Posts Tagged art

Fibro Coast – University of Sunshine Coast June 2014

Judy Barrass -Australian BuildersAfter a successful showing at Gold Coast Arts Centre Fibro Coast exhibition will open in a new format at University of Sunshine Coast Gallery on June 12th   presenting  material from local private and public collections, artworks, architectural drawings, contemporary and historic photographs, ephemera, objects, and oral histories documentaries.  There is, in short, something for everyone. More information can be found on the Gallery website or at BlueSkyView.

My work for Fibro Coast includes video and a series of small, evocative,  paper structures reminiscent of reliquary boxes.

In wandering around my neighbourhood of Noosa photographing fibro houses for the project I was very aware that we are fast losing this part of our heritage. Many of the houses I photographed were for sale, not as houses but as development sites. Sometimes all we have left is piecemeal, blurred images, small fragments of the past. I have collected some of these fragments and boxed them as precious objects might be housed in a reliquary box, a tiny shrine to the past.

Here a snapshot of some of my works shown in the Gold Coast portion of the exhibition. Some of these will also be shown on the Sunshine Coast

Judy Barrass - Fibro Coast

Judy Barrass - 37 Moorindil

Judy Barrass - Memory box

 

 

 

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Creative History ‘Collective Insites’ now available as an e-book

An extended version of the catalogue essay with an introduction to the project and a section on the work of each of the artists is now available in e-book format at all major e-book retailers including the Kindle store on Amazon, Apple, Barnes and Noble, Sony, Kobo and Diesel. The book can be easily accessed in all e-reader formats as well as PDF and HTML by visiting the Smashwords publishing site  at this link  http://www.smashwords.com/books/view/60135 or through any of the e-book retailers above.

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Collective Inistes- The Catalogue

The funding available through the RADF grant  was augmented by a generous donation from Downer EDI that allowed the production of a printed package that included a  small fold out colour catalogue and an artist card for each of the artists. The whole was enclosed in a vellum envelope and was a much sought after memento of the exhibition. The full text of the catalogue essay by curator Judy Barrass is available in the pages on this site (above or right).

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Collective Insites Opening

A large crowd gathered at Gatakers Artspace to celebrate the opening of the Collective Insites  exhibition on May 6th 2011. Jenny Galligan,Executive Director (Arts Development), Arts Queensland opened the exhibition.


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Hanging ‘Collective Insites’ exhibition, Gatakers Artspace, Maryborough

It seemed like it was never going to happen. The gallery looked like a construction site. It’s hard to image what comes before a beautifully  presented exhibition in a white cube gallery space. Chaos and stress.

Niels Ellmoos was hard at work putting together the frame-work for his massive charcoal drawing. His portable museums were a mass of bits and pieces, tools, glues, and unkowns.

Susan Hutton seemed like she was on a dream run, putting together four of her five pieces in record time. But it seemed like a cat was going to be her undoing. Many tries later the cat finally conformed to Susan’s idea of where and how it should sit on its pedestal.

It was then up to Christine Turner to create havoc and challenge everyone to remember how the mangle went back together. Trevor Spohr from Gatakers was his usual unflappable self coming up with solutions to every  problem, and finding a way to get everything done.

Of course Fiona Mohr also had a hand in trying to put that mangle back together.  In the end we had to call in the experts in the guise of Patrick from Mavis Bank.  Fiona  was heard emitting huge sigh of relief that her expertise would no longer be called into question.

Over in a corner was what we  affectionately called ‘the Tardis’, but which was, in reality David Hodges’ installation. Sometime after lunch  workmen in flurescent vests arrived and started doing all sorts of things to it. We don’t know what. Perhaps they were attempting time travel. We’re looking forward to how this thing is going to operate, if it does. Peta Duggan was nowhere to be found. We think she was at home putting the finishing touches to a fantastic and amazing sculpture that will definitely not be able to be transported and will never fit into the lift to the first floor. But we hope she’s having fun. John Meyers from the military Museum came in to  go over her work with a fine tooth comb and we are pleased to say he actually liked some pieces. Thanks John!

Make sure you’re there for the opening of this amazing exhibition. Gatakers Gallery, Maryborough, Friday May 6th, 6 pm. The catering  is going to be great! All are welcome to attend.

