Exhibition 94 |18 May - 11 June - Opens Thursday 18 May
Tracey Lamb’s practice engages with a range of interests including the historical narratives of modernism, minimalism and women working in interior design, architecture and the home. Key to this installation are concepts drawn from the erasure of women and their labour in architecture and design history: these ideas are subsequently translated into specific decisions about materiality, manufacture and display.
If you thought these paintings were by Kez Hughes, you’d be a little bit right, for each image has a prior life in the individual oeuvres of other Melbourne artists. Confounding ideas of authenticity and originality, Hughes re-presents the work of fellow artist as appropriation art. But as surely as Romantic ideals are subject to scrutiny, Hughes reasserts high-cultural values through an emphasis on formal painting techniques.
Piers Greville draws on traditional modes of painting as a frame of reference to explore liminal psychological states. These recent paintings represent an album of mental snapshots committed to paint in a consistently small format. A process of working that arrests moments from trains of thought and distills them into ‘mental artefacts’. Many of them are framed by a void of relative darkness, both pictorially and figuratively.
A Joke Without Laughter
Alexandra Nemaric, Aly Westwood, Angus Baird, Phil Edwards, Si Ma Va-
Presented by c3 Projects
A sickly green that permeates its surroundings- biting into pixelated photographs- rosy pink spots embellish the grins of leering masks… melancholic blue photographs peak out from dense high school-skater-scribblings… For A Joke Without Laughter, artists create work that is seemingly saccharine and playful, but further scrutiny reveals something darker, thornier; a convoluted narrative tangle that defies resolution.
c3 Projects presents the first exhibition in a series of supported solo shows that provide artists opportunities to develop ambitious projects - Inspired by Yuria's recent study of Islamic architecture in Morocco, this exhibition deploys architectural space as a unifying visual metaphor and motif. As such, Shifting Shapes, Forming Spaces explores geometric drawings' potential to operate as open-ended contemplative spaces for reimagining utopian visions.
The City is a Horror Story
Louis Mason - With work by invited artists Meg Stoios, Nellie Reinhard, Jack Hooper-Bell, Guillaume Savy and Andrew Treloar
The desert flowers open beneath them. The city crumbles to sand.
Compassion is bleached slowly out from their physical interactions and replaced by a single word, ‘alliance’, that quickly becomes code for everything that they have come to rely on in one another. They can say it whenever they need to. It takes on hard, hot edges and a very specific usage; begins to mean things like ‘safety from death’, ‘safety from fear’, ‘safety from isolation’.