Exhibition dates: 19 November 2015 – 31 January 2016
Curator: Lauren Mustillo
Artists: Véra Ada, Elise Bonato, Olivia Kathigitis, Jenna Pippett, Tara Rowhani-Farid
This exhibition brings together a group of emerging artists who have turned their gaze back on themselves, looking at an expanded field of self-portraiture in contemporary art. The self-portrait operates as affirmation of existence and agency in the world. Functioning as an extension of self, the self-portrait can extend beyond a purely physical documentation, expressing an inner state of being. The self-portrait can also jostle in a state between truth and fiction – revealing and concealing – performing the self. Through the use of self-portraiture, I hope the artists will explore their relationship to their bodies and their own personal worlds; constructing identity and narrative and experimenting with pushing the boundaries of what portraiture is.
A process I always come back to in my photography is multiple exposure. It's a method of building a surreal image out of real components, and it's also a way of testing just how much content I can pack into one frame. Growing up with an artist for a mother, I often had my portrait taken, drawn, and painted. This has contributed to my fixation with documenting and collecting as much as possible in the form of photos, which regularly includes self-portraiture.
In some self-portraits I depict myself as dissolving, disappearing, or blending into something (or someone) else. This is a result of being at odds with my own physicality - the obligation to care for a body that I didn't choose. Other self-portraits feature multiple versions of me, which comes from a feeling of identity multiplicity that developed from immigration. Self-portraiture enables me to take more control over how I am seen, but combining that with multiple exposures allows me to maintain a certain amount of unpredictability that makes the final image unrepeatable.
Through a multidisciplinary engagement between moving image, performance, installation, drawing and painting, my work investigates contemporary notions of the sublime and obscure beauty. This also involves exploring the interconnections between the lived body and the metaphysical mind. Regarding video installation and presence of the sensory in my work, I focus on the ‘affectual’ experience, evoking within the audience that sensation of encountering ‘unearthly beauty’ – where the sublime and aesthetic may distort to become otherworldly. The use of painting and drawing in my practice manifests as an interdisciplinary play between the transposition and intervention of either medium with the other. The ‘entities’, faces formed through a serial mark-making process, are created in compulsion towards a private canon. They are introspections made figurative – the subconscious turned to gaze upon the viewer – as well as an abstract expressionist diagram of the inner self.
Fear and its apprehension are powerful and destructive. Olivia Kathigitis focusses upon the eroding quality of the mind, and behaviours as consequence to the anxiety. Through multiple medias, she explores the human behaviours towards death, dying and bereavement. Those Who Kissed the Grey Skies (2014) are presented as portraits of (the dissipation of) consciousness and the abstract span of realities. Kathigitis has completed an Honours degree in sculpture at the South Australian School of Art, Architecture & Design and is currently the director of the Format Systems Gallery.
My practice manifests itself in looking into a personal past using family memorabilia, specifically on my mothers side. Responding to items, the work created offers visual links to engaging with a personal history. Altering and playing with memories, has led me to create new and interchangeable ways of viewing these past events.
I see myself as the last person to document and discover stories linking back to a past life. Allowing for my own participation, I piece together an understanding of the circumstances or create an alternate. The work aims to evoke the memory of a past era by playing out an act of visual remembering.
I am exploring the physicality of paint and the ways in which, when left to its own devices, it can react and change. The process of creation was one of self-exploration where mood and mindset determined the path of the painting, making the work a self-portrait of sorts.
Exhibition dates: 18 September - 16 November, 2015
Curator: Lauren Mustillo
Featuring: Sarah Thame
This and the other
Sarah Thame’s work operates in a state of in-between-ness. Her delicate black and white prints are simultaneously of this world and other-worldly. Familiar imagery from the natural world immaterialises into abstract forms, evoking a sense of the micro and the macro of the cosmos.
Imagery undulates and spills over itself, free flowing. These abstracted worlds are perceptually disorientating, without any clear indicator of anything fixed or solid, creating a sense of infinite space.
These abstracted forms are visceral and evocative, expressing the emotional and the personal, used to explore external world, mediating and exploring the interconnectedness of our many states of being.
Exhibition dates: 18 May until 16 July 2015
Curator: Lauren Mustillo
Featuring: Soroor Soolaaf Masieh
Through my eyes is a collection of figurative and portraiture paintings by Ahwazian artist Soroor Soolaaf Masieh that concentrate on portraying a spectrum of human emotions. To see the world through another’s eyes is to attempt to understand a different point of perspective on a truly human level. By portraying a variety of emotions, Soroor aims to instil the viewer with a sense of commonality that spans across race, ethnicity, age and gender, to highlight similarities rather than differences.
