tag:blogger.com,1999:blog-75623180833981327412024-03-13T23:17:22.823-07:00slota window at the edge of Sydney's gallery precinctSLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.comBlogger45125tag:blogger.com,1999:blog-7562318083398132741.post-51818927329248109302015-01-13T22:22:00.000-08:002015-01-14T13:48:22.428-08:00<div style="text-align: right;">
<span style="color: white;"><span style="font-size: x-large;">CURRENT EXHIBITION</span></span></div>
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<span style="color: orange;"><span style="font-size: x-large;">JAMIE MAXTONE-GRAHAM </span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"><i>State of Youth.</i></span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"><i>
</i></span></span><br />
<span style="font-size: large;">Until 7 February 2015</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinVnOs-TuySJQhiMbYq_-otdCO4e0-lthe_AbHw9w_tyrPStfeHIgpka1EoGkLqLColHJVFJY2zC1qWwUf2sR7R2MIry6bYuREbfeXcMXJQimNLYJjERowXXVy0Mhkm8FVnIZr5_Xx2AIZ/s1600/jamie-web4s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinVnOs-TuySJQhiMbYq_-otdCO4e0-lthe_AbHw9w_tyrPStfeHIgpka1EoGkLqLColHJVFJY2zC1qWwUf2sR7R2MIry6bYuREbfeXcMXJQimNLYJjERowXXVy0Mhkm8FVnIZr5_Xx2AIZ/s1600/jamie-web4s.jpg" height="286" width="400" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;">American photographer and cinematographer Jamie Maxtone-Graham has produced numerous portfolios since moving to live in Hanoi full time in 2007. Through these bodies of work, he looks to locate his place within a given environment or, at least, to define some relationship with it. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">His understanding of life in Vietnam began with a visit in 1990 to shoot the feature documentary <i>From Hollywood to Hanoi.</i> In 2007-08 he became a Fullbright Research Fellow. With the simple idea of photographing Western influence on contemporary Vietnamese youth culture, he learned that 'none of it is...clear or neat or simple...It's very nuanced and complex.'</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtE9EYvYgQp0Il9UCGNgYWWJjD3HVMmearwUrkd48q9QxrMV6eecxrYd8Q64GTU80OI86u6NzDLeWN6Y48Rk4RfrwYcmpwKBN5-ZCGHZJYUBrqhYp82sVepCiERhVndlQhOkllcGREycU/s1600/jamie-web10s.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtE9EYvYgQp0Il9UCGNgYWWJjD3HVMmearwUrkd48q9QxrMV6eecxrYd8Q64GTU80OI86u6NzDLeWN6Y48Rk4RfrwYcmpwKBN5-ZCGHZJYUBrqhYp82sVepCiERhVndlQhOkllcGREycU/s1600/jamie-web10s.jpg" height="256" width="400" /></a> </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">While direct Western influence <i>may</i> exist, it is often 'more likely filtered through the popular cultural iterations of more developed countries in the region: Japan, South Korea, Taiwan'. State of Youth is the resulting body of work. <a href="http://www.jamiemaxtonegraham.com/photography/state-of-youth/" target="_blank">The full series consists of 40 images.</a> </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0-EQJQGqJT6-zANkByz52zYAvKv8rY_05-WG2jU7tcTcKg_UN6Pa8QNb6014zvb95MyYI2P3bi1_wbazx2Wo0OkmNvQnhgJ0RSN1WKb8pX6p8vFxi_IflDuews9zKWuuSKk_aZU9i5-is/s1600/jamie-web1s.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0-EQJQGqJT6-zANkByz52zYAvKv8rY_05-WG2jU7tcTcKg_UN6Pa8QNb6014zvb95MyYI2P3bi1_wbazx2Wo0OkmNvQnhgJ0RSN1WKb8pX6p8vFxi_IflDuews9zKWuuSKk_aZU9i5-is/s1600/jamie-web1s.jpg" height="277" width="400" /></a> </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Jamie's background has moved between commercial and narrative cinematography and photography and could be described as bordering on 'social realist with a theatrical edge'. Turning to predominantly portraiture in 2009, this recent series demonstrates a deep sensitivity towards his 'collaborators', and observations on the passing of time and mortality. Touching on Colonialism and ideas of the 'outsider', Jamie explores ways of flattening power relations, searching to create works that are not ideological or representative, but rather 'open-ended...no question to answer or theme to impose.' </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">This exhibition was coordinated by artist <a href="http://www.mai-long.com/p11-vietnam/" target="_blank">Mai Nguyen-Long</a> during a recent Hanoi visit. For more about Jamie's work visit <a href="http://jamiemaxtonegraham.com/">jamiemaxtonegraham.com</a>. </span> </span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com7tag:blogger.com,1999:blog-7562318083398132741.post-13027773006747750202014-12-13T07:17:00.001-08:002015-01-13T21:47:17.349-08:00<span style="color: orange;"><span style="font-size: x-large;">GEORGE BURCHETT</span></span><span style="color: orange;"><span style="font-size: x-large;"><i>Democracy.</i></span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"><i>
</i></span></span><br />
<span style="font-size: large;">Until 10 January 2015</span><br />
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<span style="font-size: large;"><span style="font-size: small;">Born in Hanoi, Australian artist George Burchett was delivered in exile. 15 years later he was granted his rightful citizenship. By this time he had lived in Vietnam, Russia, Bulgaria, Cambodia and France. After relocating to Australia, despite his best efforts, Burchett just never felt at home. A 2006 visit to Hanoi confirmed his decision to return and live there.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">This SLOT work has its genesis in an appreciation for 1925-1945 historical drawings from the era of French colonisation, combined with Burchett's own research into his father's journalistic photographs spanning 1954-1966, and including a close association with the independence leader Ho Chi Minh.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">The figure in conical hat is in fact interpreted directly from a photo of his father wearing a conical hat. It is repeated across the page in vermin-like fashion, as if some disposable faceless stereotype. Burchett reclaims the symbol in an ironic play on propaganda countering propaganda, a statement of stubborn persistence and resistance. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQpAnHoJbhPpHGOoLJniC9R5lrML5LziSl7xQZwmuO0GeqrnvnEud0phlS_nIuLsvAc6_mfKRoS3Vlu1m1Hm-mr8VoDS8ja28-b2mbhYGs7yuvW9sGuOr_eBxXmbANCm_GYvlWslxhPaY/s1600/blog2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxQpAnHoJbhPpHGOoLJniC9R5lrML5LziSl7xQZwmuO0GeqrnvnEud0phlS_nIuLsvAc6_mfKRoS3Vlu1m1Hm-mr8VoDS8ja28-b2mbhYGs7yuvW9sGuOr_eBxXmbANCm_GYvlWslxhPaY/s1600/blog2.jpg" height="263" width="400" /></a> </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Suspended in space like apparitions across the page these figures seem determined to be recognised; to form a statement of belonging all of their own. An inked finger, violent, impertinent, dirty punctuates the top left hand area of the work, titled Democracy (mis/spelt in Greek).</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">The work is quite simply a memoriam to the life of Burchett's father, this year posthumously awarded for his journalistic achievements. Wilfred Burchett was an Australian (minus 17 years of barred citizenship) with an interest in presenting news stories from more than one perspective - an endeavour which necessitated interviewing the "enemy" and finding their humanity, as well as the "democratic" forces in conflict.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLRKvegB4KqBY1JxziJp_3VZYCgA8DzpCTw5WeFrqQHKvrMcNEWXHboVfL36jKepen_bDL7bzEsIObiGMxZScsjNs6fk6lo3En1k4uXOD81W8xiDQ8fzV4qmteeOy2lsfcPtpZZ4a7KUz/s1600/blog4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLRKvegB4KqBY1JxziJp_3VZYCgA8DzpCTw5WeFrqQHKvrMcNEWXHboVfL36jKepen_bDL7bzEsIObiGMxZScsjNs6fk6lo3En1k4uXOD81W8xiDQ8fzV4qmteeOy2lsfcPtpZZ4a7KUz/s1600/blog4.jpg" height="280" width="400" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">
<span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Whatever the case or situation, the impact upon
Burchett, as an individual and as artist, would be inevitable.<span style="mso-spacerun: yes;"> </span>I have a sense that <i style="mso-bidi-font-style: normal;">Democracy</i> is only the tip of the iceberg,
the beginning of a very personal journey to reclaim, deconstruct, reconstruct,
the multiple forces that have pained, scarred and enriched his life, and a testimony
to the intergenerational effects of war</span>.
