A note from the curator, Peter Annand
On Curating Order and Disorder
An art show is an entertainment – spiritual, didactic, funny, arousing; it is always different from – if not necessarily greater than – the sum of the works in it.
This show began with a callout and this website presents almost all the responses, more or less as received, in alphabetical order of the artists’ surnames. The website is the place to explore, in a relatively unmediated way, the artists’ attitudes to order and disorder in their words and their work.
Go to the Verge Gallery to experience the impact of some of the actual works – a selection dictated by the space, by my approach to the question and by my sense of how the works would interact with each other. Enjoy the show but please also reflect on the alternative selections and installations that could have been.
I saw four categories, based on how a viewer could engage with order and disorder in each work: those that present the viewer with an imagined order constructed out of disorder, those that present a new state in which a previous order has been disarranged, those whose point is to watch an ongoing process of ordering and disordering and those that ask the viewer to look directly at the material world, or pieces of it, and reflect on the layers of order and disorder in it.
According to some, the point of art is to be a tool for first the artist and then the viewer to orient themselves in relation to their constantly shifting surroundings. The closest surroundings – so close they feel almost inseparable from the self – are one’s own thoughts and feelings. Beyond these are families, social and poilitical communities, the built environment, plants, animals and the physical universe. All these are the material of art and most of them can be found in this exhibition.
We are pleased that, this year, Peter Annand gave permission to use one of his artworks for our Anthropology Symposium. The image, which you will have seen on our header, program cover and poster, is called Eagle picking up a stick. It stems from his 2009 series Air, Sand, Seawater. This piece will feature as Peter’s contribution to the Order/Disorder art exhibition at the Verge.
ar·ray /əˈrā/ Noun
an impressive display or range of a particular type of thing
dis·ar·ray /ˌdisəˈrā/ Noun
a state of disorganization or untidiness
Sometimes people speak of the gold of silence and riots on empty streets. But the world is noisy. People write each other badly rhymed love songs inspired by the 90s hair-gel plagued boybands ala Backstreet Boys about ‘fire’ and ‘desire’ and ‘heartache’ and ‘mistake’. People furiously type and edit and re-type and re-read and re-edit Facebook statuses and Twitter nuggets to curate potentially ‘likability’ soliciting blue thumbs-up emoticons and template yellow stars. People spend hours on end finding the right adjectives and verbs and academically invent complex, convoluted, unusable, multi-syllabic nouns to characterise phenomena they want to reference in shorthand with a string of letters for an elite audience. People search through their archive of life experience and emotive consolations to convey condolence or shared anguish or empathy or encouragement, to communicate across bodies through physical touch. We spend much of our interactions with others romanticising intimate verbosity and attempting to calibrate our social realities. But what do we make of transcultural repertoires and implicit nuances across verbal utterances? What happens when two people of different native languages meet and desire to inhabit the other’s headspace? There are visual impressions and sound scapes and scents they want to communicate across bodies, but find themselves unable to locate the overlapping signposts to articulate. And words are important. They discover each other’s flirtations with Mandarin, and haphazardly transit into a third language, propelled by a wanting to connect. In this space, preoccupations with grammar and syntax give way to unfiltered access to intimate thought and little conscious mediation. The array of verbosity, an impressive knowledge of colourful vocabulary, finds itself subordinate to a disarray of affect, where homophonic Mandarin verbs and nouns in their disordered untidiness lends effusive waxing and unbridled circulation of affect emplaced in third (con)texts. Sometimes people speak of the gold of silence and riots on empty streets. And the world is noisy. But sometimes we find meaning in disorder and solace in disarray.
Crystal Abidin is a digital Anthropologist and PhD candidate at the University of Western Australia, Perth. She researches social media entrepreneurs through ethnographic fieldwork including participant observation, net archiving, and personal and mediated interviews. She is excessively passionate about everything to do with gender on the web, and multicultural heritage and upbringings. AMBIENT VERBS is a soundbite from Crystal’s fieldnotes in a budding project on intimate social intercourse. Crystal lives in cyberspace and rambles on crystalabidin.blogspot.com.
I was following the idea that looking at pictures of animals’ tracks could be an alternative route to empathy with the animal – rather than normal wildlife photography which seemed to emphasise the subject’s otherness.
As I was leaving the location with several rolls of exposed film I learned that this beach was where the first recorded contact between indigenous Australians and Europeans took place; then more of its recent history – the invasion of cattle, the abandoned mission settlement, the ditched World War II bomber, the bauxite mine, the asylum seeker boat; and its deep past – the million-year turtle nesting, the arrival of aboriginal people, then the shoreline shifting hundreds of kilometres as the ocean rose.
