (2010) and a Bachelor of Visual Arts and Applied Design from Vizarts, TAFESA (2008). His work was selected for inclusion in the Hatched 09 National Graduate Exhibition at the Perth Institute of Contemporary Art. Sam’s solo exhibitions include The Turnout (Project Space, Contemporary Art Centre of South Australia, 2009) and Decomposition (Format, Adelaide, 2011). Group shows include Painthing (as one) (Australian Experimental Art Foundation, 2010), Helpmann Academy Graduate Exhibition (Adelaide, 2009 and 2011), and Substance (FELTspace, 2010). Sam was a co-director of FELTspace in 2010 and was recently included in the FELTspace GOLD: A Survey of Emerging Contemporary Art Practice in South Australia 2011 publication.

 

Riley O'Keeffe : Map#3 (fluorescence)


Katie Barber : Curator

riley o'keeffe



In/finite
I've spent a long time thinking about things ending - habits, relationships, infatuatons, and of course, life. Dependent on belief systems, it can be argued that death is the ultimate end to any living organism, be it plant, amoeba or human being. It can often be quite easy to fixate on absence. And while life is consuming, its absence is permanent. While life's timeline is uncertain, its plateau into a physical non-existence is unavoidable. Gregory Bateson describes the plateau as 'a continuous, self-vibrating region of intensities whose development avoids any orientation toward a culminating point or external end.' Bateson's idea of the plateau alludes to a perpetual, eternal loop, without conclusion.

Driven by the apparent impossibility for paint to achieve any idea of the infinite, my work has shifted from a focus on completion and infiniteness to abstracted landscapes that begin and end somewhere outside the limited frame of the image. Map#3 is an attempt at escaping personal and universal constraints – space, dimension, perception – and an experiment in representing Bateson’s plateau, through ideas of continuation and the infinite. The more I have tried to understand this term, the more profoundly confusing the subject becomes. These materials are defined by parameters yet the very paradoxical nature of trying to create something immeasurable and limitless has been the motivation for this work.
Riley O'Keeffe, Artist Statement, 2012

 

Bio

Riley O’Keeffe is an artist and curator, currently undertaking a Masters by Research at the South Australian School of Art, University of SA. His work was selected for the 2011 Helpmann Academy Graduate Exhibition. He is a founding member of TwoPercent collective , is currently a co-director at FELTspace and was the 2011 curator of the Carclew Foyer, North Adelaide. Focusing on ideas of morality, time and eternity, his multidisciplinary work has been exhibited in Adelaide at Magazine gallery, FELTspace & Format, and also at Inflight ARI in Hobart.

 

27.01.12 – 18.02.12

Timothy Hodge : An Ancient Burial


Katie Barber : Curator

timothy hodge

 

Artist's Statement

“These pieces attempt to combat a flatness of vision through allusions of depth and new visual spaces. Ultimately, they question our modes of vision. Good art has always done this, but now more than ever I think it must wear its consciousness like a kind of vision-permeable skin. Before the gaze of a viewer stabilizes a piece of work into something solid, there is a fluid imaginary space. This is the space of the shaman, a kind of permeability between worlds of matter and spirit, beyond methods of rational understanding. We collectively need to draw more from such ancient spaces as we form our minds, to compose spaces like these that feel boundless, and re-synthesize our treatment of our surroundings. This work accesses a time where primal spirituality recognized the animals as spirits, and the trees as luminous beings, connecting us to the earth - the inner to the outer - through ideas mostly absent in western culture.

Waste was an essential medium in these pieces – plastics, foam and polystyrene, were used alongside ancient geological formations such as malachite and quartz, both said to be cleansers of the third-eye and able to assist with moving between inner and outer worlds. I think a lack of inner vision, otherness and interconnection permits destruction in our part of the world because it leaves only a limited sense of self. It involves man seeing only “through narrow chinks of his cavern” (Blake, The Marriage of Heaven and Hell) losing sight of the his infinity and the infinity of the world, and his responsibility within it.”
Timothy Hodge, 2012

Bio

Timothy Hodge is an inter-disciplinary artist working in painting, sculpture, projection and sound art. The gradual process is one of melting categories so that a sculpture is equally a painting, and the indwelling mutuality of sound and visuals can breathe properly in the viewers mind. This is done in the belief that otherness is induced by intense art experience, enhancing our understanding of the less apparent. Timothy also plays in bands that are insisting like lava to get louder, lower and nasty in a holy kind of way.