Exhibition dates: 9 December 2014 until 27 February 2015
Curator: Caitlin Eyre and Craig Robert Middleton
Featuring: Lana Adams, Alice Blanch, Lucy Brewin, Eric W Brumfield, Natasha Filippi, Mitch Hearn, Madeline Reece and Lucy Timbrell
South Australia boasts long summers, stunning beaches and award-winning wine, events and festivals. The unique landscape and culture is a muse to artists in all creative fields. This group exhibition explores the use of South Australian landscapes, icons and landmarks as subjects for young South Australian artists. The works presented reference different experiences, meanings and ideas of what it is to be South Australian and the aesthetic splendour of our great southern state. South Australia: it’s Heaps Good.
From 13 November until 5 December 2014
Curated by Craig Robert Middleton | Featuring Chris Callaghan and Julia Townsend
La Danse Macabre presents the work of two contemporary visual artists working in two opposing mediums who explore the theme of death in very different ways. Death is something that, as humans, we cannot escape. The theme of death has always had an important place in art history and has been interpreted in countless ways to remind us of the inevitability of death and the fragility of life. Julia Townsend and Chris Callaghan present just a slice of how diversely Australian contemporary artists explore the human preoccupation with death.
From 16 October until 11 November 2014
Curated by Caitlin Eyre | Featuring Amy McNamara
Technicolour Dreaming presents a vibrant and eclectic series of watercolour and mixed media illustrations by emerging local artist Amy McNamara. The artist combines bright colours, ornate patterns and a delicate painting style to produce highly atmospheric and dreamlike depictions of both real and imagined worlds. Vividly coloured and gracefully rendered, this charming series brings light to the enchanting inner world of the artist, deftly blurring the boundaries between the realms of reality and the surreal.
From 14 September until 15 October 2014
Curated by Craig Middleton | Featuring Lucy Brewin
Urban Playground presents a new body of work by emerging artist Lucy Brewin. Approximately 20 works will be exhibited that present a deconstruction of the New York City landscape. Preoccupation with landscape and cityscape imagery is ever present in the history of art and this exhibition embodies how contemporary artists continue to reinterpret land and cityscapes. The works take on the artist’s own reminiscence of the city while creating a sense of nostalgia for viewers. Lucy’s watercolours are thoughtful representations of travels past and a New York state of mind.
From 4 July until 5 September 2014
Curated by Caitlin Eyre | Featuring Jennifer Allnut, Meaghan Coles, Kate Kurucz and Katie Long
Lady Face explores the representation of women in contemporary art and culture by showcasing a survey of female portraiture by young female visual artists. Throughout the history of art, paintings of women have largely been commissioned and produced by men for the pleasure of the male gaze. Lady Face counters this tradition by celebrating the insight and skill of female artists in representing the physical, psychological and emotional attributes of their female subjects through the intimacy of portraiture.
From 31 May until 2 July 2014
Curated by Craig Robert Middleton | Featuring Samantha Webb
Unconquered Spirit explores an artistic and personal connection to the land, particularly taking influence from the traditions of trance states, spirit guides and natural connections. The exhibition features illustration, portraiture and wood works that explore the themes of storytelling and the environment. It is the artist’s active connection to the natural work that is paramount to the execution of her work. The exhibition boasts strong associations with and is representative of a nomadic lifestyle; the desire to wander, walk and travel is synonymous with a need to collect, gather and create.
From 29 April until 28 May 2014
Curated by Caitlin Eyre | Featuring Alex Carletti
Alex Carletti is a young South Australian contemporary visual artist and self-styled yogi whose artistic practice is primarily focused on exploring themes of mysticism, mythology and spirituality.
Genesis offers a visual exploration of the mysticism surrounding the human lifecycle and particularly focuses on the constantly regenerating cycle of life and death. The exhibition features powerful depictions of the womb as a sacred and nurturing space at the beginning of each cycle and mystical representations of death at each conclusion. This narrative of existence emphasises the circular nature of life and death and the spiritual need to return to the womb between each cycle in order to reconnect with the source of life and all creation.
From 29 April until 14 May 2014
Curated by Caitlin Eyre | Featuring Alex Carletti
Hieros Gamos explores the sacred harmony that results from forging together two equal yet opposite elements, namely the masculine and the feminine. The exhibition's title is drawn from the Greek word for 'holy marriage' and refers to a unifying sexual rite that is enacted between a god and goddess.