How to make images simple and serious enough – not to describe or evoke or critique all this, but at least to accompany it?
The process I settled on was to erase the sand digitally, grain by grain, to leave a printed image that could trick the viewer at first into thinking they saw sand on the paper, with the bird’s calligraphy in it.
The viewer who studies the image of the sand might sense order or disorder, or both – as I have.
Peter Annand, now 65, has retired from corporate life and works an avocado orchard in the Sunshine Coast hinterland with his wife Mary.
He has exhibited regularly throughout Australia since 2005, mostly photomedia, and completed a Master of Visual Art by studio practice at Queensland College of Art, Griffith University, supervised by Marian Drew. He is an active participant in the visual art community, as chair of the Queensland Centre for Photography and a conference presenter at the 2014 Queensland Festival of Photography.
for more information on the artist and his work, go to: http://peterannand.com
Free play can be thought of as a ‘transitional’ or ‘potential space’ of chaosi from which creativity emerges. It is a place of experience where existing structures are given up and the chaos of free play is entered into. As creativity arises within play, new structures can emerge. The constant overlap and flow between order and disorder is an essential part of playing in relation to making and viewing art – but also, more broadly – as a potential space from which creative living can arise. When an artist is making art or when we view an artwork, or are moved by a piece of music, or utterly absorbed in a piece of literature – where are we? What is this place we inhabit? And why do we feel ‘authentic’, ‘alive’ and ‘connected’ here? It is a place where the distinction between the ‘me’ and the ‘not-me’ seems to break down. This is the ‘transitional space’ that DW Winnicott describes and it is full of paradox – where solutions aren’t required on openings and discrepancies, but in fact, the gaps are allowed for the sake of an ongoing playful movement.
Ben, 2011 is about such a paradox – the paradox of order and disorder for example – the paradox of having control in a world where I have no control. I am interested in how two, seemingly opposite concepts, can peacefully coexist through play in this ‘potential place’ of experience.
i The concept of ‘transitional space’ or ‘potential space’ developed by D.W. Winnicott, British psychoanalyst and paediatrician, in his book Playing and Reality (London: Tavistock, 1971)
Wendy Abel Campbell is a Sydney based artist and PhD candidate at the Sydney College of the Arts (University of Sydney) where she is a recipient of the Australian Postgraduate Award. Abel Campbell works predominantly in the medium of painting. She completed her Bachelor of Visual Arts with First Class Honours in 2011 and has since had a solo show and participated in a number of group shows. In January this year Abel Campbell presented a paper on her art practice and current PhD research at the “Games of Late Modernity” conference at the International School of Philosophy in Leusden, The Netherlands.
Untitled (Tin Portrait / Orbison), 2014.
Oil on linen on board. 25 x 30cm.
Photo: Fiona Susanto
What prompts us to see music in the everyday noise that surrounds us? Sydney artist Connie Anthes looks for patterns in that noise; for meaning in the mundane. Untitled (Tin Portrait / Orbison) is one of a series of uncanny paintings exploring the phenomenon of pareidolia, or the unprompted “seeing” of faces and bodies in inanimate objects. This carefully rendered tin portrait is a realistic depiction of a geologic sample but also contains an ambiguous “head” of rock star Roy Orbison embedded in it, creating a strange optical oscillation between surface and meaning.
Connie Anthes is a multi-disciplinary artist currently based in Sydney. Challenging the boundaries between painting, object-making and spatial experience, Connie’s practice interrogates our perceptive limits and draws attention to the unseen worlds that surround us. Connie has held solo shows in Sydney, Melbourne, Launceston and Leipzig and been the recipient of numerous grants and residencies, both in Australia and abroad. Her work is currently represented in the collections of Artbank and Bathurst Regional Gallery.
Trace III explores the notion of disorder through the layering of conscious and unconscious processes. My practice investigates the Surrealist and Abstract Expressionist methodology of automatic drawing, through series of process-based charcoal drawings, which are subsequently intervened upon using more conscious and routine processes. Furthermore, it emphasises the importance of the process and how the activity and performance involved becomes integral to the work itself. In an attempt to impose sequence and order upon the automatic gestural marks of the unconscious approach to drawing, their material qualities are reprocessed through photo silk screen printing. The gesture becomes fractured and further abstracted through repetition. Here, a tension is created in the work, as the improvisational marks are contrasted with the deliberate process of silk screen printing. It juxtaposes unique drawing techniques with printed reproductions by incorporating the process of mechanical reproduction into an impulsive automated approach. Through repetitive processes the work investigates a tension between the notions of order and disorder.
