This exhibition is an installation of artefacts from an imagined colonisation of Mars. Kurt Medenbach blends elements of science fiction with the aesthetics of advertising and the utopian vision of French philosopher Charles Fourier. The exhibition places us on Mars thirty million years in the future: a future in which a polluted Earth has necessitated relocation to a hostile Mars and where new myths are constructed from the remnants of our consumerist society.
I guess I'm okay at laying bricks. Sturdy, straight, one after the other. The rhythm is soothing, daily sweet repetition. Although every so often there's a bump, a mishap, little foreign objects attaching to those smooth stone blocks. They can be all in line, crisp, perfectly organised, contained– and then it changes– buckling, odd shapes coming together, the mortar slapped on here and there. Although in the end those pieces, however formed, keep on going. Continuing on.
A Combinatorial Explosion is a new body of installation and mural work which looks at exponential, cascading chain reactions that occur in nuclear explosions. Within the context of this work, these chain reactions function as a signifier of a potential global catastrophe; whereby growth occurs too rapidly and decay soon follows. Through geometric conceptualism, abstract geometric forms convey the stages of a nuclear reaction.
Tricia Page’s current sculptural practice reconfigures steel structures and nostalgic materials. Her current line of enquiry investigates the emotional associations held within domestic and landscape architecture, and acknowledges changes that occur over time. Her practice is informed by contradictions and familiarities inherent in the human condition, exploring ideas of resilience, curiosity, adaptation. DomestiCITY is part archive– part commentary– acknowledging the loss of an outdoor domestic ritual that high–rise city living has all but eradicated.
The MoP&A – The Museum of Platitudes and Aphorisms is part of a series of exhibitions and events that explore how individual artists and audiences explore their thinking about the presence of art in a studio or a gallery environment. It seems that there is a kind of peripheral vision that occurs in all artist’s practices that, once recognised, avoids or extends the awareness of the role of art and galleries in our lives. The aim of the project is to ask both makers and observers to reflect their own values in the experiences of making, encountering and looking art. The role of the museum or gallery as the psychological architecture used to reflect upon accepted knowledge is also in review.
Psychic, physical and social ills can inhibit and corrupt transcendental experience. Caged in Flesh presents paintings concerned with this predicament. Through humour– self-deprecating and satirical – these works question the human ability to function authentically in an absurd, often obscene world. Hayley uses a psychedelic pallet which is lurid yet strangely harmonious. This replicates the commonplace contemporary vista and the interplay between natural and artificial light source and effects. Each painting is complex yet accessible on many levels – as a series they create a heady mix of hope, humour and despair.