This marriage represents the perfect union of masculine and feminine elements and suggests the sacred balance that is gained from honouring the genders equally. Through this body of work, the artist seeks to honour the inherent nature of masculine and feminine elements while imparting the balancing effect produced by perfect duality.
From 3 December 2013 until 10 January 2014
Curated by Jemimah Davis | Featuring Kate Kurucz
Through the body of work showcased in Likeness, emerging artist Kate Kurucz explores different facets of portraiture and what it can provoke - envy, desire, empathy and curiosity. Kate uses the luscious materiality of oil paint to depict the identities of those that regularly surround her. For Kate, this process of working is a reaction to our natural instinct of wanting to create personal connections. Not only do we relish in the technical expertise of Kate’s paint work but we also become intrigued about the identity and character of the faces that she portrays. Kate is an emerging artist who graduated with honours from Adelaide Central School of Art in 2012 and is one of three co-founders of Mint Artist Studios.
From 4 until 31 October 2013
Curated by Jemimah Davis | Featuring Dominique Keeley
Non-threatening Boys explores past and present teen idols in all of their pastel, glittering glory. Dominique Keeley's paintings are inspired by the imagery and language of ‘pop’ from magazines, advertisements and poster pin ups. Her works investigate the notion of young men as a consumable commodity marketed to a female audience and the subsequent conflict that arises between the image and individual.
Michael Jackson is still a pretty young thing, Justin Bieber wants to be your boyfriend and One Direction let you know what makes you beautiful. These sweet frozen moments of transient boyhood, beauty and fame. Who are they or where are they now?
From 4 until 30 September 2013
Curated by Serena Wong | Featuring Margaret Lloyd and Jennifer Allnutt
now you see me is an exploration into the ambiguities found in the relationships between animals and humans. It represents in between spaces, whose fluidity allows us to permeate the definite lines of categorisation that supposedly separate us from animals. When giving human traits to animals we are anthropomorphising, yet we lack a similar language to investigate the way in which we use animals to disassociate ourselves with qualities we do not value or perceive in human nature. now you see me is a narrative between the fantasy and the real, the animal and the human.
From 2 until 31 August
Curated by Jemimah Davis | Featuring Jayson Fox
A narratively driven body of work from Jayson Fox depicting what it means to be a social rogue, a miscreant, an uncouth youth and a street urchin. thepilsburyharlet.com
From 3 until 23 August 2013
Curated and featuring work by | Carly Snoswell and Katia Carletti, Artist Studio Residents
An exhibition by Carclew's 2013 artists in residence for South Australian Living Artists Festival 2013
Carly Snoswell and Katia Carletti explore concepts surrounding the home and the objects, images, and rituals that occupy this space.
From 10 June until 27 July 2013
Curated by Serena Wong | Featuring Donovan Christie
When we look at the city how much do we actually see? Donovan Christie's snapshots of the city cut and paste the objects of our everyday lives, bringing them into focus with acrylic and canvas. These paintings of the streets remind us of what surrounds us, what we walk past on the way to work, in the alleyway beside our favourite bar, or next door to the best coffee in town. They de-construct the blur of our day to day life, bringing the streets of Adelaide into view.
From 1 until 20 May 2013
Curated by Jemimah Davis | Featuring Zoe Woods and Sam Trevaskis
Microanalysis showcased works by two South Australian emerging artists Zoe Woods and Sam Trevaskis, investigating the visible regularities of form found in the natural world. Each artist responds to their observations and presents rather contrasting outcomes, both visually and materially.
Through her glass work, Zoe Woods alludes to the fantastic and exotic world of microscopic nature. The distortive and reflective qualities of thick glass explore patterns and forms found in our microscopic world. Her works are an investigation into the ability of the object to elicit the same feeling of wonder that is experienced when looking through a microscope lens.
Sam's work investigates unexpected relationships between nature and the industrialised world through the abstract representation of camouflage. His work explores functions of patterns in nature: to disorient spatially, and to appear at once alluring, confusing and repellent. The juxtaposition of organic forms within a geometric composition alludes to the relationship between the natural world and our constructed one
From 8 March until 15 April 2013
Curated by Serena Wong | Featuring Sam Evans
From 29 January until 25 February 2013
Curated by Adele Sliuzas | Featuring Andrew Humphreys
Andrew Humphreys is an emerging South Australian painter operating in the borderland between illustration and ‘fine art’― the one a pursuit of technical excellence in traditional visual storytelling, the other an endeavour to preserve in the postmodern gallery setting the modernist conception of style as theme. The negation of that stylistic focus in much of contemporary art goes hand in hand with the pigeonholing of classically-skilled painters into the often undervalued role of the commercial illustrator, and it’s a conscious exploration of this present situation that gives Humphreys’ work its theoretical dimension, as he applies both storybook-esque character design and a nostalgic painterly formalism to a very gallery-oriented goal. But underlying this fusion of aestheticism with more self-reflexive conceptualism is Humphreys’ longest-term project, a graphic novel of epic proportions, for which all of today’s paintings are essentially practice ― the tip of a much bigger, darker, wetter iceberg.