Sydney born artist, Brooke Carlson is a current Master of Fine Arts candidate at Sydney College of the Arts, with studies also undertaken at Cardiff Art & Design School in Wales. She has recently undertaken an artist residency at Art Print Residence in Barcelona, Spain. Carlson also recently had her first solo exhibition, TRACES at Alpha Gallery in Erskineville. Earlier this year Carlson curated her first exhibition, DRAWING ABROAD at Gallery Eight, Millers Point, bringing together critically acclaimed International German artist Hanna ten Doonkaat and Korean artist Paul Lee as well as several other well-known Australian artists whose practices focus on the drawing discipline. Her work has been selected for exhibition at the Tate Modern, London’s National Theatre and the Saatchi, London. Carlson also received the Jerome De Costa Memorial Award at Sydney University for academic achievement in 2010 and has recently presented a written paper at an international conference, POPCAANZ Journal of Popular Arts of Australia and New Zealand in Hobart.
www.brooke-carlson.com (other social media links)
Andrew Christie (SCA, BVA Hons)
Find the Lady
Trying to comprehensively understand the foundational forces of culture is an endeavour with mixed results. Innumerable sources of cultural origins – many of which being fixed in our subjective assumptions of existence – leads us as artists to examine the more external factors that manifest themselves in our social norms, values, languages, fashion, cuisine and so on. In Find the Lady a number of objects are arranged within a set of plainly numbered squares. Each object is chosen for its cultural significance and position in either every day activities or as a constant influence throughout social discourse. Amongst this arrangement are objects such as a bible, mobile phone, cigarette lighter, bottled beer, early twentieth-century African wedding rings and a fragment of the Berlin Wall. Visitors are prompted by a sign to reconfigure the sequence of the objects as they see fit, preferably from greatest to least importance. Furthermore there is only enough room for all but one of the objects. This excess requires the engaged visitor to continue to exclude this extra object or reintroduce it by swapping it with another. By constantly (dis)ordering these objects they cease to be static signifiers of an outside world but are given agency through movement. . Fittingly for a country such as Australia that prides itself on multiplicity, the work shows how culture is a fluid system, where elements of geopolitics, religion and socio-economic concerns can be just as swiftly adopted and discarded as text messages and cups of coffee. It is an exercise in elastic hierarchies, where nothing claims a position of permanent privilege and this playful set of actions reveals how ethics and behaviours are ultimately best left to the viewer.
Andrew Christie is in the final year of his undergraduate degree at the University of Sydney studying a Bachelor of Visual Arts (Hons). His work has been shown at numerous galleries in the Sydney area and spans the mediums of painting, sculpture, performance and installation. During his time as an artist Christie has striven to reconcile disparities between cultures, travelling as far as Cyprus and Greece to conduct interviews with university staff (University of Nicosia in particular) in an attempt to gain a greater understanding of how competing universalities can be endured, hybridised and where possible reconciled. Recently Christie has been researching the element of play in art to develop theories and work that reveal a greater understanding of the necessity of failure and creative experimentation when faced with such cultural convergences; especially when faced with forced migration and traumatic events between nations that on the surface exhibit strongly opposed ideals and national identities. This year, in addition to showing at Verge Gallery and completing his honours degree Christie will also be showing work at Campbelltown Art Centre.
Through abstraction and deconstruction of the human form my work comments on the perceived order within humanity. Rejecting the stagnant portrayal of figures depicted within everyday life and art, I choose to instead pronounce the fluidity and disorder seen within individuals. Disorder allows degradation of familiar conventional concepts with an opportunity for true self-expression and individuality. My artistic process took a true to life image and then through repetitive layering, deconstructed it into a series of marks, drips and splatters. ‘Theory of mind’ is a self-portrait designed to toe the line between the physical and conceptual perceptions of an individual without limitation.
I am an artist originally from Sydney, currently practicing street, mural and gallery art in Victoria. My name ‘HINDER’ is about harnessing the negative energy and set backs of life and channeling it into the positive act of creating art on and off the streets for everyone to enjoy. Incorporating a love of drips, splatters and influences of grunge aesthetic, I aim to create portraits that contain a level of fluidity. I aim for my art to be synonymously beautiful and dramatic while creating something visually eye catching to turn the heads of passers-by. I like combining street and gallery work by incorporating once overlooked found objects, utilizing their natural charm and history. Increasingly my art process has further involved starting with static portraiture and abstracting this to create personifications of movement and a state of flux within the human form.
