Showing posts with label Jo Law. Show all posts
Showing posts with label Jo Law. Show all posts
11.10.14
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.
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
6.4.14
Slowing Down Time - final day
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| L-R: artists' talks: Sue Healey, Michele Elliot, Louise Curham, Jo Law |
The last day of Slowing Down Time showed the accumulated works of four artists who have distinct practices but share similar aesthetics and are very familiar with each other's practices. It is an interesting example of collaboration in which both individuality and commonality are maintained. For example, the direct drawing (pencil on plaster wall) by Michele Elliot is linked to the animated line projections of Jo Law; the sound-super8 collaboration of Louise Curham, Alister Spence and Alexandra Spence merge with the dance projections of Sue Healey. This project also explores relationships between the space within images and the space in which images are located through the use of movement and stillness. The progressive nature of Slowing Down Time is also taken up again in the following project, Fair Isle, with the difference that the Fair Isle artists come together randomly by selecting a fortnight- time slot, and the interactions between works is also expected to be more random.
slowing down time blog
2.4.14
SLOWING DOWN TIME performances artists' talks and discussion Sunday 6 April, 2-5pm
SLOWING DOWN TIME will finish this weekend with the accumulation of 4 artists' projects built up over 4 weeks, including a version of the performance by Louise Curham, Alister Spence and Alexandra Spence developed in week 1.
The performance, artists talks and discussion will be held on Sunday 6 April, 2-5pm. Please come along to participate in the discussion of this most interesting experiment in artist collaboration that crosses disciplines as well as artists' practices, space and time.
Slowing Down Time will also be open 11am - 5pm Friday - Sunday to 6 April.
Louise Curham https://vimeo.com/user2675588
Michele Elliot http://www.micheleelliot.com/
Sue Healey http://www.suehealey.com.au/
Jo Law http://www.jolaw.org
1.4.14
SLOWING DOWN TIME - week 4 Jo Law
Jo Law is working in the space in the final week of Slowing Down Time.
Please drop in at normal opening hours of 11am - 5pm during Friday - Sunday 4-6 April.
Jo is responding to the sites where Louise, Michele, and Sue worked. Jo is bringing traces of these previous play and experiments back to the space. Amongst the materials she uses are rotoscoped animation, video footage, and physical objects. She aims to animate these multiple layers and create dialogues with these traces as well as with the space.
see images on http://artofslowingdowntime.tumblr.com
http://www.jolaw.org
Please drop in at normal opening hours of 11am - 5pm during Friday - Sunday 4-6 April.
Jo is responding to the sites where Louise, Michele, and Sue worked. Jo is bringing traces of these previous play and experiments back to the space. Amongst the materials she uses are rotoscoped animation, video footage, and physical objects. She aims to animate these multiple layers and create dialogues with these traces as well as with the space.
see images on http://artofslowingdowntime.tumblr.com
http://www.jolaw.org
10.3.14
SLOWING DOWN TIME open from Friday 14 March 11am - Sunday April 6
see progress
Slowing Down Time is a dialogic project evolving over a 4-week period by artists Jo Law, Louise Curham, Michele Elliot and Sue Healey.
Open from March 14 to April 6, Slowing Down Time will be marked by a closing event and artists' talks on Sunday 6 April, 2-5pm.
A second stage of Slowing Down Time is also planned for October 2014.
Sue Healey, Door Chair Bed & Stair 2007
Michele Elliot Some Kind of Longing 2012
Starting with the premise of slowing down time, this project involves the collaboration of four artists working in different media—textile and sculpture, choreography and moving image. The project will start with an installation in the space by one artist. The work will evolve over the four weeks of the exhibition as each week one artist contributes a response to the existing works in the gallery. These iterations will create layers of work that converse. Why this way? The project’s ambition is to open up a dialogic space for artist to create works together that do not form an argument, but rather, an experience. The process demands listening to what others are saying, thinking about the responses, and putting doubt on the table. This dialogic space extends to the audience, where new ideas can emerge through conversations. The Articulate project space is an ideal place for this project because it gives us an opportunity to engage with Articulate’s community in critical dialogue.
