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© 2015. All images copyright of the artists.
Please highlight Upcoming Exhibitions under Exhibitions and Proposals on the AirSpace Projects menu to find out more.
Images top to bottom
Marlene Sarroff, Installation view multiple visions and (mis-steps), 2015. Courtesy of the artist.
Allison M. Low, Dorothy, 2015, graphite and gouache on paper, 90 x 71cm. Courtesy of the artist.
Marikit Santiago, Malakas & Maganda, 2015, acrylic, oil and gold leaf on canvas, 120 x 160cm. Courtesy of the artist.
Anna Kirk, Optical Avatar, 2015. Courtesy of the artist.
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‘Glitter is going under!’ So declared Le Corbusier in his critique of ornament. I like to imagine him emphatically banging a lectern with his fist when he says this, or maybe it’s uttered with a cool and confident voice in a smoky men’s club while sipping whisky. There’s no glitter or gilded edges in our installation; but there is flocking, felt, golden curves and ornament with no formal function.
‘Decadence’, mutters Le Corbusier.
Merryn J Trevethan’s work focuses on the uncertainty of perception, using colour to explore the complexity of vision. In this exhibition, Trevethan presents works from her Storm Series of Artist books, objects and recent paintings that distill her daily perceptions and tease out the spatial relationships found in the densely populated architectural environment, as viewed from the 12th storey of her apartment block in Singapore.
Francesca Mataraga presents floor fragment (2015), a sculptural piece and a hypothetical installation. As with other work in this series it explores colour, pattern and form through experimentation with scale, by adapting a pre-existing stripped fabric pattern to an architectural situation.
Girl Shed III is the third iteration and will be the last part to complete the sustainability garden project in the courtyard of AirSpace Projects. Girl Shed is a ramshackle free-form shed designed to provide a creative space and water catchment for the garden. Over the course of the exhibition Sarah Newall will be living onsite creating art that will change and develop the exhibiting space as well as doing daily menial tasks: cleaning, cooking, eating and gardening.
Throughout her life Brenda has been a prolific painter. Despite her passion and talent, however, domestic and familial responsibilities have always taken priority over her art practice.
In response to this, Brenda and Miranda came up with a domestic-artistic arrangement that would allow Brenda to focus on her painting and produce a significant body of work for this show. It involves the use of housework as a curatorial strategy whereby Miranda, in her role as curator, fulfils a share of her domestic responsibilities each week so that she can maximise her time spent painting.
Here, cleaning, sweeping and mundane errands are ascribed artistic and economic value in the form of contemporary art; i.e. eight hours of washing, tidying and cooking = one small oil painting
Brenda and Miranda’s partnership has given rise to many fruitful discussions regarding women in the art-world, mother-daughter collaborations, the artistic value of housework and reproductive labour, housework as a curatorial strategy, emerging middle-aged female artists, and the contemporary relevance of the 1970’s International Wages For Housework Campaign.
Brenda will exhibit her most recent body of work – a series of small still-life paintings that depict objects emblematic of contemporary consumerist culture. In her impasto renderings of anti-ageing moisturiser bottles, takeaway coffee cups and cans of home-brand beetroot, she invites viewers to reflect on a number of things; the seduction of packaging, our quest for youthfulness and the geopolitics of food consumption to name a few.
Photographs lack the peripheral experience of viewing a scene first hand; images often don’t match up to how we perceive a landscape first hand. This is especially the case when looking out to sea; An Endless Horizon is a series of images exploring the peripheral view. Using a self-developed photographic process, Matt captures images of the ocean that cover a whole roll of 120 photographic slide film, an attempt to make the largest image possible within the constrains of the medium.
Suzy Faiz’ work addresses the materials, conventions, styles and histories of painting. It attempts to extend the traditions that it emerges from. She creates paintings as they allow for the continuation of notions of freedom; something that is significant in both art and life.
Suzy Faiz’ work deals with recent contemporary attitudes towards abstraction and can be seen to be working within and against this framework by experimenting with different techniques and solutions within the practice of painting.
Five jewellery-related exhibitions continue at AirSpace Projects until 5.00pm Saturday 25 July even though the Jewellers and Metalsmiths Group of Australia’s (JMGA) conference edgesbordersgaps has now concluded. The language of jewellery can be found in expected yet inventive ways and also extends to installation and experimental media. Come and visit AirSpace Projects Thursday-Saturday from 11.00am until Saturday 25 July! We look forward to seeing you.
Only 6 minutes walk from Marrickville Station
Works by the current partners of Adelaide’s Gray Street Workshop, Jess Dare, Sue Lorraine and Catherine Truman to celebrate the 30th Anniversary of this internationally renowned Artist-Run Initiative.
The JMGA (NSW) Profile ’15 Award exhibition. See ‘Current Exhibitions’ to find out who the recipients of the Award were this year! You will also find the Exhibition Room Sheet with many wonderful works for sale!
When good household items turn bad …
Choice Mate, an installation covering the gallery floor with thousands of small objects. They look like rocks. Almost. But not quite.
By the partners of Adelaide’s Gray Street Workshop
AirSpace Projects is just a 6-minute walk from Marrickville train station
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AirSpace Projects 2014-2017 