Within my current practice, I seek to investigate the potential of materials and processes to describe visually disorienting picture space. Order and disorder play an integral role in this investigation. Within my process, I employ repetitive and orderly gestures to define a particular shape, pattern or surface. The shapes and patterns are allowed to then ‘evolve’ through arbitrary or disorderly iterations, culminating in matrices or visual networks. Through the manipulation of multiple matrices and the layering of acrylic sheets and synthetic spray paint, these visual meshworks coalesce into new entities – new entities with new problems. This method of working draws on assemblage theory (Deleuze); that complex entities are not seamless wholes, but that they arise through the assemblage of component parts and intensive interactions and processes. The effects of these interactions among their component parts are often indeterminate because of the effects of complexity, and the behavior of the whole is difficult or impossible to calculate. These notions relate to a conceptual framework that proposes ‘visual culture’ as a masquerade; an entity of vast agency, populated by a network of many complex, and masked, entities engaged in a vast and complex orgy of fear and desire.
Jamin (Benjamin Kluss, b.1976, Sydney) is an Australian artist, who lives and works in Hobart, Tasmania. Jamin’s artistic practice extends from gallery-based paintings and installations to street art, murals and commissioned interiors – exploring process based painting, masks and masking, and political and social concerns. Jamin has exhibited widely across Australia over 10 years and his work is held in private and public collections, including the interiors of the two MONA ferries that patrol the Derwent River. He was selected for ‘Contemporary Australia: Optimism’ at the Gallery of Modern Art (GOMA) in 2008 and a recipient of the Rosamund McCulloch Studio Residency at the Cité International des Arts in Paris in 2011. Jamin is currently a PhD candidate at the Tasmanian College of the Arts, UTAS, and is represented by Despard Gallery, Hobart.
Size: 20.5×25.5 cm
Medium: Oil paint and mixed media on canvas
Nature seems to exhibit a random distribution of infinite number of organisms. However nature subliminally influence in creating an orderly pattern. A fluid like water can exhibit an ordered and beautiful flow of pattern of waves.
Even those accidental distribution of seeds of various wild plants on the ground, no matter how carelessly they are scrambled, there will be slightest suggestion of pattern or orderliness as soon as they grow into a plant.
Minji Kim (born 1994 in South Korea ) is based in Sydney, Australia and Korea. Started studying Bachelor of Visual Arts (Painting) at Sydney College of the Arts in 2013.
Stella Ktenas Karver & Auth Kash Karver
Duration: 1 minute, 6 seconds
Within ‘SYNCH’ the tension between constructing order from the disordered is visually articulated through simulated synchronisation. Attempts to control chaos and reproduce it as its own order regresses back to a chaotic disorder, illustrating that neither order, nor disorder could exist, even in definition, without the other. The video depicts twin faces struggling to mimic each other, varying in facials, action, pace, and view. Order and disorder are engaged in a power play, fluidly moving back and forth between these binaries. Using the absurd, ‘SYNCH’ defies the expectations of the art space, and with light humour unilaterally engages in the grand theme of disorder as the chaos uncovers itself through the small defects and eventual disintegration in synchronicity.
Auth Kash is a time-based, installation, and performance artists, and UNSWAAD (formally known as COFA) student, and general “ideas man”.
Stella is a performance, installation artist and sculptor, and University of Sydney student.
Stella & Auth, also known as the Karver Girls, have worked together on previous temporal and static art pieces, and are constantly looking for future projects they can explore together. Predominantly utilising comedy to address an issue, they craft a palatable, even bizarre, landscape for the audience to navigate. The themes they mostly engage in are performativity and gesture, the absurd, association and disassociation, and speciesism and oppression. Their recent collaborative video work ‘Rolla’ was exhibited at Project Contemporary ArtSpace this July, 2014. They have as individual artists been exhibited at Project Contemporary Artspace (2014); City of Sydney Intersect Art’s ‘Agar Dish – performance art, installation, hybrid works’ @ Juanita Nielsen Centre, Woolloomooloo (2014); COFA (2013); University of Sydney Verge Gallery(2013-4), and Cellar Theater, University of Sydney (2012).
‘Language’ by Stella Ktenas Karver
Materials: Paper, Humanely Harvested Rabbit Wool, Foam
Dimensions: 59cm x 32cm (LxH)
‘Speech’ by Stella Ktenas Karver
Materials: Paper, Humanely Harvested Rabbit Wool, Foam
Dimensions: 59cm x 32cm (LxH)
My two sculptural pieces ‘Language’ and ‘Speech’ each attempt to achieve and cite the binary relationship between order and disorder. These two works interact with each other in their aesthetic, form and conceptually. In ‘Language’ disorder becomes inevitable when mass produced order is enforced and speaks towards our consumerist ideology, as demonstrated by the singular black box, among the rigidly regulated white boxes, and aesthetically placed in a reproduction of the ordered golden ratio. ‘Speech’ is disorder articulated graphically when the pursuit of order is not achievable; hence the erratic placement evolving from what began as ordered boxes. I have used unusual materials such as humanely harvested rabbit wool in constructing ‘Language’ and ‘Speech’, this is to continue the expectation of chaos, and to return to the natural.