Responses by the artists can be viewed weekly, culminating in richly textured and layered works in the fourth and final week of the exhibition. The nature of this project pivots on an open dialogic process where the result is not entirely predictable. The aim is to produce a final piece with diverse parts that are in consonant with each other—a reflective space where time is slowed down. This complex landscape will be on view at the closing event which will host an open discussion with interested public and members of the community.
11.5.13
THE SITUATED LINE ARTISTS' TALKS Sunday 12 May 2pm -
The Situated Line is an exhibition by Boni Cairncross, Brogan Bunt, Jo Law, Michele Elliot and Ruth Hadlow whose diverse works have in common the expanded use of linearity and drawing.
Artists' talks: Sunday 12 May at 2-4pm
30.4.13
The Situated Line
above Michele Elliot installing beam, 2013, and
above & below: Boni Cairncross Peforming the Situated Line 2013
above: Michele
Elliot beam, 2013
thread, nails, joists 400 x 500 x 10 cm
above: Brogan Bunt A Line Made By Walking and Assembling Bits and Pieces
of the Bodywork of Illegally Dumped Cars Found at the Edge of Roads and Tracks
in the Illawarra Escarpment, 2013 walking, angle-grinding, ink-jet photographs,
pen drawings, blog posts, variable dimensions
of the Bodywork of Illegally Dumped Cars Found at the Edge of Roads and Tracks
in the Illawarra Escarpment, 2013 walking, angle-grinding, ink-jet photographs,
pen drawings, blog posts, variable dimensions
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above: Ruth Hadlow pulang 2013
pulang
[to go home]
Ruth Hadlow
Writing is like weaving, the crossways
movement of the line shuttling back and forth, slowly building a form,
connecting a series of ideas. The narratives here are drawn from texts written
over the past 18 months in various locations; writings which attempt to trace a
sense of being in a present moment, wherever that moment might occur. I wrote
‘being at home’ and then ‘being home’ just now, in the sentence above, but it
is more slippery and more difficult than either of those might indicate. Being
present, wherever, for a moment – the moment of the writing – is perhaps as
close as one comes to home when living between worlds. The texts of pulang, of the bigger project, are
written in the present tense, reflecting this movement of writing, of being in
the moment, while also referring to the way bahasa
operates in the present tense, not past or future. One becomes used to it; it
is only when attempting to apply the idea to English that you realise how the
present tense is rarely used in spoken or written language. In this language we
tend to frame most things in the past tense – already gone – or the projected
future – that which is proposed or planned. Writing on the gallery wall is another form of present
tense, pencilling the thread of text back and forth, making in the moment, on
the large white page of the wall with its sense of unbounded space.
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The narratives which make up the
motifs are just a paragraph or two, cut from the body of the larger narrative,
then put into repeat to make up the form. Each form has a specific narrative,
all of them written in Timor last year. So the each of the cecak/gecko are made up of the one narrative, likewise the kolo/birds, and so on. Only the buaya, the mirroring crocodile, is
comprised of two different texts as if, perhaps, to mirror the experience of
existing in two different worlds. The written motifs all come from West Timorese
textiles, of which I have quite a large collection now, after 15 years. Some of
them are from textiles woven by Ina Lalak, and originate from the small
cross-stitch pattern book which she used, gleaning images from the European
scenes and translating them into her language of sui, the long-float supplementary weft specific to the Besikama
region.[1]
She lent me the pattern book to copy some years ago, and I made a work
(Patternbook) using images also drawn from it, mirroring her act of plucking
discrete motifs out of the clichéd scenes. Her interest in the unfamiliar
motifs makes sense to me – we are all drawn to that which is exotic through
difference. And clearly the grid layout conventional to cross-stitch designs is
logical to a weaver, another version of the warp and weft structure. This
movement back and forth between worlds, between languages, between desire and
the creating of work, lies behind pulang.
The narratives tell different
stories: some told to me, some created by me. Attempts to capture something of
a particular moment, in situ. There (in Timor). In this (English), operating in
the style of that (Indonesian). Reflecting something of how stories are central
to life; that life is comprised, to a large degree, of interrelations between
people, with stories as the major mode of exchange. So, the motifs are
composed, comprised of narratives; the narratives de/scribe, in/form the
motifs. They exist as the pencilled residue of an act of narration. In repeat.