25.11.11 – 17.12.11

odradekaeaf

 

 

chloe langford : curator

 

Chloe Langford is a young artist and curator. Chloe has directed the visual arts program for Format Festival from 2010 to 2011 and co-founded the permanent Format space on Peel St. In 2011, Chloe has undertaken the Arts SA Emerging Curator Project and programmed two months for the odradekaeaf space. Alongside these commitments Chloe is a practising artist and has exhibited recently in group shows with the Jam Factory, FELTspace and The Visibility Project.

 

 

katrina simmons : I think about Bataille’s writing differently now


Chloe Langford: curator

kel molcilnik

artist’s statement:

I think about Bataille’s writing differently now is a deeply personal work embedded in the process of finding a way forward in the face of loss. In January 2005, my friend, the Adelaide artist Linda Lou Murphy, gave me a disk of images as a gift carefully wrapped in her trademark brown tissue paper. Absurdly, the disk remained un-viewed, stored with other papers and studio detritus until a few months ago, two years after her sad passing. Along with other candid photos taken in my backyard was a spontaneous snapshot Linda had taken at her shack at Rogues Point a place I had always enjoyed visiting. The discovery of this unknown photograph became an essential component for a new work specifically created for the AEAF Odradek. This work titled I think about Bataille’s writing differently now acknowledges how in the dislocated emotional space between private engulfment and the public ritual that is the funeral or memorial, an unravelling occurs. Fragments appear and fade and meaning is inevitably recalibrated.

 

bio:

 

Katrina Simmons is an installation and sculptural artist whose work deals with failure, dysfunction and instability within social communication and interpersonal relationships. Her recent work has been concerned with the breakdowns and ruptures that occur between the internalised anxieties of the artist and contemporary socio-cultural and political systems. strange deeply, Simmons’ recent exhibition at FELTspace gallery (2011), drew on Jean Luc Godard’s screenplay for Alphaville, to investigate the slipperiness of contemporary meanings and drew on unrealised and/or unsuccessful works as experimental practice within the studio. Katrina holds a PhD in Visual Arts from the University of South Australia (2009). Along with FELTspace gallery she has exhibited in solo shows at the Contemporary Art Centre of South Australia and Adelaide Central School of Art. Group exhibitions include Epic Fail (FELTspace, 2010); Room (CAST, Hobart, 2007); Something Shows Something to Someone (Canberra Contemporary Art Space, 2006); Snapshot: Contemporary South Australian Art (Experimental Art Foundation, Adelaide, 2006); and Modern Love (Downtown Art Space, Adelaide). Katrina is also active in arts writing and has lectured extensively in the visual arts at the University of South Australia and at TAFESA.

 

Presented in the odradekaeaf projectspace 24/7.

 

previous



kel mocilnik : In the pursuit of repetition (prologue)

30.09.11 - 29.10.11
Chloe Langford: curator
kel molcilnik

artist’s statement:

We trust repetition; the universe is based on cycles of repetition. I incorporate my interest in the rhythmic state that this repetition promotes within us into my work. My background as a qualified mechanic has sustained a lifelong curiosity into natural and man-made mechanisms. The use of slot cars in my current work is a metaphor that symbolizes the mechanics of humanity; we are nurtured by the natural cycles of the earth’s rotation which humanity has used to construct a linear quantification of time and our value systems have stemmed from this. Memories of a childhood spent playing with slot cars, and the different approach adult understanding brings, are other points of examination. The cars have become vehicles that represent time as a non-linear entity. Patterns in the rhythmic action of slot cars, are encompassed in a three dimensional space, going beyond the physical by encroaching upon the audible space around us. Sound oscillates through peaks and troughs providing further reach when out of sight. This adds to the expectant tension associated with such mechanisms that frequently spin off their set trajectory. This work is an instrument of repetitious tension that will encompass different connotations according to the viewers’ personal values.