</span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"> - Mai Nguyen Long.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5NabgHuHO8jgYyMr0RVC3KIhymW_Wf2ynCYDU2yAjAQ79DRJrIKkaE6WFgHS6ZR5_MWnkfALQ2wKQcAiWx80XgLbrFmBelcUX0ZwTPdZXqEOEI7IrLk58St6INjyiKGBvpq4p4N9nozi0/s1600/blog3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5NabgHuHO8jgYyMr0RVC3KIhymW_Wf2ynCYDU2yAjAQ79DRJrIKkaE6WFgHS6ZR5_MWnkfALQ2wKQcAiWx80XgLbrFmBelcUX0ZwTPdZXqEOEI7IrLk58St6INjyiKGBvpq4p4N9nozi0/s1600/blog3.jpg" height="272" width="400" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;"><i><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-AU; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">This exhibition has been facilitated by <a href="http://www.mai-long.com/" target="_blank">Mai Nguyen Long</a> following her recent self-driven residency in Vietnam. </span></i>
</span></span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com16tag:blogger.com,1999:blog-7562318083398132741.post-50830674326191564692014-11-17T14:22:00.002-08:002014-12-13T07:03:05.415-08:00<span style="color: orange;"><span style="font-size: x-large;">SUZY EVANS</span></span><span style="color: orange;"><span style="font-size: x-large;"><i>Gomeroi attacking Major Mitchell and his native companion.</i></span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"><i>
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</i></span></span><br />
<span style="font-size: large;">Until 13 December 2014</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6qIydN_aWM7krKWpn80QJdaBka5g-GDJVEP02-m8-xdyN84kjfKsCopty8opmFdjDQnivobFG9J0toIh9V8fbOnxlq-JwvHqKKVSJysa1ZoyeauSuMXHO5p1QHPCB2nZnDKRd1pvyM6KV/s1600/Suzy+Evans+web1..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6qIydN_aWM7krKWpn80QJdaBka5g-GDJVEP02-m8-xdyN84kjfKsCopty8opmFdjDQnivobFG9J0toIh9V8fbOnxlq-JwvHqKKVSJysa1ZoyeauSuMXHO5p1QHPCB2nZnDKRd1pvyM6KV/s1600/Suzy+Evans+web1..jpg" height="285" width="400" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;">Gomeroi (Kamilaroi or Gamilaroi) people form one of the largest indigenous nations of Australia. They live in an area of north western New South Wales stretching from Murrurundi in the upper Hunter to Mungindi on the Queensland border and have a fierce reputation as warriors. Major Mitchell was Australia's fourth Surveyor General and the explorer who coined the phrase "Australia Felix" to describe the glorious landscape that he "discovered". He was also the first non-Aboriginal to visit Moree where Suzy Evans' people, the Gameroi live. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Most of the trees that Major Mitchell famously marked - "like doges" - have gone and along with them trees carved by the Gomeroi as funerary markers, but the record of violent confrontation that is associated with Mitchell's three expeditions remains. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi134t29pw9-re3M1Q459MA26xNv2c5Udxo4Z2gUHrpxpVJdsJ61qQEFPtp7EiCRaIU8Pyyc6choeeMEPSCPcejQ6I0TAZ54Me0YWt2dP3vj8lj4dxrUQSeloDqRW8p1F-OdCdPMC4HarQg/s1600/Suzy+Evans+web2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi134t29pw9-re3M1Q459MA26xNv2c5Udxo4Z2gUHrpxpVJdsJ61qQEFPtp7EiCRaIU8Pyyc6choeeMEPSCPcejQ6I0TAZ54Me0YWt2dP3vj8lj4dxrUQSeloDqRW8p1F-OdCdPMC4HarQg/s1600/Suzy+Evans+web2.jpg" height="266" width="400" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;">Suzy said taht she had Albert Tucker's portraits of Australian explorers and the paintings of Sydney Nolan in mind when she made her work. She admires their pictures, in particular the way that Tucker paints parrots alighting on the heads of his explorers, but can't help finding their interpretation of teh genocidal appropriation of the Australian landscape absurd. In particular, it's hard to reconcile their mythology of a hostile and punishing landscape with Mitchell's observation of an "Australian Felix", the fortunate and bountiful Australia. It reminds us that mythology is simply myth and that when it comes to telling of our country's history our mythic representation rests in the hands of our artists. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRMpDpEoaF5Bmy2iEeg_rrrwWYTqU77hZ0pYqMtw6VCRimZOLeRMKwjt7t71wV3crETrMpgyzZaCDqIu6jT4KtaMVMEaECB_YyO-kGKW88_ZmtlnmBxZsM4xUy9QCa5BATspIXfjtBSZ5y/s1600/Suzy+Evans+web3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRMpDpEoaF5Bmy2iEeg_rrrwWYTqU77hZ0pYqMtw6VCRimZOLeRMKwjt7t71wV3crETrMpgyzZaCDqIu6jT4KtaMVMEaECB_YyO-kGKW88_ZmtlnmBxZsM4xUy9QCa5BATspIXfjtBSZ5y/s1600/Suzy+Evans+web3.jpg" height="400" width="305" /></a></div>
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<span style="font-size: large;"><span style="font-size: small;">Suzy Evans' splendid work gives us a diminutive Major Mitchell being seen off the wall by a flight of Gomeroi. She takes on her role as myth-maker as surely as she does the role of image maker in this work that was exhibited in the recent Telstra National Aboriginal and Torres Strait Islander Art Award held at the Museum and Art Gallery of the Northern Territory, where Suzy says with delight: "it filled an entire wall!"</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Suzy is a local to Redfern, SLOTs neighbourhood. </span></span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com8tag:blogger.com,1999:blog-7562318083398132741.post-39837993690757554592014-10-30T15:28:00.004-07:002014-11-17T14:38:20.855-08:00<span style="color: orange;"><span style="font-size: x-large;">RELIGIOUS & META-RELIGIOUS ART IN SOUTHEAST ASIA</span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"><i>curated by Tony Twigg</i></span></span><br />
<span style="font-size: large;">Until 15 November 2014</span><br />
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<span style="font-size: large;"><span style="font-size: small;">Each year since 1951the Blake Prize for religious art has been offered. Like the more famous Archibald Prize for portraiture it encourages artists to lend their skills to a higher calling. This year SLOT is responding to the Blake Prize with an exhibition of religious and meta-religious art.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTkwEM6wta0DWmUiT3rE66WfrGTYMTPG1Np0yyBw8h1hfis2InETYm9CamD-KUqnTFCX3ZjpGF2QPHISuPBy9s3t6b-ouzkhQJT9nxGyA9QU9xVUAK9fu2Ho3jLErMwg2DINqxAfDgArP/s1600/WEB-Religious+and+meta+religous+art+SLOT.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTkwEM6wta0DWmUiT3rE66WfrGTYMTPG1Np0yyBw8h1hfis2InETYm9CamD-KUqnTFCX3ZjpGF2QPHISuPBy9s3t6b-ouzkhQJT9nxGyA9QU9xVUAK9fu2Ho3jLErMwg2DINqxAfDgArP/s1600/WEB-Religious+and+meta+religous+art+SLOT.jpg" height="265" width="400" /></a> </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">My own interest in religious art began in Manila while watching the annual Black Nazarene procession - when an ancient figure of Christ is paraded in the street through such frenzy that each year several people are crushed to death. After the figure of Christ passed I was surprised to see another making its way through the crown, then another, and another. Patiently it was explained to me that it is the image that is sacred not the object, and while there are many objects, there is only one image.