New Talent 2013
1 June 2013
Private View Tuesday 4 June 6-8pm
1 – 26 June 2013
BFA Photography (Honours), National Art School, Sydney
The role of natural history in society and the impact it has had on our understanding of the world has played an important part in my work An Englishman’s Pilgrimage is based on the journey that Charles Darwin took from Sydney to Bathurst. In this body of work I recreate the journey and develop a new fragmented narrative, which is then presented as an authentic documentation of the expedition. The intention of this work is to exist somewhere between truth and untruth. It is through cutting and shifting the image that allows for the questioning of what we perceive and understand as true. It allows us to re-evaluate our understanding of the document and it’s role in science and history as evidence or proof
BFA Sculpture (Honours), National Art School, Sydney
The combination of an interest in architecture and landscape; Simon’s sculptures fuse the two languages to create environments that establish an uneasy tension between the logical and the visceral. Simon’s sculpture is about how we exist as bodies in space. The sculptures seek to investigate the way in which we inhabit space both internally and externally. The sculptures invite the viewer to explore these ideas about space in both a physical and imaginative way by creating spaces that they can envision themselves physically inhabiting, while also restricting that access and only allowing the viewer to imaginatively inhabit the space.
A correspondence between the real and the imagined – the connectedness of the inner and outer self.
MFA Photography, Royal College of Art, London
‘I would like there to exist places that are stable, unmoving, intangible, untouched and almost untouchable, unchanging, deep-rooted; places that might be points of reference, of departure, of origin.’
– Georges Perec, Species of Spaces and Other Pieces
I take, hoard and edit images from trips abroad and then put them in conversation with each other on a table-top. Objects and scrap metal join in.
In the series “On the Island”, the British coastline has opened up conversations between the island and what is afar and someplace else. English grey skies, drizzles and winds: qualities of the island that shape and mould mood, attitude and perception. These nurture a longing or fantasy for warmer tones, palm trees, beach escapes.
What in the end takes the form of a collage is actually a single shot of a small-scale installation in the studio. Between the photographic and the sculptural, multiple surfaces and optical perspectives tell a story of migration and belonging. A desire to orientate oneself within a space of memory, within the space of the image, and amongst the various locations depicted within the composition.
Allison Marie Low
B Art Theory / BFA Drawing, College of Fine Arts, Sydney
Oddlings is an articulation of some of the intangible aspects of childhood. Dealing with emotional trauma, unconscious desire and loneliness, personal childhood memories and experiences are analysed and expressed in a corrupt idea of ‘play’
BFA Painting, The National Art School, Sydney
Etiquette is a body of work that is based on the manners and deportment taught in the Vacani School of Dance in Brompton Road, London in the 30’s, 40’s and 50’s. Madame Vacani was my husband’s grandmother and the paintings are based on family photographs and on my husband’s memories of that time and place. The women in the paintings are often uncertain of the expectations placed on their behaviour and occupy dreamlike and nebulous spaces. In my practice I am interested in how memory negotiates the past not only through the visual but also through the more tactile associations of cloth and clothing, as the fabrics of memory –quite literally how material culture functions to encapsulate a particular time.
BFA Photography (Honours), College of Fine Arts, Sydney
The instinct to preserve runs deep within us all. While it can affect some of us more than others, the act of collecting, storing and archiving has been, and always will be, common practice. Our instinct to preserve is not only about holding onto the past, but it also reflects our need to lay in stock for the future.
Storage Space: Inside the Archive explores collecting and storing at a public and institutional level. The work encompasses both the archive and the stored collection, showing the differences and revealing the complexities, idiosyncrasies and reasons for being. Within this investigation, the study of the archive becomes a device for a broader study of the human condition, specifically, our fear of mortality, our human bias, and our fear of loss.
These close-up portraits of various shelves within twenty-one archives in Sydney function as physical and symbolic cross-sections. They show what is inside the archive – a representative sample of the whole, but yet do not provide any access to the information within. They are typological works, existing as a collection of collections – an archive of archives. These images may one day serve not so much as a document of how things were, but as a monument to how information at the institutional level was once stored.
BFA Printmaking (Honours), National Art School, Sydney
I strive to present the banal and commonplace from an unusual and different angle. I want to find beauty in objects that are often overlooked or disregarded, like the weeds that grow through the pavement. I want to capture fleeting moments of everyday rituals, like the simple act of placing your cutlery down after a meal.
The etchings were created during my recent artist residency in Venice, Italy in April 2013. Each morning on my way to the studio I would pass through the Rialto Square fish markets. Tables piled high with the morning’s catch, fresh fish, lobster, quid, clams, octopus, filling the air with the intoxicating aroma of the sea, and my mind with inspiration.
The series of botanical studies focuses on common urban weeds that can be found worldwide. Each specimen has been chosen for their edible and medicinal value. The aim of the work is to express the beauty and worth in these misunderstood and persecuted plants