Systematic is an exhibition showcasing eight Australian artists whose works engage with the creative potential of systems to critique, re-imagine or re-invent their workings. Ranging across sculpture, installation, photography, generative animation, painting and assemblage, the exhibition is a playful blend of vibrant and kinetic works that invites viewers to reflect on various contemporary systems and their operations. Posing the question of ‘how things work’ as an imaginative proposal, the exhibition highlights processes of connectivity, organization and inter-relatedness and the interconnections between several different areas of contemporary arts practice.
The works in Systematic explore the material dynamics of systems through engineered connections and intricate componentry, constituting systems in their own right, or engaging with systems principles at conceptual and/or material levels. Through references to the technological, conceptual, ecological and political histories of ‘the system’, the exhibition invites viewers to explore the shifting definitions of what is ‘human’ in the vast network of systematic relations that impact on our daily lives.’
Systematic is assisted through Arts Tasmania by the Minister for the Arts. It is also supported through the Contemporary Art Tasmania Exhibition Development Fund, the Hobart City Council’s ‘Creative Hobart’ Grants Scheme and the University of Tasmania. This project is on the Contemporary Art Tasmania Touring Program.
Systematic is curated by Dr Eliza Burke and features works by Ian Burns, Laura Woodward and Patrick Pound, and new works by Tricky Walsh, Jacob Leary, Tega Brain, Nadège Philippe-Janon and Bill Hart.
ARTIST AND CURATOR BIOGRAPHIES
Tega Brain is an artist and environmental engineer making eccentric engineering. Her work intersects art, ecology and engineering, addressing the scope and politics of emerging technologies. It takes the form of online interventions, site specific public works, experimental infrastructures and poetic information systems.
In recent years she has exhibited at the Victoria and Albert Museum, London, Haus der Kulturen der Welt, Berlin, the Science Gallery Dublin and Eyebeam in New York City. Her work has been widely discussed in the press including in The New York Times, Art in America, The Atlantic, NPR, Al Jazeera and The Guardian and in art and technology blogs like the ‘Creators Project’ and ‘Creative Applications’.
Tega is an Assistant Professor of Integrated Digital Media, New York University. She is an affiliate at Data & Society and works with the Processing Foundation on the Learning to Teach conference series and p5js project. She has done residencies at Eyebeam Art and Technology Center, New York City, GASP Public Art Park, and at the Environmental Health Clinic, New York University. In 2013 she was awarded an early career fellowship from the Australia Council for the Arts.
Ian Burns has had numerous solo exhibitions in venues in the United States, Australia, Spain, Ireland, France and Austria. His work has also been exhibited in major galleries and museums in Germany, the United Kingdom, New Zealand, the United States, Slovenia, Norway, Italy and the United Arab Emirates.
His works are included in major public collections including the Museum für Moderne Kunst, Frankfurt am Main, Germany, The Museum of Contemporary Art, Sydney, The National Gallery of Victoria, Melbourne, the Art Gallery of South Australia, and the Australian Center for the Moving Image as well as many important private collections such as the 21C Museum, Kentucky, USA, the Jumex Collection, Mexico, the Berge Collection, Spain, the Detached Collection, Australia and the Chartwell Collection, New Zealand.
His work has been reviewed and featured in major international art magazines including Frieze Magazine, Flash Art, ArtForum, Art Review, Sculpture Magazine, Art in America, Modern Painters, ArtNews, The New Yorker and Tema Celeste as well as in major newspapers including The Sunday Times, The Irish Times, Der Standard, The Age, The Sydney Morning Herald, The Australian and The New York Times.
Ian Burns is based in Queens, New York.
Patrick Pound is a Melbourne-based artist and Senior lecturer in Art at Deakin University.
In 2018 Patrick Pound: On Reflection saw Pound’s collection-based works installed with 82 works from Te Papa Tongarewa at the City Gallery in Wellington in a vast palindrome of a display. 2018 also saw The Point of Everything collection-based intervention as part of the Adelaide Biennial of Australian Art at the Art Gallery of South Australia. In 2017 the National Gallery of Victoria staged Patrick Pound: The Great Exhibition, a major survey of Pound’s collection-based works, including interventions with the collections of the NGV across the entire ground floor of the NGVA (Federation Square). The exhibition was visited by over 200,000 people. As part of Melbourne Now (2013), The Gallery of Air was an installation at the NGV of hundreds of things each of which held an idea of air, and is now in their permanent collection.