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">This idea inverts our usual understanding of art where worthiness is measured by an object's artistic merit or monetary value irrespective of its subject matter. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">In our exhibition that contrasts religious and secular art, colonialism emerges as a common concern. That religious art was employed as an instrument of colonization in South East Asia is demonstrated by the banner of Thanh Teresa that was made for a Saigon (Ho Chi Min City) church in 1952, while the Viet Minh were fighting for Vietnam's independence from France. The banner opulently celebrates the French Saint Therese of the child of Jesus, a nun surrounded here by Vietnamese symbols of good luck and firmly amalgamated with the Fleur-de-lis, a symbol that has united the Holy Trinity and the French nation since the Middle Ages. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">In the Philippines, where colonialism was more successful, veneration of religious images has morphed into a personal identification with religious figures. The Virgin Mary has become the Filipina mother and the Santo Nino, the child Christ, has become the Filipino child, both possessed by the Church physically and meta-physically in an endlessly repeating cycle. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">In contrast to this arcane art predicated on a single absolute truth, SLOT offers meta-religious art - an unholy hegemony of Nationalism, leftist politics and abstraction - in essence Modernism. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">And while it might be tempting to identify Modernism as a religion, it would entail ignoring a central ideal - the single word shouted by Indonesia's Joko Widodo at the conclusion of his inauguration speech, "MERDEKA" - or Freedom - it is an elusive thing in South East Asia, yet its presence and its absence ask the central question - what we are to become?</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">- Tony Twigg</span></span><br />
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</span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com5tag:blogger.com,1999:blog-7562318083398132741.post-77669910938361626582014-10-02T16:01:00.003-07:002014-10-30T16:05:23.092-07:00<div style="text-align: right;">
<span style="color: white;"><span style="font-size: x-large;">CURRENTLY @ D.I.P.</span></span></div>
<span style="color: orange;"><span style="font-size: x-large;">WENDY BORNHOLDT</span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"><i>Gold</i></span></span><br />
<span style="font-size: large;">September 2014 - February 2015</span><br />
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<span style="font-size: large;"><span style="font-size: small;">Originally from New Zealand, Wendy Bornholdt has exhibited installation works widely in NZ and the UK. Bornholdt was drawn to window works in 2006 when she devised a small work for the Dunedin Public Art Gallery that described a girl who liked to look in fish shop windows. She has since executed window works in NZ and here in Sydney. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphenNl09iBMtJKV8Rl-bAlBthsQPeXhWlXCP9mlzyV7yUg84a7yTGq32b_tMSOxnXFPVqvcjZBskA_QCPKDSTWq9-TAdSCGYVf6Peeg6RR6CqxyRS2_LjUa_a157xtTwhgkbcpBoVABOgON/s1600/Wendy+3small-blog.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphenNl09iBMtJKV8Rl-bAlBthsQPeXhWlXCP9mlzyV7yUg84a7yTGq32b_tMSOxnXFPVqvcjZBskA_QCPKDSTWq9-TAdSCGYVf6Peeg6RR6CqxyRS2_LjUa_a157xtTwhgkbcpBoVABOgON/s1600/Wendy+3small-blog.jpg" height="292" width="400" /></a> </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Gold - made for DIP (Darlington Installation Project) - is her fifth window work, and addresses beautifully the window's vision to address site through installation. Early next year she will install another work at DIPs sister gallery SLOT on Botany Road.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Simply, Gold is an old man's reflection on his childhood days at the beach. For several generations at least it also evokes a mood reflected by the work's site, an old corner shop. A fragment of a sign hints at it; a bit of history documents it, but mainly it's a memory that we can smell as readily as we can smell the sea at a distance through time - it's nostalgia.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Here the text floats on its window and is overlaid by reflections of the street and from within, including the roundabout opposite that Wendy describes as being evocative of a lifebuoy - a lifebuoy that is reflected in her text. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Wendy's work is an accordion of associations - half prose, half graphic - that is "properly" installation art, designed to catch our eye as it wanders the street with an offering as tangible as a flight of fantasy.</span></span><br />
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<span style="mso-ansi-language: EN-AU;"><i>DIP is a partner window project of SLOT. It is located on the corner of Abbercrombie Street and Golden Grove, Darlington; about a ten minute walk from SLOT. The space is made available by Lloyd Suttor, who runs a bed and breakfast at the location.</i></span></div>
<span style="font-size: small;"> </span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com32tag:blogger.com,1999:blog-7562318083398132741.post-41983894937399701102014-10-02T15:24:00.000-07:002014-10-30T15:18:20.578-07:00<span style="color: orange;"><span style="font-size: x-large;">JAYANTO DAMANIK</span></span><i><span style="color: orange;"><span style="font-size: x-large;">Untitled tea bags (strange fruit)</span></span></i><br />
<span style="font-size: large;">Until 18 October 2014</span><br />
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<span style="font-size: small;">Jayanto's tea bags hang with beauty, delicately stained by dried tannin into a kind of exoticism that we are quick to think of as Asian. Jayanto is Indonesian. But he's just as quick to point out that the tea bag was invented somewhere in America sometime in the 70's and that tea is of course Chinese. Indeed this artwork reaches across cultures - it's an artefact of the perverse colonialism that is the modern world. </span><br />
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<span style="font-size: small;">"I created conversations with used tea bags, which I began collecting in 1997. Each tea bag...contains a memory of either my family or my friends...every tea bag tells a story of daily life's grievances and joys. I embrace their history and intertwine it with my own. I encourage viewers to recognise flesh, mind and spirit in order to create individual meaning." </span></div>
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<span style="font-size: small;">This is how Jayanto described his tea bag installation to Slot director Tony Twigg, continuing, "Nothing is ever wasted and all materials of waste contain their unique history. They serve as tactile reminders of the past and give meaning to the present."</span></div>