 

bio:

 

Kel Mocilnik is a Graduate of Adelaide Centre for the Arts with a BA in Visual Art (2007). Majoring in Painting, which remains a basis for his practice, his work has expanded to include elements of performance, sculptural installation, video and photography, with work shown in galleries, theatres and site-specific public locations. Collaboration is an important element of his work and provides a means of broadening his practice and forming strong working relationships with artists across communities and mediums. He aims to evoke questions in the viewers/participants of his work and strives to reach audiences outside of the arts community. In 2012 Kel will be collaborating on a NextWave project with Alison Currie.

 

Presented in the odradekaeaf projectspace 24/7.

 

wura-natasha ogunji : My father and I dance in outer space

19.08.11 - 17.09.11
Domenico de Clario: curator
wura-natasha ogungi

artist’s statement:

The creation of My father and I dance in outer space began with a question I had about the physical gestures of my father who is now deceased. I wanted to visualize what it might be like if we could dance together. It could only happen in this futuristic, otherworldly landscape. I used stop motion animation techniques to create the sense of flight, dance and intergalactic connection.

 

bio:

 

Wura-Natasha Ogunji is a visual artist and performer. Her performance works include videos in which she engages her body in explorations of movement and mark-making across land, water and air. Ogunji is a recipient of The Dallas Museum of Art’s 2010 Otis and Velma Davis Dozier Travel Grant and is a selected Artist in Residence as part of the National Performance Network’s Visual Artist Network. She has participated in residencies at Can Serrat in Spain and Altos de Chavon in the Dominican Republic. She has received grants from the Idea Fund, The Pollock-Krasner Foundation and the City of Austin. Selected exhibitions include Négritude at Exit Art (NY), Screwed Anthologies at labotanica (Houston) and New American Talent: The 22nd Exhibition at Arthouse at the Jones Center (Austin, TX). She has exhibited at The Oakland Museum of California, Intersection for the Arts and Galería de la Raza in San Francisco. She has a BA from Stanford University (Anthropology) and an MFA from San Jose State University(Photography). She lives in Austin, Texas.

www.wuraogunji.com

 

Presented in the odradekaeaf projectspace 24/7.

 

sandra uray-kennett : silent/ly witness blood making noise

08.07.11 - 06.08.11
Matt Huppatz: curator
sandra uray-kennett image

From the artist’s notes:

In the 17th Century, Descartes expelled madness beyond the confines of culture; it was robbed of language, and condemned to silence.1 In contemporary parlance, the language of madness remains incomprehensible. It is removed from everyday signifiers and meaning remains hidden and veiled.2 It should be noted that language sometimes acts as an invader to the insane. Set against the symptoms of madness, the schizophrenic ‘multiplies the blanks by fracturing the discourse.’3 Arguably, more than any other human condition, madness thematically reflects the dissociation of autonomy and responsibility that marks our epoch. So how can we relate to this psychopathological condition?

silent/ly witness blood making noise is inspired by an intimate examination of schizophrenic states and an attempt to represent these intervals and interruptions via a contemporary art practice. I am interested in a world that is inaccessible. By its very nature, this investigation into madness is a confrontation with a relentless and unpredictable barrier. Insanity is a solitary, internal experience that can only be surveyed from a distance. Observing an ambiguity that appears adrift and anchorless, my approach to the discourse of madness is speculative in nature. As such, this body of work can be viewed as an empathic tool which offers an alternate, oblique approach to this aspect of human experience.

1 Descartes, Rene., as quoted in Felman, Shoshana., Madness and Philosophy or Literature’s Reason, Yale French Studies, No.52, Graphesis: Perspectives in Literature and Philosophy, 1975, p.207.
2 Irigaray, Luce.,To Speak is Never Neutral, Continuum Books, London and New York, 2002, p. 185.
3 Irigaray, Luce., op cit, p.189.

bio:

 

Sandra Uray-Kennett’s object-based works have developed out of a painting practice inspired by 19th Century photographic iconography documenting female hysteria. Her current work is an investigation into her personal observations of schizophrenia and its language(s). It attempts to articulate the boundaries and unpredictable territories surrounding this solitary and internal experience. Sandra was selected to exhibit at Hatched 09, the National Graduate Exhibition at Perth Institute of Contemporary Arts. She has recently been invited to present at the 4th Global Conference on Madness at Oxford University where, in 2009, she presented her paper “Music from Another Room”. Sandra is currently a PhD (Visual Arts) candidate at the University of South Australia.

