ArticulateUpstairs | Suzanne Bartos - GO

Opening Event Saturday Apr 9th, 2-5pm
Exhibition from Apr 8th until 24th
Open 11am - 5pm | Fri-Sun

Suzanne Bartos and Juliet Fowler Smith have occupied studios at Articulate since its beginning. In Habitat 497 they incorporate drawing, found objects and other spatial interventions developed in the studio in relationship to the site and individual but overlapping interests. While two distinct works, they share a common interest in expressing the feeling that having a sense of place, safety brings.

I’m taking the 12th century Persian poem by Farid ud-Din Attar: The Conference of the Birds as my starting point. It’s about the commitment it takes to follow a particular path.

I’m combining my interest in children’s play, storytelling and sculptures’ inherent physicality to explore embodied resting.  

Pedestals have always interested me as they translate as a “place for the foot”. But they’re a frame, removing them from real space. From a real resting, in place.  

I’ll be working in the gallery over the period of our occupancy. Do call in and chat with me as I work.

bartosculpture.weebly.com

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COVID-Safe Measures:

Following the NSW Government’s relaxing of COVID-safe rules, there will be no check-in requirements. Wearing face masks is a personal choice, but we highly encourage you to when social distancing might be difficult. Please do not visit if you’re unwell or, if you have been instructed by health authorities to isolate or are a close contact of an identified COVID case.

The health and wellbeing of our visitors, artists and volunteers is our priority. We look forward to seeing you at Articulate project space.

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GOING GONE opened last night

Saturday November 30: 3-5pm: International Remembrance Day for Lost Species

Open 11am - 5pm 16 Nov – 1 December

ROOMSHEET

Uncle Bruce Shillingsworth talks at the International Day for Lost Species

GOING GONE is is organised by Noelene Lucas and Juliet Fowler Smith as an exhibition that explores creative responses to human-induced species extinctions, ecological devastation and the climate emergency.  It will show the work of Suzanne Bartos, Barbara Campbell, Josie Cavallaro, Simon Champ, Juliet Fowler Smith, Joan Grounds, Virginia Hilyard, Noelene Lucas and Gary Warner.

Photo: Chris Tay

Photo Chris Tay

GOING GONE opens on Friday 15 November 6-8pm

Opening 15 November 6-8pm 2019

International Remembrance Day for Lost Species: Saturday November 30: 3-5pm: 

Open 11am - 5pm 16 Nov – 1 December

GOING GONE is is organised by Noelene Lucas and Juliet Fowler Smith as an exhibition that explores creative responses to human-induced species extinctions, ecological devastation and the climate emergency.  It will show the work of Suzanne Bartos, Barbara Campbell, Josie Cavallaro, Simon Champ, Juliet Fowler Smith, Joan Grounds, Virginia Hilyard, Noelene Lucas and Gary Warner.

Juliet Fowler Smith Sunflight, 2018-2019. Photograph

bartosculpture.weebly.com/

virginiahilyard.com

1001.net.au

josiecavallaro.com.au

https://www.youtube.com/watch?v=CODe7L9I46s

garywarner.net/

Final day coming up for Articulate Turns Eight

Articulate Turns Eight celebrates eight years of support for spatial and experimental art practices with an exhibition of new work by artists who have shown at Articulate during that time.

Open Friday to Sunday, 11-5pm till 23 December 

ROOMSHEET

Artists exhibiting in Articulate Turns Eight are Alison Clouston, Anya Pesce, Ambrose Reisch, Anke Stäcker, Asher Millgate, Barbara Halnan, Beata Geyer, Bettina Bruder, Bill Moseley, Brigitta Gallaher, Caitlin Hespe, Chantal Grech, Ebony Secombe, Elizabeth Ashburn, Elizabeth Hogan, Elizabeth Rankin, Elke Wohlfahrt, Ella Dreyfus, Fiona Kemp, Genevieve Carroll, Jane Burton Taylor, Jeff Wood, Jenee O’Brien, Jody Graham, Julian Day, Juliet Fowler Smith, Kate Mackay, Laine Hogarty, LInden Braye, Lisa Andrew and Rachel Buckeridge, Lisa Sharp, Liz O’Reilly, Mandy Burgess, Margaret Roberts, Michael Jalaru Torres, Mireille Eid, Molly Wagner, Nadia Odlum, Noelene Lucas, Nola Farman, Pam Kleemann, Parris Dewhurst, Paul Sutton, Renay Pepita, Ro Murray, Ros Cook, Rox De Luca, Sarah Woodward, Sardar Sinjawi, Sonja Karl, Steven Cavanagh, Steven Fasan, Sue Callanan, Sue Pedley, Suzanne Bartos, Vilma Bader and Virginia Hilyard.