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<span style="font-size: small;">On the day Jayanto installed this piece, and over yet another cup of tea, his conversation turned to Indonesia's famous Black May Race Riots that occurred in May 1998, triggered by food shortages and mass unemployment that eventually led to the resignation of Indonesia's President Suharto and the fall of his government. The main targets of the violence were the ethic Chinese, however, most of the people who died in the riots were the Indonesian looters who had targeted the Chinese owned shops. Jayanto plucked the title of Billie Holiday's immortal song of racial intolerance <i>Strange Fruit</i> to sum up his piece.</span></div>
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<span style="font-size: large;"><span style="font-size: small;">Jayanto's fruit dangles for us; artfully melodious in their arrangement they await our mediation as whispers. </span></span></div>
SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com3tag:blogger.com,1999:blog-7562318083398132741.post-88910130615540374782014-09-04T19:45:00.001-07:002014-10-02T15:09:45.077-07:00<div style="text-align: left;">
<span style="color: orange;"><span style="font-size: x-large;">ARTHUR APANSKI</span></span></div>
<span style="font-size: large;">Until 27 September 2014</span><br />
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">It is not surprising to
learn that Arthur studied theatre production, his expansive paintings construct
a theatrical narrative. It is surprising, however, to learn that he is a
self-taught artist, only coming to painting full-time in 2006 after moving to
the Illawarra, south of Sydney.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">His meticulous canvases range in subject matter, their hyper-real, almost surreal imagery
create a tension between the man-made and the nature world. Arthur is
interested in exploring possible futures and the role that we play within that
– proactive, political, environmental, humanitarian. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">This painting, <i>Excess and hope for little Ethan </i>(2012),
fuses notions of fertility and bounty with a darker-side of mortality – grenades,
a gas mask and ghostly sculls – probe us to question man’s interruption to that
natural cycle. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">The cyborg-like male figure
composites the nostalgic terror of a gas mask with a mechanical prosthetic limb,
probing us to think of the historical markers that interrupt how we navigate
our place on this planet. </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">Is Arthur’s epic painting a
message of warning or hope? You will have to decide your own fate – our
collective future. </span></span></div>
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com4tag:blogger.com,1999:blog-7562318083398132741.post-34644732078758323422014-08-07T05:25:00.000-07:002014-09-04T19:41:31.873-07:00<span style="color: orange;"><span style="font-size: x-large;">SUE BESSELL + JONI BRAHAM</span></span><span style="font-size: large;"> </span><br />
<span style="font-size: large;">Until 30 August 2014</span><br />
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">This exhibition brings
together two very different artistic practices and yet, surprisingly, holds
much in common. Just as Slot sits within a landscape of temporal experiences –
of staccato traffic, people passing, grabbed moments between here and there
– this exhibition captures ‘the creative process of interruption’, a phrase Sue
Bessell used to describes her digital photographic prints. </span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">In a similar way, Joni
Braham’s assemblage sculptures are collected fragments; found objects that
carry narrative, interrupted, and retold in new forms. A piece of lace blown up Sue's black and white digital collage forms a backdrop while a fragment of material embellishes
story-telling through a fantastical object. Both consider placement and material to draw our meaning.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">Sue adds: ‘</span><span style="font-size: small; line-height: 150%;">In unsettling the relationship
between the photographic image and its corresponding reality, a space of
contestation opens up, where new meanings and experience are located, where the
liminal self resides.’</span></span></div>
<span style="font-family: Arial; font-size: 14.0pt; line-height: 150%; mso-bidi-font-size: 10.0pt;"> </span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">This installation screams
and jars and yet celebrates life with humour and poignant checks and balances. ‘The evocative (re)assemblies
transform self portraiture into self representation,’ Sue continued in her
statement.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">It is a
sentiment echoed in Joni’s words: ‘</span><span style="font-size: small; line-height: 150%;">There is
a joy in making art from materials that originally were used for a completely
different purpose…In some sense the figures often have a sense of power tinged
with foreboding or mystique juxtaposed with playfulness and eccentricity. Almost always female or androgynous
they are bold and strong. A
feminist ethic informs works.’</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small; line-height: 150%;">Therein the work of both artist carry rewritten histories. The juxtapositions within
Sue’s photographic work, between original and imperfect hand-manipulated marks are amplified by Joni’s completely <span style="font-family: inherit;">idiosyncratic sculptures – both exploring
the multiplicity of self representation, and beyond. </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="line-height: 150%;">But mostly, what both artists do, is offer the viewer the platform upon
which to invent their own story. </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><i><span lang="EN-US" style="line-height: 150%;">This exhibition has been facilitated by artist Mai
Nguyen-Long </span></i>
<i><span lang="EN-US">as
part of Slot’s Illawarra Series.</span></i><span lang="EN-US"> <i>Showing
until 30 August.</i></span></span></span>
SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com1tag:blogger.com,1999:blog-7562318083398132741.post-12765252553400762032014-07-06T14:47:00.000-07:002014-08-07T05:02:33.844-07:00<span style="color: orange;"><span style="font-size: x-large;">JUDY BOURKE</span></span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b><i><span style="font-size: x-large;">e </span>Wasted</i></b></span></div>
<span style="font-size: large;">Until 5 August 2014</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipkZk4TxU5V-5fErMi9TrdzmmleM-D9tLebmxGlfCFdNNPHCLv9xluvoLQ4WlIfM-Y64PclN-uehl1j6jz38FwsOjavNSgUBsaTP62-7bf-1KxeNiRW3vnzl6bXwRwARiY5vDisYfVEFMc/s1600/blog3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipkZk4TxU5V-5fErMi9TrdzmmleM-D9tLebmxGlfCFdNNPHCLv9xluvoLQ4WlIfM-Y64PclN-uehl1j6jz38FwsOjavNSgUBsaTP62-7bf-1KxeNiRW3vnzl6bXwRwARiY5vDisYfVEFMc/s1600/blog3.jpg" height="290" width="400" /></a></div>
<br />
<span style="font-size: small;">Judy Bourke simply writes:</span><br />
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<div class="MsoNormal" style="text-align: right;">
