PROJECT SPACE / SPARE ROOM / 11 October to 9 November 2019
OPENING / Thursday 10 October 2019, 5-7pm
Collision Drive 3 addresses the relationship between painting, collage and life through presenting artworks that collide imagistic obsessions with material tendencies. Copying, hybridity, research and faults in translation are evident, prioritising the processes involved and how painting has strangely thrived despite the shifting grounds of accumulation, scale, context, relationships and densities of the 21st Century.
Sometime in 2017 Benet Spencer (London) and Steven Rendall (Melbourne) noted curious synergies in their recent paintings, synergies characterised by processes of making paintings, particularly in relation to the sourcing, mirroring and re-positioning of pre-existing images.
Each artist works with various categories of images, built up around key subjects, with fictitious re-combinations a common theme. Each artist is interested in how the process of combining and colliding fragments of images can be articulated through painting. What does the imperfect and slippery medium of painting do to images? What might an artist want from painting in relation to the sourcing and re-positioning of pre-existing images?
These synergies suggested a project leading to a series of exhibitions staged across hemispheres and years. How might practices be highlighted in relation to the synergies noted in Spencer and Rendall’s work? Many artists use their practices to tap into the expanding swirl of images that gathers around us - Collision Drive 3 functions to illuminate a slither of these practices.
Kez Hughes [AUS]
If you thought these paintings were by Kez Hughes, you’d be a little bit right, for each image has a prior life in the individual oeuvres of other Australian artists.
Confounding ideas of authenticity and originality, Hughes re-presents the work of fellow artists as appropriation art. But as surely as Romantic ideals are subject to scrutiny, Hughes reasserts high-cultural values through an emphasis on formal painting techniques. And her curatorial selection constitutes an oblique index of cultural capital that heightens the anxiety of the outsider spectator.
Part homage, part pastiche, Hughes’s visual engineering effects some slight alteration and degradation of the original image, and these shifts along the signifying chain allegorise the act of meaning-making. The outlaw artist is a maker and collector who recreates her favourite pieces for her own pleasure.
- Dr. Peta Mayer 2016
Focusing on the art community around her, Kez Hughes makes art about art, realist paintings that document exhibitions of her contemporaries. These paintings of paintings, sculptures or installations elaborate on issues of authenticity, subjectivity and cultural and social economies.
After graduating from the Victorian College of the Arts and Music in 2015 with a Bachelor of Fine Art Painting, Kez has gone on to lecture at the Ian Potter Centre for Cultural Materials Conservation at Melbourne University and the Victorian College of Arts and Music. In 2015 along with artist Storm Gold, Kez opened CAVES, a curated, not for profit gallery located at the Nicholas Building in Melbourne, Australia.
Hiroe Komai [UK]
The collages of London-based artist Hiroe Komai use layers of cheap veneer to present cellular geometric lattices, which are developed into shallow spaces. These include wood-grain flooring sheets that are used to cover up less aesthetic building structures and give homes a more cosy atmosphere, along with other materials associated with the British obsession with DIY. Repeated 1970s - 80's style hexagons and parallelograms play on those innocuos home decorations that look "arty" but were likely manufactured with no meaning.
Hiroe was born in Kyoto, Japan. She studied at Goldsmiths College and Camberwell Collage of Art. Her selected Solo Exhibitions include: ‘Hiroe Komai Japanese Artist Lived and Worked in Košice’, Šopa Gallery, Košice, Slovakia, (2016); ‘Naapurini / My Neighbours’, Nature Centre Ukko, Koli, Finland (2016); ‘The Style’, C&C Gallery, London, (2013); ‘Visible Fractals’, Slaughterhouse, Valencia, Spain (2011);
Group Exhibitions include: ‘The Collectors Room (Houdini)’, JGM Gallery, London, (2020); ‘Collision Drive 3’, RMIT University, Melbourne, Australia (2019); ‘Positions Berlin Art Fair’, Flughaften Tempelhof, Berlin; (2019); ’Window Sill’, Griffin Gallery perimeter space, London (2017); ‘Doppelgänger’, No Format, London (2015); ‘London Art Fair’, Business Design Centre, London (2015); ‘The Alpineum Minimale 2’, Alpineum Produzentengalerie, Luzern, Switzerland (2014); ‘Tod und Sterben - Death and Dying’, MGA3, Vienna, Austria (2014); ‘Art-Athina International Contemporary Art Fair of Athens’, Faliron Pavilion, Athens, Greece (2014); ’Six Degrees of Separation’, Wimbledon Space, London (2013); ’The Thing is the Thing’, ASC Gallery, London (2011); ‘Three By Three 4’ (co-curated), Yinka Shonibare's Space, London (2009).
