28.10.14

cutendpaste opens Friday 31 October 6-8pm


Cutendpaste opens on Friday 31 October 6-8pm, and is open  11am - 5pm Friday - Sunday 1 - 16 November.

It is open other times by contacting the artists on 0433 307 680 or calling by to see if they are there working. 

Artists' talks will be held on Saturday 15 November 2-5pm, in conjunction with Emma Wise who is working on All My People at ArticulateUpstairs.

In cutendpaste, artist Kathryn Ryan asked Linden Braye, Dorit Goldman, Anna Jaaniste, Melissa Maree and Margaret Roberts to join her in developing process-related projects in Articulate project space on conjunction with the location and each other. Visitors are invited to talk with artists and see their projects change throughout the 3 weeks of the project. 

Follow progress on cutendpaste blog

Kathryn Ryan The flora and fauna of Snow White and Rose Red. Photo: Michael Myers

...

To me, this project isn't about making a work of process, but considering the idea that the way we make is as important as what we make. The way different artists operate—how much they forgive, what they chose to remember, how humane, or merciless, they are in their making matters. This is the case whether the shadow of their process reveals something masterful, something  pedestrian, or something that is just awful.

I cannot say where I fall, it seems to become more difficult finding that clean slate, making slips into rote memory, and that resistance begins to look a lot like characterisation. So it is important, no matter what it produces, to spend time in process, to reclaim that freedom, to forgive those beginnings without letting them all run wild to the end. 


Linden Braye Helpful Viewing Tools 2011

Dorit Goldman Artsider  (detail) 2014

Meatology (working title)

WhereDoiComeFrom.WhatMi.WhereMiGoingThere is something very empowering in the ability to say: idontknow while feeling like I have done nothing wrong. 

Looking into connecting my own dots through observing everything and everyone around. My research is a constant never ending process: itest

As myart is a very spatial case; property becomes a commodity. This is where relationships get tested: meateography gets mapped.

Meatology becomes theArt of everything: In the ancient classic Greek world, the biggest sin of them all, was cannibalism. Zeus all mighty, would rage when he saw people engaging in it. 

read more...


video




Melissa Maree cutendpaste 2014: makeagif

Thinking about Process Art:

Process combines the concept and feeling of the artist towards space. Arguably, this definition of process involves nearly all art practices today. However, I think process art differentiates from other practices, through the intentional and purposeful action to collaborate with space. Conventionally, the retinal approach to art creation instigated its own private language, that delved into the emotional innards of the artist, distancing dialogue with the actual space the artwork was presented. This action repressed the social/political exploration of space, promoting a romanticised notion of the artist as genius, that supported omnipotent perspective art -  closing the viewer into the beholder's grasp. Without the loss of the expressive, primal “touch” of the artist, process artists used materials that express a bodily character creating anti-illusionary work that acknowledged itself within its predetermined space. I feel retinal tendencies are still present today and close the connections between concept, expression and space that I feel is imperative to provoke thought.
As artist today I feel process art is an extension of the body positioned to critique places within space. I feel that process art can be a powerful tool to critique the power exerted over the body by societal/economic structures. My work reflects a desire for transparency, a need to see more deeply beyond image and illusions, values that I feel stem from process art. 


Margaret Roberts SNAP 2013
 I think of 'process' as a collaboration between thought and space. Thought occurs in someone's mind and it transforms into physical form when it is realised in actual space.  This happens in all art-making (and in life generally) in some form, but  'process art' is when an artist's thought is specifically designed to give agency as much to the contingencies of the  'rolling-out' process in actual space, as to that design. 


Anna Jaaniste Sandstone Heart Performance, Sydney Harbour 2011


being in the moment of connection
never achieving a perceived goal or perfection
everchanging / fluid
can be a bodily, physical process that needs to be carried out
honesty
constant interchange
desire
movement
being unattached to a particular outcome
giving up full control and trusting in nature’s own will

Anna Jaaniste is supported by a grant from the Ada Merz Benevolent Foundation

5.10.14

SLOWING DOWN TIME 3


Project dates: 7th – 26th October
Closing event: Sunday 26th October 2-4pm
Project space opening hours: Friday, Saturday, Sunday 11am – 5pm
For access at other times between 7 and 26 October contact the artists on 0414 494 559

Each artist will be working in the project space on the following dates:
Jo Law 12th-16th Oct
Michele Elliot 7-11th Oct
Sue Healey 17th - 22nd Oct
Louise Curham 24-26th Oct

Slowing Down Time is an ongoing project that aims to open up a dialogic space for artists Jo Law, Michele Elliot, Louise Curham and Sue Healey to create works together. This is their third iteration of Slowing Down Time. It builds on the previous two, the first here at Articulate project space in April and the second at the Faculty of Creative Arts Gallery, University of Wollongong in August.


above  image: slowing down time 1

Their collaboration explores the premise of slowing down time in order to create a palpable zone where the experience of time is decelerated. Responding specifically to the site, the artists invite the audience to negotiate the dimensions of the space and experience minute details and interventions, to consider fragments and residues of memories and objects. The four artists share an attentiveness to the everyday, to materiality and gestures, to domestic scenes and traces of habitation.
Each artist takes the space for five days and has a day overlapping with the next artist. The layers of work evolve over the duration of the project as a new contribution is added each week. These responses culminate in a richly textured and layered work in the final week of the exhibition.

image left : slowing down time 2


The nature of this project pivots on a dialogic and accumulative practice. As a conclusion to the project, the artists will lead a discussion about the creative process of the work and invite the audience to participate in critical dialogue about the making process and whether they have succeeded in slowing down time.


































image left: slowing down time 2