28.7.14

SOUND THINKING OPENS FRIDAY 1 AUGUST 6-8PM, WITH GARY WARNER, IAN ANDREWS & LIAM CROWLEY


Sound Thinking will open on Friday 1 August 6-8pm with new participative sound works by Gary Warner, Ian Andrews and Liam Crowley.

Curated by: Libby Elisabeth Warren

OPENING: FRIDAY 1 AUGUST 6-8PM
Open:  11am - 5pm Friday 1 August - Sunday 3 August.
ARTISTS' TALK:  SATURDAY 2 AUGUST 3-5PM

In the exhibition Sound Thinking, three artists invite visitors to participate in the making of soundscapes whilst moving through the project space. 

Ian Andrews’ Motori is activated by movement sensors and reverses the traditional action of the turntable so that records remain motionless while styluses move to produce subtle sounds.  
Gary Warner’s songs for Robert Brown is an acoustic sculptural object which, when held and moved in the hands of visitors, produces random sequences of resonant metallic tones. 

Liam Crowley’s Roadworn consists of electronic instruments constructed from found materials, which signify contemporary society and culture.  The audience is invited to use these instruments to make experimental noise.  
These works use strategies of experiential engagement to explore cooperative creativity, chance operations and sonic suggestion.  

Garry Warner Songs for Robert Brown. 2014
(Detail, interior) photo: Gary Warner

Ian Andrews  Motori (Detail) 2014

Liam Crowley Roadworn 2014






























































PRESS RELEASE

19.7.14

ARTSIDER OPEN + ARTIST'S TALK BY JANINE BAILEY AT 3PM SATURDAY 26 JULY





Video by Liam Kesteven
Artsider is open 11am-5pm Friday-Sunday till 27 July. 
It is other times as well - check they are there by calling the artists on 0468316179.




Dorit Goldman

Dorit Goldman - Once u have seen oz why would u go back to Kansas

Veronica Habib (showing ArticulateUpstairs)

video

Melissa Maree - Photo: Liam Kesteven
MORE MELISSA MAREE DAILY-PROCESS IMAGESIMAGES






video


Janine Bailey






































Conversation between Janine Bailey and Margaret Roberts, 20 July 2014:

MR Can you start by talking about why are you interested in coming in and using the space as a project space to work in, and how has that come out of your art practice - is it a new way of working for you?

JB It is new to me to work in a professional gallery, just to have free range in a space this big, just having the room to lay out a large piece of plastic, having professional lighting, being able to stand back from the work. I did bring in things I made in the last few months that kick-started the process here and I have used that to inspire my work over thesse last couple of days, especially the GPS tracking.

Tell me about the GPS tracking.

I started working with GPS tracking last year when I was paddling in Sydney Harbour, and also walking, aIl generating lots of drawing. I did it for months and months everyday, and from them I made prints.  They are very organic shapes as you can see on the large paper. But I started very small scale and worked up to those very large pieces. It was really challenging.

And the most recent way of using the GPS was to go to the 19th biennale. I went to the 5 sites and tracked myself walking around— Carriageworks, MCA, AGNSW, Artspace and Cockatoo Island. And from those drawings I decided I would make paper sculptures. I don't know where that came from. I had some paper left over from a print edition that I had done.  I had some nice black, quite matt, 230 gsm paper and it just dawned on me that I should cut the shapes out of the paper, and then I made that first sculpture there—the black one hanging is made of 5 separate shapes and I put them together and I realised that everyday I could dis-assemble and re-assemble it and make a new sculpture.

And from there on I went onto make the bigger one which was quite time consuming but I actually really liked that and I ran out of that paper and tried to purchase some more but found that I liked this polypropolene transparent plastic that is similar to the paper but its more robust. Then yesterday, in the gallery, I used my app on the phone to do my GPS tracking and started at 3 different points in the gallery and made 3 different drawings. Then I made 3 different sculptures from those, and instead of hanging them on the wall I made shapes with them and put them on the floor.