Stephania Leigh [AUS]
Stephania Leigh is a Jewish Australian, Polish, artist. Working with painting, sculpture, installation and collage, Leigh’s work draws on tropes of the historical and modernist canon such as the reclining pose, ideas about beauty, the naked fetish and cultural and political oppression. These concepts in her works are reconfigured in her contemporary practice to uncover modes of resistance and change that renegotiate female objectification.
Stephania has achieved critical success as an emerging artist. In mid 2019, Leigh was invited to exhibit Ich Piersi, Moje Piersi (Their breasts, My Breasts) as part of FestivALT - New Currents in Contemporary Jewish Art, in Kraków, Poland. Leigh is now in the process of engaging with spaces to re-imagine this work in Ukraine and other parts of Poland.
Andrea Medjesi-Jones [UK]
The work of Andrea Medjesi-Jones is concerned with the nature of painterly image in relation to material processes, distribution and value assessment of image production, underlined by different cultures and traditions of painting. At the very base of her practice lies collage as a methodology and a fragmented system of representations and actions that are in continual flux.
Andrea based in London. She studied Fine Art at Goldsmiths College and has completed her practice-based PhD in contemporary painting at Cambridge School of Art in 2012. She has shown her work extensively in the UK, Europe and the USA. She was a recipient of the Abbey Fellowship in Painting at the British School in Rome in 2013. Her work was selected for the Bloomberg New Contemporaries in 2014. She is MA Fine Art Course Leader at Bath School of Art and Design and a Senior Lecturer in Fine Art at CASS, London Metropolitan University. She is featured in major art collections including Simmons Contemporary and David Roberts collection and is represented by Backerstrasse 4 Gallery, Vienna.
Her solo exhibitions include: ‘Factory Floor’, Painting Installation, Warton House, ACME Studios, London, (2017); ‘The making of Ned Ludd’, Bank Gallery, CASS, London (2015); ‘Ventriloquist’, Laurent Delaye Gallery, London (2013); What will the community think? CASS Gallery, London Metropolitan University and BSU Gallery, Bath School of Art and Design; Who is afraid of the invisible hand?, Bäckerstrasse4, Vienna; ‘Exiled Lines’, Ruskin Gallery, Cambridge (2009).
Laurence Noga [UK]
Laurence Noga’s work is a process of systematic assemblage. He intuitively selects and arranges strips of paint and found material into a panoramic format that combines personal visual references with a strong geometric sensibility. These multi layered images immerse the viewer in a universe of imperfect geometry. Noga uses a variety of materials, including acrylic, oil, collage, powdered pigment and enamel. Highly saturated colour is essential to the pieces and is intended to disorientate the viewer. Although colour is applied in ordered segments, it creates an odd field of depth that calls into question notions of order and disorder.
Noga, born London 1961. Lives and works on London. Studied at Wimbledon School of Art and Post Graduate at Byam Shaw / Central St Martins, graduating in 1991. He lectures at Camberwell College of Arts, University of the Arts London.
Recent exhibitions include: ‘Playtime’ (2019); ‘Momentum’, Angus Hughes Gallery, London (2018), ‘Open Construction’, Eastbury Manor, London (2018), and ‘John Moores Painting Prize’, Walker Art Gallery, Liverpool (2018); ‘Open System’, C&C Gallery, London (solo) (2018); ‘Entr’acte: Intermission’, Galerie Abstract Project Paris (2017); ‘Make Shift’, Collyer Bristow, London (2017), Sluice Art Fair with Saturation Point, Sluice Art Space, Hoxton, London (2017); ‘Merge Visible’, Curated by Charley Peters: Contemporary British Painters, The Crypt London (2017), ‘Extended Process’, Saturation Point Projects: Saturation Point Space, Deptford London (2017), ‘Undead Painters’, Saturation Point Space, Deptford, London (2016); ‘Summer Mix’, Turps Gallery, Turps Space London (2016), Noga curated: ‘Imperfect Reverse’ with Saturation Point Projects, Camberwell Project Space, Camberwell College of Arts, London, Ruskin Gallery, Anglia Ruskin University, Cambridge (2016) and ‘Borderline (beyond a rational aesthetic)’, C&C Gallery, London (2015).
Steven Rendall [AUS]
Rendall’s practice oscillates between representational painting and the audio-visual realm in the form of digital process based lms and VHS based videos. These approaches are used to search for different ways to scavenge images and materials and disrupt the ows of images and technologies.
