Ebb and Flow opens at Articulate on Friday 13 September
Open 11am - 5pm, Fri - Sun 14 - 29 September
Artists talks & Closing event: Sunday 29 September 2-5pm
Ebb and Flow will show new work by Elizabeth Chang, Lucas Davidson, Victoria Hempstead and Christopher Raymond, four Sydney-based artists whose practices explore the material and immaterial condition of the human body.
The central grounding concept of Ebb and Flow is one of removal, as each artist interrogates their chosen medium. The exhibition will consist of a series of installations that sit within the project space, using the floor, ceiling and space between to hold the work. This decision places their work within the immediate space of the viewer allowing for an interaction with the material and immaterial properties of the works. The intention is that Ebb and Flow will enable the artists to continue an investigation that interrogates media and space. This in turn raises questions about the perceived boundaries of the body to highlight the impermanent and the intangible nature of the human condition.
Hempstead will continue her examination into genderless, cerebral rhythms of the body. This piece focuses on the rhythmic ‘pulse’ and the circulatory flow of blood within the polarised body. A jagged brick of ice will rest upon a suspended clear sheet of Perspex. At eye level, the sculpture will cut the space immediately and create a horizon within the piece. The grains of red sand, collected by Hempstead in the Arizona desert will be visible in the ice, as it will be used to create layers, reminiscent of glacier formations in the earth. Over time, the water will slowly sift through the holes drilled into the Perspex, creating a steady, recurring ‘pulse’ with the grains of sand slowly piling at the base of the sculpture.
Davidson’s video installation presents a panel of floating plasma screens that capture an image of the body in a process of continual change. Each screen will show a photographic image of the artist’s body that has been released from its paper backing. Captured in its water suspension the image of the body progressively distorts, blurring the line between the defined and undefined image.
Rather than layering bitumen and white oil paint onto canvas, as in previous works, Raymond will focus on the reactive combination of these materials by presenting them layered in clear containers. These layers will react to one another over the period of the show, in a process signifying decay. Through this process Christopher considers the greater psychological and philosophical consequences of life’s transience.
A dense field of black ink disguises Chang’s labour-intensive practice of piercing through the paper. This gesture erodes the pristine monochrome and refuses the permanency of field; each perforation is actively erasing and undoing mark-making—it is a silent negation of pictorial immovability. Light shines through the punctured paper and allows the viewer to engage with the environment of the work. These non-gestures stem from the desire to document the temporal void and infinite change.