Posts Tagged ‘victorian college of the arts

22
Nov
12

Day 327: Michelle Molinari and Georgie Mattingley

Michelle Molinari 1

Michelle Molinari 2

Day 327: Mortality Observed, by Michelle Molinari

Some of the VCA students explore in their works the ever popular subject matter of animals in art – although in our day and age it has progressed far beyond the tableaux of such Old Masters of the genre as Jacob Jordaens, Melchior d’Hondecoeter or Rosa Bonheur. The way in which Michelle Molinari approaches taxidermy, for example, brings to mind Joseph Kosuth and his famous installations of a chair, a photo of the chair, and a copy of the dictionary definition of the chair.

The majority of Australian artists who are focusing on taxidermy in their oeuvre usually work within a single media – be it sculpture, painting, or photography. Molinari, on the other hand, works across various media by presenting within a single space taxidermy installations of animals, which are accompanied by paintings and lithographs that are derived from – or inspired by – these installations. Her painting technique is superb and meticulous; the ability to convey the textures of soft fabrics, cold glass domes, fox fur and bird feathers are outstanding. Accompanying lithographs show that Molinari can successfully convey the sensation of differing tactile textures across a number of mediums with great precision and accuracy.

Georgie Mattingley 1

Georgie Mattingley 2

Day 327 bis: White Anaesthesia, by Georgie Mattingley

Georgie Mattingley’s three channel video White Anaesthesia is truly mesmerising to behold. A white cat, a white mouse, and a white goldfish are slowly waking up from either a natural or chemically-induced slumber. The lazy way in which cats wake up by opening one eye, then the other, then carefully surveying their surroundings before finally deigning to lift their heads would be familiar to any of the cat lovers. The movements of the mouse – and especially of the goldfish that at the start of the video lies listlessly at the bottom of the aquarium – are more mysterious and more curious to observe.

One can easily read into this installation underlying subtexts of the hidden, of the subliminal, of the predator and the prey, and perhaps even ethical questions of science experiments and animal welfare. But what one truly takes away from this work is the most incredible aesthetic effect of the all-pervading, unifying, minimalist white.

Works by Michelle Molinari and Georgie Mattingley are on view at the Victorian College of the Arts until November 25.

http://georgiemattingley.net/

http://www.vca.unimelb.edu.au/gallery

[© Eugene Barilo von Reisberg 2012; where applicable, images are courtesy of the artists and their galleries]

21
Nov
12

Day 326: Installations by Samantha Riegl and Kenny Pittock

Samantha Riegl

Day 326: This Item Belonged to My Boyfriend, by Samantha Riegl

A number of works in the current VCA Graduate Exhibition reflect that the artists are navigating the chirpy waters of artistic careers as well as personal relationships. Samantha Riegl’s installation of carefully arranged items on uniform white shelves is reminiscent at first of an arrangement from an upmarket clothing and lifestyle boutique. Only later the viewer’s eye pans over an inscription on the wall that explains how the objects relate to each other: “This item belonged to my boyfriend”, the sign proclaims in big black thick letters. The viewer is then invited to take a business card with an address of a web link leading the viewer to the online sale of the boyfriend’s effects… Revenge is a dish best served… online!

Kenny Pittock 1

Kenny Pittock 2

 Day 326 bis: Installation by Kenny Pittock

This subject matter is picked up in Kenny Pittock’s installation, where brand packaging for 60 metres of cling wrap is altered to proclaim ‘Clingy Ex-Boyfriend – 60 months’. This tongue-in-cheek recreation of a supermarket product forms a part of a large-scale installation where the artist had replicated, in a variety of media (wood, acrylic, ceramics, wax, etc), such items of our daily existence as fruit, chocolates, ice creams and other sugary treats, medicines, remote controls, and the ubiquitous laptops and flat-screen TV sets. However, he ‘doctored’ a number of brand names that now read Sadbury, Adjusted Juice, Nitpic, Kitsch-Kat, and Feelnum. A packet of condoms comes with a detailed explanation why they are branded as ‘regular’; and a large TV screen with the logo of Sky News shows… a picture of the sky.

Most objects within Pittock’s installation are arranged in a long continuous frieze along the wall, the aesthetics of which involuntarily bring to mind wall decorations and carvings of ancient Egypt. Indeed, if this installation was to be preserved for future generations, it will tell as much about our contemporary popular culture as excavated artefacts and hieroglyphs do about ancient civilisations.

http://www.samanthariegl.com/

http://kennypittock.blogspot.com.au/

http://www.vca.unimelb.edu.au/gallery

[© Eugene Barilo von Reisberg 2012; where applicable, images are courtesy of the artists and their galleries]

20
Nov
12

Day 325: Dripping, by Kevin Chin, and Under the Sun by Thomas Gibbs

An amazing exhibition is currently taking place at Southbank – the 2012 Graduate Exhibition of Victorian College of the Arts’ students, which spans the entire Margaret Lawrence Gallery as well as the artists’ studios on the ground and upper levels and the outlying buildings of the college’s precinct. The exhibition visitor is well advised to set aside AT LEAST two hours to explore the exhibition spaces as well as literally hundreds upon hundreds of artworks by this year’s VCA graduate students in every conceivable media – painting, drawing, printmaking, photography, sculpture, video, installation, and (recordings of) performance art. I am slightly deviating from my format of an artwork per day to bring a selection of images from the exhibition.

Kevin Chin Dripping

Day 325: Dripping, by Kevin Chin

Landscape backgrounds in paintings by Kevin Chin are executed in a range of soft green, yellow, red, and ochre colours. Applied against the visible grain of raw canvas, they imbue the works with an autumnal feel. The run-offs that result from the diluted pigments create an impression of lush foliage. Some of the works feature foreground mise-en-scènes, which are painted with thicker pigments and therefore appear in a sharper focus compared with the rest of the composition. Their incidental nature, at times unrelated to the landscape backgrounds, allows for multiple interpretations of the scenes. In the image illustrated above, the title of the work, Dripping (2012), is used as a clever double-entendre that can refer either to the bather emerging from the lake, or the very nature of Chin’s painting technique and pigment application.

Thomas Gibbs Under the Sun 5

Day 325 bis: Under the Sun #5, by Thomas Gibbs

The suite of paintings by Thomas Gibbs, Under the Sun (2012), features male nudes within landscape setting. However, their fractured and contorted bodies indicate that we are witnessing something more sinister than a classic interpretation of the genre or a romantic communion with nature. The light, dusky tones of the paintings involuntarily bring to mind works by Fiona Lowry, whose seemingly innocuous loosely painted pastel-coloured studies of figures and landscapes stem from stories of crimes and homicide. A similar mood seems to pervade Gibbs’s paintings as we are witnessing men undergoing – or in the aftermath of – an intense physical and emotional pain. This feeling is further underscored by the fragility and vulnerability of their bodies, which strongly contrasts with the prevalent masculine archetypes.

Works by Kevin Chin and Thomas Gibbs are on view at the Victorian College of the Arts until November 25.

http://www.kevinchin.com.au/

http://thomasgibbsart.com/

http://www.vca.unimelb.edu.au/gallery

[© Eugene Barilo von Reisberg 2012; where applicable, images are courtesy of the artists and their galleries]




Eugene Barilo v. Reisberg

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