Material Sound is a multi-form exhibition that draws together six art practitioners and collaborative groups, each creating an experience of sound within installations constructed from everyday materials. Handmade instruments and electronics, recycled components, outmoded technologies, fake technologies, imagined sounds, and silences are brought together to challenge the way we think about materiality in a cumulative sound experience.
Material Sound features work by artists Vicky Browne, Pia van Gelder, Caitlin Franzmann, Peter Blamey, Vincent & Vaughan O’Connor and Ross Manning, whose works and practices investigate sound and materials within art and performance. These artists are at the forefront of an international interest in the material qualities of sound and its modes of generation. In Australia, this interest particularly addresses the ecological consequences of the materials we so readily consume and discard.
Curated by Caleb Kelly
Exhibition dates: Saturday 12 June – Saturday 24 July 2021
Gallery Hours all other times: Tuesday – Saturday 11am- 5pm (during exhibitions)
Closed Sundays, Mondays and Public holidays
No booking required but numbers will be limited. You may be asked to wait if we reach capacity.
Peter Blamey is a Sydney-based artist. His work investigates the relationships between people, technologies and their environments, often by exploring their related energies and residues. Peter’s practice is typically grass roots and frequently involves establishing interactions between disparate everyday materials in order to produce performances, installations and other artworks that question accepted notions of connectivity, variability and usefulness.
In 2014 Peter took part in the Instrument Builders Project, a collaboration between Australian and Indonesian artists, in Yogyakarta, Indonesia and also at the NGV in Melbourne. His work has been exhibited at Artspace, SNO, Serial Space, ICAN, Hardware, West Space, CACSA, Bus Projects, and iCAN (Indonesia). He has also performed extensively over the last eighteen years, including appearances at festivals such as Avantwhatever, What is Music?, Electrofringe, Liquid Architecture, ISEA, and Cementa_13 & 15.
Vicky Browne is based in the Blue Mountains, NSW. Her practice is concerned with familial sound technology, music culture and consumption. Her sculptural objects seem to have come from an arts and crafts workshop rather than an electronics warehouse, for which doing rather than consuming was the key objective. There is a playful undercurrent to her work that addresses our use of technologies as a material that signposts popular culture.
She completed a Master of Visual Art at Sydney College of the Arts in 2010 and her work has been exhibited in numerous spaces nationally and internationally. Her work has been exhibited in group exhibitions including Living in the Ruins of the Twentieth Century, UTS Gallery, Sydney; Sound Full: Sound in Contemporary Australian and New Zealand Art, City Gallery Wellington, New Zealand; WONDER, Hazelhurst Regional Gallery; and It is what it is, Hawkesbury Regional Gallery. Browne was the winner of the 2013 Fauvette Loureiro Memorial Artists’ Travel Scholarship Prize and in 2014. Browne is represented by Galerie pompom.
Eric Demetriou is a Melbourne based artist who creates work that incites a thrill-seeking experience flirting with trouble, danger and pleasure, through outcomes of kinetic sound-based sculpture. Eric’s research focuses on connotations of noise being an undesired excess material, with a political economy that anticipates a reception of hostility. While mischievous behaviour functions with a similar anti-aesthetic and necessity for resistance, its reception is much less offensive and often even forgivable.
He completed a Masters of Fine Art at the Victorian College of the Arts in 2013 and he was a Gertrude Studio artist in residence between 2015-17. Demetriou was the recipient of the John Fries Award 2016, The Linden Contemporary Art Prize 2014, Fiona Myer Travelling Scholarship 2013, and Nellie Castan Contemporary Art Award 2013. Recent solo exhibitions include: Sanaterrarium: performance art festival for frogs and crickets, Gertrude Glasshouse Gallery, (2017); An Afternoon with Herb Jercher, Lindberg Galleries (2016); Four minutes and thirty-three seconds in cat years, TCB Art inc (2015), and Flee Flu, West Space, (2014). Demetriou frequently collaborates with sound sculptor and whip cracker Herbert Jercher and is an active member of Melbourne performance art groups The Band Presents (TBP) and Germlock. Demetriou is represented by Lindberg Galleries, Melbourne.
Caitlin Franzmann is a Brisbane-based artist who explores contemporary art’s potential to instigate change by way of critical listening, dialogue and self-empowerment. In reaction to the fast pace and sensory overstimulation of contemporary urban life, she creates situations to encourage slowness, mindful contemplation, and social interaction in both galleries and public spaces. These situations include conversation-based works and immersive sonic spaces such as wearable listening sculptures, architectural interventions and audiowalks.
Franzmann has exhibited nationally and internationally, including at National Gallery of Victoria, Institute of Modern Art, and MPavilion, and in Festivals such as OtherFilm and Electrofringe. She has participated in several residencies including the Instrument Builders Project in Yogyakarta, Asialink Arts Residency Program in Istanbul and most recently the Karawatha Forest artist-in-residence program in Brisbane. She was recipient of the 2014 Churchie National Emerging Art Prize and was selected to exhibit in Primavera 2014: Young Australian Artists at the Museum of Contemporary Art, Sydney.
Pia van Gelder is a Sydney-based electronic artist and researcher. Her work involves designing and building electronic instruments that are presented in performance and interactive installation contexts. Her works investigate our relationships with technology and energy. In Pia’s performances with an analogue audio-video synthesiser, her compositional approaches are deeply rooted in the esoteric history of the electronic image and its harmony with sound.
Van Gelder was a co-director of Serial Space, Sydney and is a Curator/Coordinator of Dorkbot, a monthly event for lovers of electricity. Van Gelder has built a substantial performance and exhibition history including the following solo exhibitions: Relaxation Circuit, West Space Melbourne, 2015; Psychic Synth, Performance Space, Sydney, 2014; Audio Visionaries, SCA Gallery, Sydney, 2012 and Sychnchresier, Tin Sheds, Sydney, 2011. Most recently she was included in Primavera at the Museum of Contemporary Art in Sydney in 2016. Van Gelder is currently a PhD candidate at UNSW Art & Design in Sydney.
Ross Manning is a Brisbane based artist. His work draws together everyday household items that produce light and sound. The objects, once removed from their intended function, create effects that are simple in form yet surprising in outcome. Coloured fluorescent tubes are spun by plastic fans, clock chimes are struck by spinning string and solar panels sound activated by the luminesce of a TV.
Recent solo and group exhibitions include:
The Imagined Future is not the Future, OCT-LOFT, Shenzhen, China; Dissonant Rhythms, a 10-year survey of his practise at The Institute of Modern Art, both 2017; Why Not Ask Again?, 11th Shanghai Biennale, China; Set in Motion, Govett-Brewster Art Gallery, New Plymouth, New Zealand; Melody Lines, Carriageworks, Sydney, Australia; Device for Messaging Nothing, Milani Gallery, Brisbane, Australia, Colour Shift, Loop, Seoul, Korea (all 2016); Light Play, University of Queensland Art Museum, Brisbane, Australia; GOMA Q, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia; Interplay, The National Museum of Modern And Contemporary Art, Seoul, Korea; Imaginary Accord, Institute of Modern Art, Brisbane, Australia; The Kaleidoscopic Turn, National Gallery of Victoria, Melbourne, Australia (all 2015); and You Imagine What you Desire, 19th Biennale of Sydney, 2014.