More AT8 here

L-R: Barbara Halnan, Ros Cook (top), Nadia Odlum, Anke Stäcker

L-R: Vilma Bader, Renay Pepita, Barbara Halnan, Ros Cook, Nadia Odlum, Anke Stäcker, Pam Kleeman, Elizabeth Hogan, Steven Cavanagh

L-R: Julian Day, Jenee O'Brien, Vilma Bader

L-R: Sonja Karl and Liz O'Reilly, Sue Callanan, Mandy Burgess, Elizabeth Ashburn

photos: Peter Murphy

Be Afraid, Be Very Very Afraid closes tomorrow at 5pm

Photos Margaret Roberts

Be Afraid, Be Very Very Afraid - a project space project opening Friday 1 December at 6-8pm

Be Afraid, Be Very Very Afraid is an exhibition by Suzanne Bartos and Choi Ik gyu, timed to mark the completion of the Royal Commission into the Institutional Responses to Child Sexual Abuse.  The exhibition includes Choi Ik gyu's work, The Journey.

Opening 1st December 2017, 6 - 8pm
Then open the weekend of 2nd and 3rd December 11am to 5pm
Artist talk 2.30 Saturday 2 December.

PHOTOS: SUE CALLANAN

On the long crush through the Vatican museum my sculptor friend tells me a story.  It was about taking her young nephew through a similar gallery years ago.  She explained to him that in art historical times the catholic church, offended by penises on nude statues, had chiseled them off and replaced them with fig leaves.   He quickly reasoned, that that must mean that there’s a store room full of all the offending organs.  And where was it?

I’ve been attending or listening live to the Royal Commission and have been working on images that have arisen for me over the five years it had been sitting.  Hearing my friends story I think perhaps that’s just what I’ve made:   A room where the things that the Catholic Church have not wanted to look at, are stored.
bartosculpture.weebly.com

The Journey

- Ik-gyu Choi

제목 : 여행

                                                          최 익규

이 작품은 나를 지배하는 모든 생각들에 대한 날것의 솔직한 기록이다.

이런 과정을 통하여 가장 지금 나와 가까운 자화상이 그려지길 기대하며 작업을 했다.

이를 바탕으로 조금은 의미있는 나만의 인생철학을 가지고

나의 남은 인생길을 걸어가는데 도움이 되길 바란다.

내 안에는 빛나는 행복한 모습도 있지만 

또 다른 깊은 곳에 자리 잡은 어두운 모습도 있다.

그것은 내가 몸담고 있는 이 세상의 모습도 그렇다.

문득 어두운 밤 소란스런 도시에 밝게 빛나는 교회의 십자가를 바라본다.

수없이 많은 욕망이 난무하는 술 취한 듯 방황하는 세상에서

밝게 빛나는 십자가의 의미를 생각해 본다.

이런 세상에 몸담고 살아가는 종교인이거나 아니거나,

모든 사람들은 자신의 길을 비추어 줄 희망의 십자가를 하나씩 가슴에 품고 있으리라.

방황하는 솔직한 나의 자화상과 내안의 길 위에 흔들리는 십자가와 

나의 위태로운 인생 여행과 나의 삶의 가치관에 대해 생각해 본다.

 (English translation coming)

This is project space project #14, a way of working in which Articulate is used as a project space for the development of artwork on-site, in the expectation that the work produced will develop 
    unplanned relationships with the location.

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

LOST pricesheet

Crit Show images

Crit Show preview

photos: W.Seeto

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Crit Show (small projects going elsewhere) preview friday 17 May 6-8pm

The Crit Show includes work by Suzanne Bartos, Linden Braye, Sue Callanan, Juliet Fowler Smith,  Francesca Mataraga and Margaret Roberts,

Preview Friday 17 May, 6-8pm
Closing Sunday 19 May 2-4pm 
open Friday - Sunday 11am - 5pm.

The Crit Show is for first drafts of projects being developed for exhibitions planned elsewhere. It is an opportunity to expose their developmental process, giving an audience the opportunity to contribute to their further resolution as well as to see works that are not likely to be shown here in their later form. It is also an opportunity for the artists to see how portable these projects actually are. 

Horror Vacui: Viva Mexico!

Exhibition video 

Suzanne Bartos & Margaret Roberts 

Ph Sue Blackburn

Linden Braye Ph Sue Blackburn

Sue Callanan & Sergio Plata Ph william seeto

Sue Callanan ph william seeto

Lesley Giovanelli Ph Sue Blackburn

Steven Fasan ph william seeto

Juliet Fowler-Smith Ph Sue Blackburn

Toni Warburton Ph Sue Blackburn

Opening night: Suzanne Bartos & Victor Valdes

photo Sergio Plata

horror vacui: viva mexico! 
25 march - 3 april, 2011