Sofia Lo Bianco
This work is a continuation of themes within my practice that interrogate how chemistry and materials science bring order to the material world through synthetic processes. Philosopher Joachim Schummer has studied how aesthetic values such as symmetry, purity and simplicity operate as ordering principles in the molecular design of new substances. My practice presents “substances” in minimalist constructions and arrangements that are in dialogue with the principles outlined by Schummer. Through process-based experimentation, my work explores how the unexpected behavior of material (through misapplication, deterioration or chance) can reveal properties (faults, imperfections and failures) that are in tension with chemistry’s notion of ideal matter. My query is if these aspects of science (its pursuit of “pure and ideal” form) are an expression of utopian concepts.
Sofia Lo Bianco is an emerging visual artist based in Sydney. Crossing the disciplines of sculpture, assemblage and photography, her practice explores subjective and sensory understandings of contemporary materials and technology. Through process-based experimentation, she explores minute material phenomenon; implicating a material’s ‘faults’ and ambiguous behavior in her work through the element of chance.
In patterns, repetitions and sequences discontinuities are to intensify order. As in music and dance, the beauty is appreciated more after a few disorders. Order and rhythm satisfy the senses when followed by disorders. Furthermore disorder, imperfection and the same as different shows the special one(s) and may imply an existence of great wisdom behind everything.
Flora Mavrommati, Cyprus 1977 – painting, photography, video, installation
Education: MA Fine Arts by research, SCA, MA Contemporary Art for Educators , SCA, 2007.
Individual shows: ‘Dualities’, 2009, Pantheon Gallery,Cyprus, ‘Biomorphy’, 2012, Chrissie Cotter, Sydney, ‘Bio-Anthropomorphic Symmetries’, 2012, SCA Graduate Gallery, Sydney, ‘Oneness and multiplicity in organic and geometric forms’, MFA Graduation show ,Research Gallery, SCA,2013
Selected group shows: Verge Gallery, University of Sydney: ‘Language of Life: Biomimicry in Architecture, Art, Design and Science’, 2012,(photography), Verge Gallery, a collaboration between Eora (Australian Indigenous) and SCA students,2013 .
These exploratory and site-specific works reflect the artists/exhibitors zone as space of constant working and reworking. The assemblages go through evolutions of being built up and broken down, reworked and repurposed for reasons unknown.
Patterns and shapes evolve from residues of site in use/unused and are pushed to the point of collapse to then be remade in a constant cycle of art from “nothing.”
This progression of order and disorder evokes a fluxing message of balance between despair and joyous rebirth. Humanity can always finds hopeful, happy solutions even when the grip of uncertainty seems overwhelming.
Gus Mckay is a multidisciplinary artist and curator currently studying at the Tasmanian College of the Arts in Hobart. His work evolves around the artist at play, often finding themselves/himself in an unnerving and also exciting cycle of never ending experimentation and exploration of materials. Gus is passionate about being a facilitator for other artists, providing opportunities for his peers to push them beyond their own expectations and in most cases he sees his fellow artists as his medium.
2 Panels 74 x 54cm
‘I am not born a salmon but like a salmon long at sea I am drawn to where I was born or whence my kind came.’
Something is not right, I thought. If salmon are the route metaphor for the Scottish diaspora’s ancestral pilgrimages (because salmon always ‘return to the source’), then why do Tasmanian salmon leave Tasmania by plane and travel not to Scotland? These kinds of thoughts stimulate process as my mind seeks to imagine the metaphor. Fragments of visual imagery are dis-ordered and re-ordered through my collage process. In Imagineering Metaphors, this process, of dis-order and re-order, is continued into ever more unlikely iterations. Made famous by the Surrealists in their dislocation and displacement post WW1, collage has long dealt with the issues I address now. Perhaps with the subject matter of diaspora there will always be underlying considerations of disorder.
Ros Meeker resides on a secluded Tasmanian remnant farm, surrounded by rainforest, with her husband and Cobbett, the springer spaniel. She is currently a Research Masters Candidate at the University of Tasmania School of Art and her exegesis in the making is titled Familiar Ground: Expressing Post-Diasporic Scottish Identity through Collage and Print. This theme continues an art practice that long term has engaged with contemplation of physical ground and the psychological landscape. Principally a printmaker, in her studio practice Meeker engages in modern and traditional forms of etching. Meeker has had a number of solo shows in Hobart and interstate, and also exhibits with the Osmosis group and Hunter Island Press.
