If you are in Canberra, come along next week to the opening of the country show – should be heaps of fun. Poster design by Ampersand Duck.
They flock together – patterns across the wall: a collection of objects cast from the empty spaces left behind in plastic packaging. Sourced from the tool box, the toy box and the domestic environment, the original moulds are the wallpaper of our daily lives – ever present but barely noticed.
Images: Julie Shiels, Masked, 2008 (detail), flocked plaster casts, 2 x 3.6m. Photo: John BrashJulie Shiels. On at Ararat Regional Art Gallery, Victoria, Thursday, 21 May to Sunday, 21 June 2009.
Gallery hanahou presents Forget Me-Not: embroidered love from the new craft movement
On from February 6 to 27 – Opening reception: February 6th, 6-8 pm at gallery hanahou / 611 Broadway, Suite 730, NYC /
For generations, women have expressed love of family through the painstaking art of embroidery … a new generation of embroidery artists using needle and thread to depict love in broader terms, whether idealized and simple or brutal and complicated. Curated by Kristen Rask from Schmancy.
Installations by Merinda Kelly at Über Gallery, 52 Fitzroy St, St Kilda Victoria. 05 – 30 December
A series of assemblages made from everyday and precious objects. Placed within framed boxes and behind glass, the assemblages are reminiscent of traditional museum exhibition. Kelly’s works allude to issues of mass production, globalisation and materialism, in addition to perceptions of aesthetics and value.
Printed hankies by Chris De Rosa is on at artroom5, Adelaide (Australia) 19 to 26 November
Image: Chris De Rosa, hankies – found and printed on, 2008, Photo: Michal Kluvanek
At some stage in my past I became aware of a handicraft practised by my aunties whereby they would add decorative flourishes to already existing hankies as a means of both learning handicrafts (needlework, embroidery etc.) and personalising and adding value to an otherwise impersonal item. My printed additions were my own contemporary version of this practice, a means of carrying on the tradition and paying a kind of tribute to those hand crafting practices and the women and girls who pursued them.
Meat After Meat Joy, curated by Heide Hatry – 16 October – 15 November
DANEYAL MAHMOOD GALLERY 511 WEST 25 ST, 3FL NEW YORK CITY 10001
If the flesh disturbs you, then the reality behind the issue would disturb you far more if we opened our eyes long enough to see it. We live in a culture disconnected from what it is doing to itself and others, we choose to ignore rather than deal with the reality we have created for ourselves. – Adam Brandejs
Meat After Meat Joy brings together the work of contemporary artists who use meat in their work (raw meat, the concept of meat, its symbolism and viscera) in order to investigate the paradoxical relationship meat has to the body.
Image: Adam Brandejs, Animatronic Flesh Shoe, Latex, Steel, Gear motors, Printed circuit, Rio MP3 Player, Batteries, Staples, Roommates Hair.
15 October-1 November Entanglement exhibition at Manningam Gallery (Doncaster, Victoria)
Entanglement is a word that implies an interweaving of ideas, objects or possessions that cannot be easily separated. In partnership with Monash University Art & Design, the Manningham Gallery has invited several prominent weavers and glass artists, including Brook Morgan, Sara Lindsay, Jennifer King, Ilka White, Ruth McCallum-Howell, Des Fankhauser, and Yhonnie Scarce to participate in this thought provoking show.
This group of artists explore the notion of entanglement from individual and collaborative perspectives. What they share is an understanding of the interconnectedness of all things, whether it is from the point of view of science and mathematics or psychology. The concept of dualism is abandoned and replaced with endless, simultaneous creative possibilities.
Image caption: Rodney Love, I Am Because We Are, Socks, cotton, polyester ribbon, on wooden frame
Kate Just is a Melbourne based artist known for her sculptural knitting practice informed strongly by emotional and autobiographical references. Experiences of childhood memory, migration, and the death of her brother influenced early works. Imbued with a sense of melancholy and disconnection that came with leaving and losing family. … Recent works mark a conscious turn toward reinterpreting mythologies connecting women and nature and focus on physical change as a metaphor for personal struggle, awakening sexuality and creativity.
check out her solo show The Garden of Interior Delights, at Don’t Come Gallery, (Melbourne), Royal Arcade, (enter Lt Collins Street, and go all the way up stairs after Cafe Torta), Opening: Friday October 17, Show runs until 1 November 2008. Kate Just website and more of her previous work here.
Post Chrysalis at Sullivan+Strumpf Fine Art, 7 – 26 October 2009.
Post Chrysalis, a reference to the emergence from the cocoon, describes this exhibition of six remarkable emerging artists
working in various mediums, from crocheting, weaving, meccano construction, to painting. Three of the artists include:
Annie Aitken: uses plastic fruit and vegetable nets to ‘draw’ delicate vessels through stitching.
Helle Jorgensen: uses plastic bag yarn and crochet to make an ecological statement while celebrating nature’s marine beauty and commenting on its fragility.
Edward Waring: uses discarded meccano pieces in is sculptures which relate to docklands and the primary colours and graphics on the weatherworn hulls of ships.
Image caption: Helle Jorgensen Sagarita (2008) discarded plastic bag yarn, variable size – approx 8 x 16cm
Here’s to my sweet Satan’ from Julia Robinson, soft sculpture, on at Uber Gallery, Melbourne, 1 October to 4 November 2008
In Here’s to my sweet Satan, Robinson’s creatures are reminiscent of those superstitious constructs that seduced and revolted the saints with perverted whispers. The exhibition is replete with darkness, torture and a strong sense of sadism, but thankfully no moralistic overtones. Robinson’s compulsion towards the conflicts and complements that occur when objects or themes of corruption, debasement and nefariousness are met with exquisite beauty, continues in this extraordinary exhibition.
Image caption: Julia Robinson, Untitled, 2008, Variable dimensions, Flywire, fibreglass, felt, fabric, fixings, flocking, thread, resin and paint
