As it provides an opportunity to explore innovative approaches regarding the sculptural medium, it is now an attempt at physical interaction between the audience and the opus. My practice over the past few years has evolved to focus heavily on form, pattern, line and texture. As an installation artist whose work plays with minimalist and conceptual styles, I rely on the simple atmosphere each work creates to engage the viewer.
This enables the viewer to connect and engage with the work; breaking down the barriers between society and the realm of art. These systematic works created using a variety of media are then exhibited collectively, revealing ongoing concerns such as mortality and the questioning of truth. Drawing on Barthes' abject, affect and point, I try to understand my process of choosing images in an image-saturated culture.
The images I select act as reminders of mortality and are displayed in permanent media to create contemporary manifestations of the memento mori.
AARON BUTT
JUANITA
CAMPBELL
With my work I want to renew appreciation for nature, but also point out environmental problems.
ALANA COLLINS
RYAN FRASER
TAHLIA
EIGER
Despite having a secular wall of cynicism and logic between myself and religious faith, I have an immense fascination with the images of a grimacing Filipina woman crowding the streets, bleeding from her forehead and wrists, and I cherish the idea of a mother finding comfort in the death of her child with the absolute knowledge that they are in heaven and that their pain was part of God's Great Plan, that if she could only understand it, she would be happy. The other day I cried when a blind autistic boy came to the holy holy part of "Open the Eyes of My Heart" on You Tube. It is this tension between obsession, fetish, comfort and existentialism that I work with through mimicry and the strange fragmented lens of internet culture.
REVY HAMILTON
A strong interest in consumer culture and the commodification of art has led my practice to examine "art as business". This. This examination simultaneously critiques and embraces art and consumer culture, with this embodied in the creation of my artistic brand GH-ART.
GREGORY HARTOGH
The juxtaposition of the opposing elements creates for me an attraction to the underlying features of the materials.
MADELYN HAYES
HAMISH HILL
It is about persona and the roles they take on in the operation of the strip club. It's also about the clients and how it's not always about sex. Through the use of photography, videos, drawings and sounds I mix the elements together to create and show the different elements of the industry. It is this installation process that I use to create the atmosphere that brings the viewer forward and brings them closer to the story.
My practice has always contained the element of a dreamscape - the unknown waiting to be activated by memory. I use a combination of digital media, printmaking, found materials, painting and drawing and think of the gestural line as a type of cartography where I draw a picture of an event or happening by tracing the paths and journeys and loops of activity track that surrounds it. Using a cross-media approach, my practice looks at the representation of moments of time from just before or after an evefit. There is an imagined narrative in these images, but the narrative is never singular or.
The layering of these moments, acknowledging the "in-between" place, creates both absence and presence, as if floating in and out of consciousness, intertwined with abstract scribbles that are both memory and desire. My work tries to present the difference between how things were and how they are. The use of arrangement in space enables and investigates object relations, while immersive environments influence spatial and durational cognition in the articulation of the immeasurable existence of color.
KINLYSIDE
My practice reflects the qualities of the fixed and the changeable that I see as characterizing our lives. This process results in staged photographs, films, symbolic recitals, and sartorial ensembles that serve as caricatures of the tension inherent in my researched subjects.
MARK KLEINE
My creative process is improvisation rather than design, so my works are produced through reading. Due to the repetitive, often obsessive process of making my works appear to contain a bundle of stored energy at their core that results in a perceived solidity of mass.
ZOE KNIGHT
ALEX McGOVER
By manipulating the meanings commonly associated with hair, I have tried to rearrange not only certain preconceptions about others and about myself, but also the notion that hair is limited to appearance only. As my artistic exploration continues, I seek to motivate conversation within my artworks, not only with the audience, but also with myself.
CONOR O'SHEA
Play Series (2013), wood, paper, dowels, shoelaces, chef's knot, paint, beads, plaster, screws and nails.
ASHLEE SANG
My work offers a clashing variety of pop imagery and traditional religious iconography to inform the viewer of shifting roles in perspective both culturally and internally, while confronting notions of value and aesthetic pleasure. I am strongly influenced by notions of the kitsch and the finished; this is translated through a fragmented.
ELIAS SAVVAK IS
In my practice I try to create a bond with the viewer and create a story in each work by using deeply rooted images. I also try to further develop these relationships between the viewer and the work through the use of immersive installations.
LUCY SENIOR
The Hanuki series is a body of work that conveys the story of the Hanuki, a fantasy land that I created as a child and reinterpreted as an adult. This gives the characters a sense of importance and values the story and imagination of a child, without prejudice and without the superiority of the adult mind. The Hanuki series is an all-encompassing world with complex characters and environments, expressed through mixed media murals and wearable art designs.
My work tries to draw relationships to broader phenomenologies of thought and language, including the impossibility of translating existential experiences coherently into language, personal uncertainty with speech and vocabulary, and curiosities within developmental psychology. This happens not only in the abstraction of texts that form works of unintelligible writing, but also in experiments with the introverted presence of the body in performance and installation. My work attempts to articulate these ideologies through a passivity created in the visual subtleties and ephemeral nature of the materials used.
JAR ROD VAN DER RYKEN
I was much too far out
STEPHANIE VENTURA TO
BETTE WAR
My work spans a variety of media and includes film, photography, sculpture and painting, with their materiality including food, fabric and glass. I do this because I want to keep the thrill of risk throughout the art making process, looking for success and failure in a similar way to any game you participate in. To this end, I therefore adopt chaos as my method of working from the initial concept. through to the finished work.
I go further by exploring a concept through improvisation, by being curious and exploratory during the evolution of the work, and through the intuitive response and reaction to stimuli during the creation process. I think the whole point of making visual art is that it can only be told visually, and that it only becomes complete through the process of making it. In summary, I would like to suggest that my work is a vehicle for the expression of the self.
I achieve this through the visualized use of deception and self-deception, the examination of the physical influences on the personality, the acceptance of ambiguity and contradiction and interpersonal relationships, and the examination of the issues of primal sensation, humour, spectacle, absurdity, entropy and decay , order and containment. .
STEWART WORTHINGTO
Molly likes fedoras and sits alone in her room on her laptop drinking wine and crying. If you enjoy watching things that make you feel physically ill, she puts some stuff on her website at mollyyoung.weebly com.
MOLLY YOUNG
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