 

Presented in the odradekaeaf projectspace 24/7.

 


amira. h. : shrine

20.05.11 - 18.06.11
Matt Huppatz: curator
henryjockwalker

amira.h. is a performance artist who works extensively in the areas of endurance and body art. Her practice- which employs ritual performance, object making and installation- explores the contradictory roles she embodies as a female of Muslim heritage influenced by Western and Christian ideals. For her work at odradekaeaf, amira.h. works with the 'father' figure of a young John Travolta, blending kitsch, tragicomedy and impossible expectations relating to transgression, failure and the ritual of marriage.


bio:

 

amira.h completed a BVA with 1st Class Honours at the South Australian School of Art, UniSA in 2008. Previous exhibitions include: HOLY at Firstdraft Gallery, Sydney; Three Rituals at the Contemporary Art Centre of South Australia Project Space, Adelaide; artroom5, Adelaide; Format Festival; and FELTspace, Adelaide.

 

 

 

brigid noone: artist needs a husband

04.04.11 - 09.05.11
Ray Harris: curator
brigidnoone

Brigid Noone is currently and Adelaide based artist and curator. She is a cofounder of FELTspace and committee member of RENEW Adelaide. Noone graduated from SASA in 1998, and was awarded the Ruth Tuck Scholarship for a residency at Stichting Kunst & Complex Rotterdam, Netherlands. She has recently completed a Masters of Visual Arts by research at UniSA, where she has also tutored. In 2009 Noone was selected to participate for the Australia Council for the Arts Arts Development Initiative for the Venice Bienale.

 

 

 

 

 

 

 

 

 

henry jock walker : Plainting & In and Around My Fantasea

18.02.11 - 28.03.11
Ray Harris: curator
henryjockwalker
Paintings and drawings are so regularly created on white squares or rectangles, which are an imaginary space out of this world. Plainting is a painting escaping that imaginary space and penetrating into real space, evading the real world like a colourful disease. This work uses the ‘notion of painting’ in combination with the principles of installation. The vinyl is a material which I have used in a painterly way to connect the imaginary space to real space using vibrant colours and abstract forms. Therefore abstraction protrudes out of the imaginary space to meet reality; infecting it like a disease moulding around existing architecture, a realistic form of abstract painting.

bio:

 

Henry Jock Waker’s work is also currently exploring expressive abstract painting colliding with the act of surfing, assessing and utilising the parallel thought processes between making art and surfing. An emerging South Australian artist, he completed a Bachelor of Visual Art (specialisation) majoring in sculpture/installation and painting at University of South Australia in 2008. Within his undergraduate study Henry travelled on an exchange program to San Diego, California, where he studied the origins and sociology of surfing, painting and sculpture. Henry founded and participated in a group studio in Adelaide, and received an award for his installation at the Helpmann Academy Graduate Exhibition, 2009. Henry has exhibited in various artist run spaces and shows including FELTspace and the Moving Image Festival, and is currently enrolled at the Victorian College of Art to commence his Honours degree in painting.


The second season of odradekaeaf was curated by Teri Hoskin



sonja porcaro : still for the hollow (life amongst the asphalt)

11.11.10 - 11.12.10
Curator: Teri Hoskin

sonjaporcaro

‘Still for the Hollow (life amongst the asphalt)’ is a site-specific installation made for the cabinet-like odradeck window space - a space that is to be inhabited, interrogated, questioned and manipulated. Using objects and materials that reference both domestic spaces (the home) as well as those of a pedagogical nature (blackboard, chair, pillows, felt, hammer) the installation evokes - and critiques - notions of childhood, adolescence & memory. The possibilities and limitations associated with how children in particular are socialised, are investigated, situating this within broader questions of public and private space. The odradek window space is a rich site which lends itself to these investigations. Not only is it situated amongst the bookshelves and books of the Dark Horsey bookshop – a site of ‘learning’– but as a public thoroughfare it is a space both ‘open’ and ‘visible’; as a container, it is ‘closed’ and ‘inaccessible’, and also intimate (with the possibility of wonderment) with an impending uncertainty, claustrophobia and restraint. – Artist's notes


bio:

