LIGHTSCAPES / 16 February to 20 June 2016
Each year the School of Art Galleries selects some of the brightest students from the Bachelor of Art (Fine Art) program and reproduces their work as a lightbox. Located in the busy thoroughfare of Knox Lane at Melbourne Central, High Lights provides these artists a pathway to exhibit immediately after graduation.
Jess Gall often works collaboratively across a multi disciplinary practice that includes performance, video, photography installation and sculpture. The potential for transformation is investigated through physical activities and impulsively constructed scenarios. Harness for Transfer Agent. I Suspend/You Support was conceived out of Gall's body of work titled Ride Or Die in 2015. The sculpture is suppose to move with you on your Segway, it is a solution to transitive motion, an extended movement, an elegant activity, good exercise. Photography is used to document the agent that is used for movement in this performance.
Household: A Place is a photographic and mixed-media installation which through an implied domesticity explores relations between individual and object. Household: A Place conveys an inherent need for spatial ownership through the depiction of articles of human presence rupturing the otherwise non-descript locations. These articles highlight the need for ownership and present the viewer with a signifier of spatial change in which an individual has asserted their claim to a space and imposed personal relations, histories and identities. Household: A Place utilises constructs of basic everyday hardware, pine, plywood, pva and screws, as well as a spatial programme to create a theoretical domestic environment aligned with the locations of the photographs for the viewer to interact with and within. Through this repositioning the work prompts relations between individuals, individuals and objects, and the objects themselves.
Sebastian Haeusler is a photographer and mixed-media artist. His practice focuses on ideas of construction within the domestic environment and relationships between individuals and everyday objects. Haeusler’s artistic process utilises theoretical aims and practical applications associated with principles of design theory. His work is created with a purposeful ambiguity in order to invite new ways of thinking about the spaces in which we inhabit and the objects which with we cohabit.
Through engagement with materiality and spatial placement and the use of aesthetic distraction and displacement Turf comments on the everyday.
In the context of the surreal, new objects and new relationships are formed. Placing itself between the medium of photography and sculpture, this work looks at the relationship of opposites: the internal and external, the solid and intangible.
VELVET CURTAIN (acquired)
INKJET PRINT (questionable)
Annie Llewellyn is a recent 2015 graduate of the Bachelor of Fine Arts at RMIT. Annie works with a variety of different mediums, traversing sound, sculpture and photographic print practices, exploring gender, object and space.
A shift in focus from surface to structure.
The work (both the original sculpture and the document), employ photographic fundamentals of time (or duration), space and light to create works which are at once photographic and not.
The ephemeral cut paper sculpture has been dismantled and the support structures carefully stored. What remains is the document, now the object. It is simultaneously evidence of something I made which dismantled the photographic and a personal reminder about where the true gold lies.
Kirsty Macafee’s multidisciplinary and process-based work is informed by an expanded and deconstructed view of photographic print practice. Through her works she is searching for the boundaries of photography in a bid to find its essence and its core. Her process-based practice straddles photography, sculpture and installation, which she deconstructs and reconstructs to explore ideas of representation and misrepresentation.
My practice is a result of experience. My most recent works revolve around the notion of transition, using materials to draw out time almost re-living it. Working through, and within materiality locates my work as a reaction to certain sets of experiences, and as a result, when exhibited, the works form an archive of collected fragments of information in time.
Alyxandra Westwood completed the Bachelor of Fine Art at RMIT in 2015, in the Expanded Studio Practice (ESP) department. During these three years she partook in 1 year of study as an exchange student at the Hogeschool van Kunst Utrecht (HKU) in The Netherlands, concluding with a group show at the campus gallery 99cube. Alyxandra will undertake her Honours program at RMIT University this year.