WALLS
| FLOORS | CEILINGS
Opening night: Friday 1 November 6-8pm
The exhibition dates: 31 October - 17 November 2013
Gallery hours: Thurs - Sun 12-5pm
Handwise
VI
[walls|floors|ceilings]
the sixth (6) consecutive exhibition from The
Handwise Project
curated and conceived by artist Ahn Wells. This year, artists were asked to make works, using any medium, and any size. The
only restriction placed on each artist was that the works must be
installed directly into the gallery walls, floors or ceiling of the
gallery.
The
outcome is an alluring mix of works that will fill the
gallery space in new and challenging ways for both the artists and the
audience. 2013 artists were Joanna
O'Toole, Ruth Feeney, Clare Weeks, Elizabeth Francis, Meredith
Woolnough and
Ahn
Wells.
Joanna O'Toole's
wall hung timber sculptures are a continuation of current ideas. They
reflect a collection of personal playful memories, time and journey.
www.joannaotoole.com.au
Ruth Feeney's practice consists primarily of temporary installations. The general intent of her work is to defamiliarise overlooked pedestrian objects and spaces by presenting them to audiences in an unexpected or unconventional manner. By imbuing an object or space with unfamiliarity, audience's perceceptions are separated from the automated and nondescript and guided towards new interpretations. Currently Feeny's work manifests themselves in pattern based arrangements, with both a restrained ethos and materials palette.
Ruth Feeney's practice consists primarily of temporary installations. The general intent of her work is to defamiliarise overlooked pedestrian objects and spaces by presenting them to audiences in an unexpected or unconventional manner. By imbuing an object or space with unfamiliarity, audience's perceceptions are separated from the automated and nondescript and guided towards new interpretations. Currently Feeny's work manifests themselves in pattern based arrangements, with both a restrained ethos and materials palette.
Clare Weeks' Throughout my practice I have used photography to explore the relationship between two elements and how or why they co-exist. The body and architectonic space, physical and imagined space, and nature and the domestic, are all topics that have revealed to me that neither can exist in my work without the presence of the other. www.clareweeks.com.au
This work is a response to monthly infusions of a drug used to control my MS. Once a month, on a Monday, I have an appointment in hospital where I lose my arm for two hours. In the re-telling the narrative is elaborated upon and the body's story becomes emphasised. Like an investigator I document all traces left behind creating a unique record of the experience.
This work is a response to monthly infusions of a drug used to control my MS. Once a month, on a Monday, I have an appointment in hospital where I lose my arm for two hours. In the re-telling the narrative is elaborated upon and the body's story becomes emphasised. Like an investigator I document all traces left behind creating a unique record of the experience.
Elizabeth Francis' works have their roots in Newcastle where everything is large and heavy, industrial and strong. Gigantic areas of flat colour, covered in industrial grime and mixed with rusting steel. Nothing in Newcastle is shiny apart from the glint of the sun on the water. She uses a small part of something massive and incorporates the shadows it casts. Using flat surfaces and hard edges, conveys the strength and weight of the object. By removing the shapes from the canvas and allowing them to stand alone, the wall or whole room becomes the negative space.
Meredith Woolnough's work explores the power and fragility of nature through intricately embroidered sculptures. The shapes and patterns found in coral and leaves are replicated in tiny stitches that build up to form specimen like constructions that are light and delicate. Her work explores themes of the interconnectedness of living things and environmental degradation.
Meredith Woolnough's work explores the power and fragility of nature through intricately embroidered sculptures. The shapes and patterns found in coral and leaves are replicated in tiny stitches that build up to form specimen like constructions that are light and delicate. Her work explores themes of the interconnectedness of living things and environmental degradation.
Meredith
Woolnough’s latest ‘text series’ consists of a range of
embroidered writings. Some are comical, others much more serious but
all are deeply personal to the artist. Meredith painstakingly
stitches her thoughts, feeling and messages onto a water-soluble base
fabric that is later washed away. This process of removing the
stabilising base cloth distorts the text to an almost unreadable
scribble.
