Artist Index



When the markets are nervous, does the value of a person rise or fall? How do you price human feeling? Are we more than two-legged cost and profit centres?

Drawing on the language of technical analysis used in finance, this generative work uses bio-data to produce a ‘self-portrait’, utilizing a decision-based emotion capture system. The work is the result of a durational project that maps emotion in the unstable world of global financial crisis. What music does human emotion generate when it is quantified? Can human feeling produce a beautiful set of numbers?

About the artist:  Helen Grace has no formal art training whatever. She is thus a complete interloper in the artworld, but nonetheless has been making and showing work for 35 years as well as teaching and writing and leading others astray. She is an award-winning filmmaker, photographer and new media producer and her works have been widely exhibited in Australia and internationally and collected by the National Gallery of Australia, the Art Gallery of New South Wales and in private collections internationally. She is currently based in Taiwan, after several years living in Hong Kong.

Her work has been seen most recently in the exhibition, A Different Temporality: Aspects of Australian Feminist Art Practice 1975-1985,  Monash University Museum of Art, 13 October – 17 December, 2011. She presented the solo show, IPO, at the John Batten Gallery in Hong Kong in May 2009 in association with Mori Gallery, Sydney. Her film/video/new media works include Train of Thought (2006). The Immortals  (2005), Lounge  (2004), Dog  (2004) Ost Offic  (2004), Serious Undertakings  (1983)

Opening event: Friday June 29th, 2012, 6-8pm
Show Dates & Opening Hours:
June 29th – July 15th, 2012, Thurs – Sun, 12noon – 6pm


PLASTIC CITY'S CLOSING EVENT - Sunday June 24, 3-5pm

see another video here

see one video here

Please come to the closing of Tracey Clement's Plastic City

on Sunday 24 June at 3-5pm,
at Articulate project space, 
497 Parramatta Road Leichhardt NSW.

Plastic City is open 1-5pm, Saturday - Sunday until June 24. 


Please come to the closing of Tracey Clement's Plastic City

Sunday, June 24, 3-5pm
at Articulate project space
497 Parramatta Road, Leichhardt, NSW 

open Saturday and Sunday 1-5pm till June 24



According to Tracey,  day 1 is pear-shape day  (pears must be out of shot).




Plastic City represents the annual consumption of one individual. The miniature buildings are made from every plastic container Clement bought during 2010; they were stored instead of recycled.

The vaguely sci-fi style of the mini city’s ‘architecture’ is an invitation to think about the future. Plastic City embodies a number of timely questions about the types of cities we want to live in, sustainable practice in urban environments and personal responsibility. Visitors should leave asking themselves, “How big would my Plastic City be?” In this case, bigger isn’t better.

About the Artist: Tracey Clement is an artist and writer. She has exhibited widely in Australia as well as NZ, the UK and the USA. Plastic City is her sixth solo show in Sydney. She has a Diploma in Jewellery Design, a Bachelor Degree in Art History-Theory and a Masters degree in Sculpture. Clement’s work is held in both private and public collections, including the Smithsonian in Washington DC. She is the former editor of the Metro Art Page in the Sydney Morning Herald, and current editor/writer of the blog, The Post Post. Clement also contributes regularly to several magazines


Second degree: an account of an encounter

As you walked in to the space the light fell on a group of blackened masks or faces, slightly larger than life, installed on the wall to one’s right between the timber posts. It looked as if the masks   may have been covered with bitumen but there was no aroma of pitch.  Their presence hovered within   a perceptual space that was neither scary nor cute.

The next alcove was darkened.  Many small framed objects became illuminated at intervals. A bluish light emanated from photographic images of night scenes in bushland of some sort. As one peered into the images one could begin to perceive amorphous forms; slightly human, slightly animal like (the artists crouched, shrouded in blankets wearing animal ears). To the far left end of the wall, one of these objects depicted a bluish veil. Opposite on the brick wall was a miniature video of a moving image of mist rising from a landscape.

As one continued   to move straight ahead in darkness, the path was closed off with a curved screen.  Mounted above and behind it, a data projector   sent a beam of blue light through the screen and onto the wall: the final motif in the space.  Two small button s on a little game console could be manipulated by the viewer to expand or reduce this blue beam of light into a thin line or a huge blue blob that occupied the entire wall.  There were sounds.

R S V P 


NOCTURNE: Sometimes the bump in the night may be closer than you first imagined. . .

Nocturne is an exhibition of new work and collaborations from Katherine Olston and Andrew Burrell, opening at Articulate project space on 

Friday 15 June 6-8pm.
The exhibition is open: 11-5pm, Thursday 14th June- Sunday 17th June

The exhibition Nocturne is a compelling and eerie mix of childhood beasties
and adult horrors projected onto the backdrop of the deep, dark Australian

Nocturne presents new collaborations by Katherine Olston and Andrew
Burrell in response to their seven-day art residency in the near-ghost town of
Glen Davis (population 27) in the Greater Blue Mountains National Park.

Through installation, sculpture and interactive real-time 3d, and with reference
to both horror movies and children’s books, the artists explore notions of
personal internal fears and anxieties projected onto the larger external space
of the Australian Bush. The work focuses on the Australian Bush as both an
environment to be explored and a construct of the ‘colonial other’. The Bush is
often seen and portrayed (by this colonizing other) as a mysterious place,
often dangerous and usually to be feared. When combined with the darkness
of the night, the sense of fear associated with the Bush is compounded and
the menace of the unseen can materialize into reality.



ANNE MOSEY 9 -10 June

Anne Mosey has been working in the project space all week and you are now invited to:


Saturday - Sunday 9 - 10 June
11 - 5pm


Heidelberg House : Walls - Working notes

Working notes

The Heidelberg School and the Angry Pengu1ns : broad based collaborative work, geographical markers
Piet Mondrian : Dynamic Equilibrium
SophieTaeuber-Arp : [Equilibrial Dynamism]
Historical fictions or events in language power
Neutralization as the methodology of philosophical nihilism
Neutralizations and their remainders
Remainders : architecture's disappearance; laughter; possibilities

The relief

Mondrian : modern architecture remains within perspective's system of perception
Mondrian : disappearance of painting into architecture / disappearance of architecture into painting

Mondrian : the destruction of the curve through the deployment of verticals and horizontals. [Destroying the verticals and horizontals reveals specific parabolic curves whose forms reflect relations of perceptual force or mass]
The black square : the "gaze" of god neutralized by the "gaze" of the artist, remainder is the white border/frame

Josef Albers : "Homage to the Square" : white gessoed support constituting border/frame so that "you know where the painting ends"
Ad Reinhardt : 60" x60"
EPW : Orange - Every Picture Wanders : concrete underlay
Sigmar Polke : Heidegger on laughing gas
Bathroom sailing ships : Carl Andre in Delft
"Moderne Kunst" : equilibrium is a border
major and minor : public and private, civic and domestic, legacies of modernity