Pound has also been included in numerous group exhibitions including The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015; Melbourne Now, National Gallery of Victoria, Melbourne, 2014; Episodes – Australian Photography Now, Dong Gang Photography Museum, Korea; The Small Infinite, John Hansard Gallery, UK, 2014; Inside Running, Fremantle Arts Centre (2013); Liquid Archive, Monash University Museum of Art, 2012; Present Tense, National Portrait Gallery, Canberra, 2010; and Photographer Unknown, Monash University Museum of Art, Melbourne, 2009.
His work is held in numerous public and private collections including National Gallery of Australia, National Gallery of Victoria, Art Gallery of New South Wales, Art GAllery of South Australia, Te Papa Tongarewa, Auckland Art Gallery, and the Dunedin Art Gallery. Pound is represented by Station, Melbourne, Darren Knight Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland.
Bill Hart is Head of Discipline, Art and Lecturer in Time Based Media at the School of Creative Arts where he teaches and lectures in topics around moving image, animation and interactivity, and the general problem of how to make art with technology. He studied physics and mathematics and later visual art at the University of Tasmania. He has explored the uses and applications of computing for over 30 years in theoretical physics, oceanography, system and network design, scientific visualisation, digital imaging and software art. As an artist he works through a deep engagement with technology to explore the application of new technologies to the visual arts through digital image making, robotic drawing, animation with generative systems. He believes art can be both serious, complex and philosophical, but also accessible, sensuous and engaging.
Tricky Walsh works both collaboratively and in a solo capacity. Their* projects focus on both spatial and communication concerns and while they use a diversity of media (architecture, painting, drawing, sculpture, installation, sound, film, comics, radio) it is foremost the concept at hand that determines which form of material experimentation occurs within these broader themes.
They have been awarded a Qantas Foundation Art award and won the 2009 Hobart Art prize for their sculpture The Wasp project, and commissioned to make works for Monash University Museum of Art, the Tasmanian Museum and Art Gallery and the privately funded Detached Cultural Organisation, were included in the 2013 Mona Foma festival, organised by the Museum of Old and New Art. They have been a recipient of Australia Council and Arts Tasmania funding, and have undertaken residencies in London, New York, Jogjakarta and Paris and China. They are represented by Bett Gallery, Hobart, Tasmania, and MARS Gallery in Melbourne and have exhibited extensively throughout Tasmania, Australia and overseas.
*Tricky Walsh is a non-binary artist whose preferred pronoun is ‘their’.
Jacob Leary is a multi-disciplinary artist with a practice spanning a range of mediums including painting, sculpture, prints, video and installation. His recent creative outputs emerge from his current PHD research (UTAS) and its particular focus on ‘object essences’ as outlined by aspects of speculative realism. His research into the ontological foundations of the ‘as-structure’ of art has produced a logic with which to see art objects as a manifestation of an alien presence with their own form of agency, a contingent and contradictory force.
In 2018, Leary was highly commended in the Glover Prize for landscape painting and commissioned to produce Paint Dreamz for Moonah Arts Centre Haveago gallery, and a new body of work for Melbourne Art Week as part of Subterrain – The Organic Sublime in Contemporary Practice. Further curated exhibitions in 2018 include Systematic (Plimsoll Gallery) and The Field Revisited (still) (Contemporary Art Tasmania) and a solo show Very (Private Projects). In 2017 Leary presented his second solo show Something Terrain at Flinders Lane Gallery and has recently undertaken a range of commissions through Arts Tasmania and MONA FOMA. In 2016, Leary exhibited in Brainstorm at the Tasmanian College of the Arts as part of DarkMofo and at Contemporary Art Tasmania as part of their ‘Artist to Artist’ program. Leary has won numerous awards for his work, including the 2012 John Fries Memorial Prize, a national award for emerging visual artists and he was a finalist in the Redlands Art Prize (2016). He has been the recipient of multiple grants including a Contemporary Art Tasmania Studio in 2012 and an Australia Council grant for emerging artists in 2013. Leary’s work has been collected by Artbank, University of Tasmania, Justin Art House Museum, RACT Collection, Tasmanian Government, lslington Collection and Ormond College. He is represented by Flinders Lane Gallery (Melbourne) and Private Projects (Hobart).
