Artist Index


LOST opened last night

Linden Braye investigates cultural and material constructions with humour and pathos. In Now I Know Where you Live she draws together various concepts and materials of her practice, which include nature, and the loss of nature within built environments and the social representations of it. In ‘Found’ as opposed to ’lost’, the tapestry and the hand written message on the polystyrene lid were collected on two different occasions in different locations. Both hold cultural and material curiosity; that of craft practices, historical information and social engagement. By chance these two objects were united in a cartoon-like representation with the ‘Outsiders’, the skeletal structure of the dome and the blanket. 

Francesca Mataraga's practice is cross-disciplinary and extends into the areas of expanded painting, sculpture, drawing and installation. The work ‘elisabet drawing (stripes in cork mat shape)’ belongs to a suite of works that experiment with the scale and application of specific IKEA fabric patterns. Other works in the series include a site-specific painting at Queen St Studios (Frasers).

Gillian Lavery interrogates notions of time, place and the nature of hand-made objects through a range of textile and drawing processes.  These thread drawings were part of a larger body of work that explores Aboriginal basketry techniques. They translate, transform and abstract the weaving process.

Sue Callanan  works in sculptural installation and art in public space, and uses text to prompt an awareness of the relationship between the body of the viewer and its relationship to surrounding architecture and objects. In What you see...... the text is a play with perceptions and a twist on a commonly used expression

India Zegan is a Sydney based conceptual artist and a self proclaimed 'born again' drawer. Zegan has been working on her 'Museum of Fathers' studio research project for almost 20 years. Zegan is interested in how spatial theory and collaborative laboratory approaches can assist artists to present untold narratives that have been historically vanished. 

Rose Ann McGreevy: This work, Three Easy Lessons, is a homage to Joseph Beuys who gave me a tutorial in a Belfast pub as well as in my studio when I was a second year under-graduate student and he was visiting Belfast Art College (University of Ulster) and also doing a work in the Museum of Belfast. Rose Ann McGreevy.

Margaret Roberts works with drawing-installation and the live space in which it is  located. The digital prints in LOST are part of the documentation of Polygon Landscape, an interactive work made for the NSW town of Kandos and its art festival, Cementa_13. The work was made by cutting the shapes made by the street-views of 40 randomly selected Kandos houses from triwall cardboard, with details removed for ease of cutting with circular saw. The shapes were laid out in the Kandos Scout Hall - Kandos residents were invited to identify their house's shape and take it home. Unclaimed shapes were offered to others to foster. The prints show some of the houses with their polygon and its carer or foster location. The artist was thinking of the seemingly random impact of fire and floor on towns etc, and of the need to value the places in which we live.

Michele Elliot works with drawing, sculpture and installation. The into ether drawings are constructed through repetitive mark-making and accumulative action of the hand. The shapes are traced from gestures of the artist’s hand and are paired, left and right hand, facing towards and turning away from the other. They carry a soft tension, a magnetic push and pull of attraction and

Lynne Barwick's work explores subjectivity, through writing techniques and genres, including fictional voices, visual poetry and criticism. Barwick’s Scrivener takes its lead from Herman Melville’s short story Bartleby, The Scrivener: A Story of Wall Street, and the clerk who decides he 'would prefer not to'.

Emma Wise creates spatial interventions in response to sites – interior, exterior and in between. She has recently been incorporating sound elements in her indoor work, usually in the documentary spirit. A theme that consistently emerges is territory; she is interested in borders and barriers, passages and restrictions, possession and occupation. Her installations often involve repetition and sometimes use collections of found objects; she also likes to bake.

Suzanne Bartos Nesting/Resting 2014