 

Sonja Porcaro's practice of 16+ years, spans sculpture, installation, photography, performance and electronic media. A graduate of the South Australian School of Art, Porcaro has exhibited in 8 solo shows and approximately 20 group shows, locally, nationally and internationally, including at the Australian Experimental Art Foundation, the Contemporary Art Centre of South Australia, Artspace (Sydney), the Centre for Contemporary Photography (Melb) and Viafarini (Milan, Italy). In 2000, Porcaro was the recipient of the Australia Council Milan Studio Residency and has also been Art-in-Residence at the College of Fine Art (Sydney, 1996) and the South Australian School of Art (2002). Porcaro has curated various exhibitions, written for publications such as Broadsheet and given lectures at the South Australian School of Art. In 2011, Porcaro will exhibit at the South Australian School of Art Gallery, with Anna Hughes and Sonia Donellan. Sonja Porcaro’s work is represented in the Art Gallery of South Australia and in private collections.

The artist would like to thank Remo & Dora Porcaro, Pete Wilson for their support & encouragement, and the AEAF staff

 

 

 

 

tim burns

30.09.10 - 30.10.10
Curator: Teri Hoskin

‘With its references to the ‘revolutionary violence’ of the Baader-Meinhof group, Against the Grain is an ample reminder that terrorism has been a persistent feature of industrialized society. What seems to have changed in the current ‘war on terror’ is the level of complexity of the discourse surrounding it. In Against the Grain, Burns skillfully links the story of a compassionate ‘terrorist’, distraught that a smoke bomb may have harmed an elderly lady, with quotations from Susan Sontag’s outline of the objectifying violence of photography in her seminal text On Photography (1977). Violence is posited as the double-sided currency of both freedom and subordination; it is the life-blood and the shackles of the difference or otherness residing beyond the surface of the status quo, forcing its subject at one moment into, at another out of, a rigidified state of normalcy. Contemporary conceptions of terrorism seem to lack such reflexivity. We are now witnesses to a much more generalised, asignifying violence, no longer aligned with particular demands or freedom of any kind, in which otherness detonates itself in a final identification with the extreme censure of the hegemonic status quo. Burns’ archive is a warning against a narrative history that would straitjacket its subject, forcing it to confirm to its strictures. It is a reminder of the capriciousness of the historical subject and of the volatility of the production of meaning. And thus it finds itself simultaneously neglected from modern art history and central to it.’ – Huw Hallum ‘Exploding the Archive’ 2007

 

ti parks, collage & videoVoid

19.08.10 - 19.09.10
Curator: Teri Hoskin

odradekaeaf season two kicks off with (to) give time to time works: Ti Parks - 'Cement Mixer', the original collage for 'Time to Stop Sitting on Y' his work at Queen's Theatre, and the artist book he made whilst in Adelaide (an edition of 100). In the 24 hour 7 day video box is a compliation of videos from the 70s and 80s curated by Matthew Perkins and Dr Elena Galimberti. The works have been loaned from the National Gallery of Australia, The National Gallery of Victoria, Griffith Art Works and the Australian Video Art Archive. Videos with sound can be viewed in the bookshop.

videoVoid was curated by Matthew Perkins and Dr Elena Galimberti. The art works have been loaned from the National Gallery of Australia, the National Gallery of Victoria, Griffith Artworks and the Australian Video Art Archive. Matthew Perkins is the Studio Coordinator of Photomedia and Dr Elena Galimberti is a research assistant for the Australian Video Art Archive, both in the Faculty of Art & Design, Monash University.

