Bouncing back : homegrown. Curated exhibition of student work and design workshop

Bouncing Back Architecture Exhibition: This exhibition showcases interpretations of urban resiliency by 2nd and 4th Year undergraduate architecture students who explore the notion of Bouncing Back from the 2011 Queensland floods, in the context of contemporary Brisbane built environment. Design solutions have been expressed in a variety of forms including emergency shelters, flood-proof housing and a range of urban designs, some of which address extreme environmental conditions. Design Process Workshop | Architecture Workshop with Queensland Academy of Creative Industries Students: In collaboration with Homegrown Facilitator Natalie Wright, Lindy Osborne and Glenda Caldwell and some of their architecture students from the QUT School of Design, extended the university design studio experience to 18 Secondary School students, who brainstormed and designed emergency food distribution shelters for those affected by floods. Designs and models created in the workshop were subsequently included in the Bouncing Back Architecture Exhibition.

Fast Friends

Two works were included in the curated exhibition "Fast Friends" at the Nona Gallery, at the Brisbane Institute of Art. This exhibition was the the second of three exhibitions. This project curated by Jill Barker was collectively entitled "Pace" and was supported by an Arts Queensland grant. The premise for the exhibition and for the work creatied for the exhibiton is as follows. For fast friends the pieces will be works that consist of more than one part. In the way that a friendship consists of more than one person. You could say that the location of a friendship lies somewhere between the friends - so in each of the artworks in fast friends, the 'centre' of the work - if it can be said to have a centre - will be in the relationship between the parts.

Velum

Velum continues material experimentation with edible materials as explored within Formations: New Practices in Australian Architecture 2012. 1 The work employs the central theme of veiling as a ‘second skin’, an intermediary agent simultaneously engaging with Heideggerian themes of ‘nearness and revealing’ (1927, 1954). This second skin creates a liminality distorting everyday objects of popular culture and technological consumption. In doing so, the work puts forth multiple considerations, the figurative play upon consumption itself; the role of the strange and obscure to affect a deepening awareness of our accelerated consumption and experience; and more tangentially, questions surrounding imminent scenarios of hybridity between body and technology. Velum represents a recent focus of the authors’ creative practice, ‘Making Strange’ (Strange Making) published and presented elsewhere. Making Strange explores the sublime process, fundamental to both the final design outcome and the designing experience. The sublime process is seen as a leading, a physiological overpowering of self to a state of intense self-presence, often leading to self-transcendence or state of otherness. As such, the work engages with the body and materials, experimentally and in a trans-disciplinary manner to inform new material practice.

Catacoustics

'Catacoustics' was an exhibition of sculptural assemblages and photographs that continues my exploration of self-portraiture and the sculptural object. The exhibition was presented as part of the 2015 MetroArts curated exhibition program (Curator: Amy-Clare McCarthy). The work specifically extends the formal vocabulary of my studio practice to incorporate a replica casting of the Ian Fairweather memorial rock at Bribie Island, Queensland. The resulting casts are combined with a series of heptagonal forms derived from the memorial plinth and other sundry components taken from previous exhibitions.,The final arrangement of this diverse field of elements are determined in part by their formal properties (e.g. their capacity to nest, prop, balance, support each other) frequently also taking the horizontal/vertical and the orientation of surrounding walls as formal cues. In so doing, the body of work acts as a manifestation of object-agency. Within this studio methodology, practice is theorised as a site for the interplay of non-human agents. The resulting exhibition thus acts a meditation on the ontology of art practice, conceived as a 'topology' - a fluid network of relationships forged largely by objects.

Conversation Pieces

This curated exhibition presented works by Australian artists Agatha Gothe-Snape, Alex Martinis Roe and Hannah Raisin and collaborative works by Catherine or Kate (Catherine Sagin and Kate Woodcroft), Scott Ferguson (Erika Scott and Brooke Ferguson) and Courtney Coombs and Caitlin Franzmann. These artists engage with ideas of contemporary feminism through processes of dialogue and exchange, exploring subjectivity, humour and intimacy in performance and installation artworks. These works are generated by physical, verbal or textual dialogues between collaborators, participants or the artist and audience; and spark a conversation about contemporary feminist art practice in Australia today.

