Exhibition: 11.06.2014 – 21.06.2014
Studio 2: Materiality / Immateriality
By Katherine Lazenby
Through field trips, making artwork and discussion about artworks this studio has looked at what the terms 'material' and 'immaterial' mean to us now - how the definitions of these words may have changed over time. There is no primary or secondary in making and thinking: they are the same thing. This studio understands that not knowing is not more creative than knowing.
Perhaps since the production of the Model T Ford, our understandings of materiality and production changed at a very fast pace. For over half a century artists have been outsourcing production of artwork to fabricators based elsewhere. In fact, this type of displaced production has become the norm. Dematerialisation was a hot topic in the late 1960s. Driven by the refusal of both an aesthetic canon and a dominant, conservative market, the disintegration of traditional ‘matter’ was in part motivated by a democratising principle. Some turned to language as the primary vehicle for art. At the same time actions and processes became more important than the objects that resulted.
Issues around dematerialisation and immateriality are now very different, informed by contemporary art debates on ‘participatory practice’ and the presence of immaterial labour everywhere, not just in art. In our time partly due to the economic crisis, and also to growing ethical/ecological consciousness, many artists now focus again on making work with a transient quality, even using their own body as ‘material’ or as an object or membrane.
Alison uses sound and video installation to offer a disorientating physiological experience that mirrors her own encounters with the world around her.
Shyllon’s work unpacks notions of race, representation and stereotype, highlighting issues often problematic but unchallenged, because perceived as ‘normal’.
Using physiological and emotional affect, Gower’s work addresses issues of forced marriage, female genital mutilation, child slavery, death and sexual health.
The practices of observation and construction are prominent throughout Flora Pickering’s working process, informed by models and metaphors of science.
Branco’s recent work places social media symbols in inappropriate or alien environments, highlighting social and political gaps between the ‘real’ and ‘virtual’.
Jon makes sculptural installations which employ platforms and theatrical constructs in order to test, determine and question roles of artist and audience.
Lizzie’s practice is object- and performance-based, focusing on menstruation, prostitution, gender roles, power, notions of The Goddess, fat feminism, craft, identity,other.
Michael Robertson’s art practice is concerned with the tangible results of contingent, on-going systems that play out in the making and reception of work.
Through different media, Seawell explores colour, pattern and portals in relation to the induction of dream-like states.
Sarah William’s work stems from translations of clothing detritus, the fabric-based remnants we leave behind and the potential within them.
Will Peck is interested in the performativity of objects and materials - how objects enact their own performances within controlled environments.
Parker’s is a continuous practice of labour towards no outcome, through adopting a controlled process and implemented rules of constraints and constants.