16.7.14

DAY 3 of the Artsider backstage of the artistic process

video


Dorit Goldman




Melissa Maree
Janine Bailey
Artsider is open 11am-5pm Friday-Sunday. 
At other times check they are there by calling the artists on 0468316179. 

13.7.14

ARTSIDER opening event Friday 18 July 6-8pm with Dorit Goldman, Janine Bailey, Melissa Maree, curated by Libby Elisabeth Warren

Open 11am - 5pm Friday July 18 - Sunday 27th July 2014+
Opening event  Friday 18 July 6-8pm
Artsider artists Dorit Goldman, Janine Bailey, Melissa Maree
Curator Libby Elisabeth Warren

 + at other times by contacting artists on 0468316179


The Artsider collective is a group of artists whose spatial and performative work implies a mix of chaos, action and methodical control.

Artsider presents the backstage of the artistic process and practice. It will create temporal artefacts and spaces that change, evolve and mutate for the duration of its space inhabitancy.  It aims to eliminate the disconnection of artists and their process from the work they do, and to re-establish the art object as artist and orchestrator of space.

Each day the artists will come to work 9-5 for the duration of their inhabitancy of Articulate project space. Their labour will be documented and next day that documentation will be projected to contrast existing and past space-time. Artsider's project is to investigate the liminal space between live and documented performance, static and active art objects, creation and destruction so as to explore the labour that artists invest in artwork.  

Janine Bailey confession 2014
Network (2014) and Confession (2014) are two interactive sculptures that encourage the audience to perform the basic actions of talking, looking, listening, and standing. Built around the central idea that architecture and space effects the way we communicate, basic materials such as plywood, PVC drainage pipe and recycled advertising banners were repurposed to reflect the artist’s ideas.



Using GPS technology to document the artist's experience whilst paddling on Sydney waters and walking throughout the five major sites of the 19th Biennale Sydney, the artist developed a series of monoprints, drawings and sculptures. The sculptures provide the viewer with an opportunity to disassemble and reassemble the work and in so doing create new sculptures.  ROOMSHEET



I present to you a very spatial case: It is the imagination that lets me express  these opposing ideas.

It promotes and refers to the idea that the camera as surveillance, is a form of mainly psychological control, “I see you but you, see me not”.

Drawing on ideas and theories explored by Ariella Azulay, an Israeli theorist, in the fifth chapter of her book: the civil contract of photography argues about the importance of representation of the female body within misconduct, within the contemporary art world. She said, in the contemporary world there is an over flood of images but hardly any in that context.

“Public” and “private” are a big issue within the debates of gender politics.
 My work was done immediately after my visit to the Kaldor Public Arts Projects: 13 Rooms     (2013).
I was interested in the publics and viewers interaction /experience with in what I named 'The 14th room': that is the main hall was in itself another room. it is outside the small white “Alice in Wonderland” cubes, but still within the construction of the architectural space and viewers domain.
Throughout my work I find my self often testing borders and personal space, finding within this grey areas of space often overlooked. It is these in between areas that I take inspiration for my own work.
It is this space that often becomes “MySpace” for creativity.  I find refuge with in my own installations.  
ROOMSHEET



Melissa Maree (b.1994, Australia, Sydney) is a mix-media/cross-disciplinary artist integrating painting, drawing, photographic collage, sculpture, textile/fibre, designed object as a collection of time-based process works/series. Maree's subject interest of the Anatomy (inside worlds) and cityscape (outside worlds) correlates with her treatment of objects as an evolving process, as she destroys and recreates her own artworks.

Through a utilitarian modus operandi, Maree uses recycled, cheap and accessible materials and repurposes everyday materials: cigarette boxes, glass bottles, cardboard, paper, tic tac boxes and even her own artworks.


Maree's work investigates the liminal space between static and active art objects and the practice of creation and destruction in the everydayness of her art.


6.7.14

THREADS CLOSES SUNDAY 13 July 5pm.