<span style="font-family: inherit;"><span style="font-size: small;">I don't send regular
hand written letters anymore</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I get e mail</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I read e newspapers</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I send e Christmas
cards</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I receive e
newsletters</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I generate e messages</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I use e remote
controls</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">I am creating <b><i>e
waste</i></b></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLYVWrHy-IVlnOAOWHQBCSZfM3aA8eA5pn9RiBjr6X2o77Jr6wCvAgoW5UFfFWWDMekNi9951WCmW7hlFQr8MBdaN_ePuePKSu_YRzHhJLAt7orZCoyYEGAK_Q7g1Pa9s_IGEQtT5IuI-4/s1600/blog1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLYVWrHy-IVlnOAOWHQBCSZfM3aA8eA5pn9RiBjr6X2o77Jr6wCvAgoW5UFfFWWDMekNi9951WCmW7hlFQr8MBdaN_ePuePKSu_YRzHhJLAt7orZCoyYEGAK_Q7g1Pa9s_IGEQtT5IuI-4/s1600/blog1.jpg" height="283" width="400" /></a></div>
<br />
<span style="font-size: small;">Her sculptural collage takes the universal symbol for e-commerce and constructs it from antiquated technology: brick-sized mobile phone casing, data chips from superseded products, circuit boards from perhaps a transistor radio or facsimile machine - all against a backdrop of a data stream.</span><br />
<span style="font-size: small;"><br /></span>
<br />
<br />
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-66233312348017551762014-06-13T02:54:00.000-07:002014-07-06T14:37:09.515-07:00<div style="text-align: right;">
<span style="color: white;"><span style="font-size: x-large;">CURRENTLY @ D.I.P.</span></span></div>
<span style="color: orange;"><span style="font-size: x-large;">JIMMY NUTTALL</span></span><br />
<span style="font-size: large;"><i><b>Sydney (Quantas)</b></i> </span><br />
<span style="font-size: large;">@ D.I.P - Darlington Installation Project</span><br />
<span style="font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3rAQGwLm4jjQxfIG14-OzQXwHnbarKono5iIHumRBEXBtEgVATzVYkTs7gt9W9xLhvkSZorQPEPIe9EEjIhVx0JTFKsY05wXIL3erjmtIuHFm-wr5l4yP_nCocfwkzKy8sMIBPq1KEnUy/s1600/jimmy+blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3rAQGwLm4jjQxfIG14-OzQXwHnbarKono5iIHumRBEXBtEgVATzVYkTs7gt9W9xLhvkSZorQPEPIe9EEjIhVx0JTFKsY05wXIL3erjmtIuHFm-wr5l4yP_nCocfwkzKy8sMIBPq1KEnUy/s1600/jimmy+blog.jpg" height="266" width="400" /></a></div>
<br />
Jimmy Nuttall's artfully draped silk scarf offers, as he says, 'a playful take on nationalism' with a 'luxury item presented in a provisional manner.' Of course, it is the Qantas silk scarf's iconic symbol and corporate logo draped across the gracious necks of flight attendants across generations, the "trolley-dolly" ambassadors of Australian good will, that might not be so.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTdcfgdHKqOj8N44TqQ46AQYkOMpkLYpFe8FCSovak1_LdvjHywPEj07WjPF1dgT3jU4CvxAJVd0qJFI4l18AxzJGeBepLTmjl2TlNC-K1SJsP-RHQd1OoXDxdUlQ_1Gtq6I_sjc-V7kh/s1600/SYDENY+(Quantas)+WEB+RES.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTdcfgdHKqOj8N44TqQ46AQYkOMpkLYpFe8FCSovak1_LdvjHywPEj07WjPF1dgT3jU4CvxAJVd0qJFI4l18AxzJGeBepLTmjl2TlNC-K1SJsP-RHQd1OoXDxdUlQ_1Gtq6I_sjc-V7kh/s1600/SYDENY+(Quantas)+WEB+RES.jpg" height="400" width="266" /></a></div>
<br />
Nationalism can become murky territory if we think too long, while Peter Allan sings along to "I still call Australia home", lifted as a Qantas commercial that might come back as a memory ruffling the playful elegance of Nuttall's iconic "sculpture", which also play's with the corporate name through its title.<br />
<br />
D.I.P - or the Darlington Installation Project - is a satellite project of Slot and is a corner window gallery located at 30 Golden Grove on the corner of Abbercrombie Street.<br />
<br />
Jimmy's exhibition continues Slot participation in Dispatch - a project linking window galleries across Australia. <br />
<br />
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-49642989341616089622014-06-13T02:36:00.002-07:002014-07-06T14:35:22.465-07:00<span style="color: orange;"><span style="font-size: x-large;">JANICE FIELDSEND + MARIE McMAHON</span></span><br />
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<span style="font-size: large;"><b><i>Two
artists go for a walk at Kamay, Botany Bay National Park</i></b></span></div>
<span style="font-size: large;">Until 5 July 2014</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz1YrXsSUz9pE2xSRSvOXmXLGbB5tab0i9Q4FNTvicaRzPUYZm8N3_0Ya0PCK2aAtZmDF1PHRtUrqBF85r74uP_lLgHZONbx_KOriv1OzTNB6ck0-Qh_fAMDBs6PoTN2XdBZ1y5Dd9gGLk/s1600/Jan+blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz1YrXsSUz9pE2xSRSvOXmXLGbB5tab0i9Q4FNTvicaRzPUYZm8N3_0Ya0PCK2aAtZmDF1PHRtUrqBF85r74uP_lLgHZONbx_KOriv1OzTNB6ck0-Qh_fAMDBs6PoTN2XdBZ1y5Dd9gGLk/s1600/Jan+blog.jpg" height="363" width="400" /></a></div>
<br />
<span style="font-size: small;">Slot is located at the start of Botany Road. This exhibition takes the other end of this urban artery as its inspiration - a wild landscape where the city meets the sea. It is the shared journey of two artists - Janice Fieldsend and Marie McMahon - and while their working styles are extremely individual, their passion 'to explore how nature becomes incorporated into culture'. as Jan describes, unifies their work. Their regular walks to this landscape over a prolonged period have brought about an alert synthesis in the work - one the found object more literally, while the other the texture and meter of that walk. Both have deep embedded poetics of location, history, time and memory.</span><br />
<br />
<span style="font-size: large;">
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</span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-60670057177921801372014-05-26T04:27:00.000-07:002014-06-13T02:25:33.800-07:00<span style="color: orange;"><span style="font-size: x-large;">ROGER FOLEY-FOGG + JESS COOK</span></span><br />
<span style="font-size: large;"><i><b>Light Collaboration 2</b></i> </span><br />
<span style="font-size: large;">27 May - 7 June 2014</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6ixNgm_pJOlrEhEIAsduFcW7_WcmV6bYtW_QUgam4oYMyVQvqqdTDkmqTjECRLpLhLNrxmUGlWsjN-MKx89Khi2rgutQJkxvFP8nvCWvvHWiX-1sNSyW0kXiXkjZxMOgszHNfwD6xcMa/s1600/2-blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6ixNgm_pJOlrEhEIAsduFcW7_WcmV6bYtW_QUgam4oYMyVQvqqdTDkmqTjECRLpLhLNrxmUGlWsjN-MKx89Khi2rgutQJkxvFP8nvCWvvHWiX-1sNSyW0kXiXkjZxMOgszHNfwD6xcMa/s1600/2-blog.jpg" height="238" width="400" /></a></div>
<br />
<span style="font-size: small;">A little over three years ago Roger Foley-Fogg (aka Ellis D. Fogg), Australia's doyen of psychedelic lighting design, proposed a work for Slot for the cooler months of the year so that he would warm the street with his art.</span><br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBuB2cPSaJVD5ac8P9MMwxWB-xjbsKWeJN5Bism5_FUmbnMrIUGr1jVP0lS3nXH-a8KRnFmSk34G_fcEjClX8414EvgCzFjgBalPdXBK-yoRDRPCcIr5UBKMRYwRIJ8bhvlsUN7VN9dYtt/s1600/4-blog.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBuB2cPSaJVD5ac8P9MMwxWB-xjbsKWeJN5Bism5_FUmbnMrIUGr1jVP0lS3nXH-a8KRnFmSk34G_fcEjClX8414EvgCzFjgBalPdXBK-yoRDRPCcIr5UBKMRYwRIJ8bhvlsUN7VN9dYtt/s1600/4-blog.jpg" height="285" width="400" /></a> </span></div>