White relief (for Ben Nicholson)
Human beings, as a highly organised species, have always sought order from what appears to be an arbitrary and at times cruelly capricious universe. From the cradle to the grave we cling to the known, the certain, the structured world that in a sense we have ourselves created. Order brings comfort and disorder brings discomfort. Yet even as children we divine that chaos and random events are part and parcel of our daily existence; unsettling though it may be we are borne along on a wave of uncertainty and become immersed in it (for there are so many things we are powerless to change).
As an artist I have grappled with chance and uncertainty in my own work first as a ceramicist and then as a sculptor. Marcel Duchamp’s celebrated 3 Stoppages Étalon in particular caught my attention as a young artist. A piece of string a meter long is dropped and the twisting shapes recorded and ultimately reproduced in wooden templates in the manner of a carefully conducted scientific experiment. It seemed to personify the act of calibrating or crystallising disorder, inducting happenstance into the empirical world. Little did I know that Duchamp was unable to achieve the effect he sought from the three ‘random’ events and has since been outed as the perpetrator of a consciously constructed hoax.
The work that has been chosen for this exhibition, “White relief (for Ben Nicholson)”, is a celebration of the banal, the arbitrary and the discarded. The perspex display case (itself a found object) contains a multitude of both found and created objects. Their aggregated mass assume groupings within the strictures of their clear container that are arbitrarily arrived at, gravity and weight alone determine the composition. For me there is a beauty in this disordered state that cannot be arrived at by any other means…
Ian Munday was born in Melbourne in 1959. He spent his formative years in Launceston Tasmania where he completed a Diploma of Art in 1981 and a Graduate Diploma of Art in 1983. After a sojourn in Amsterdam in 1985 he settled in Hobart where he currently resides. He has been a technician in the Sculpture Studio at the Tasmanian School of Art at the University of Tasmania since 1990 and tutored there in 1991.
He has held five solo shows and has been represented in a large number of group shows over the last twenty five years including: The Canberra National Sculpture Forum in 1998, Sculpture by the Sea Tasman Peninsula in 2001, The Blake Prize Director’s Cut in 2009, Seeing Double at the Universiti Pendidikan Sultan Idris Malaysia in 2011, and The Woollahra Prize for Small Sculpture in 2005, 2009 and 2012.
He has received two Professional Development Grants from Arts Tasmania and completed three public and numerous private sculpture commissions. His work is held in the following collections: The National Gallery of Australia, The Riddoch Art Gallery, The University of Tasmania and the Free International University World Art Collection in Amsterdam.
Siti Munawirah – Sydrah
Buddha is used in the painting as a metaphor for the state of orderliness of the universe. Despite his godly nature, however, he is humanized by the distorted looking neurons on the half side of his face. Neurons, as we all know, are the core components of the nervous system. When disrupted, many complications may occur to self, be it physical, mental and emotional. The differences on each half of Buddha’s face signifies that any person, even those highly regarded as having a strong sense of moral agency, may also find himself in a state of disorderliness – a state commonly associated with insanity and anarchism. Disorder is abnormality. It is resistance. A state of being different.
Siti Munawirah, or more fondly known as Sydrah is from Malaysia and is currently doing Master of Research in Anthropology at Macquarie University. She enjoys incorporating her ethnic Malay background in her artwork, which she combines with Western influence, creating the East meets West hybrid art. More of her artwork can be viewed on: https://sydriyaart.wordpress.com
Wood, Stainless Steel, Paint
The collective nostalgic memories of an ordered and idealised childhood are embedded within certain toys and all too often these toys are symbolic of an era considered to be simple, predictable and safe, within the comforts of a Western childhood.
Carousel subverts such nostalgia by referencing instead the uncertain legacy of the genetic (com)modification of animals. The predictability of the pretty fairground pony is morphed into an abject ‘thing’, signifying that prospectively the future may not be as aspirational as we are led to believe. Standing in motionless isolation, re-membered and alien to itself, Carousel occupies a space of a modified and abject otherness, hybridising the innocence of naive child’s play and the disordered chaos children may well inherit.
This ‘toy’ imparts a message that children are being conditioned into accepting the normalisation of ethically exploitative values by sub-textually stating this ‘animal-thing’ is for you to play with-just as we adults play with the real thing. But in the ongoing plight of ‘perfecting’ and modifying aren’t we transgressing far beyond the alteration of the relationship between child and animal and instead running the risk of altering the relationship between the very nature of nature itself?
Of course I have no idea where facets of technological science will take us, but for now at least I often find the rhetorical comforts played out in the petrie dish initiates a great sense of dis-ease.
