Articulate Turns Four: Colour, Line, Form - selected works

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Elke & Peter Wohlfahrt Articulate Ramp_2014 –
Formed circle of galvanized iron, hand-hammered gravel in 4 grades

I have been watching for over a year how Peter turns the undesired concrete slab under our 

deck into something else. He first jackhammers it into smaller slabs, then subdivides those into

 fist-sized rocks. Then with two differently sized hammers at the same time, he shatters the 

rocks to rubble. It doesn’t end there. He then sieves the rubble through self-built filters into six 

different sizes of gravel. A machine would do all of this in no time. But it is not about speed or 

about something to do with the gravel. It’s about the process and Peter’s way. Earlier this year 

we travelled together to the land art sites in the USA. It seemed to me a logical consequence to

 combine Peter’s handwork with my passion for land art. Together we have developed a piece 

that turned out a homage a Robert Smithson’s Amarillo Ramp. We used gravel in 4 different 

grades; each grade dedicated to one year of Articulate project space. Congratulations.

Andrew Simmons Unloaded – Homemade soap, turmeric, linen, enamel paint, armature wire,
 oak wood, PVA glue, acrylic paint, aluminium foil, kitchen paper

Simmons has an approach to his works in video and sculptural installation, which could be 

described as bricolage. It is the utilisation of basic materials to construct unstable forms and then 

document their use through video or photographic stills. The presented work for this particular

 exhibition is a first for experimenting with homemade soap. andrewsimmons-arts.com/

Laine Hogarty ME U US 2014 – Cement sheet, acrylic paint, 3 parts – approx. 500x200mm

Christmas is a time to gather together and to consider others with kindness and appreciation. 

Addressing the theme line, form and colour — the angled arrangements of flat letters and use of 

blended colours considers our human connectedness.www.lainehogarty.com

Lynne Barwick All Art Applied 2014

Lynne Barwick is a Sydney based artist who uses text in her paintings and installations to explore the relationship

 of language and visual representation. Barwick’s works assert propositions, construct debates and assume 

identities to chatter, observe and contradict each other. Incorporating techniques from concrete poetry, literature 

and conceptual art, recent works have examined materiality.                                    lynnebarwick.blogspot.com.au/

Margaret Roberts spd-blp 2014 – Ply, paint, shoe polish, metal, found wheels 

I thought blps were invented by Richard Artschwager in the 1960s, but actually they have been around

 a long time and he just began using them then. I use them as indicators of the space that is common

 to all places, as I understand he did. I remake and adapt blps and other past spatial artworks partly to recognise the 

many decades over which artists have worked to contribute to the revaluation of place by the new relationships

 they construct between the abstract space of artworks and the actual space they occupy. The vacant 

abstraction of blps acknowledges the live nature of actual space by simple contrast, hopefully reducing the 

everywhere-nature of actual space that makes it seem invisible. Other blps made during 2014 

can be seen on margaretroberts.org. Phil Spark made the legs.

Sardar Sinjawi After a beam of light:  ideation 2014 – Mixed media

Such an instinctive question has never left me with a single answer.

It grows with me as I grow. I am faced with the dilemma of painting as a discussion and technical problem in this post medium era.

I work primarily with three dimensional objects and use different mediums, to create contemporary artworks.

I strongly believe that art should be pure, spiritual and left untouched by something that pure art does not want to hold.

Shirley Cho as is 2014 – Silver leaf,

Shirley Cho is an Australian multidisciplinary artist of Korean heritage with a background in both 

visual and applied arts, exploring conceptual and spatial concerns through objects and installation,

 materials and processes. Her work explores different themes ranging from the Hiroshima bombing

 to intricate human relationships, reflected through personal histories and a deep understanding

 of the significance of the materials and processes she is creating with. By communicating something

 of the quality and physicality of space, her installations encourage viewers to engage with the work

 not only visually, but also intimately like the making process she immerses herself in. 

Shirley is currently based in Germany.

Sue Pedley Paint Box 1-3. water colour paper, thread and beakers 

 Sue Pedley researches issues connected to place, community, culture and history in 
relation to materiality, site-specific installation and interdisciplinary practice. www.suepedley.com.au

Tom Isaacs Hypercube – A 4-dimensional analogue of a square, executed in the style of Sol Lewitt's open cubes.