 

videoVoid has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

ozco

 

 

The first season of odradekaeaf was curated by Monte Masi, one of the co-founders of FELTspace an artist-run initiative located in the inner-city central market precinct. Exhibiting artists: Logan Mcdonald, James Marshall, Stéphanie N'Duhirahe, Maarten Daudeij, Kate Mitchell, Ray Harris, Brad Lay



monte masi

Monte Masi is an ex-Glenelg (seafront) now Goodwood-based (inner-city by the tram-tracks)artist and writer living in Adelaide. He works predominately with video and performance. In recent years he has exhibited in a variety of gallery and artist-run spaces, including CACSA and Downtown Art Space (SA), PICA (WA) and Seventh Gallery, (VIC). He is a current Master of Visual Arts candidate at the University of South Australia, investigating self-disclosure in online video and its relationship to 20th century performance and ritual. Monte is a founding member (and current co-director) of FELTspace artist-run initiative, supporting independent art-practice in Adelaide since 2007.


offsite linkFELTspace website



logan macdonald

19.02.10 - 20.03.10

My work examines my relationship to street culture and its associated subcultures that are not largely recognised by mainstream popular culture. These subcultures intersect a large variety of areas including music, graffiti, skateboarding and fine art - utilising an alternative system of displaying and creating works with their own aesthetic criteria to satisfy. 'These cultures create work related to their communities' ideas, interests and history. With an intense sense of identification among participants the resulting groups occupy edges of society and represent a different aspect of cultural development.' (René de Guzman and Thom Collins in Beautiful Losers, Iconoclast and DAP Publishing, 2005, p23).


Logan Macdonald is an emerging artist; he completed a Bachelor of Visual Arts (Honours) in 2007 from South Australian School of Art at Uni SA. He is currently a Co-Director of the Artist Run Initiative - Feltspace. He also works as the weekend gallery and website manager for the Contemporary Art Centre of South Australia. Logan Mcdonald has recently been appointed the Curator of the Carclew Youth Arts Exhibition Program for 2010.



stéphanie n'duhirahe

26.03.10 - 27.04.10

stephanie

Stéphanie N'Duhirahe's work is always based on the details and elements that comprise our daily lives: more precisely, the body, space and objects. She's particularly interested in the bonds that join these three elements, while working within the limits that naturally appear because of these connections. In her work, she often portrays the physical movement and effort of the body. Routine gestures are altered, revealing their absurdity. In the past couple of years Stépahnie N'Duhirahe has focused on linking her two practices: circus performance and video art.

2009 Stéphanie N'Duhirahe graduated from Ecole de cirque de Québec; 2006 graduated from Ecole Supérieure des Beaux-arts de Genève (esba). Exhibitions and performances include:
2009 - Festival FLUX-S. Eindhoven, Nederlands; CASZ urban screen, Amsterdam, Nederlands ; ”Present Tense”, CAAM,Las Palmas,Gran Canaria, Spain; 2008 - Exhibition,” Düsseldorf/ Riga”, Düsseldorf, Germany, Latvia; 2007 - Exhibition,«Terra infirma», Pratt Manhattan Gallery, New York, USA; Performances « en avril fais ce qu’il te plaît » théâtre de la Parfumerie Genève, Switzerland; Exhibition, VIDEONALE 11, Kunstmuseum Bonn, Germany, VIDEONALE 11 - Selección de la muestra de Bonn, Museo Nacional Centro de Arte Reina Sofia (MNCARS), Madrid. Spain; Exhibition, Oblo, Lausanne, Switzerland



james marshall

26.03.10 - 27.04.10

James Marshall

“As viewer and voyeur, we are both attracted and repulsed by the grotesque…there is something about the flesh gone awry or some notion of posthumous awareness that pricks at some dark dread that is mixed with a visceral delight.” Abbot, Celluloid Vampires: Life After Death in the Modern World, University of Texas Press, Austin, 2007.


James Marshall’s work offers further insight into the cross media nature of cinematic horror and its importance within visual culture, specifically the visual arts.