Clare migrated to Australia in 1989 from England with her young family, excited by the wilderness and diversity of lifestyle choices. Settling in the beautiful Byron Bay hinterland, Clare graduated from Southern Cross University with a Bachelor of Arts degree in 2000, Visual Arts Honours degree in 2002 and the Graduate Diploma of Education in 2009.
With a driving passion towards a skills based practice, Clare is not afraid to push boundaries by creating a tension between ‘traditional’ skills and contemporary issues. Her work often acts as an agency to question dominant mainstream thought regarding cultural issues such as biotechnology, the anthropocentric (com)modification of animals and environmental colonisation.
Currently, Clare lives in Sydney and is in the process of completing her Master’s of Fine Art by research degree at the UNSW Art and Design where she also works as a casual teacher and Technical Support Officer when she’s not in her studio.
Jeong Yoon Park
Still life in pink and green
Oil and Acrylic on canvas
I have chosen to paint a still life using mainly the colour pale pink and dark green. They are opposing colours according to the colour wheel, which gives an interesting effect when used together. Also pink is an peculiar colour that is sweet, girly/feminine, light, plastic, sexual, fleshy, artificial, soft, funny, kitschy, eerie, all at the same time. It is ironic and peculiar. The still life will be of ordinary objects in a classical still life composition, depicting order, yet the off-putting and surreal use of colour will symbolise disorder. By playing with de-familiarising familiar objects with unsettling colours, viewers are able to really “see” the objects.
And a music piece by
To accompany Yoon’s Still life in pink and green I have written a piece for solo oboe and electronics. I chose to write for oboe because it has a complex and flexible tone colour that is beautiful and unique. The piece has been composed serially, using graphs and numbers to order the pitches, rhythms and determine the structural density of the work. The result is challenging to perform, with difficult-to-execute multiphonics and frequent register shifts. The live recording of the oboe has been post-produced to incorporate delay effects determined by complementary graphs.
Oliver is a composer, conductor, violist and music director based in Sydney. He is currently completing his Bachelor of Music at the Sydney Conservatorium of Music, majoring in composition. Since 2012, Oliver has had works featured in two 15 Minutes of Fame concerts held in New York and Rio de Janeiro, and was both a composer and curator of the 2014 Cosmos Project organised by Spacebears Collective. He has music directed the 2013 and 2014 Commerce Revues, as well as the 2014 Sydney Uni Revue as part of the Sydney Comedy Festival. With the Sydney University Musical Theatre Ensemble (MUSE), Oliver has been involved in productions of How to Succeed in Business Without Really Trying, Anything Goes, The 25th Annual Putnam County Spelling Bee, and recently the Australian premiere of 110 in the Shade.
Completed Bachelor of Visual Arts at SCA. 2013.
2014 Transformation. Group exhibition. Cypher Gallery. Monster Mouse Studios
2014 Cosmos Project. Group exhibition. Gallery2010
2014 Love Moments. Group exhibition. Art Moment Gallery
2013 Art Moments. Group exhibition. Art Moment Gallery
2013 In Transit. Group exhibition. Verge Gallery
All solids melts into air #1, 2014
The work is a response to the phenomenological relations between subject and object, in mapping the process through gestural mark-making on canvas. The immediacy of the gestures is marked through the tactile materiality of oil paints and wax on canvas, as the surface becomes an in-between space where traces of the performative act are being recorded.
This transition between the structural self to the object world are negotiated between the boundaries of internal needs for certainty and the inherent disorder in time and materiality. Interchanging between something and nothingness, the work is a process-based painting that explores indeterminacy, disorder and its relationship to the nature of mark making.
Jim Peng is a Sydney based artist who graduate from UNSW Art and Design (COFA) with Bachelor of Fine Art and Master of Art (Painting).
His practice investigates with the phenomenological relations between self and the object world, in particular through the enactment of bodily gestures in space, exploring its relationship and the transitional space in between.
This work is a deviation from something highly ordered. The grid on which it is based is rotationally symmetrical and made of rectangular pieces that change length incrementally in perpendicular directions. Lines from this base grid have been coloured, but not completely and not according to any particular rules. The resulting shapes formed from intersecting pieces and negative spaces are irregular and enigmatic. As they move around a centre focus they retain a sense of connectedness and structure and yet there is no symmetry and no pattern to find.
Beth Radford works as an artist and studies mathematics at the University of Sydney. She paints hard-edge geometric abstractions and also structural interpretations of the human form. Last year she was shortlisted for the International Emerging Artist Award.
John von Sturmer
OK, so this is roughly it. We’ve done everything else, we have considered all possibilities. Now it is time for the unexpected, for the break. Of course it’s been staring me in the face all the time – which is the way things tend to be. A disappointment? Maybe.