Tom Isaacs is a Sydney-based performance artist and sculptor. His artistic practice is an exploration of the 

relationship between art and spirituality, informed by his research into art history, philosophy, 

theology and psychoanalytical theory.http://tom-isaacs.com/

Toni Warburton ebb 1 2014 – Watercolour on Arches paper

To open the gaze to sensations of peripheral vision, colour scatters shape into ground across a template 

generated grid pattern. My littoral zone works seek to create analogues of being seeing living things through

 air light time water gravity (wind sunlight water wave motion tide). 

Left above: India Zeghan Die Papageien 2014 – Colour pencils on archival Fabriano paper 

The work currently on display is the 4th drawing from a suite of autocartographical drawings 

titled, ‘Die Papageien’ (2014-2015). Zegan is currently investigating spectral inflections 

and atonal possibilities within automatic drawing. http://museumoffathers.blogspot.com.au/

Left below: Beata Geyer OPEN MODULAR (purple + blue)_2014 – MDF, paint www.beatageyer.com

Right: Lisa Andrew Wall Sleeve 2014 – Lycra, polyester, interfacing, Georgette, inkjet. 

Wall Sleeve is new work, in response to Colour Form and Line, and is an assemblage of printed and 

solid textiles drawing on the material connection of surface, colour, weight and the image. 

Andrew is represented by Conny Dietzschold Gallery.

Jane Gavan Paper Chain 2014  Recycled paper.

Ribboned reams of recycled paper, discarded from a local factory, combine to express 

the elemental sculptural aspects of line colour and form. Using primary colours 

and working with the fall and folds of the paper edges - Paper Chain recalls 

the simple pleasures of our early creative works. Gravity plays

 into the formation of these interlocking generous ellipses. The alternating stripes 

of colour on the face of each fold create combinations of rhythmic patterns.

Yvette Hamilton Study for an Echo – Custom made programmed lightbox, LED lights, mirror film

Yvette Hamilton works in photomedia, video and installation. Her interdisciplinary practice creates work that explores 

both physical and virtual space through the convention and framework of portraiture. This exploration acts as a 

launching platform to explore the enmeshed concepts of place and being-in-the world.

above Photos: Margaret Roberts

Front: Tom Isaacs Hypercube 2014  back: Sergio Plata The Marin woman 2014

Articulate Turns Four: Colour, Form, Line - open till 28 December

William Seeto, Colour, Form, Line, 2014, 30x22cm, pure pigment inks on premium photo-paper

Colour Form Line blog

PRESS RELEASE

Articulate Turns Four: Colour, Form, Line opening reception Friday 19 December, 6-8pm. Open 11-5pm each day 20-28 December, except for 25 and 26 December

Curated by Dr. William Seeto

Colour, Form, Line is a theme-based group show curated by William Seeto for the end-of-year annual exhibition titled Articulate Turns Four. The exhibition theme of colour, form and line sets the context by providing a framework that enables discourse, and offers a means of connecting diverse art practices.

The artists in Articulate Turns Four: Colour, Form, Line are Lisa Andrew, Elizabeth Ashburn, Clementine Barnes, Lynne Barwick, Linden Braye, Brogan Brunt, Sue Callanan, Andy Chi Yau Chan, Shirley Cho, Clara Chung, Vivienne Dadour, Ella Dreyfus, Judith Duquemin, Edwin Easydorchik, Michele Elliott, Nola Farman, Kath Fries, Brigitta Gallaher, Jane Gavan, Beata Geyer, Anne Graham, Veronica Habib, Yvette Hamilton, Laine Hogarty, Adrian Hall, Barbara Halnan, Sahar Hosseinabadi, Tom Isaacs, Melissa Maree, Rose Ann McGreevy, Anne Mosey, Christine Myerscough, Jennifer O’Brien, Sue Pedley, Sergio Plata, Jacek Przybyszewski, Christopher Raymond, Margaret Roberts, Marlene Sarroff, Kevin Sheehan, Andrew Simmons, Sardar Sinjawi, Anke Stacker, Paul Sutton, Jane Burton Taylor, Toni Warburton, Gary Warner, Cecilia White, Elke Wohlfahrt and India Zegan. 

In formulating the exhibition, the curator was briefed to invite artists and coordinate installation on the ground and first floors of Articulate. In order to facilitate curation, a theme was set that reverse-curated the show by allowing artists to choose whether they took part or not. In making work, artists were encouraged to reference the thematic elements individually or in combination, directly or indirectly, as metaphor or reality. The theme offered structure by addressing different ways of working with the view to presenting an alternate outcome. It was a guide that allowed variation of practice and enabled discourse between different artists’ work. In setting parameters it brought together diverse practices, dealt with individual viewpoints, and drew work together. During installation, the artworks were assembled and curatorial positioned so they worked-off each other in order to create a cohesive exhibition.

