Opening night Thu 01 July 6pm-8pm
Exhibition runs Fri 02 Jul – 31 Jul
Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm, free entry
Working through Solid Air
Working through Solid Air is a homage to the legacy of British musician John Martyn’s music. After first hearing his 1973 album Solid Air at eighteen his songs have provided a soundscape to the creation of many of Munday’s studio-based artworks.
Martyn’s songs tackle the classical themes of love and loss but deal with them in an autobiographical way that is not only unflinchingly honest, but also poignant and universally affecting. The exhibition directly responds to specific song titles; the works are not explicitly referential but instead take a similar form to a “riff” in musical improvisation. Each work capturing the mood of the song in question and alluding to the lyric content, albeit obliquely.
The title song from the eponymous album, Solid Air, was written for Martyn’s close friend Nick Drake (who would die eighteen months after it’s release), to quote John “It was done for a friend of mine, and it was done right with very clear motives, and I’m very pleased with it, for varying reasons. It has got a very simple message, but you’ll have to work that one out for yourself” This exhibition has been created with the same intentions…
Storms in My Teacup and the Cycle of Everyday Life
Storms in My Teacup is an autoethnographic response to the world and time in which we live. Mundane routines and rituals of daily living are documented alongside the more unpredictable global current affairs as reported in the media. These two influences are binary opposites which the artist responds to or manipulates in order to fabricate alternate stories through paint and mixed media.
Mapping the everyday creates ‘mindscapes’, allowing reflection on the past and the immediate issues of life. Connections to place, time, and personal history presents a crossing over, and weaving of space and time. The work is multi-layered, a fragmentation of transfer prints taken from private archives and appropriated from magazines and the internet, revealing the messiness of life. Mixed media leaves traces that occur through pentimento and reworking. Veiling and erasure stems from the materiality of the making process, pushing the idea of weaving time and history and providing a means to meditate on the world and reflect on the issues of daily life.
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The Pull of Water
Using the unique camera-less medium of wet-process photograms, Nikala Bourke’s arts practice celebrates the visual aesthetics of water and the cathartic pull that arises when we consider and experience its materiality. Observing the play of light within water becalms the senses and allows the mind and body to shift into a soothing space, reminding us of the fundamental connections we all have with water.
Exposing photographic paper under water at night, tangible imprints reveal the cosmic and lyrical motion of water. This organised chaos emerges from a flat field of paper like a language of symbols and remnant patterns. The photograms reveal the energy and motion of water and its diverse, elusive qualities in the form of drips, ripples, circles, swirls, and vortexes. Traces of the cosmic phenomena of water contents, mirroring its strangeness, wildness, stillness and peace are unveiled. The paper is a receptacle of shapes and surface tensions, like a skin of the water.
For this exhibition, the water-photogram is digitally scanned and inverted to reveal the shadows and light refractions imprinted onto colourful large-scale fine art prints and immersive light projections between the Albert Hallway and Foyer Space.
For more information about Nikala Bourke follow the links below.
Nikala Bourke is represented by Penny Contemporary Gallery and The Henry Jones Art Hotel, Hobart.
Amplify (Only when you leave)
Some strange birds have come into the suburbs. Some have found their way into the attic spaces of the MAC building…
Anthropogenic noise affects the behaviour of many bird species, ‘city” birds having to sing louder and at a higher pitch than their rural counterparts. With reduced traffic noise, however, we could see differences in how birds, bats and other animals communicate and exploit new opportunities created in our absence.
Amplify draws on 2020’s Covid 19 lockdowns, brief periods which saw a reduction in road, air traffic and industry allowing nature to reclaim for a time the cities’ street spaces and airspace. Using this anomalous event as a point of departure, recordings of birdsong gleaned from a remote bush location were slowed down, lowering their pitches, intimating their relocation in a suburban space where our destabilising presence was no longer affecting.
Nigel Farley acknowledges the traditional owners being the Dhudhuroa of the Kiewa Valley and Yaitmathang of the Bogong High Plains —both regions in N.E. Victoria where recordings were made (March 2021). With thanks to Bogong Centre for Sound Culture and Sara Maher.