Current experiments in the studio utilize a horror vernacular, without a linear narrative, to explore different readings of the genre's tropes. Marshall’s aim is to create work using the essential elements of horror without the embellishment of all the elements of cinema. James Marshall is an emerging South Australian artist undertaking Masters by research at the South Australian School of Art and is currently a board member of the Artist Run Initiative – Feltspace.



maarten daudeij

07.05.10 - 08.06.10

Metaphysical Readymade is a work beyond the 5 senses. Maybe only existent in a realm of treacherous nonsense, an art-piece in the sphere of art-pieces, a mistake maybe, preferably unnecessary, possibly going where art shouldn’t or doesn’t need to go. To witness the work is to suffer the loss of sanity, maybe to rise, maybe to fall, probably both. But no ordinary mortal will ever witness the work. To witness the work is to say goodbye to the ordinary. It is to kill the dragon and enter the world of mystery. It is a work some may call esoteric, which it is. It exists in the beyond. We point at it through its name ‘Metaphysical Readymade’ [artist's notes].


(b. 1981 Well, The Netherlands) studied at the Gerrit Rietveld Academy in Amsterdam and is currently undertaking a Masters degree in Sculpture and Installation at the University of South Australia. In his work he explores the notion of exploring.



ray harris

07.05.10 - 08.06.10

… is not a middle-aged man as her name might suggest but an emerging Adelaide artist communicating her experiences, revelations and neuroses through mixed media sculpture, video performance and installation. The subject of her work is largely the psychological struggles and complexities of selfhood — identity dramas and disappointments, self-awareness and self-deceptions, and the relationship between reality and fantasy. Fascinated by mental spaces she explores these issues through often-autobiographical interpretations of universal experiences and conditions. Ray is also a recent Visual Arts (Honours) graduate of South Australian School of Art 2009, a new board member of Feltspace, Artist Run Initiative and a founding member of a new peer-based group studio space.



kate mitchell

11.06.10 - 22.07.10

… works across performance, video, sculptural elements and drawings to explore concepts of the physical limitations of the body. Revelling in the spirit of endurance, existence, time, and effort, the artist executes and presents her performances with an ever-present healthy dose of humour and an anthropological eye. Resting on the fulcrum of triumph and defeat, her work encourages the audience to embark upon a quest/direction of no meaning, a journey towards greater comfort and awareness of the paradox. Kate's work aims to invite comedy, absurdity and slapstick into the viewers experience and to bring about an awareness of being in the body.


Kate Mitchell graduated from The College of Fine Arts with a Master of Fine Arts in 2009. Exhibitions include: The Night of the Sunglasses, Manzara Perspectives, Istanbul Turkey (2009); Don’t Touch My Rocks, Chalk Horse (2009); The Horn of Plenty: excess and reversibility, Para-Site, Hong Kong (2009); Urban Screenings, Federation Square, Melbourne (2008); Art & About - By George Australia Square, Sydney (2008); Looking Out, (collaboration with Marley Dawson), Macquarie University, Sydney; ICollect The Australian Museum, Canberra (2006); Foil Awards, Little More Gallery, Omotesando, Tokyo (2004). Kate Mitchell, b. 1982, lives in Sydney.

works in odradek are:

top Aura Mountain (Map 1), 2010, smudging on stonehenge paper 120cm x 66cm, dowel,
plunger, coconut

bottom 50 Big Rolls (what the ancients didn't know), 2010, DVD, 15mins 22sec

NAVAThis project was sponsored by the NAVA Visual and Craft Artists’ Grant Scheme, supported through a donation by Mrs Janet Holmes à Court and financial assistance from the Visual Arts Board of the Australia Council.



brad lay

23.07.10 - 13.08.10

About the work in odradek:

Mirrored swell charts reveal the outline of owls, the colour = swell height scientific aesthetic perhaps not as dry as it first seems. Meanwhile an awkward home-made wave recording device jerks across a pylon-bound canvass. To believe that we can consistently and accurately predict the movement of a storm in the middle of the ocean is, well, kind of ludicrous. With this in mind, I've embraced the simultaneously chaotic and patterned nature of waves by developing a series of work that is directly (and indirectly) generated by waves.

Often employing the ocean as metaphor, material and mechanical aid, Brad Lay works across mediums to respond to an interest in how 'culture' simultaneously reflects, and affects 'nature'. His recent work reconsiders and gently subverts the idea of the sublime in it's historical and contemporary contexts. A 2009 honours graduate of the South Australian School of Art, he has contributed to numerous artist-run exhibitions within Adelaide, and recently presented a body of work entitled I'm Gonna Krill You within the Project Space of the Contemporary Art Centre of South Australia.