Quaternary [Guest Curator]

The curated exhibition, 'Quaternary' was held at the QUT Art Museum in 2015. Dr Courtney Pedersen was the guest curator. The aim of this curatorial project was to identify and analyse the work of a selection of women artists whose practices utilise the affective power of colour in compelling ways.Taking its cue from the Australian artist Thea Proctor's claim in 1938 that women artists make better colourists, the exhibition explored the enduring nature of this perception by presenting a range of contrasting approaches to colour. 'Quaternary' was the second iteration of QUT's triennial exhibition series, which explores the University's open-studio, cross-disciplinary approach to studying art. The artists include: Bianca Beetson, Chantal Fraser, Rachael Haynes, Natalya Hughes, Alice Lang, Gemma Smith, and Jemima Wyman.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

Future Monument

Based on a series of collage made from images of mega yachts, the Future Monument looks at the possibility of taking late capitalism more seriously as an ideology than it takes itself seriously. The project asks whether the private display of wealth and power represented by the yacht can be appropriated for a new language of public sculpture. The choreographed live performance of the construction of the large scale monument was scripted to a proposed capitalist manifesto and took place in a public square in Herzliya, Israel. It aimed to articulate the ideology latent in capitalism’s claims to a neutral manifestation of human nature. The Future Monument project was developed through reading seminars taking place at Goldsmiths College, as part of a research strand headed by Pil and Galia Kollectiv on irony and overidentification within the Political Currency of Art research group. This research has so far produced a series of silk screen collage prints, a sculpture commissioned by the Essex Council and a live performance commissioned by the Herzliya Biennale. However, the project is ongoing, with future outputs planned including a curated exhibition and conference in 2012, in collaboration with Matthew Poole, Programme Director of the Centre for Curatorial Studies at the University of Essex.

Focus on photography: Wilkins, Clayfield, Sirianni

Curated by Liza McCosh, an exhibition of photographic artworks by John Wilkins, Peter Clayfield and Mick Sirriani, exhibited at SCOPE Galleries, Warrnambool.  The exhibition surveyed a range of processes and included portraiture, landscape, urbanscape and experimental photography on paper and aluminium.

9 Incarnations

First exhibited as part of a curated exhibition by Laura Lantiera at Arc One Gallery in ‘Mind Shadows’ alongside international and nationally recognised artists Pat Brassington, Robert Owen, Justine Khamarra and Julie Wrap, this work has recently been exhibited in the exhibition ‘Inside the Matrix: a tango with light’ with an accompanying essay written by Sean Redmond in a catalogue with an ISBN # 978-1-944242-57-2. The light box work is another iteration of images exhibited and written about in the solo exhibition ‘Fly Rhythm’ 2013 at Arc One Gallery. The work has been referred to in the journal article ‘Technology as Collaborator in Somatic Photographic Practice.’ Intellect Books and at the conference ‘Photography in the 21st Century’ 2015

