SCOPE Galleries Art Award: Art Concerning Environment

Curated by Liza McCosh, a major exhibition of pre-selected artwork that includes painting, drawing and sculpture. The exhibition included fifty five preselected artists/artworks from across Australia.The Art Concerning Environment Award is a national biennial award and the exhibition attempts to provide a platform that facilitates debate and promotes art as a catalyst for change.  The exhibition was supported by a public lecture on Climate Change (June 2, Warrnambool Art gallery) and facilitated by Guy Abrahams (guest judge).

See:  
www.scopegalleries.com
www.warrnambool.vic.gov.au/index.php?q=node/1266
Ziegeler, Bonnie, "Artworks with a green hue vie for %5000 award in Warrnambool", The Standard, June 3, 2012.

Castlemaine Art Gallery and Historical Museum : history and collections

A publication of works from the permanent collection and a history to mark the centenary of the Castlemaine Art Gallery and Historical Museum. The photographs have been produced using superimposed exposures of polarised and non-polarised light; a technique for the optical and digital enhancement of colour saturation, reflection reduction and surface effects in reprography of painting developed by James McArdle.

Indelicacies

This work combines the forms of photography, creative writing and wire sculpture, and explores the collisions of personal and public psychic interactions with the practices of logging of native forests in Victoria. It uses processes of creative research. Displayed at Gallery One-Three, Little Bourke Street, Melbourne, as part of the Love Forests Exhibition presented by The Wilderness Society, Sep 1-7, 2013.

Microscopic / telescopic (universes unfold)

This exhibition was inspired by lens based observation; what is observed through the microscope – plankton and single cell organisms – finds its origin in what is observed through the telescope – stars and galaxies. The project explores two spatially divergent contexts. Artist, Melinda Capp explores the micro-scopic with porcelain objects, artist books and images derived microscopes and Daniel Armstrong references the macro-scopic with video, photography, lens based objects and installation of interactive sculpture / optical instruments to create an experiential connection between celestial phenomena/images and the viewer.

Digital light

Artists Description: Moving rooms and domestic objects pass through the interior of the translucent house as we peer into it. At night they softly emanate a glow much like the glow of a television in the living room. The animated space is choreographed and timed in its movement, broadcasting the contents of the house. There is an interplay between real object and virtual object: the house is made of transparent/translucent glass while the interior objects are virtual images on the screen; total internal reflection occurs so that the image can be seen from certain angles only; the glass is a medium which distorts the animated image, while the animated image permeates the glass with its colour, movement and glow.

Leaf light

A leaf captures light energy and transforms it through the process of photosynthesis. This glass leaf-like form also, in a sense, captures light and transforms it as it bends and refracts the rays, containing it in the deep dimensional reservoirs of the piece.

Circular breathing

Circular Breathing links animated architectural buildings found at Pilchuck Glass School with a glass sculptural house, enabling the glass form to appear to breath through animation.

Neil Taylor’s experimental animation

This paper explores from a phenomenological perspective the work of Australian Experimental Animator Neil Taylor (1945-), works situated between animation, performance and sculpture. Taylor’s animated scribbling repetitively and automatically inscribe the surfaces of flipbooks or note pads (Short Lives (1980-90)) and cash register rolls (Roll Film 1990 and Copy Copy 1998) often enhanced by hand-made ‘machines’ designed to facilitate and shape this idiosyncratic activity. Taylor’s work is informed by his successful wire-based sculptural practice and his 20 years experience of teaching animation to tertiary students and 8 years previously in the Australian Technical School system (a system that has since been dismantled but for which these animations remain as an aesthetic trace). His work can be generally situated inside an avant-garde project ‘that continues to explore the physical properties of film and the nature of perceptual transactions which take place between viewer and film.’ (John Hanhardt, 1976: 44) This is performative research into the minutiae of the moving image and its ability to register body gesture. Hanhardt, John G. (1976) The Medium Viewed: The American Avant-Garde Film. A History of American Avant-Garde Cinema. New York, American federation of the Arts.

Outlaw-in

For the 2014 McClelland Gallery Sculpture Survey and Award Bozo ink created a scaled down model of The McClelland Gallery. Crash-landed in the Australian bush, the gallery’s belly is exposed, and into it the viewer can poke their head. Continuing our investigation into space, identity and Australian art history we look to the viewer to become panoptic in their view of the gallery and its surrounds, and at the same time the subject under surveillance. We encourage the viewer to cross the threshold from subject to object – to break the sanctity of the object/gallery. Like most of our works the invitations are many, we layer real-time experience with fictional narratives, illusions and copies. As much as we question the integrity of space we ask the viewer to consider their complicity in the history and occupation of it.

Listening in

Two neighbouring glass houses, with large ears protruding from their structures, sit quietly. They seem to be listening carefully. Are these sentient forms? They are each broadcasting animations from within – revealing their contents and their inner selves, and blurring the division between personal and public space.

Vodnick one

A sculptural goblet inspired by the water sprite found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Vodnick two

A sculptural goblet inspired by the water sprite found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition one

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition three

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene three in the narrative. It is a work that condenses the animated moving image into a sculptural form.