Post things here.

Yep Wednesday, i can do anything after 1pm. I'd like to apply for something soon, if we can. I've got a paragraph on my work. I don't think that kitsch is relevant to my work, but all the rest i can mould. What I've written is pretty abstract…..ummmm. yeah, i'll just have to show you guys. Maybe it would be better if we meet at yours Tarryn? It would be good to have a computer we can draft it all up in…..?

The monochromatic mark-making of this group of works is a collation of visual vomit, mutual, global and anatomical misunderstandings which utilize the degraded underbelly of the fine art hierarchy. The work takes stabs at the anxieties of the cultural wasteland of the postmodern age.
Each artist uses elements of drawing, installation, collage, and video to subvert ideas, to create a discourse that reeks of misanthropic humour and nihilistic aggression.
This exhibition as a whole, will function as an immersive psychoanalytical experience, exploring cryptic ideas of social identity and emotionally driven perspectives following post-industrial times. (name of show ) is a regurgitation of the clutter that fills our heads, the chaos and contradictions of modernity and the spit bucket it belongs in.

Each artist explains in their own paragraph;

As a species, we as humans enact so much destruction that we do not deserve to be mourned when we die. This series will seek to provoke the viewer to think outside themselves and shake them out of their apathy.
‘Dead Birds’ is an attempt to depict the death of an animal that T McGregor responds to with benevolence. Images of expired birds have been sourced from locations where they have been affected by the unnatural actions of humans. The portrayal of creatures in turmoil is to express disdain for the human race and the repercussions of its “actions”, and may incite feelings of guilt and hatred within the audience.


The present seems to always assume that it knows better than the past.
In an age of vanity, exceptional customer service, the corporate world and social media, this facilitates the perfect environment for breeding amateur sociopaths.
Controlled by the image, the drama, mechanical distractions and sanitization,
Chintamani Rotstein’s farrago of drawings seeks to ask, has the West not considered that couch life and social media make us putty in the hands of the willing?
History would indicate progression and affluence has a cut off point.
Has our regression been sold to us as progression?


Stef’s work maintains a low tech “crap” aesthetic derived from cut-and-paste zine culture. The repetitious nature of the collage compositions, excessively frenetic stop-motion animations and use of xerox copy mishaps as principle material processes leads to an absurd theatricality of organic and mechanical forms. It seeks to explore the abject horror, anxiety and power of female-hood within the constant struggle between controlled systems and the unrestrained tactility of chaos, exploring the psychology of failure and the duality of abstraction and surrealist figuration.

Proposal SCT.pdf (35.65 KB)

fortdelta.com.au/info.html

We should apply at this place too. I went and saw a show on indonesian art, 'punk' aesthetic.

'projects champion artistic content that values risk, innovation and aesthetic excellence in equal measure.'

This is what I've written for the layout. Are we applying for gallery 2 only? And do you guys think what I've written is enough?

Chintamani Rotstein’s artwork, if chosen to exhibit at Seventh Gallery, will be a sequence of graphite drawings 30cm x 30 cm displayed in a horizontal line and evenly spaced apart at eye level. They will be attached to the wall with small pins.
There will be a second series of works on paper with text and candle smoke that will be attached to the wall in the same fashion with small pins and evenly spaced apart at eye level. The dimensions for this work will be 21 cm x 30 cm.
Natural lighting, or spot lighting will be used.

ALSO!
seventh gallery application form indicates we need a project description. i think they mean the project as a whole... and not each of our work separately! are we just going to have a paragraph each?

Tarryns addition for the Cover sheet.