After commencing her studies in Environmental Science, Nadège Philippe-Janon went on to study Fine Art at the Queensland College of Art and received First Class Honours at the Tasmanian College of the Arts. Since then she has been awarded numerous grants and residencies including a Marie Edwards Traveling Scholarship to support self-directed research at the Citè International des Arts, Paris, and an Asialink grant to create new work and conduct research in Hokkaido, Japan.
In 2018 Nadège was awarded a Claudio Alcorso travelling scholarship to participate in an intensive residency exploring sustainability with SOMA in Mexico City. Recent exhibitions include: Mock Sun Contemporary Art Tasmania (2017), Real Life Fantasies, West Space VIC (2017), New Alchemists; touring – Salamanca Arts Centre, TAS; University of Queensland Art Museum, QLD; Devonport Regional Gallery, TAS; Flinders University City Gallery, SA (2017/18), and Sound Traces, Tenjinyama Gallery, Japan (2016). Nadège was the 2017 recipient of the Shotgun program, a partnership project between Contemporary Art Tasmania, Detached Cultural Organisation, and the Museum of Old and New Art (MONA).
Laura Woodward lives and works in Melbourne, Australia. She has been creating sculptural kinetic installations for several years, exhibiting in solo and group exhibitions throughout Australia. Woodward’s current explorations focus on the potential of system-based kinetic installations. These systems develop through the inter-receptive relationship between materials, movement, time and the artist’s hand, with the system’s inherent logic driving its formal and systematic emergences.
Solo exhibitions include Resonate, Airspace Projects Marrickville and Stockroom Gallery Kyneton, 2016; Writhe, Ararat Regional Gallery, Victoria, 2015; Introverted, Margaret Lawrence Gallery, Southbank, Melbourne, 2013; The Saltus at Place Gallery, Richmond, Melbourne, in 2011; and Underwing, Linden Centre for Contemporary Arts, St Kilda, Melbourne in 2010. Completed public commissions include Voices at Craigieburn Central Shopping Centre, and Murmer at Docklands, Melbourne, both in collaboration with Jem Freeman.
Woodward’s work has been recognised through numerous grants, prizes and exhibitions including an Australia Council Emerging Artist New Work Grant in 2010 and Australia Council Mid-Career Artist New Work Grants in both 2013 and 2014. In 2018 her work was shortlisted and exhibited in the international Aesthetica Art Prize in York, UK. Woodward teaches Sculpture and Spatial Practice at the Victorian College of the Arts. She owns Ironside Studios and co-owns the design and fabrication business Like Butter in Melbourne.
Eliza Burke – Curator
Eliza Burke is an independent curator and writer based in Hobart. Her work is fuelled by an interest in the creative potential of hybrid and collaborative forms across the arts and sciences, and inter-disciplinarity as both a concept and practice. She holds a PhD in Comparative Literature and Cultural Studies (2004) and an MFA in Art Theory (2015) and has held a variety of project co-ordination, research and teaching roles across the arts, social sciences, health and education sectors. Solo-curated exhibitions include Full Void (Tasmanian Museum and Art Gallery, 2017), Ghost Biologies (Contemporary Art Tasmania, 2016) and Trace (Rosny Barn and Schoolhouse Gallery, 2010) with other recent curatorial roles in Broken Bodies (Plimsoll Gallery, 2017) and Tempest (Tasmania Museum and Art Gallery, 2016). Her critical writing includes catalogue essays and articles, reviews and essays in publications such as Artlink, Art Guide Australia, Feminist Media Studies, and Australian Feminist Studies. She currently teaches, researches and curates in the interdisciplinary field of Arts and Health at the University of Tasmania.