LIGHTSCAPES /17 June to 7 October 2014 at Knox Place, Rodda Lane and the Lightwell
SIX presents the work of twelve current RMIT School of Art Students from the Melbourne and Hong Kong campuses. Installed across three city locations, the exhibition gives the artists the opportunity to show their work outside the traditional gallery environment. SIX also celebrates the addition of a new location for the Project in Knox Place at Melbourne Central. Each artist explores and responds to the context of the lightboxes, drawing inspiration from the city itself by investigating notions of time, space, light and the conditions of the urban milieu.
Variable #01, 2014
In Variable #01, Bang utilizes fiction and digital processes to investigate the complexity of transcultural connection and exchange. By undertaking a comparative methodological analysis of relics from three nomadic cultures, Bang opens up new formal and technical possibilities for the creation of contemporary artworks and artefacts.
Sun Bang’s Variability Series provides a portal to and connects with ancient Celtic, Scythian (1) and Korean (2) culture. His work utilises the excavated relics from ancient burials to build a tin robot figure, re-contextualising their function through a shift in time and space. Through its setting a contemporary urban landscape, Variability Series provokes connections between Melbourne and ancient culture.
1. Scythians were a member of a nomadic people of Iranian origin who migrated from Central Asia to Southern Russia in the 8th and 7th Centuries BC , Britannica Academic Edition, 2013.
2. Silla were a distinct confederation of local tribes was definitely in existence in the south-eastern portion of the Korean peninsula (BCE 57- 935 AD), Britannica Academic Edition, 2013.
Ancestor II, 2013
Beadman’s interests is in the areas of negotiation between culture and personal identity and the primacy of the body as a repository of meaning.
Her Ancestor series has been informed by traditional family photos, where relatives stand to attention and look unsmilingly straight ahead—a generation where the camera was a luxury and the photograph was to be taken seriously. From this generation comes a number of tiny black and white passport style photo: brutal forms of portraiture that are often the only remaining identifying image of family members and loved ones. Beadman’s work questions whether these images really identify a person and invites us to investigate who our ancestors really were.
Go To Sleep, 2014
Surveillance is a matter that is becoming ever more present in our conservative society; every street corner is littered with CCTV cameras. Burgess’ low quality, black and white images likens themselves to surveillance footage. Rudely capturing various public act of stupidity, these images comically exploits the figure in an attempt to make the public feel scrutinised and uneasy about committing the most minor wrong doings.
Stilled Motion, 2009
Collins’ subjects are framed within the confines of an escalator. Their individual shape, stance and colour create an assortment of patterns within each mechanically identical segment of this people moving conveyor belt. The escalator itself, like Collins' photograph, stills her subjects and gives them a brief reprieve from their daily routine. Interestingly, that which invites such a moment of pause is constantly in motion.
Shane aged 25, 2012
Though we are given teddy bears as children as a source of comfort, it is socially expected that we will grow out of the need for them before we reach adulthood. Despite this, many of us will hold onto that one special teddy that we could never discard.
Haviland looks at what it is that makes these few teddys stand out from the rest and at the transformation they go through as we age. Though they may not provide the same comfort that they did when we were young, they often serve another function—becoming nostalgic objects and containers for our memories and stories.
All that I am is here, 2014, digital collage
Lauren Holmwood’s recent work focuses on notions of heritage and generational influence, looking to the past as a mean to deconstruct the present. She investigates her ancestor’s lives both generally and intimately by compiling knowledge of their cultural travels, backgrounds and personal eccentricities. Through this historical exploration Holmwood constructs a sense of their individual personality and self.
Programmed, 2014, mixed media on paper
Programed is a component of Huang’s The Great Leader Series II, a project that explores a mode of hybrid art making which she refers to as ‘Political Pop Propaganda Art’, or ‘Poliopanda Art’ for short. Huang’s practice re-examines her experience of growing up in China and the transition of her personal identity from Chinese to Australian.
I feel lonesome, 2014, digital collage
Knowles’ work examines contemporary popular culture in order to form uncanny re-presentations of society. He uses this working method as a means of questioning accepted realities and providing new cultural perspectives and ideas.
Hut (Mt Hotham), 2014, digital photograph
Krupinski is a photographer who is interested in how the presentation of landscape scenes can imply or reflect on psychological states.
I live, I die, I am making art #2, 2014, cyanotype on rice paper
Lam responds to one of John Baldessari's “assignments”, which were a series of instructions that were numbered and distributed to students at CalArts in the 1970s. For the "Punishment" assignment, Baldenassi requested his students to write “I will not make any more art” 1000 times or more on a wall. Lam draws inspiration from this assignment, transforming his hand writing into light with through the use of the lightbox. During this process of light drawing, memories and histories are accumulated and condensed, and the work begins to acts as a mirror of its maker.
Found Damaged Photograph No.5, 2014, Photograph
Mazzone's current work explores ideas of time, transformation and truth. By documenting the transformative effect of time on man-made objects she comments on the human aging process; rust, mould and distortion act as physical manifestations of the way memories fade, transform and are deliberately doctored.
Melbourne Artists' Supplies, 2014, Mixed Media
Melbourne Artists' Supplies is part of an installation of the same name that was made using basic art supplies (masking tape & acrylic paint) combined with discarded waste found in bins. The work explores ideas of materiality, physicality and assemblage whilst critiquing the nature of consumerism and capitalism in a contemporary fine art context.
untitled, 2013, Acrylic on acetate
untitled is an artefact from an installation work titled The Artist is Distant, a project whichused layering, removal techniques and etching.
Bag within, 2014, Mixed Media
Bag within is an experiment exploring perception, vantage and meaning.
Into Wonderland, 2013, Photography
“I often give myself good advice but I seldom take it.” - Alice, Alice in Wonderland
In this series Vajda explores Hong Kong and the theatre of its nightlife as a kind of adult dark version of Alice’s Wonderland: a place where, with enough money, you can have and do just about whatever you like. The White Rabbit here is the lead of the narrative and is loosely based on an expat profile as an exoticised wealthy foreigner. The mask pays tribute to the Alice story; to the tolerated or excused activities that playing ‘dress up’ provide; and to the rabbit as an Eastern and Western cultural symbol of frivolity, folly, cunning and promiscuousness.
Ultimately, there is a humour and playfulness to the White Rabbit who lures Alice down the rabbit hole but his journey into Wonderland is only ever temporary. He can remove his mask; unlike Alice, whose fate is less certain.