For stories are told and retold, just as weavers throw their shuttles
repetitively, creating the same motifs over and over throughout their lives,
with minor variations, almost unnoticeable from one to the next. It is through
the repeating of stories that they are formed, shaped, comprehended and
understood. It is through the weaving of certain motifs that a weaver
articulates her identity, over and over. Her belonging to a family, a clan group,
her ancestors, and a place. Place being somewhat less important, more
incidental than the rest.
sm.jpg)
The cardboard forms are motifs
drawn from my own inventory. From earlier works made over an equivalent period
of time. More or less. A parallel movement to that of a weaver, who draws from
the repertoire bequeathed by her mother, aunties and grandmother. So, pulang is constructed of motifs drawn
from there, and motifs drawn from here. A bringing together of worlds, which
overlap slightly as several of the motifs – ayam/chicken,
rumah/house – originate from Ina
Lalak’s pattern book and became part of an earlier body of work. A bringing-together
of worlds, using several languages and operating across several planes, into a
state of coexistence which is not united; just as one cannot easily hold both
worlds together at any one moment. To bring them together engenders a state of confusion,
as the rules belonging to one have no place in the other; language,
conventions, norms and familiarities are other to each, and for those of us who
live between, it is always in this kind of state of dual perspective.
The threads which extend from the
cardboard motifs out across the wall mimic the structure of warp and weft, the
cross-stitch grid; echo in their soft looping the processes of making, the
pauses and provisional moments between one movement and the next, as work is
constructed, dreamed and made. The lines of thread and lines of text speak to
each other, whispering languages which are other to this one, or to that one;
languages which speak to the eye and fingertips rather than the ear. Making
their own sense of be/longing, of living between worlds; of going home.
This
project has been assisted by the Australian Government through the Australia
Council, its arts funding and advisory body.
28.4.13
THE SITUATED LINE OPENED LAST NIGHT
The Situated Line is an exhibition by Boni Cairncross, Brogan Bunt, Jo Law, Michele Elliot and Ruth Hadlow whose diverse works have in common the expanded use of linearity and drawing.
OPEN: Fri-Sun 11-5pm, 26 April-12 May 2013
Artists' talks: Sunday 12 May at 2-4pm
The Situated Line began as a drift across materiality and drawing.
Reflecting on the intersections across our practices alongside the material
sensibility, what emerged was the underlying idea of the trace - framed by time
and place, proximity and distance. Across the exhibition is a concentration of
looping and repetition, a back and forth that locates the work within the
conundrum of an elusive present. The line is Brogan Bunt’s walking and
blogging, Ruth Hadlow’s woven wall texts, Boni Cairncross’ concentrated performance
to record the moment, Jo Law’s spinning skater and the threaded structures
above your head. The line becomes a fluid device to express particular relationships
to the liminality of time and place.
Michele Elliot April 2013
above & below: Michele Elliot beam 2013 (blue thread)
Boni Cairncross Performing the Situated Line 2013 (continuous performance)
above & below: Ruth Hadlow pulang 2013 (graphite pins thread cardboard)
above & below: Brogan Bunt A Line Made By Walking and
Assembling Bits and Pieces of the Bodywork of Illegally Dumped Cars
Found at the Edge of Roads and Tracks in the Illawarra Escarpment 2013
below:from: Jo Law Study #2: The Pleasure of Imperfection 2013
21.4.13
THE SITUATED LINE OPENS SAT 27 APRIL, 2 - 4PM
The Situated Line is an exhibition by Boni Cairncross, Brogan Bunt, Jo Law, Michele Elliot and Ruth Hadlow whose diverse works have in common the expanded use of linearity and drawing.
That line is fundamental to drawing is a given. However, these five artists bring line into their works via performance and live recording, via writing as image, and as animation, by reconstituted absence, and by walking and mapping. Their drawings play with the fluidity of time and place, with language and dislocation, with a sense of the beyond, with drawing outside its usual boundaries.
OPEN: Fri-Sun 11-5pm, 26 April-12 May 2013
Opening event: Sat 27 April at 2-4pm
Artists' talks: Sunday 12 May at 2-4pm
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