14.6.21

Upstairs: psp.doc

 Open 11am - 5pm Fri-Sun 19 June- 11 July 2021

Opening Saturday 26 June 2-5pm (Cancelled and postponed till 10/11 July subject to lockdown) 

Artists talks:

Saturday 26 June 2pm: Dell Walker, Aude Parichot, Alan Schacher, Lesley Giovanelli, William Seeto, Terry Hayes.  (Cancelled and postponed till 10/11 July subject to lockdown) 

Closing and artists talks: Saturday 3 July 2-5pm: Dell Walker, Sue Callanan, Toni Warburton, Aude Parichot, Alan Schacher, Lesley Giovanelli, William Seeto, Terry Hayes.  (Cancelled and postponed till 10/11 July subject to lockdown) 

CATALOGUE

psp.doc shows the work of artists Sue Callanan, Lesley Giovanelli, Terry Hayes, The Hypothetical World, Aude Parichot, Kathryn Ryan, Alan Schacher, William Seeto and Toni Warburton that documents the project space project they undertook at Articulate during the last decade.

Articulate beg: an the project space project in 2011 by inviting artists to work in Articulate's 27m long ground floor project space for pre-determined periods  of 1-3 weeks, in whatever way a project space serves their art practice at the time. The broad aim is to show what a project space is through the accumulation of the various ways that artists employ it in their art practice. 

All the project space projects (psp) are recorded on Articulate's public archive with images and text.  

The psp.doc exhibition provides physical artspace (but different from and smaller than the project space) and a catalogue space for writing, for artists to reduce their project space project to whatever material continuation, summary, analysis or other form of documentation that they think appropriate.

Psp.doc will be accompanied by a new project space project on the ground floor project space and back room: Holding Back the Tide by Dell Walker. 


Toni Warburton  idea for a conic frustum basin form, 2021, watercolour on rag paper.210mmx310mm


Toni Warburton Template Panorama 2012 (day 8 of project) photo: William Seeto


Toni Warburton, Conical frustum basin forms: cumulative retrieval series.2021.  Various media, including bookbinders’ muslin, paper, hessian, canvas, chicken wire, fabric, thread, paint, glue. H 140mm, W 540mm 

draw    notation   space   encryption   base        imprint    writing   map code    decipher    grain     pixel      texture Fold    roll     compress      shape      conic     section        trace      edge    circle  cone         oval   ellipse   rim     moment   clay     paper   canvas    object    sew     outline     contour     stitch   profile     template       elevation   shape  plan  top   pattern   MA*      base    copy      side    scissors     repeat   brush     duplicate     foot   pot   void   calligraphy     pleat      void    join    door              action       point   container    codicil    seam  decryption  plane illustrate     opening            replica   compose     variation   form    line    empty       translate       tear     expanse      evidence    grid     arrange       sunlight       study      calibrate             interval     inaction            dart     striation    marginal       window          join          repeat         sketch    duration   drape   italic            illumination      expanse    pause     mold      crenellate        shadow       prototype              assemble      edition               air   serpentine             reflection    artifice     morphology          cut   absence          cursive      bend     decipher      unwind          scratch     blend                                     

*Japanese aesthetic concept  of time and space  



William Seeto, 'Untitled (b-g3.r.g3.w.y3.gr.b)' 2021  

Untitled (b-g3.r.g3.w.y3.gr.b) is work that is part of Articulate’s project space project documentation series; as an addendum to previous use of Articulate’s exhibition space to consolidate practice and artwork relative to site. It documents process to reconceptualise and extend form with images and artwork. 


It is a continuation of Art & Situation in 2019, a process based project over 12 days that deconstructed and re-purposed 3 pairs of crutches, as well as created two site-specific projections consisting of one and three painted oblique squares using fixed-point perspective, work dependent upon location and viewable only from set positions.

 

Untitled (b-g3.r.g3.w.y3.gr.b) continues examining spatiality ‘in between’ sculpture and painting with re-purposed objects of interest in the form of deconstructed domestic furniture from the 1980s to extend the dialogue between everyday objects, sculpture, painting, and site. It balances form, colour and composition and is inspired by Arte Povera.


