Artist's talk 2pm Saturday 16 August - all welcome.

Conversation between Wendy Howard and Margaret Roberts in The Bronze Age at Articulate project space, Saturday 9 August 2014

In the beginning the whole focus was metal, but I think if I was really thinking about metal I would be thinking about it in its liquid state because that is what is so remarkable about metal - it can be melted and re-melted and its a liquid. But I certainly would not want to do any forging pouring or casting.

What I am really interested in is having something perfectly flat so its like it doesn't exist at all, its like a mathematical abstract of some kind, like a flat plane or a straight line between two points. So what I am trying to find is the smallest gesture to make that makes it absolutely become a real thing in the world rather than stay that abstract thing.

You're as mad as me. Why do you find that interesting? I don't know if I could say why.

When I do it I try to make a really simple action and everyone can see the simple action I made. So you can perfectly see a flat thing and a simple thing being done to it, but the end result is completely not that, it's like magic, its some kind of magic.

Is the magic somehow the physical world?

Yes it's something about the physical world, and suddenly you have these things that are floating and flying and doing this and doing that, its really fascinating. And suddenly you have a real physical relationship to them as well.

The materials have their own characteristics and limitations and language. Is that how they part of the physical world?

I am curious to think how far you can go, one step leads to another, how far you can go to still have that effect without having to do very much at all, so it is more and more transparent what you have done.

You make me remember the work you had at First Draft about 1990 of a flat sheet of metal sitting on a stand.

That was a cut out oval shape sitting on a musical stand, made out of cold rolled steel which is a lot more resistant that hot rolled. It was heavier than the metal used here.

Does this work come out of that First Draft work?

It's just obvious that I am really interested in making that flat thing do something which is almost like making it fly.  In this case there is a lot of floating going on in both things, and it's interesting how similar it is to Brenda's works up on the Articulate upstairs wall—which are floating little shapes with lots of space between them

I don't know what to think about the fact that the whole idea came from archaeology but once you get into it, to have little relationship to it whatsoever.

So why did you go for the bronze age context?



THE BRONZE AGE by WENDY HOWARD opening Friday 8 August 6-8pm

The Bronze Age is open Friday - Sunday 11am - 5pm, 9 - 24 August.

An artist's talk is planned for Saturday 16 August at 2pm. All are welcome.

The Amesbury Archer was buried near Stonehenge in c. 2,500BC with rich burial goods. As well as gold earrings, copper knives, flint tools and wrist guards, a black cushion stone was buried with him, a vital metal working tool, that demonstrates how important metal working skills were regarded. Isotape analysis of his teeth shows that he was born far away in Central Europe.

The Uluburun shipwreck, a Bronze Age ship that was wrecked off the coast of Turkey c. 1,350BC, is remarkable evidence of travel and trade in raw materials in this era. There were 10 tonnes of copper ingots, 1 tonne of tin ingots, glass ingots, ivory, Mycenaean pottery and Baltic amber.

The more than 800 abstract rock carvings at Oppeby in Southern Sweden are uncharacteristic of Scandinavian rock art of the period. Instead of ships, chariots, animals and warriors, the carvings are abstract symbols whose meaning is undiscovered. Placed at a river mouth, a likely arrival and departure point for shipping expeditions, they would have conferred great status on the people and the leaders of this territory, linking them with other Bronze Age centres in the Mediterranean where writing was beginning to be used.

The Bronze Age Part 1: Travels  is a site specific installation, an artist’s investigation into the iconography of the Bronze Age and the symbolic and transformative meanings of metal. It is a poetic engagement with the archaeological evidence in an attempt to understand a distant world.

The Bronze Age opens at Articulate project space on Friday 8 August 6-8pm and is open Friday - Sunday 11am - 5pm, 9 - 24 August.

An artist's talk is planned for Saturday 16 August at 2pm. All are welcome.




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

Open:  11am - 5pm Friday 1 August - Sunday 3 August.

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




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)


Melissa Maree - Photo: Liam Kesteven

Conversation between Melissa Maree and Margaret Roberts about Artsider at Articulate project space: 25 July 2014.

MR: Was it you who had the motivation to make Artsider a progressive changing project?

MM: The idea came from a collab work with Dorit at Syndey College of the Arts. We occupied a bare, empty wall outside the auditorium, subject to the public at SCA. Both of us discussed placing an artwork on this wall in response to one another, as a dialogue. Intuitively, this visual dialogue involved overtime but with our own everyday lives pulling us in other directions the time between placing more work/replacing work from the wall got wider. It was at this point the process driven project dissipated and became a static, artefactual objects on a exhibition wall.

So I thought it would be really great to have time in a space where artists were constantly making and producing work that is ephermal and transient, with a focus on practice and process over end-means. Dorit and myself work in a similar intuitive manner and were interested in the everydayness of artists physically using space – public and private – to make their artworks.

MR: Does that mean you are not interested in making a set of rules for yourself in advance but making artwork that simply passes the time in a public space?

MM: Yes and no. There is still a kind of structure, because Artsider occurs within a daily work time 9-5 period. We as artist already create formal rules for ourselves, limitations on what we choose to use as materials. So Dorit and myself limit the 'rules' to just formal organizations, such as when we worked on the auditorium wall at uni – we stuck to works being placed in horizontal line. I think the more rules there are the more the process is set out to fail. The only real rule is the everydayness of practice.



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.


DAY 3 of the Artsider backstage of the artistic process


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. 


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.  

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.