SUPPORT MATERIAL COVER SHEET

Stephanie Kam

1. KNIFE FIGHT, 2014, COLLAGE ON TRANSPARENCY


210mm WIDTH x 297mm HEIGHT


(ACTUAL WORK – but may change in scale)





2. THE WOMEN UNHINGED, 2014, PHOTOCOPY COLLAGE


300mm WIDTH x 960mm HEIGHT


(WORK INDICATIVE OF STYLE)





3. UNTITLED, 2014, PHOTOCOPY COLLAGE


500mm WIDTH x 395mm HEIGHT


(WORK INDICATIVE OF STYLE)





4. PSYCHOTIC-MATERNAL, 2014, STOP-MOTION ANIMATION/VIDEO


1-minute loop


(ACTUAL WORK)


Tarryn McGregor

Images:

1.Pelicant.
(2014)
Graphite
45x49mm


2. Plastics explosion.
(2014)
Graphite
76x25mm

2. Albatross
(2014)
Graphite
62x48mm




PROJECT DESCRIPTION (100 words max)

The monochromatic mark-making of this group of works is a collation of visual vomit, mutual, global and anatomical misunderstandings which utilizes the degraded underbelly of the fine art hierarchy. The work takes stabs at the anxieties of the cultural wasteland of the post-modern age.

Each artist uses elements of drawing, installation, collage, and video to create a discourse which reeks of misanthropic humour and nihilistic aggression.

EXHIBITION LOGISTICS/EXTENDED PROJECT DESCRIPTION (one page)


This exhibition as a whole, will function as an immersive psychoanalytical experience, exploring cryptic ideas of social identity and emotionally driven perspectives following post-industrial times. (name of show) is a regurgitation of the clutter that fills our heads, the chaos and contradictions of modernity and the spit bucket it belongs in.


Each artist will have a wall specific to their work in Gallery 2.

---

‘Dead Birds’ is an attempt to depict the death of an animal that T McGregor responds to with benevolence. Images of expired birds have been sourced from locations where they have been affected by the unnatural actions of humans. The portrayal of creatures in turmoil is to express disdain for the human race and the repercussions of its “actions”, and may incite feelings of guilt and hatred within the audience.

Tarryn’s series of images will be presented horizontally across one wall with limited spacing between the drawings. They will be mounted using small pins so that the image lies flat against the wall. A single plinth or pedestal will be required for presentation of one of the works. Spotlighting will be used to illuminate the arrangement; this can be achieved with the existing lights within the gallery.

---

The present seems to always assume that it knows better than the past.
In an age of vanity, exceptional customer service, the corporate world and social media, this facilitates the perfect environment for breeding amateur sociopaths.
Controlled by the image, the drama, mechanical distractions and sanitization,
Chintamani Rotstein’s farrago of drawings seeks to ask, has the West not considered that couch life and social media make us putty in the hands of the willing? History would indicate progression and affluence has a cut off point.
Has our regression been sold to us as progression?


Chintamani Rotstein’s artwork, if chosen to exhibit at Seventh Gallery, will be a sequence of graphite drawings 30cm x 30 cm displayed in a horizontal line and evenly spaced apart at eye level. They will be attached to the wall with small pins. There will be a second series of works on paper with text and candle smoke that will be attached to the wall in the same fashion with small pins and evenly spaced apart at eye level. The dimensions for this work will be 21 cm x 30 cm.


Natural lighting, or spot lighting will be used.

---

Stephanie's work maintains a low-tech aesthetic derived from cut-and-paste zine culture. The repetitious nature of the collage compositions, excessively frenetic stop-motion animations and use of xerox copy mishaps as principle material processes leads to an absurd theatricality of organic and mechanical forms. They seek to explore the abject horror, anxiety and power of female-hood within the constant struggle between controlled systems and the unrestrained tactility of chaos, exploring the psychology of failure and the duality of abstraction and surrealist figuration.


This series of three or four collages will be presented on handmade light boxes of medium scale and hung at eye level. A one-minute video loop (on DVD or USB) will be played on a small old school television placed on top of a white podium also at eye level. These pieces will need to be in the vicinity of a power outlet or large power board. Whether each piece will need spot lighting will depend on the general natural lighting of the gallery.

 _ _ i'll put up the VIMEO link to the animation tomorrow!