Archives for posts with tag: Sarah Eddowes

April Exhibitions

7 – 22 April 2017

Opening: Friday 7 April 6-8pm

Artist Talks: Saturday 22 April 3-5pm

All Welcome!

Gallery One
Paula do Prado
Bomba

The Bomba artworks are made from a mix of humble materials: fabric samples, cloth remnants, paint and paper. The use of collage on fabric and paper relates to the traditions of ‘making do’ and the bringing together of seemingly disparate, unrelated and disjointed elements assembled together to create something new and cohesive. In Afro-Uruguayan culture there are still strong links to superstition and the merging of Christian and West African religious beliefs. Lines become blurred and slippages occur between religion, magic, art, music, dance, ritual and ceremony. Bomba or blast becomes a visual metaphor for cultural collisions and explosions, resistance and survival.

Paula do Prado is running a Fabric Collage Workshop, Bomba: Offcuts, and has organised two Afro-Latin Dance Workshops run by Mariu Meneses Betervide. Go to Paula’s page on the AirSpace Projects blog for booking links here

Gallery Two
Vilma Bader
Northern Encounters

Northern Encounters consists of two bodies of work – Käsintehtyjä Suomessa (Handmade in Finland) conceived and made in situ during a residency in Finland and Geometry and Colour System in the Doors of Tallinn researched in Estonia and completed in Australia. The works explore the mnemonic function of linguistics, semiotics and space in the construction of identity.

Käsintehtyjä Suomessa (Handmade in Finland) 2016 is an installation-based work that functions as a collection of visual poems. Made entirely from Finnish birch and spruce, the integrity of the wood is preserved. Paint is used sparingly and expressive gesture and concern for surface textures are retained, juxtaposing the hand of the artist with that of nature.

In Geometry and Colour System in the Doors of Tallinn 2017 the flattening of perspective and focus on geometric shapes and colours collide with the many linguistic metaphors and aphorisms associated with the door.

The Cranny
Sarah Eddowes
Imprints

Sarah Eddowes’ work explores the object as a static imprint of a process of transformation. Coming from a background in animation, she is interested in showing direct movement in her animated work and the extension of this to the implication of change in the static object. Despite the abstract nature of the imagery, it alludes to certain universal processes of change, notably those of the geological and the bodily. The translucency of the wax recalls bodily textures, the organic shapes resemble cells, organs or bruises, and the pervading colours of pinks and cool turquoise are rooted in the tones of the body. Elements of geology such as structural shifts and faults, layering and compression of sediment are also recurring visual features.

The process of slicing is a prominent theme, both as a method of transformation and as a means of revealing a specific view of an object’s interior, much like a geological cross section or a magnetic resonance image (MRI). This process is similarly employed in animation and cinema where an illusion of motion is created by revealing one image at a time. In this way, her static work may be seen as cinematic objects.

Deep Space
Rebecca Shanahan
Home Security

Home Security uses performed actions and self-surveillance to synthesise ideas about temporality, gendered labour and contemporary conditions of existence. Filming herself with security cameras, the artist unravels adult jumpers and uses the yarn to knit children’s hats. Home Security models and reveals the invisible volunteer labour (usually women’s) that underpins capitalist economies yet is unaccounted for. The history of women knitting for others is often political, and this work operates in the current context of global family trauma and displacement. Unfolding in real time, the activities and video meditate on transience and the multiple networked presences of performed and documented everyday life.

2018 Callout

Images top to bottom:
Paula do Prado, Bewitched/Embrujada 2016, fabric collage, 71 x 67cm. Image: Alex Wisser.
Paula do Prado, Rebel/Rebelde 2016, fabric collage, 73 x73cm. Image: Alex Wisser.
Vilma Bader, Geometry and Colour System in the Doors of Tallinn, 2017, acrylic on plywood on 48 panels, each 19 x 11cm. Image courtesy of the artist.
Sarah Eddowes, Cells II, 2016, wax and wood, 25 x 33cm. Image courtesy of the artist.
Rebecca Shanahan, Home Security, 2017. Image: Rebecca Shanahan.
Callout, airspace Projects.

 

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Extinct Extant is open for MOST

Marrickville Open Studio Trail

Saturday 28 and Sunday 29 March, 11.00–5.00

hayden-fowler-newworldorderiii

See works by Sarah Eddowes, Nicole Ellis, Hayden Fowler, Shalini Jardin, Fleur MacDonald, Raquel Ormella, Lynne Roberts-Goodwin, Sarah Newall, Ajay Sharma and Vivian White.

 and

A Blessing of Pets and Plants by the Order of Perpetual Indulgence

Sunday 29 March from 11.00 to 12.00

ZooWalk-05-03-2015-025 

Bring your favourite furry, scaly, slimy or photosynthesising friends along and meet Mother Cardio Pulmonary Resusitation II and her novices

10 Junction Street Marrickville

airspaceprojects.com

 
Top Image: Hayden Fowler, New World Order, 2013. Video Still. Image courtesy of the artist

Iconoclasts and Openings have now closed.

We would like to thank all the wonderful and talented artists who participated in these two exhibitions and the visitors who came to see their fabulous work.

Information about these exhibition is available by going to Past Exhibitions on this blog.

The doors of AirSpace Projects will reopen on Friday 6 March at 11.00am.


 Extinct Extant

Friday 6 March – Sunday 29 March

Opening drinks  Saturday 7 March 3.00-5.00pm

Sarah Eddowes, Nicole Ellis, Hayden Fowler, Shalini Jardin, Fleur MacDonald, Sarah Newall, Raquel Ormella, Lynne Roberts-Goodwin, Ajay Sharma, Vivian White

MORE THAN EVER a change of plan (burnout 1)

 Extinct Extant explores humanity’s relationship with the animal and plant worlds. Artists reflect on the value of plants and animals both ecologically and culturally.

More about this exhibition …

Image Above: Lynne Roberts-Goodwin. MORE THAN EVER a change of plan (burnout 1), 2014.
Archival photographic print–Museo Silver Rag 300gsm, 118 cm x 150 cm, Edition 2/3 EP. Courtesy of the artist and .M Contemporary Australia.
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