21 NOVEMBER – 13 DECEMBER 2014
Opening: Friday 21 November, 6 – 8pm
Bryan Spier, Noriko Nakamura, Renee Cosgrave,
Merryn Lloyd, Dionisia Salas
A Necessary Evil
A Necessary Evil is an exhibition of artists that stage the process of creation as a kind of capturing, or trapping. These five artists seek to manipulate immaterial factors – such as colour, time, possibility, and culture – but their efforts are tempered and stymied by the dumb fact of matter. The material support presents a compromise upon which the immaterial is reluctantly contained for the purpose of presentation.
Propositional images are threatened by the resolution of the given material. Weight, organisation, application and physical labor expose kernels of conflict that becomes explicit subject matter. A continuous negotiation suffuses the work of these artists with irreconcilable tension. At the heart of this struggle is a question of will: the will of the artist versus the will of the material.
The Global Dust Project
The Global Dust Project is an artwork that explores the material and poetic possibilities of dust. It is a shape-shifting work that evolves and devolves as it travels around the world. In each location; dust is gathered, an installation is made, a performance takes place, and documentation is created and displayed. At the end of each exhibition the dust and documentation are incorporated into the work for the next location. Prior to the Kings ARI, it will have traveled from Norway to the USA to India and afterwards will return to the USA followed by Morocco, Australia, France, Hong Kong and Japan.
Central to the project is the use of dust: as a material that is im/material and form/less; as a metaphor for the transitory nature of all things; and as a model for the structure of the project that mimics the constantly accumulative and dispersive behaviour of dust. This progressive cycle reflects the protean nature of dust – migratory, airborne, coming to rest, scattering and leaving particles behind, collecting and incorporating particles, being acted upon, dividing and reforming.
Hannah Bertram completed a Bachelor of Art in 2003 and a Masters of Fine Art in 2005 at RMIT. She is currently a PhD candidate at VCA University of Melbourne, and lectures in the Creative Arts degree at Deakin University. She has exhibited throughout Australia, the US and will have her first major solo show in Europe at the Palais de Tokyo, Paris in 2015.
Therapy is an investigation into the material and symbolic visual culture embedded within institutional mental health facilities. The pine wood coffin sculpture bent sitting in a white, plastic outdoor recliner chair engages with the tension in visual language within the mental health arena. Psychiatric hospital interiors are deeply considered and reflect a belief in their own power to affect the mental states of patients though material and spatial qualities. More akin to hotels than hospitals in design, contemporary psychiatric wards inflict tersely contrived domestic environments upon visitors and patients. There is a presentation of the idea of escape, an ostensible holiday away from the stresses of the outside world. Yet the escape invariably comes in the form of physical confinement. The mother of Belgian Surrealist artist Rene Magritte, upon whose work Perspective 1:Madame Recamier de David, 1950, the sculpture references visually, experienced the consequences of this form of treatment. Her subsequent escape from confinement is followed by an escape in suicide. The multiple meanings of “escape” in relation to mental health are at the foreground of the work.
Meg Stoios lives and works in Melbourne. She completed a Bachelor of Fine Art at the VCA in 2012. Recently she has exhibited as a solo artist in ACCA’s Pop Up space, 2013, and in group shows at Moana ARI, Perth, New Sincerity, 2014 and The Aesthetics of Disengagement, 2013.