Fragmentos

Curatorial Aims and Objectives: Fragmentos was a curated exhibition (or expose) of 13 contemporary Australian artists. It was presented at the upstairs gallery at the Escuela Activa de fotografia in Cuernavaca, Morelos in Mexico. The curatorial objective was to present small samples or fragments from the creative practice of a number Australian artists. It would therefore act as introduction to their broader practice and as a way of representing the diverse range of creative explorations by a number contemporary, mostly Melbourne based Australian artists. These artists were selected on the basis of their diverse and often conceptual approaches to art making. All the artists have an established practice in the arts and their work reflects an experimental and investigative approach to materials and processes as well as exploring a wide range of conceptual and thematic concerns. Visitors to the Fragmentos exhibition were primarily local Mexican artists, art students and academics and members of the general public. The gallery is located in the heart of a photography school in central Cuernavaca but the students are engaged in a wide range of practices and the local arts community is vibrant and divers. Many of the works presented in this exhibition invited audience interaction and even the opportunity to contribute to the works providing a connection to the Australian artists involved and as a way of demystifying the ideas behind the works. One of the main curatorial objectives was to create a sense of connection and dialogue between local Mexican artists and the works. By offering samples and fragments, some of which were from unfinished work (in development) the audience could have an experience which was akin to visiting an artists studio or at least seeing something from behind the scenes This gives a sense of the artists as people, which is often not the case with highly resolved and finished works of art, displayed in a white cube. To facilitate this sense of discovery I made a number of small tables using builders timber work horses with a simple ply wood top to act as benches on which the artists work could be placed and to suggest the idea of things being in a transitional stage and undergoing and development. Also, the inclusion of pin boards, magnifying glasses, G Clamps were used during the installation to invoke this sense of workshop or studio. The works were very well received and I gave a number of public talks and presentation to student groups as well as after hour’s appointments to discuss the exhibition with various academics. The project has also generated some new engagements between Mexican and Australian artists with at least 3 outcomes emerging.

Silver Gelatin Print: A group exhibition curated by Karen Milder that investigates and captures the traditional processes using photograms, liquid emulsion, toning, hand-colouring and film. Part of the Queensland Festival of Photography 4 (QFP4).

Pillar of salt: (3 hand-applied silver gelatin photographs) Statement: For women moving into new experiences and spaces, loss and hardship is often a price to be paid. These courageous women look back to things they have overcome in order to continue to grow.

Leaded Strand Lamp:Selected for Inclusion for an Exhibition of the best of irish Design as part of the Vernacular Exhibition in London Design Festival 2013. Curated by Ann Mulrooney

Contemporary product made using traditional Northern irish metal craft skills

Couture Academy Exhibition : a curation of the story behind a couture design

Research background: The general public is predominantly unaware of the complexities and skills involved in the fashion supply chain (design, manufacture and retail) of couture/bespoke garments. As cited in McMahon and Morley (2011) “While a high price tag is widely accepted as a necessary element of luxury products (Fionda &Moore, 2009) this must be accompanied by a story that gives the items intrinsic as well as extrinsic value (Keller, 2009). Research question: Is it possible to simulate a fashion couture studio environment in a non-traditional public space in order to produce and promote the processes involved in couture designs; each with their own story and aligned to the aesthetic of six collaborating high profile couture fashion retailers? Research contribution: The Couture Academy project allowed the team to curate the story behind the couture design and supply chain process. It was an experimental, curated, ‘hot-house’ fashion design project undertaken in real time to create one-off couture garments, inspired by key seasonal fashion trends as determined by leading Westfield retailers. The project was industry based, with Westfield Chermside as the launch pad for six QUT fashion students to experiment with design nuances aligned to renowned national fashion industry retailers; Cue, Dissh, Kitten D'Amour, Mombasa and Pink Mint. Industry mentors were assigned to each student designer, in order to heighten the design challenge. The exhibition consisted of a pop-up couture workshop based at Westfield Chermside. A complete fashion studio (sewing machines, pattern-cutting tables and mannequins) was set up for a seven day period in the foyer of the shopping centre with the public watching as the design process unfolded in real-time. The final design outcomes were paraded at the Southbank Precinct to a prominent industry and media panel, with the winner receiving a $2000 prize to fund a research trip to an international fashion capital of their choice. Research significance: This curated fashion project was funded by Westfield Group Australia. "It was the most successful season launch Westfield Chermside has ever had from both an average volume for exposure perspective, and in terms of the level of engagement with retailers and shoppers," said Laura Walls, Westfield Public Relations Consultant. Significant media coverage was generated; including three full pages of editorial in Brisbane’s Sunday Mail, with an estimated publicity value of $95,000. And public exposure through the live project/exhibition was estimated at 7,000 people over the 7 days.