<br />
<span style="font-size: small;">This is Roger's third response to Vivid Sydney, and another collaboration with Jess Cook, artistic director of the independent art space 107 Projects in Redfern - a shot walk from Slot. </span><br />
<br />
<span style="font-size: small;">Extending this piece in Slot are two wall-based Lumino Kinetic works at 107 Projects, one after the late Martin Sharp and the other after Sonia Delaunay. </span><br />
<br />
<span style="font-size: small;">In a third work Roger collaborates with Slot co-director artist Tony Twigg, projecting video works from his celebrated live light shows onto a "paper" screen made by Twigg.</span><span style="font-size: small;"> </span><br />
<br />
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<span style="font-size: small;"><span lang="EN-US" style="line-height: 150%;">In comparison to the
soaring production values of Vivid, Redfern’s offering is a more spontaneous response to light and space. </span></span><br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span lang="EN-US" style="line-height: 150%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEZkG-Y5zv6yKDMWa2SOl8gQxdrw2EDbW3gYP1mPpRJXzwvw1oIclidSnQIR5YOciTWF0ctUcSq-oDYxBShn7cK2wE3VsswK6Ivo8h8UgjZ0hovRAO3M9ehaBwqhSjOzSpvGAiHflQz44k/s1600/6-blog.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEZkG-Y5zv6yKDMWa2SOl8gQxdrw2EDbW3gYP1mPpRJXzwvw1oIclidSnQIR5YOciTWF0ctUcSq-oDYxBShn7cK2wE3VsswK6Ivo8h8UgjZ0hovRAO3M9ehaBwqhSjOzSpvGAiHflQz44k/s1600/6-blog.jpg" height="276" width="400" /></a> </span></span></div>
</div>
SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-17246899393805291352014-04-25T18:17:00.000-07:002014-05-26T03:29:36.396-07:00<span style="color: orange;"><span style="font-size: x-large;">S.A. ADAIR</span></span><br />
<span style="font-size: large;"><i><b>No Conclusion</b></i> </span><br />
<span style="font-size: large;">26 April - 17 May 2014</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgudLgZJcY2Ndmn3EKbT0Ba9A1eO21DRF8x7pcu0WoPTXPo8pOIpHf32gF_SiP_SRvGUafPev7xh0OeqykDTJv6R8HY0s_uH8Witb-Fk8db9h4T4OPJ9HXuky3OEsYFVF7Fnq0HaHQJRNja/s1600/blog1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgudLgZJcY2Ndmn3EKbT0Ba9A1eO21DRF8x7pcu0WoPTXPo8pOIpHf32gF_SiP_SRvGUafPev7xh0OeqykDTJv6R8HY0s_uH8Witb-Fk8db9h4T4OPJ9HXuky3OEsYFVF7Fnq0HaHQJRNja/s1600/blog1.jpg" height="271" width="400" /></a></div>
<br />
<span style="font-size: small;">S.A Adair is an outstanding installation artist working at an edge where conventional drawing meets ephemeral sculpture. Using materials such as found objects, pigment and felt - as presented in this piece for SLOT - she creates images that evoke the cellular structure of the organic world. </span><br />
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<div style="text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQAslkua63wY46e-fRNYZ-wriB9q8c0CHE45JAEyrj6r5O-ErdgDdOg5dPODuzlgMYqxGOaB7okr30gTHEB2s7ADO5eEJUkA4oZg_mUhh5BizcOG2pVSc9zcMcM_z9oXqloGE3Pzr9JxrN/s1600/blog2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQAslkua63wY46e-fRNYZ-wriB9q8c0CHE45JAEyrj6r5O-ErdgDdOg5dPODuzlgMYqxGOaB7okr30gTHEB2s7ADO5eEJUkA4oZg_mUhh5BizcOG2pVSc9zcMcM_z9oXqloGE3Pzr9JxrN/s1600/blog2.jpg" height="243" width="400" /></a> </span></div>
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<span style="font-size: small;">'Forms and ideas are generated through experimentation where chance and errors have an integral part to play in the development of my work,' said Adair. 'I like to think that my work functions as an undercurrent, a murmuring - whispering to the viewer and encouraging subtle reflections of self, space and environment.'</span><br />
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjti_5pXPEaM1fxm8rYlV83yyM6ekGjSOs-ctcbob4XTdVM4VA9CX6udYvKFMmeNec5pTS2SS8IRvgVzubB8uGmiijz8VOurkmv5eARqfMWexrvsl17h5UGdbywyfGT5LgPpXBSS97_1och/s1600/blog3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjti_5pXPEaM1fxm8rYlV83yyM6ekGjSOs-ctcbob4XTdVM4VA9CX6udYvKFMmeNec5pTS2SS8IRvgVzubB8uGmiijz8VOurkmv5eARqfMWexrvsl17h5UGdbywyfGT5LgPpXBSS97_1och/s1600/blog3.jpg" height="271" width="400" /></a> </span></div>
<span style="font-size: large;"><span style="font-size: small;">To view other works by S.A Adair visit her site <a href="http://s-a-adair.tumblr.com/">s-a-adair.tumblr.com</a></span> </span>SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-72032497651992082872014-03-31T01:16:00.001-07:002014-04-25T18:18:30.912-07:00<span style="color: orange;"><span style="font-size: x-large;">TONY TWIGG</span></span><span style="font-size: large;"><i><b> </b></i></span><br />
<span style="font-size: large;"><i><b>Found Object-Hood</b></i> </span><br />
<span style="font-size: large;">Until 26 April 2014</span><br />
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Lately I have been considering randomly generated accidents and actualities in my work - it is the process of inventing meaningfulness. I have been considering this by associating overtly narrative works made many years ago with pieces I am presently making that maintain the casual appearance of their apparently accidental beginnings.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqk21cuXS8FWpDQqUJ4UWPzNpPCw8cbO3tulPJ5wkPDYFyzdkaT3PyBgOS-i8JYUl5_TL2s9rV8uyp_my4-qiRqAv-WKqFcgxESbtN9h7AXI_Kj0bc624giW5BpcvUMJHcC_N-KZN4QI-n/s1600/blog2.jpg" style="margin-left: 1em; margin-right: 1em;"><br /></a> <br />
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Here a tube made in 1989 inscribed with ideograms that articulate a self-invented creation myth is set against some timber off-cuts collected and stacked a couple of weeks ago in my studio during a periodic clean up. In my studio the pile of timber seemed to juggle the contradictory ideas of intent and inevitability. I wondered how much of the narrative inherent in my art practice might leach into an activity as unconsidered yet equally uncontrived as stacking timber? Could there be a truth in accidents?<br />
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I refer to Robert Hughes' words in Time magazine: "The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning."<br />
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-33535664647182024972014-02-15T01:13:00.001-08:002014-04-25T18:18:05.460-07:00<span style="color: orange;"><span style="font-size: x-large;">JULIA KENNEDY-BELL</span></span><span style="font-size: large;"><i><b> </b></i></span><br />
<span style="font-size: large;"><i><b>Paper Knots</b></i> </span><br />
<span style="font-size: large;">15 February - 15 March 2014</span><br />
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This piece is an exercise in expanding painting from a 2-dimensional expression to a deeper planar experience. Using high contrast, high-vis colours that "pop" to make the painting more visually active in its contrast with the space around it.<br />