The Carclew Artist Residency
Above is what I typically say to make my long-term direction understandable to others, but it’s all very theoretical compared to my everyday art-making concerns, such as where can I paint, firstly, but also how can that place then double as a meeting point for models I need to photograph, curators I wish to show work to, or other collaborators from the art community. For me, the location of the Carclew loft studio, its nearness to the centre of the Adelaide art scene, is what has really made my residency here worthwhile, because so many connections I’ve made have been aided by that centrality. And of course, besides the benefit of location, the studio space itself is flexible and large, allowing for the creation of small to medium-sized works like those in this exhibition, as well as much larger mural-sized paintings which I’ll be exhibiting at a later date (the ground floor of the studio is especially ideal for big works thanks to its high ceiling). I recommend the residency to any emerging artist, painter especially! Andrew Humphreys.
From 11 September until 5 October 2012
Curated by Adele Sliuzas | Featuring Katia Carletti
Kissing Across Oceans presented work by sculptor and painter Katia Carletti. Having just returned from residency in Iceland funded by a Carclew Project and Development Grant, much of the work in this exhibition reflected on time spent in a distant and strange land. Carletti's haunting lanscapes sit somewhere on the edge of belonging, sometimes appearing and then vanishing, sometimes ruptured by black holes.
Iceland was the furthest away from home I had even been by myself and as a result of this removal from all that I know, I often found myself overwhelmed and upset by homesickness or other parts of my brain. At the same time, I was constantly in awe at my surroundings; endless sea, volcanic fields, snow capped mountains, swaying grass, the moon hanging low in the blue sky of midnight. These surroundings became familiar and homely, and as I swallowed them, digested, the craggy peaks and foggy tunnels became my hollow chest and warring head. Katia Carletti.
From 20 July until 27 August 2012
Curated by Adele Sliuzas | Featuring Kat Botten, Alexander Carletti, Andrew Humphreys and Glenn Kestell
This exhibition brought together a group of artists who have turned their work back on themselves. Through self-portraits Kat, Alex, Andrew and Glenn begin to examine their own personal worlds, construct their identities and challenge the space of their being. As contemporary artists these works are a reflection of the art world much as they are of the artist's personal world. Through paint, photography and print, these artists reconstruct pieces of a fragmented realm, intensely questioning themselves and implicating the viewer.
“Self Portraiture involves the inward finding of the self, manifest through the externalisation of the features of the face. In a sense, it involves being present on two planes of existence, the plane of being of "self" of "my" awareness, and my physical manifestation. These works are attempts to recontextualise the act of looking at ones reflection, through looking through the eyes and looking inward as statements of being.” Alexander Carletti
18 May until 17 July 2012
Curated by Adele Sliuzas | Featuring Claire Marsh
Claire Marsh’s practice explores the body; its force, its thresholds and its relation to the self and other bodies. Through processes of visual and physical mutations, Marsh talks about what she calls “the silent, the creaturely and the horror of the self.”
4 April until 15 May 2012
Curated by Adele Sliuzas | Featuring Malia Wearn
To Be Alone With You presented a collection of Malia Wearn's recent work. Her paintings, embroideries and installations extend from a place that is imbued with considerations of the self and its place within the world.
Featuring Harry Freeman, Dan Heath and Lise van Konkelenberg
28 February until 30 March 2012
Curated by Adele Sliuzas | Featuring Harry Freeman, Dan Heath and Lise van Konkelenberg
GET HURT featured work that sit on the margin of music and art. The exhibition rested on the dynamic between pop culture, visual culture and music culture; a creative intensity that is visual and aural.
In Adelaide, as in most creatively clued-in cultures, there is a symbiosis between the world of art and the world of music. Creative people, trained and untrained, are not restrained by historical definitions of ‘the artist’, there is a movement and hybridity between music and visual. Flow. And each feeds into the other.
The posters featured in GET HURT created a visual identity to support a parallel music community, these posters are independent artefacts of a specific culture.
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