We stick Bela Barton’s Concerto for Orchestra on the sound system. A recording from 1943, the year of my birth. It seems to get something right – though listening to it now it seems too militaristic. And we await something flippant. It offers for a moment the cool mystery of an Arab garden, the Alhambra perhaps. Nothing that Boston could possibly offer.
Irony, that’s what we’ll say the next moment is. We’ve dealt with the garbage question, we’ve dealt with the fragility of the order/disorder construct, we understand perfectly well that in the presence of one order there are bound to be others, discordantly playing in all likelihood, not one, not oneness, a harmony that itself might seem discordant and frightening even, sinister, a goose-step cavalcade.
Yes, the crates in the street, neatly piled up one on top of the other, the two green ones on the top then the blue then the orange at the base – giving a vibrancy we do not know whether intended or not. Hooker’s Green suggests ‘heritage’. Federation style. Not that we can know for sure. Any more than we can know whether they’re there for free or waiting some pick-up truck or some other fate. My covetousness is the one great unpredictable. It is an authorised choice. For are we not – courtesy of the harmonious Hany – to have one enlarged into that park that requires no enlargement? Belmore Park? (What stories I might tell of that location!) Art history comes in for a jibe for the construction ain’t built yet – or the great wire-ribbon thing intended to spur the Town Hall to greater heights. I like it from what I’ve seen of it. Not quite silly and almost perfect. Emulate it how we will.
Meanwhile Bartok quotes himself over and over again. It’s bookish in this sense. Not that the repetitions are entirely quotations. More like an unmown hedge
Is it true then that we find everything quoted in advance? My delicious gladwrap hasn’t spoken its entire spell yet. It may never. They may turn it into a malady before then, something that will do something terrible to your hormones.
Irony too is an affliction – is it? Irony offers a sort of protection. It takes a slight backwards step. But it does not ignore. The one thing irony does not do at the end of the day is avoid. It deals with the cards we’re dealt
I live in Sydney. I produce things – art works, texts, performances, collaborations, multimedia pieces. Recent collaborators have been Daniel Wallace, Toni Warburton, Cigdem Aydemir, and Djon Mundine, on the local front; and overseas, Slawek Janicki (Poland) and Gisli (Iceland)
As Sheets of Paper Glide Down they Twist,Turn and Tumble, Never the Same
‘As Sheets of Paper Glide Down they Twist, Turn and Tumble, Never the Same’ is a video capturing single sheets of A4 sized paper in the air as they fall from a pile to the ground. As the video captures only a glimpse of the flight of each sheet of paper, we only see the paper in transition. It is in this path of transition which disorder is present. The movement of any object in the Earth, living and nonliving, has moments of disorder. These moments of disorder are defined by the seemingly random movements the objects take.
Each single sheet has it’s own unique flight path, no two sheets ever fall the same. Thus, we see the disorder which is occurring in the air is made visible. The environment which the paper has to travel is full of invisible disruptive forces, ultimately altering the path of each sheet of paper. From this we see two actions at work: the forces of the paper acting against the the air and the forces in the air acting against the paper. It is the tension between these two actions which creates the moment of disorder.
Julian is a Sydney based creative and currently finishing a BA in Art History and History at Sydney University. Currently he is working with the University of Sydney Union as one of the Art Collection Officers. He makes art primarily using the mediums of photography and video.
I don’t have a website at the moment so best to be contacted by email firstname.lastname@example.org
Link to video:
In its well-known meaning, Yoyo is a child toy moving up and down. Like the toy’s motion, it moves back and forth in language. It is the abbreviation of ‘You’re On Your Own’ which may let you out of a stupid situation if you do not prefer to get involved. And, it is the abbreviation of ‘You’re Only Young Once’ which invites a stupid action either you may want to be part of it or not. Also, it is used for indecisive, obnoxious personalities.
In parallel, in my work Yo Yo, I cut the person in two to emphasise this tide. While the left part of the body is pulling downwards, the right part is rising up. On the left, the modified self portrait of the artist, which represents the indecisiveness of being, is being pulled down by the black weights playing the role of toy Yoyos. On the right, the lower part of the body flies up while a black whirl falls off of it.
While one part seems to stretch forever downwards, the other appears to levitate forever.
Yeliz Yorulmaz was born in 1983 in Turkey and studied Psychology and Fine Arts. In her work, she combines textiles, magazine clippings, paper and thread to create intricate, quirky scenes exploring femininity and modern culture, often through re-appropriating familiar and nostalgic visual rhetorics. Yeliz is particularly interested in the textural qualities and cultural connotations of different fabrics, as well as the process of sewing by hand.
She is currently doing her MFA at Sydney College of the Arts.