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Looking at this painting one might consider the work of American painter Frank Stella, however for Julia these echoes of 20th century abstraction are less important than her personal quest in understanding painting, taking the angles and planar relationships of abstraction and rendering them "physically" to understand how form fills space. Only through making, can it then be painting with a knowing. <br />
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com1tag:blogger.com,1999:blog-7562318083398132741.post-61841061091689807592014-01-18T21:46:00.001-08:002014-04-25T18:18:59.246-07:00<span style="color: orange;"><span style="font-size: x-large;">LISA WOOLFE</span></span><br />
<span style="color: orange;"><span style="font-size: x-large;"> </span></span><span style="font-size: large;"><i><b>Coppice 4.0</b></i></span><br />
<span style="font-size: large;">19 January - 15 February 2014</span><br />
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Lisa Woolfe lives on the edge of the Manly Dam catchment area in Sydney - 270 hectares of dense bush abutting her home. It has been the persistent landscape of her everyday, her memories and her inspiration, as she says: 'I am interested in looking at my subject from the inside out, exploring the experience of being in it, how it moves and does not, how it sounds, smells, its scale and textures.'<br />
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As an artist who holds drawing at the heart of her practice, the sense of hand and gesture in this delicate installation of kozo (rice paper) with ink and wax fuses an Asian aesthetic with one that is quintessentially Australia.<br />
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Lisa added, 'The work explores the relationships between the elements, the spaces between adn the rhythms of the bush landscape.'<br />
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com1tag:blogger.com,1999:blog-7562318083398132741.post-27010713713943440672013-12-28T18:14:00.002-08:002014-04-25T18:18:41.753-07:00<span style="color: orange;"><span style="font-size: x-large;">CAMILLE SERISIER</span></span><span style="font-size: large;"><i><b> </b></i></span><br />
<span style="font-size: large;"><i><b>Fringe Dwellers</b></i></span><br />
<span style="font-size: large;">29 December 2013 - 18 January 2014</span><br />
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These photographic works by Camille Serisier investigate our connection, or lack there of, with the natural environment. Made last September during a residency at Laughing Waters, 30 kilometers outside Melbourne in bush land, it was a landscape that reminded her of growing up in Wollongong on the South Coast, describing 'the bush was where you went to get away from adults and explore personal freedoms'.<br />
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Her works ask: "Are we merely stage players in this grand environment? Where does mythology and reality meet?" Camille sets about exploring narrative construction and interpretation, taking the traditional gendered narrative of the Australian bush and applying an eco-feminist critique.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQvACUOuuum2guLjU2bvDfzSA3NlMcXhQG-C2QoB_DUqBQ-IK542XzSagGP2IXdhTNEqxbWowV-p1fgeT-n536Rz69V9J9piAe-03143k6O_8LxZtohEH3IC-mRu0_L9BGNVz3GkL6nmD2/s1600/camille-blog1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQvACUOuuum2guLjU2bvDfzSA3NlMcXhQG-C2QoB_DUqBQ-IK542XzSagGP2IXdhTNEqxbWowV-p1fgeT-n536Rz69V9J9piAe-03143k6O_8LxZtohEH3IC-mRu0_L9BGNVz3GkL6nmD2/s400/camille-blog1.jpg" height="400" width="266" /></a></div>
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Here a figure is inserted into a painterly landscape, masked with abstracted or deconstructed fragments that add to the dramatic 'stage craft' of the image. It is not surprising to learn Camille trained as a scenic painter at Scenic Studios in Melbourne and Opera Australia in Sydney following her fine arts degree.<br />
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This exhibition comes to SLOT as part of the <a href="http://dispatch.net.au/" target="_blank">Dispatch</a> project linking seven window galleries across Australia.<br />
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-43296042771675697012013-12-09T13:43:00.000-08:002014-04-25T18:19:54.378-07:00<div style="text-align: left;">
<span style="color: orange;"><span style="font-size: x-large;">CHARLES COOPER</span></span></div>
<span style="font-size: large;"><i><b>Sea Change</b></i></span><br />
<span style="font-size: large;">10 - 28 December 2013</span><br />
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My 'Sea Change' paintings can be seen as the material of future archaeology. The fragmented road surfaces allude to damage caused by storm surges, floods, land slippages etc. the increasingly familiar results of extreme weather events. The shattered assemblages are intended to evoke the sublime, the sense of awe in the face of nature's wrath.<br />
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The title 'Sea Change' refers not only to coastal damage brought about by rising sea levels, but also to a global shift in attitude regarding the future. (Charles Cooper)<br />
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Charlie's paintings are typically graphic in impact, and what appears at first glance to be a composition in abstraction, turns out to be a long interest in the vernacular of the road - signage, bitumen, road markings - aptly shown at SLOT, located at one of Sydney's busiest intersections.<br />
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Charles is represented by Annandale Galleries.<br />
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-38925874387814678902013-11-13T00:04:00.000-08:002013-12-09T13:51:18.049-08:00<span style="font-size: x-large;"><span style="color: orange;">IDA LAWRENCE + EKO BAMBANG WISNU</span></span><span style="font-size: large;"><i><b> </b></i></span><br />
<span style="font-size: large;"><i><b>Nge-kost</b></i></span><br />
<span style="font-size: large;">12 November - 7 December 2013</span><br />
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Translated as a room in a boarding house, the kost is popular with students in Indonesia, functioning as a complete living ecosystem: bedroom, living room, eat-in entertainment zone, storage space. When faced with the proposition of making a work for SLOT, Ida and Eko - who met in Yogyakarta in such a kost while studying art art school - realised that SLOT mirrored almost the same floor dimension of the average boarding room.<br />
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Responding to the site, they have created this urban kost for living; its bower bird-like collection of objects and make-do aesthetics of furniture reflect both Indonesian kost living and slot's neighbourhood as furniture is often recycled and reloved, and boarding houses jostle with gentrification, blurring objects between places.<br />
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Eko said, ' Working in the window is not so dissimilar to living in a kost where everyone sees and knows everything.' Both artists work in a range of materials and this is their first collaboration in Australia.<br />