Maryanne Coutts and Breaking News 2014


The exhibition, Threads, contains 4 works:

Threads  2014 - This work started with photographs of groups that the artist is in. She invited the people in those groups to send her photos of groups that they are in, but not her…. and so on.
Breaking News 2014 - Since the 1st of January 2014 the artist has drawn the clothes of someone in the news media every day. She aims to continue this project for the rest of the year.
Critical Mass 2013 - Projected animation and photographic slide show.
Whole 2013 - Watercolour drawings of mouths



Conversation between Maryanne Coutts and Margaret Roberts about Threads:
MR: Threads is the launch of a new project, so can you say how it came out of your previous work - how different is it and what is the continuity?

MC: The Threads project came from a show in Linden in Melbourne called Throng, which has two pieces, one which was a wall-sized watercolour of an asylum-seeker boat burning on the water, an image from the media of a boat that was set alight on Ashmore Reef. To accompany that I did an animation that was of crowd scenes. This work was about borders and boundaries as well as isolation and lack of boundaries. It was really  on two levels. One on a personal emotional level as a metaphor for internal states and the other in a more political, broader sense. It came from working in a show in Thailand that was about people who didn't have nationality. For me Threads is all about all that.

So Threads goes back to when I first came to Sydney and I began working from news media photos. I kept noticing that there's a whole genre of newspaper photos that are masses or crowds so I made an animation that puts different crowds from across the globe together in what appears to be a seamless space. Some were schoolgirls in Sydney, some rioters in Ireland. I have noticed that crowds are always brought together by all having some common cause, whether its good or violent or whatever, and I tried to join them into a consistent space. I became very interested in that idea of crowds and that is where Critical Mass came from - the individual watercolours where people are morphing into each other and the crowd photos on the screen (which should move faster).  I am quite attached to crowds and groups.

Then I also did drawings of a pile of rocks, something about the relationship between individuals and the whole that a lot of individuals make up. I wasn't thinking of logical threads, but when this show came up I wondered what could I do and thought about group photographs. This is a slightly different genre. The photos that the media take of the crowds are different from these here in Threads which are always taken about ourselves. These are a way of us documenting the relationships we have and the groups that we belong to, and they seem like very important things. They are usually not very artistic, whereas the photojournalist takes spectacular photos, some of them are brilliant.

And I think it is also from being in a new place (having moved here from Melbourne) and finding out how I connect as well. So I think all of my work tries to have those two levels, it has to come from a really personal motivation. But it has to have a much broader political connotation as well.


MR: In the Threads drawings it is amazing to recognise a person, as you see how similar and how different they are to how you actually know them. That connection with the person seems to over-ride the image in some way. The image seems to become a conduit for that connection.

MC: That has been a really interesting thing with this show. I thought it would be hard to persuade people to participate. Some people say they will send me photos but never get around to it. Then there's the people that say no I don't want to be part of it, are shy or whatever, or say I don't think the people in my photos will want to be in it. Then there are the others who say, oh wow, I am in it. I didn't expect it but it is letting me find a way that, while I am still doing the drawings myself, there is some way in which the audience is part of it, taking it over in a way, which I really like. So my drive now is to find a way to put it on-line so people really can interact with it like that.

MR: But it is good that you are still doing the drawing and that other people are not also doing the drawing on-line?

MC: Its funny, that's what artists do - it is our own touch. In some ways that is a conservative viewpoint. Some people get upset when they see work that doesn't look like it is made with a certain sort of skill set. And I am tracing so I am getting away from that as well. And my brother who is an IT person tells me: the problem with your project is that you have to do all the work, you can't outsource it.

I could just stick the photos up but I wouldn't look at them as much. This way, it means that every photo I put up I have to look at and also send an email to the person who gave it to me. This means I have to do something complicated and physical about every bit of the image and that is what this project is about. I am noticing more and more that drawing is about paying attention to things.


continued - download whole pdf