Open Friday - Sunday 11 - 26
July, 11am - 5pm
FLOOR WORKS presents eleven
Sydney and Blue Mountains based artists: Heidi Abraham, Linden Braye, Loma
Bridge, Elizabeth Day, Nicole Ellis, Lynne Eastaway, Beata Geyer,
Chantal Grech, Justin Henderson, Hana Hoogedeure & Julian Woods.
The floor is what separates and
joins us to the earth. It is a loaded zone of connection and loss. In
contemporary urban city spaces we traverse a variety of metaphorical and
material floors, such as pavements and laneways, on a daily basis. The floor
marks the beginning of space and the universal experience of being. The floor
is also a border space and a marker of our temporality.
The artists in this exhibition are linked by their ability to consider and
reconcile their work with the floor. This group of artists also share a common
interest in spatial discourses. The works in this exhibition invite viewers to
look closely and to re-imagine the floor as a unique spatial plane.
Curated by India Zegan
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Linden Braye Cave 2015
Faux fur, rocks, rope.
Cave is an extension of a character Skylark that is made from faux fur (toys). Skylark used to walk with a real dog called Luna. They investigated various urban landscapes where social and cultural interactions transpired. The carnivalesque material of Skylark’s fabric continues in Cave. In its present site, Cave is a shelter at the border of nature and culture, inside and outside and the real and the constructed. Visitors are welcome to enter the cave and explore. |
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| Elizabeth Day Myco Logic 2015 Mixed media. Photo Chris Verheyden. Fungi are now recognised by scientists as the third genus. They are supposed now to be closer to fauna than to flora. Their roots are transmitters of nutrients that they break down from decaying matter. I am interested here in the roots similarity to the rhizome structure that has occurred previously in the work I have done with grass root prints that were also part of this collaborative project. People of Kandos and other artists were invited to participate in the CEMENTA 2015 production of Myco Logic by making a fungi. This work endeavoured to uncover hidden stories of Kandos and its broader cultural connections. The use of fungi suggests the potential inherent in these untold connectivities. Contributors include Claire Gordon, Louie Gordon, Loma Bridge, Kelsey Bender, Christine Treganza, Rose Ann McGreevy, Val Morgan, Ellen Riley, Kaz Knights, Neal Price, Delma Smith, Louise Norton, Tara Kulla. |
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Beata Geyer TOWER Ultamarine
Blue 2015. Wood, particle
board, foam matting, PVC, acrylic paint
TOWER Ultramarine Blue is site-specific installation, developed to engage spatially and chromatically with
architectonics of the exhibiting space, in this case floor. The
installation is a part of an ongoing project that examines various
intersections between conceptual as well
as formal aspects of painting, such as colour and form and architecture.
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| Heidi Abraham The other Mary 2015, Pine, acrylic paint, ink, vinyl, 24 blocks, each 19x 19cm. Heidi Abraham is an interdisciplinary artist, her practice concerns itself with cross-cultural positioning and there fore cross-cultural representation in both written text and visual art, central to both her research and studio practice is the notion of text: in terms of cultural language, subjective voice and of its physical manifestation in visual art. Her most recent works include the act of transcribing. Abraham employs materials such as type-writer ribbon and vinyl to transform transcribed text from radio interviews, email, film dialogue and an array of other sources. The text is then installed, with the intention that the words and their meaning become embedded in the space. |
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| Nicole Ellis ‘Shhh! Tread Lightly…’ (2015) Fleece fabric, heat-transfer print on felt, shoe sole patterns, 32.5 x 13cm, 24 pairs, overall size variable, 2015. This work uses fleece fabric and hand printed felt cut into a pattern of shoe soles. The colour and layered softness of the fabric, contradicts the large size of the soles, which mark out a quiet passage of steps along the gallery floor. As a warning, a comment on the overall lack of care and harsh realities we face daily in relation to our changing world, the work provides a tactile reminder of the individual’s role in this demise. Nicole Ellis is represented by Conny Dietzschold Gallery |
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| Chantal Grech Where 2015 mixed media, 190.5 x 87 x 40cm. Nothing is fixed. We exist within a set of constantly shifting relationships, both in space, and in time. The body itself is always, above, below, beside… the present always dissolving into the past or the future. In this work the elements come together in a specific combination, none fixed to the other, each in relation to a floor, which sits above the ground and on which we walk, ourselves floating above it. The particular juxtaposition of parts in this moment suggests a reading that will no longer exist when the work leaves the space –the felt rolled under an arm, the lights in a box, the silk folded and stationary. . . At its heart the piece recalls a member of my Egyptian family who died recently. The letter W begins the word ‘where’, but w may equally be read as part of hieroglyph representing water. |
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| Julian Woods Drawn 2015 Digital video, Time: 10 minutes. My recent art practice has primarily been animating mundane objects in digital video; seeing how these objects interact with space and stripping the footage back to create a hypnotic loop. Editing the footage to two tone, often the objects appear silhouetted and far removed from their original three dimensional form. In such sense, they can be mistaken for being drawn from my hand and not from recorded video footage going between reality and fiction. |
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Loma Bridge Vague Object
No. 3 quaKe 2015 mixed media meditation. Photo: Chris Verheyden
Eutierra – a
feeling of elation, or oneness with the earth – a neologism created by
philosopher Glenn Albrecht
(along with others he feels are needed in this
global warming era).
Collision, fuzzy middles, sandblows, hotspots,
subduction zones. 200 felt earthquakes per annum. Quaker. Born in the shaky
aisles. Collusion. Whose fault line? Cover and hold. Something sculptural
emerging; reading the earth's lips – those large igneous provinces
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| Hana Hoogedeure Dog Days 2015 100cm x 80cm x 35cm. Sand, ceramics, playdough, string, cotton, marker, acrylic paint. Photo: Chris Verheyden. Hana Hoogedeure is an artist from Sydney working across Sculpture, Performance and Installation. Her work is concerned with the sculptural qualities of theatrical props and toys, and the importance of imagination and illusion in order for these artefacts to function. A strong sense of narrative underpins her work, insomuch as it is orientated around. (Lower right: Nicole Ellis) |
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| Justin Henderson broadbrush 2015 video loop; duration: 10 minutes. Henderson notes: There was an occasion about five years ago when I was fervently scrubbing a patch of grimy industrial concrete. The floor, along with the walls and ceiling had by rental agreement recently become my studio. Was it the desire for a blank page, just procrastination or a warm up? A nauseating amount of compressed life to scrub out, decades of warehouse toil, an oozing black melancholic record. Setting to task with the zeal of expectation and anxiousness for what will be another layer of human sediment. At some point falling into the rhythm of the activity and watching the flow and form of the agitated liquid. Credit: Special thanks to friend and video artist Sean Bacon for his expert input in helping me make this work |
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Lynne Eastaway FOLDED 2014 Acrylic
Gouache on heavy Belgian Linen, wooden box. Photo: Chris Verheyden
fold …
· bend (something flexible and
relatively flat) over on itself so that one part of it covers itself.
· bend or rearrange … into a more
compact state.
The first of these folded works was pinned to a
wall in the form of a triangle, in an effort to make a work smaller than its
original size but also in response to the word homage and the ritual
folding of flags. From the wall, to the floor, to its own white box, the
experimental nature of the work has been both interesting and frustrating and
is no closer to resolve than its earlier beginnings. Roughly a metre square, the original flat shape is painted and then
folded to form something between a flat object and a more flexible sculptural
form. In this state the work can be handled into a range of possible new
configurations. Its potential is
also to show wear and tear over time as it is handled, a process of giving the
piece to a life of it’s own.
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