Steven Rendall was born in the UK in 1969. He moved to Melbourne in 2000 where he currently lives and works. He completed a Bachelor of Visual Art (Honours) at De Montfort University in Leicester (1993), undertook post-graduate studies at the Royal Academy Schools in London (1996) and completed a PhD at Monash University in 2015. He currently teaches at RMIT University.
Exhibitions include The Moon, Geelong Gallery (forthcoming 2019); 18 Hours and 674 Days (2018) and Image Capture Video Loss (2016) at Niagara Galleries; Running Interference (2016) at Rubicon ARI; Chain of Mountains (2016) at TCB; Data Flow (2016) Hawthorn Town Hall Gallery; Transmission (2015) National Gallery of Victoria. He has had work shortlisted for The Bayside Prize (2019 & 2017) and The Darebin Prize (2017). As part of the collaboration Rendall&Spier, exhibitions include How the Dead Live (2009) at Conical Inc. and The Essay (2008) West Space. Rendall has also co-organized a number of exhibitions including Incidents Above a Bar (2014) at The Alderman and Museums in the Incident (2012) at The Monash University Gallery.
His work is in various collections in Australia and the UK including The National Gallery of Victoria, The Monash University Collection, The RMIT University Collection, Artbank, The City of Melbourne, St. Vincent’s Hospital, Melbourne and St. Helier Hospital, London. His work is represented by Niagara Galleries, Melbourne.
Benet Spencer [UK]
Benet Spencer’s current practice concerns architecture as an emblematic form, with paintings evolving out of various stages of production – preparatory drawing and the collection of photographs, the transformation of images into fictitious collaged spaces, and the resulting canvases, which are usually large scale and built up in layers.
Born in St Albans in 1969, lives and works on London. Benet studied BA (hons) Fine Art at Birmingham Polytechnic and a Post Graduate Diploma in Painting at the Royal Academy Schools, London, where he graduated in 1995. He is Course Leader in BA Fine Art at Anglia Ruskin University in Cambridge.
Exhibitions include: ‘Phase III – le modulor’ , HLM, Marseille (forthcoming 2019), ‘Fully Awake’ , Edinburgh College of Art (2019), ‘Collision Drive 1’ Wimbledon School of Art, London (2019); ‘Collision Drive 2’, Project Space Plus, University of Lincoln (2019); ‘Phase II: Imagining Architecture’ , isdaT, Toulouse (2018), ‘Phase I’, Ruskin Gallery, Cambridge (2016); ‘P’, Horatio Junior, London (2015); ‘Opinion Makers’, Londonewcastle Space, London (2014); ‘A Union of Voices’ , Horatio Junior, London (2014); ‘(detail)’, Usher Gallery, Lincoln University, (and touring to) Transition Gallery, London and H-Project Space, Bangkok (2014); ‘Pre-Production’ , Occupy Your Mind Gallery / Enclave, London, (2013); ‘Museums in the Incident’ , Faculty Gallery, Monash University, Melbourne, Australia (2012). Curatorial projects include: ‘Phase I: Painting, Drawing, Architecture’, (2016-present, co-curated with David Ryan); ‘The Thing is the Thing’ , ASC Gallery, London (2011); ‘Reconstructing the Old House’ , Nunnery Gallery, London and Ruskin Gallery, Cambridge (2009) and ‘Fantasy Island’ , The Metropole Galleries, Folkestone (2006).
Bronte Mae Webster [AUS]
Bronte Mae Webster is a Melbourne/Naarm-based artist exploring collage techniques in the formation of a painting to reconcile the complex issues of contemporaneity, where differing fields of knowledge collide and coalesce. The painted space can hold in suspension fragments from disparate sources, brought together via new compositions. Her work draws upon art historical imagery, found material, biomorphic forms and a visceral personal iconography. Bronte graduated from a Bachelor of Fine Art at RMIT in 2017 and is currently undertaking Honours. Recently she has shown at the Crowther Contemporary, C3, Soma Gallery, Arts Inc. Gallery and has had solo exhibitions at Bus Projects, ‘Ley Lines’ in 2018 and First Site Gallery, ‘Depth and Dead Ends’, in 2017.
Jack Willet [AUS]
Jack Willet is a Melbourne-based writer and curator. He has a particular fascination in horror, nihilism, hauntology, hyperstitious systems and speculative philosophies. Currently, he is a PhD candidate in art history and theory at the Faculty of Art, Design and Architecture at Monash University, Melbourne. His research is focused on the practice of the late New York-based artist Steven Parrino, explored through the lens of historic and contemporary nihilist philosophies.
This project is supported by University of the Arts London, Anglia Ruskin University, University of Lincoln, Cambridge School of Art and Niagara Galleries.