The curator, Dr. William Seeto is an established artist and independent curator. He completed a Doctorate in Philosophy at the University of Sydney, and has curated exhibitions at the Tin Sheds Gallery - University of Sydney and Articulate Project Space. His practice of 33 years revisits abstraction by examining perception, and different ways artworks heighten or displace experience.

“It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer.” (1925) Theo van Doesburg

LOST opened last night

Linden Braye investigates cultural and material constructions with humour and pathos. In Now I Know Where you Live she draws together various concepts and materials of her practice, which include nature, and the loss of nature within built environments and the social representations of it. In ‘Found’ as opposed to ’lost’, the tapestry and the hand written message on the polystyrene lid were collected on two different occasions in different locations. Both hold cultural and material curiosity; that of craft practices, historical information and social engagement. By chance these two objects were united in a cartoon-like representation with the ‘Outsiders’, the skeletal structure of the dome and the blanket. 

Francesca Mataraga's practice is cross-disciplinary and extends into the areas of expanded painting, sculpture, drawing and installation. The work ‘elisabet drawing (stripes in cork mat shape)’ belongs to a suite of works that experiment with the scale and application of specific IKEA fabric patterns. Other works in the series include a site-specific painting at Queen St Studios (Frasers). http://francescamataraga.net/

Gillian Lavery interrogates notions of time, place and the nature of hand-made objects through a range of textile and drawing processes.  These thread drawings were part of a larger body of work that explores Aboriginal basketry techniques. They translate, transform and abstract the weaving process. http://gillianlavery.com/

Sue Callanan  works in sculptural installation and art in public space, and uses text to prompt an awareness of the relationship between the body of the viewer and its relationship to surrounding architecture and objects. In What you see...... the text is a play with perceptions and a twist on a commonly used expression

India Zegan is a Sydney based conceptual artist and a self proclaimed 'born again' drawer. Zegan has been working on her 'Museum of Fathers' studio research project for almost 20 years. Zegan is interested in how spatial theory and collaborative laboratory approaches can assist artists to present untold narratives that have been historically vanished. http://museumoffathers.blogspot.com.au/ 

Rose Ann McGreevy: This work, Three Easy Lessons, is a homage to Joseph Beuys who gave me a tutorial in a Belfast pub as well as in my studio when I was a second year under-graduate student and he was visiting Belfast Art College (University of Ulster) and also doing a work in the Museum of Belfast. Rose Ann McGreevy. http://roseannmcgreevy.blogspot.com.au/

Margaret Roberts works with drawing-installation and the live space in which it is  located. The digital prints in LOST are part of the documentation of Polygon Landscape, an interactive work made for the NSW town of Kandos and its art festival, Cementa_13. The work was made by cutting the shapes made by the street-views of 40 randomly selected Kandos houses from triwall cardboard, with details removed for ease of cutting with circular saw. The shapes were laid out in the Kandos Scout Hall - Kandos residents were invited to identify their house's shape and take it home. Unclaimed shapes were offered to others to foster. The prints show some of the houses with their polygon and its carer or foster location. The artist was thinking of the seemingly random impact of fire and floor on towns etc, and of the need to value the places in which we live. www.margaretroberts.org/POLYGON.html

Michele Elliot works with drawing, sculpture and installation. The into ether drawings are constructed through repetitive mark-making and accumulative action of the hand. The shapes are traced from gestures of the artist’s hand and are paired, left and right hand, facing towards and turning away from the other. They carry a soft tension, a magnetic push and pull of attraction and repulsion.www.micheleelliot.com

Lynne Barwick's work explores subjectivity, through writing techniques and genres, including fictional voices, visual poetry and criticism. Barwick’s Scrivener takes its lead from Herman Melville’s short story Bartleby, The Scrivener: A Story of Wall Street, and the clerk who decides he 'would prefer not to'. http://lynnebarwick.blogspot.com.au/

Emma Wise creates spatial interventions in response to sites – interior, exterior and in between. She has recently been incorporating sound elements in her indoor work, usually in the documentary spirit. A theme that consistently emerges is territory; she is interested in borders and barriers, passages and restrictions, possession and occupation. Her installations often involve repetition and sometimes use collections of found objects; she also likes to bake.

Suzanne Bartos Nesting/Resting 2014

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