By creating instances of impending tension and expanded explorations of material as matter, Jemima Lucas’ focus is delineated through her material exploration. Through the investigation of concrete, chain and industrial stabilizers, Lucas debunks predetermined understandings of support structures. This is conceived through the idea that the context of material is singularly responsible for one’s expectations of stability. Working with creating explicit ties to the site, Lucas’ spatial interventions create a structural environment of suspended tension between forms. What remains to be investigated by the observer lends itself to a lineal temporality, in wake of gravitational momentum.
In late 2017, five large geometric shapes were worn across multiple locations. There was no warning of the performances and each of these locations had a different type of audience: passersby, participants and artists. These performances interrogated the relationship between the body and architectural space with the insertion of an art object into the public arena. The artist investigated the aesthetic and spatial qualities of bureaucratic and undesigned spaces as well as the visual activation of transitional or service areas within institutional buildings. With the performances complete, the work now shifts mode. What Happened? investigates the differences between the value of the artwork as original, as documentation, interpretation or re-making and re-presenting.
Yusi Zang is a Beijing born multi-disciplinary artist living and working in Melbourne. Connecting the poetics of her inner thoughts with the realism of banal objects, Zang’s work overthrows our sense of the familiar. She reconciles the concepts of boredom and the sublime and revolts against the commonplaces of existence. Zang looks at life through absolute close-ups. A peaceful environment can only be looked at from a distance, but once one looks closely and intensely, everything changes. Zang’s work explores the world hidden underneath. The pictorial and material uncertainty of the things depicted injects a metaphysical unease into each scene.
“I'm interested in ecology and the oscillation between authenticity and surrogate behaviours, functions and experiences. This exhibition is the latest iteration of ongoing research into whether three-dimensional space and its two-dimensional simulation still has any relevance in today's digital age. It is a series of landscapes inspired by Tarra-Bulga National Park, Victoria.”
The concept of paradise creates in our consciousness a moment of immateriality. It conjures visions of an idyllic landscape, a place of extreme happiness, beauty, luxury and fulfilment. Paradise (in a biblical sense) is also the seat of desire — the origin of the seductive tug at the back of ones’ mind for more. It is unsurprising that this idyllic landscape is used within consumer culture as a visual cue for immaterial engagement, a driver for desire.
The Room Is toys with the porous and shifting relationships between bodies, objects and spaces. Through inscription, acoustics, performance and sculpture artists Daniel Ward, Erin Hallyburton, Ruben Stoney and Stephanie Hosler cultivate a body of work that investigates how the remnants of sound, air and movement affect and define the space around them.