In a way it looks at space in a literal sense and as visual metaphor by working with objects, colour and the built environment. It offers a personal formalised dialogue where ‘site’ and ‘art’ is queried as to whether one or the other is more important, and poses questions of how spatiality and objects interact, inform, or interfere with the work and its location.  

***

William Seeto is an installation artist with a practice of 41 years. His site-specific constructed installations examine perceptual qualities by incorporating immersive light, sensory perception and luminal light fields (Ganzfelds); his ephemeral works re-purpose everyday materials in a blend of minimalism & kinaesthetic experience.

 

http://williamseeto.blogspot.com.au/

 


The Hypothetical World

Boxed Corner

2021

Cardboard 30x30x300cm approx., photocopy

Seminal to this work is the exhibition The Question Consortium, which was held at Articulate project space in 2015. Both works together query our worlds within worlds. In this appeal of what we may consider as cosmic dance, corners play a fundamental part. Corners organise the worlds' coexisting realms. Boxed Corner refers in that sense to our utmost experience of corners' status, which unites and divides worlds, both subjectively and normatively. In space time is life, and are we and I, with and through corners, which concomitantly allow and limit our individual and shared experiences. To corners' universality stick things and non-things alike, from materialist grapple to epic discontent about origin, causality, and fake criticism. Attached to them are also our utterly romantic encounters with chance and speculative embracement of the future. Corners' physical and metaphysical omniscience comes to light equally in the plethora of phantasms including our most hidden and wildest dreams. The corner is one of worlds' great commons, a world glory hole, from which, relentlessly, we attempt to become liberated or struggle to separate. The corner reminds us also of our remarkable impetus when it comes to our hideous desire and instinct to govern or even just to be in or with the world.


Sue Callanan FENCING: Repairs and maintenance (2017, 2021) 

The idea for Fencing: repairs and maintenance arose when the opportunity of doing a project space  project coincided with my having completed construction of a fence around my home. The leftover pile of palings and sticks became source material for translating the notion of fence to Articulate.


The sticks and palings became tools for defining, marking and also dividing the space. They also became a form of large scale notation. I moved them from one end of the space to the other in an evolving series of installations, where one idea flowed on from the one preceding it.


Whilst appearing functional, the arrangement of the sticks, over time, began to take on metaphoric meanings in relation to the marking dividing and barricading. For each progression, I found a new title: 1. Landing  2. River of Styx,  3. Opposite sides of the fence, and so on.

The overriding title, Fencing: repairs and maintenance held a clue to the functional aspect of addressing the everyday management of life and its material substance within the architectural or urban framework within which one finds oneself. However, the open-ended site of the project space (compared to that of home and actual fence) becomes a container for expanding the notion of the mundane through the lens of the poetic. It allows that moment where the real (mundane) and the poetic hyphenate, see sawing from one to the other.


Documentation


For the documentation, the presence of some of the fencing material, with its physicality, colour, texture and solidity seemed crucial, but for it to have any meaning, I needed to find a spot where the idea of ‘fence’ was relevant. I located a small pocket of space which allowed me to create an enclosure, contiguous with the stair rail, itself a fence.


It’s challenging, in retrospect, to identify the core elements of the work, as ideas evolved quite rapidly over the course of the week, morphing from one idea and form into another. Again I came back to the title, Fencing: repairs and maintenance, and decided to use it as the header for a log book with a list of entries of ‘works’ undertaken. My aim was to present this in a condensed form, and in doing so, to draw out not just the physical connotations of fence, but also the metaphorical ones.


It occurred to me that one could also record the different configurations in the form of diagramatic notation. Both of these last two representations, log book entries and diagramatic notations, in effect become part of a new work with reference to the original. They served to encompass an element implied rather than spelt out. It becomes clear to me that in any work, the act of documenting (reviewing and reflecting) becomes a new creative act triggered by, but independent of its original counterpart.


 

Open to contingencies- Invitation to possibilities 

20-day project, May 2021.