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com2tag:blogger.com,1999:blog-7562318083398132741.post-35100697106938778872013-10-19T02:25:00.000-07:002013-11-12T23:51:28.472-08:00<span style="font-size: x-large;"><span style="color: orange;">HERMISANTO + TONY TWIGG</span></span><span style="font-size: large;"><i><b>2003 = 2012</b></i></span><br />
<span style="font-size: large;">20 October - 9 November 2013</span><br />
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At the time SLOT opened in 2003, Tony Twigg was in Manila. Having spoken about the project with artists there, upon leaving the Philippines Hermisanto handed Tony a tightly rolled wad of drawings to carry on the plane. It was the first project that fully realized the ethos of SLOT: to have a conversation with our neighbourhood outside the conventional constraints of freight and the kind of exchange routes reliant on institutional endorsement.<br />
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For our tenth anniversary, Tony has revisited Hermi's piece.<br />
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<i>Original 2004 installation of Hermisanto's "Firedancer" </i></div>
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<i>Detail of revisited artwork now on show at SLOT </i></div>
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-5784515874824555112013-10-07T05:50:00.003-07:002013-10-19T16:08:34.067-07:00<span style="font-size: x-large;"><span style="color: orange;">MEGAN HANSON</span></span><br />
<span style="font-size: large;"><i><b>Meg & Co.</b></i></span><br />
<span style="font-size: large;">6 - 19 October 2013</span><br />
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Curated by Alex Bellemore, this exhibition combines photography, sculpture and light. Central to the installation is a collection of eight blow-up travel pillows that Megan has cast in concrete and stacked. Titled: <i>Zachary, Jackson, Levon and Elijah, Joseph, Daniel, Furnish and John</i> (2013) the objects become animated in themselves, and sit in conversation with a small looped video.<br />
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In her installation Megan plays with perspex sheeting, text and rope, the window cast in pink and green light - volume and weight become an enigma. </div>
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-10842735057622627642013-09-17T16:56:00.000-07:002013-10-19T02:04:19.838-07:00<span style="font-size: x-large;"><span style="color: orange;">DIOKNO PASILAN</span></span><span style="font-size: large;"><i><b> </b></i></span><br />
<span style="font-size: large;"><i><b>Ballarat I.D.</b></i></span><br />
<span style="font-size: large;">18 September - 5 October 2013</span><br />
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This suite of portraits are made from iron dust. It cuts to the core of our contemporary sense of landscape, and the impact this mining boom has on us all.<br />
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Filipino artist Diokno Pasilan lived in Western Australia for 16-years, recently moving to the Victorian town of Ballarat, a place with its own history of resources. Built on gold mining at the turn of the century this is a portrait of the town today.<br />
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Diokno is in town for Sydney Contemporary, where his work will be presented by The Drawing Room. SLOT it delighted to present this satellite exhibition. <br />
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<i><span style="font-size: x-small;">Installing exhibition with SLOT co-director Tony Twigg </span></i></div>
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SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-74045079480158541942013-08-18T01:55:00.000-07:002013-09-17T16:47:07.306-07:00<div style="text-align: right;">
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<span style="color: white;"><span style="font-size: x-large;"> </span></span><span style="font-size: x-large;"><span style="color: orange;">LEANNE WATERHOUSE</span></span><br />
<span style="font-size: large;"><i>Solitary Cohabitation Revisited</i></span><br />
<span style="font-size: large;">18 August - 14 September 2013</span><br />
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As part of the <a href="http://www.dispatch.net.au/index.html" target="_blank">Dispatch project</a> this installation has come to SLOT from the Northern Centre for Contemporary Art in Darwin, where it was originally presented on large perspex sheets floated one in front of the other.<br />
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Leanne has deconstructed and reconstructed her faux Rorschach inkblots as a loose metaphor for the effect the environment plays on our emotions and psyche. Cut into lozenge-shaped forms and then stitched back together like DNA chains or torrential tropical rain, there is a lightness and energy to this installation that holds the space with a presence, despite its fragility. </div>
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Echoing rain, and deeply influenced by living in the top end, Leanne says of this work, "I use the oval as a constant theme through much of my work - it has many layers of meaning. For me here it explores concepts of isolation, repeated thought, and 'over-thinking'. More broadly it links between our environment and mental health."</div>
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<span id="goog_2006749389"></span><span id="goog_2006749390"></span><br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-89481547817461367812013-07-15T14:44:00.000-07:002013-08-18T01:34:01.588-07:00<span style="color: orange;"><span style="font-size: x-large;">TONY TWIGG</span></span><i><span style="font-size: large;"> </span></i><br />
<i><span style="font-size: large;">Aberrant Stripe Painting</span></i><br />
<span style="font-size: large;">15 July - 17 August 2013</span><br />
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"These clean, seemingly musically alert compositions are, I claim, aberrant. Aberrant at least with regard to 'Stripe Painting', an obscure genre of abstract painting that examined the retinal activity generated by precisely aligned vertical stripes of coloured paint across the surface of a canvas. For me, stripes become lines, grabbed up in bundles to be rearranged as 'compositions', or at least clusters of marks that have a precise physicality. Colour has been washed away leaving tone triumphant. A rhythmic placement of elements against the inferred presence of others is key to these works. It is a celebration of the intrusion of anarchy - a dual reality that has been orchestrated into a single composition." - Tony Twigg </div>
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com0tag:blogger.com,1999:blog-7562318083398132741.post-43400920978092007282013-06-16T16:07:00.002-07:002013-06-16T16:07:56.492-07:00Cleaning up the SLOT archive today, came across this note. Happy that we are still making an impact ten years on!<br />
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<br />SLOT galleryhttp://www.blogger.com/profile/17169022875694208582noreply@blogger.com1