Tuesday, 17 May 2011

PRESS RELEASE: 1+1 =1


Tracey Clement, Dog (detail), embroidery on Irish linen, framed 350 x 350mm, 2010. Photo: Richard Glover.

James Dorahy Project Space presents:


Tracey Clement

1+1 =1

17 May–12 June 2011

Opening drinks on Wednesday 18 May 6-8pm


One plus one doesn’t always equal two.

In her solo exhibition, 1+1=1, Tracey Clement presents embroideries, digital prints and low-tech animations which are a kind of long distance collaboration with her parents. In 1+1=1, one man plus one woman equals one child (the artist). Clement uses wit, humour and the skills her parents taught her to celebrate their contribution to her character and artistic practice.

The starting point for the work in 1+1=1 was a series of collaborative sketches Clement made with her Father when she was a child: he drew, she scribbled with crayons. In fact, despite her unconventional use of materials and techniques, Clement’s show is all about the power of drawing.


Using embroidery, one of the several traditional ‘women’s work’ skills handed down to her by her Mother, Clement has re-drawn with thread the same lines her Father made all those years ago. Clement has also transformed these drawings and given them a new life as moving images in a series of praxinoscopes and flip-books. The frowning Gecko Girl drawn by her Dad jumps into the air and smiles, Lizard Lady starts waving and cheekily pokes out her tongue, and Dog takes himself for a walk. In this way, Clement has used drawing to change the past.


Clement’s show, 1+1=1, is part of her ongoing investigation into the ability of labour intensive craft techniques to add conceptual depth to her artworks.


Tracey Clement is a writer in addition to being an artist. In 2010, after 5.5 years as editor of the Metro art page in the Sydney Morning Herald, she started a blog, The Post Post, as an outlet for her independent exhibition reviews. Clement contributes regularly to several Australian and international magazines. She has an Associate Diploma in Jewellery Design, a Bachelors Degree in Art History-Theory and a Masters of Visual Arts in Sculpture. She has exhibited widely in Australia and overseas. Clement’s work is held in both private and public collections, including the Smithsonian in Washington DC.


James Dorahy Project Space
111 Macleay Street
Potts Point NSW 2011

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Monday, 9 May 2011

Crossroads

Gregory Maiofis

Sergey Bratkov, Aleksandr Gronsky, Gregory Maiofis, Andrey Polushkin & Oleg Videnin
Crossroads
Australian Centre for Photography
: March 18- April 30th 2011


At some stage in our lives we have all found ourselves at a crossroad where decisions are made and dreams are realized. In Russian fairy tales it is here where the most valuable advice is given and promises made cannot be broken. However it was also a place where evil spirits would converge, with crucifixes the only defense.


Internally renowned curators Irina Tchmyreva and Evgeny Berezner join forces to present five Russian photo- artists at the Australian Centre for Photography. The work of the five artist’s is so diverse but the traditions from which their practice originates is evident.


Oleg Videnin’s work is about people. The black and white portrait images are striking with the figures staring directly at the viewer. There is no fear behind their look, no judgment- just honesty. Tonya on Lover’s Bridge, Astrakhan, show a woman, tears in her eyes, standing on a bridge. There is pain in her eyes and sorrow as the woman in no way attempts to hide her pain. While the images are posed there is nothing fake about these figures- these people are real. They are at a crossroads.


The work of Gregory Maiofis is whimsical and poetic as he uses an historical printmaking technique developed prior to WWI. This technique gives his work a nostalgic edge as he brings together unlikely subject matter. Taste for Russian Ballet, from the series Artist & Model- II, presents a beautiful ballet dancer being watched avidly by a bear. This unlikely pair appear completely likely- normal even- within Maiofis’s frame. There is a sense of danger about the image which is enhanced by the satirical titled.


The stunning landscape images of Aleksandr Gronsky are exceptional. Exploring the boundaries between city and country, Gronsky also examines the division between the image the what it represents. Mitino, Moscow, from the series The Edge, is startling. Hundreds of ducks run up a snow covered slope, a lone figure walks behind them. The contrast of the rich colours of the ducks against the stark white of the snow is captivating as you wonder who is at a crossroads here.


Crossroads
offers an insight into the varied tradition of Russian artistic tradition. This tradition is itself at a crossroads between its cultural history and an unknown future.
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Sunday, 1 May 2011

Continuum



Papunya Tjupi Arts, Waringarri Arts, Kasumi Ejiri, Stephen Mushin, Sione Falemaka, Safdar & Zehra Ahmed, Martha McDonald, Tilau Nangala, Dannis Nona, Bindi, Daisy Bitting, Alan Griffiths, Minnie Nelson Nakamarra, Billy Duncan, Peter Newry, Mignonette Jamin, Sheila Dixon, Tamara Burlando, Esme Timbery & Marilyn Russell.

Continuum
The Paper Mill: March 10th – April 2nd 2011

Forming part of Art Month Sydney, Continuum at the Artist Run Initiative The Paper Mill, incorporates Indigenous and non- Indigenous artists whose work is embedded in historical and cultural significance. Each of the works engages with culture on a personal level whilst demonstrating a shared knowledge and technique. It is this knowledge that each of the artist’s reflects upon and through returning to historical techniques new contemporary forms of expression are found.

Tamara Burlando was born in South America and was trained in basketry by elders from Mutujulu in the Australian Central Desert. The series, Woven Basket Forms, combines these two cultures while incorporating a contemporary twist. Each basket is constructed from shredded newspaper, effectively taking something that is discarded and creating something with purpose. These tactile and beautiful baskets demonstrate the artist’s interest in the ready- made and strongly reflect history and environment.



Sione Falemaka, Lilanga Kitaga.


The intricate work of Kasumi Ejiri continues this theme of combined histories and cultures. Reflecting upon her Japanese heritage the artist examines the idea of yo- in which translates to reverberating from one place to another. In Untitled this is shown through the combination of the ancient practice of origami, reflecting her father’s Japanese heritage, with her Anglo- Australian mother’s practice of quilting. Perfectly positioned near the front doors of the gallery, the work is suspended from the ceiling and as the delicate fabric moves in the breeze there is a sense of cultures merging.

There is an undertone throughout Continuum of weaving- a weaving of histories, cultures and materials. This is evident in the work of Sione Falemaka who learnt his weaving technique from his grandmother in Polynesia. The series Lilanga Kitaga incorporates the contemporary material of film negatives in woven sheets suspended from the ceiling. As with many of the works exhibited, the real beauty of the piece lies in the details. Falemaka also creates baskets using the same technique.



Sione Falemaka, Lilanga Kitaga.



Stephen Mushin’s video combines traditional Indonesian shadow puppetry with a whimsical and contemporary aesthetic. Three of Mushin’s films are exhibited, Down the rabbit hole, I’ll forget you and Take my breath away, each an embodiment of a handmade, almost craft- based quality. This quality is demonstrated throughout Continuum and embodied in this work. There is a child- like innocence in Mushin’s work as the playful figures dance across the wall.

There are numerous themes present in Continuum but one in particular stands out amongst the rest- ancient techniques combined with contemporary practice. Each of the artists exhibiting have successfully managed to weave together different heritages, histories and techniques to create a hybrid of culture and environments. Cleverly curated by Sian McIntyre and assisted by Bronwyn Bailey- Charteris and Hannah Kothe, perhaps the greatest success of the exhibition lies with them. Successfully curating twelve artists with such diverse work into a cohesive exhibition is no small feat.
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