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Collective Insites Exhibition Opens May 6th

The opening of
of two new exhibitions at Gatakers Artspace: Collective Insites curated by Judy Barrass and
featuring works by five artists and In the Half Light by Noel Brown.
DATE 6 May 2011
LOCATION Gatakers Artspace, 311 Kent Street, Maryborough
TIME 6.00pm for 6.30pm
Collective Insites to be opened by Jenny Galligan,
Executive Director (Arts Development), Arts Queensland
In the Half Light to be opened by Trevor Spohr
TELEPHONE Trevor Spohr (07) 4190 5723
RSVP 2 May 2011
gatakersartspace@frasercoast.qld.gov.au

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Maryborough’s Industrial Past Comes to Life

Things are getting exciting for the ‘Collective Insites’ project at Maryborough with the opening of the group exhibition at Gatakers Artspace to take place on May 6th.  This will be followed by a series of solo exhibitions by each of the artists from June 13th onwards. I caught up with Niels Ellmoos, one of the artists, who has been looking at Maryborough’s industrial past. This is what he had to say:

What is the exhibition about?

This exhibition is called ‘Collective Insights’ and it is about re-interpreting several of Maryborough’s museum collections. There are 5 artists involved and each of us have selected a particular museum collection. For instance I am using a Bond store collection which relates to Maryborough’s industrial history. These wooden patterns were removed when the bond Store basement flooded. I am looking at aspects of the industrial history related to them, the kind of industry they represent and as artefacts, how they have a voice from the past.

How are you going to use them?

I see them as a part of a larger picture so to speak. As objects they now , especially in a gallery setting, relate to us as beautiful forms. We enjoy the timber quality, the design and appreciate the skill of the artisan/tradesman who made them. However they were only part of an extensive process . They were used to produce metal components of machinery systems for a variety of industries. Now I want to incorporate the idea that they have a link to the past so in my drawing I use them in the overall composition , to give a recognition and acknowledgement to the design. I also want to show the human element as they were not just stand alone objects. The human form is important and adds to the drama of the drawing. This drawing though is only a part of my overall installation. I usually interface other mediums such as sculptural forms, digital media with the large-scale drawings to create what I call multi dimensional collages or what has been termed Grand narratives.

What do you want to achieve with this multi dimensional Collage Niels?

What I want to achieve is to hopefully involve  or immerse the viewer with the different mediums so that they get an overall reading of the installation. I generally have a number of themes that are just below the surface. These relate to art history, community, history and cultural landscape. Walkers Engineering company and Croydon foundries which I am investigating have a grand local history which in these patterns whilst they are part of it , you can’t really know about it so it is up to the artist to bring other aspects to light. Museums today have the same problem as often and in this case there is scant evidence so often a museum has to make up a narrative about a particular exhibit and generally provide a story or diorama which somehow relates to the artefact they are presenting.

I like the idea of a tension between education and entertainment. When you see the other parts of my concept hopefully you will see what I am getting at. So overall I want  the viewer to be entertained, question and be educated in some way. There should be a few optical tricks and an extension from the basic artefacts which are the patterns.

I am exploring hidden histories a theme which I began back in 2001. I feel that I can engage with a particular community that I am living in if I shed light on various local histories.

I am influenced by a number of artists that have dealt in some way with these kinds of themes. The significance of material evidence is crucial where documentary evidence is inadequate and in technological history this is often the case.

Here the real original pattern is on view. How do I bring a more eclectic and vigorous history to light? In the large drawing I try to inject a sense of drama and action of those early working conditions of which there are documentary proof in BW photos. Then I incorporate the outlines of the patterns to create a flow. This is an expressionist way of working quite vigorous in its

application. I also let my sub conscious mind work so that the drawing becomes infused with abstract shapes that become lines of energy which link focal points in the composition almost like a blueprint.

For the sculptural or 3 dimensional parts of the installation I will use some of the patterns themselves to provide a museum context. Other materials such as transport palettes, wooden box , plywood cut outs, dioramas etc will be incorporated. The digital media will consist of a tv monitor showing a loop of documentary footage.

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