Victorian College of the Arts - Research Publications

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2020 - 2021 12
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Type: Visual Artwork × Start date: 2020 × End date: 2021 ×

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Now showing 1 - 10 of 12
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    Kids Stay Free
    Wardle, D (Gippsland Art Gallery, Sale, 2021)
    “Kids Stay Free” is an architectural ruin fantasy that is a contemporary reinterpretation of the historical capriccio genre.
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    STILL NOW
    Wardle, D (Horsham Regional Art Gallery, 2021-05-29)
    Oceanic Feeling and Old School were paintings included in the curated exhibition STILL NOW held at the Horsham Regional Art Gallery.
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    Ex Tropical
    Wardle, D (Bayside Arts and Cultural Centre, Melbourne, 2020)
    Ex Tropical is an example of a contemporary approach to making paintings about ruins that speculate about possible futures.
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    Saltwater City
    Morgan, A (StreetWORKS Hopkins Street Bridge Footscray and CEO foyer, 2020-07)
    Saltwater City: Experimentations in photography and moving image compositions on the industrial impact on waterways across a Melbourne bridge alongside research of climate and the sublime.
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    Canopy
    Desmond, N (Station Gallery, 2021)
    This artwork was included in the exhibition Ten Year Show at Station Gallery Melbourne and was a constructed object of 2 interlocking components referencing modernist form through an ambiguous suggestion towards function.
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    Hot Autumn
    Desmond, N (Gertrude Contemporary, 2021)
    Hot Autumn was exhibited as part of a group exhibition Gertrude Studios 2021: If Not At Arm's Length at Gertrude Contemporary, Melbourne. This work consisted of a found acrylic panel that identified the Auto Gas bowser at the Liberty petrol station in Fitzroy. In an incident that occurred in 2021 where a fire was started at the petrol station, this panel was warped and melted into an abstract dripping organic form. Later Desmond salvaged this panel from the site and housed it in a custom-made wooden support. The work's name Hot Autumn, refers to a series of worker strikes in Italy in the 1960s.
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    The wind and more & Who’s a better lifter?
    Desmond, N (Station Gallery, 2021)
    These two related yet separate artworks were included in the exhibition The Yellow Wallpaper curated by Laura Couttie at Station Gallery Melbourne. First published in 1892, ‘The Yellow Wallpaper’ is a short story illustratating 19th century attitudes towards women’s physical and mental health, and the oppressive nature of gender roles. Each work uses a ready-made and naturally weathered old wooden ladder to hold two different styled doors fabricated in miniature between a section of the ladder’s rungs. These works explored scale and architectural form through sculptures that, with their size and positioning, also engage directly with the prescribed text.
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    Love Saves the Day
    O'CONNELL, J (Neon Parc, 2020-09-25)
    What is it that I and other artists do, living in highly politicised times amidst the unfolding of various forms of social and environmental catastrophes, when with an interest in something like dance music, we make these curious sculptural installations or events, that we think of as exhibitions? Are we trying to escape historical reality, or, on the contrary, are we engaging with historical reality in an alternative way? This research explores the possibilities of the later, attempting to develop a thinking of sculpture and exhibition making which holds to transformative potentials, while resisting any immediate instrumental ends.
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    Shoobie Doobie
    Sylvester, D (Neon Parc, 2021)
    Shoobie Doobie is a major solo exhibition of previously not exhibited works in various mediums. The exhibition continues my ever-expanding references of cultural moments and artefacts to build a Gesamtkunstwerk "a total work of art" practice – framed in a hyperreality that is equally wry and melancholic.
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    The Master of the Scrovegni Chapel Choir presents Kylie White’s Manifesto of a Digital Relationship
    George, S ; Radford, L (CAVES, 2020-01-27)
    Using the manuscript of an affair conducted over email between 11 April and December 25, 2011 Sam George & Lisa Radford attempted to find a materiality in the space between Melbourne and San Diego mediated by technology in plaster, pigment, voice and time. The performances on January 25, an atomised opera, utilised the time the emails were sent to explore the space of desire and doubt in choral form. An opera singer chanted the verbal descriptions of the attachments (literal and figural) mostly images, that Kylie and David send to each other over the 9 month period.