Documentation: Fluid memory, day 20, one channel video, 3h1min25s, and mixed media.


For 20 days, I committed to work every day on a site specific series of works, responding to the place, evolving with time and interactions. In a John Cage’s spirit, who stated  “Life without structure is unseen. Pure life expresses itself within and through a structure”, I aimed to let the project unfold in an open creative process within specific parameters of time, space and engagement.

Kathryn Ryan Drawings of Pieces of Practice 2011


When I got to Articulate in 2011 I didn’t have much with me. I had two carry bags of small things that were easily moved on public transport. It was always very hard for me to identify the materials of my practice but with time and absence I see now that they were objects of proximity and convenience, there were so many practical considerations that defined what I chose: Money, opportunity, portability, and a certain material flexibility to sympathise with the spaces I worked in - which for most of my practice happened to be non contemporary with natural elements.


All these restrictions were freeing in a way, whatever I chose had to be chosen and that’s what I had to work with. All these objects, discarded from old houses, living in op shops, and littered along streets, form a line along a network of busses and trains that encompass a space that was entirely personal and yet also shared.


I never tried to make these objects make sense or to find out what they meant, I just enjoyed the challenge they presented to surprise me, and hopefully others. It was very much like working with words and finding their poetry. Anyway, I remember that Articulate as a space had a lot of rough edges. There were cracks and bricks and wood and natural things left undone. And without these I don’t know that I could have made anything without becoming lost. I needed these areas as points of departure - and as an end point to the tether the journey of these objects.


At the end of my time I drew each miniature installation as a way of keeping it and making something I could own. 



Terry Hayes 'I believe you have something to tell me' (Polish version)  22 x A3 sheets of dissolved text


'I believe you have something to tell me' (Polish version) stems from a randomly selected text comprising of 192 words that I initially transcribed by hand onto an A3 sheet of paper with a non-permanent blue marker pen. I then decided to further transcribe this hand written copy onto another sheet shortening the text by omitting the letter 'A'. This shortened text was then further transcribed, omitting the letter 'B' and so on and so forth until all that was left on the final sheet were 'Y's (there were no 'Z's in the random text.)


On completion of this progressive deletion across the 24 pages, each separate sheet was then dipped into a bucket of water, upside down, partly dissolving the text and then allowed to drain. The sheets were then hung out to dry.


The Polish version of the dissolved texts were produced in a re-enactment that followed an identical procedure to that of the original English version. The re-enactment took place in Łódź, Poland in 2012.




Lesley Giovanelli Garden Wall 2021


A documentation of ‘Garden Wall’ developed during a project space project in 2019 at Articulate project space. Materials used: polystyrene, dyed wool hanks, polyester wadding (spray painted), painted paper


During my project space project in 2019 I was able to explore elements in space on the large scale afforded by Articulate which would be impossible in my studio. Each week I used a different element from my practice: soft hanging bags, fabric patchwork curtains or coloured objects. For this documentation show I will only reconsider the coloured objects. I used large blocks of styrofoam covered in paper or fabric juxtaposed with coloured planes on the wall, floor or hanging freely. Coloured wool was both a playful and textural element. The psp gave me the opportunity to play and discover without the expectation of showing the work and gave me a greater understanding of how to handle large 3 dimensional space. I am reflecting on the work after a period of time, in particular I am able to think more critically about the colour relationships and the possibility of greater textural variety. I will make an installation using the same elements but condensed and packaged. Smaller blocks and paper rolled up then bound with wool will be placed against a coloured wall and floor plane. The effect of reusing the same materials whilst changing the scale will mean a change in proportions. It should feel chunkier and bulkier than the original but also give an idea of the potential. I would like it to feel ambiguous, as if the materials could be unpacked and opened up to form a much larger work whilst still working as an installation in its own right.


Conditions of entry:


Please do not come if you are unwell or a contact of a COVID-19 case.
Use the hand sanitisers provided at the entrance to Articulate.
Complete your contact tracing information on entry to Articulate.
Keep 1.5 metres distance from others or wear a face mask