3 – 21 November 2010
Exhibitions opened by Dr Kit Messham-Muir, Lecturer, Art History, University of Newcastle, on Thursday 4 November at 7 pm.
The Loading Dock & Loading Zone
Heartworks
NEAL BOOTH
'A canvas to paint, to degenerate
dark reflections... degeneration
A canvas to paint, to denigrate
Dark reflections of dark foul light'
Jeffrey Walker - Heartwork
My work concentrates itself around the ideas of separation and how this materializes in the curatorial space. Sentiments of aloneness and dislocation permeate works that extol emotional narratives pertinent to love and life lost.
Neal Booth
The Long Room & Media Space
La petite fille a une femme
JESSICA ELLIOTT-LAWRENCE
When Niki de Saint Phalle started painting, she did not intend becoming an artist but needed to find herself and her own identity. It is probably true that without the help of art she would never have recognised who she is; her extraordinary abilities and wealth of possibilities would have remained hidden, too.
My Honours exhibition consists of a collection of sculptures, each a representation of one woman. It is important to state that I am not trying to 're-create' the individual. I can state with certainty that a select few people in my life have made me the person I am today. This influential group of women have all played a significant role in my upbringing. I acknowledge this through my art. I am trying to express what makes them who they are through a character, a depiction of how I see them.
Jessica Elliott-Lawrence
The Long Room
Shadows of Reciprocity
LOUISE MCALPINE
The sociological norm of gift giving has analogous properties with the creation of an art object. I believe reciprocity is present in both endeavours. In my sculptures the projected shadow represents the ‘absence’ and ‘potential’ of reciprocal entities.
Louise McAlpine
The Pit
Bound To Happen
NERIDA ACKLAND
Through my investigation of simple process I seek to activate the body in relation to the work of art. Using methodical, organic rhythm the act of making art becomes integrated into daily life, and vice versa. Through an endless repetition of movements behaviours become obsessive, resulting in a meditative, hypnotic practice, reflecting the ritual of artmaking. My research investigates flow psychology and the physicality of repetition; driven by process and materials and the act of making is embodied within the work so that the objects become artefacts from a private performance.
Nerida Ackland
The Hoist
re@d
CAELLI JO BROOKER
read: (verb used without object)
to read or peruse written or printed matter
read: (noun) an act or instance of reading
read: (verb) the past tense and past participle of read
red: (noun) any of various colors resembling the color of blood; the
primary color at one extreme end of the visible spectrum
This installation examines the drawn image, its interpretation, manifestation, reproduction and significance in the digital age.
Caelli Jo Brooker
The Locker Room
Unreality
FIONA HEARD
As a society we believe in a fixed and structured reality that we all experience. But every individual’s reality is a reflection of the unique experience of their own mind. Reality is transient and malleable; it is what we want it to be. We seek to find the familiar, the recognisable, to re-enforce our limited understanding of the universe and our place in it. This body of work emanates from a chance encounter, a brief moment, and with it I hope to evoke something of the unfixed nature of reality.
Fiona Heard
