Description:
Promised Land Exhibition - Jenny Port Gallery, Melbourne, 26th September-20th October 2012. As opposed to directly evoling a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends.
Description:
Promised Land Exhibition - Jenny Port Gallery, Melbourne, 26th September-20th October 2012. As opposed to directly evoling a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends.
Description:
Scope 012 Exhibition, 28th February - 24th March 2012 at Post Office Gallery, Ballarat. University of Ballarat, Arts Academy Visual Arts staff and research students exhibition with works by Phillip Berry, Claire Blake, Wendy Bolger, Loris Button, Neville French, Trudi Harley, Alistair Heighway, Debbie Hill, Paul Lambeth, Duncan Lannan, Rosalind Lawson, Sally Miller, Vikki Nash, Jimmy Pasakos, Anthony Pelchen, Peter Pilven, Cameron Ross, Ewen Ross, Chrissie Smith, Louise Tomlinson and Carole Wilson. The exhibition showcased a broad range of themes and ideas and demonstrated wide-ranging, specialist, technical and conceptual skills and knowledge across a broad range of disciplines including painting, drawing, photography, design, ceramics and printmaking.
Description:
Melaka Visual and Performance Festival Melaka , Malaysia. 21-23 September, 2012. An on-site work that was created in response to the city of Melaka in Malaysia; a place that has been colonised multiple times and yet still retains its essential Malaysian character. This work played upon this character and attempted to express the manner in which multiple religious and spiritual practices exist harmoniously side by side within the postcolonial city.
Description:
Melaka Visual and Performance Festival Melaka , Malaysia. 21-23 September, 2012. An on-site work that was created in response to the city of Melaka in Malaysia; a place that has been colonised multiple times and yet still retains its essential Malaysian character. This work played upon this character and attempted to express the manner in which multiple religious and spiritual practices exist harmoniously side by side within the postcolonial city.
Description:
Tap Rhythm sought to develop an innovative, online educational programme for students and teachers of tap dancing. Comprising several levels, along with a 'tap dictionary' and the ability to download original musical scores, the syllabus was developed out of a desire to create a resource that was highly interactive and encouraged steady development. Utilising a variety of platforms and suitable for notebooks, tablets and smartphones, Tap Rhythm has already achieved significant international recognition in developing an original resource which accelerates student learning; thereby maintaining enjoyment of the peformance and enabling students to succeed on an international stage.
Description:
Tap Rhythm sought to develop an innovative, online educational programme for students and teachers of tap dancing. Comprising several levels, along with a 'tap dictionary' and the ability to download original musical scores, the syllabus was developed out of a desire to create a resource that was highly interactive and encouraged steady development. Utilising a variety of platforms and suitable for notebooks, tablets and smartphones, Tap Rhythm has already achieved significant international recognition in developing an original resource which accelerates student learning; thereby maintaining enjoyment of the peformance and enabling students to succeed on an international stage.
Description:
Part of the Peformance as our Duty exhibition, 1st Venice International Peformance Art Week, December 8-15, 2012 As opposed to directly evoking a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends
Description:
Part of the Peformance as our Duty exhibition, 1st Venice International Peformance Art Week, December 8-15, 2012 As opposed to directly evoking a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends
Description:
We are pleased to be showing Sanné Mestrom’s new exhibition The Reclining Nude. This body of work was produced at her recent residency at Gertrude Street Gallery over the last two years and was shown in exhibition at Gertrude Street. This body of work is an extension and more mature reification of ideas that Mestrom began in her PhD work at Monash; Chalk Horse exhibited this body of work in 2009 at the old space and we have continued to support Mestrom since then. The Nothing Show, curated by Westspace’s Kelly Fliedner, was another serious outing within a group show, at the gallery for Mestrom’s work. Sanné Mestrom won the Kath Fries Art Prize last year having been shown as a finalist the year before. She was also shown in Social Sculpture, Anna Schwartz Gallery, curated wonderfully by Charlotte Day. What characterises Mestrom’s work is a fusion of different approaches to sculpture and conceptual installation through the twentieth century. She is an adept archivist who conflates and juxtaposes different methodologies to poetic ends. For example on one hand her work seems to recall Arte Povera or the object found by chance seen in the surrealist object, this aspect of her work was focused on in Social Sculpture. But then Mestrom recombines this poor, or industrial material or refuse with the aims of high modernism: Picasso, Matisse and Henry Moore (surrealist?). Is there a humour in the contrasts or does it create a more serious rupture? It is the sense of breadth and confusion that in the end creates the power in her work. Perhaps like Aby Warburg or more anthropological approaches to art, Mestrom seems to tap into more primal feelings towards the object and towards art’s materiality. In her eloquent visual essay, which we ask you to take away with you, Mestrom has moved from ancient votives to high modernism. What is it about the sculptural object, installed in a sacred space (the altar, the white cube) that makes us believe in things we share: beauty, love and other absolutes. -Oliver Watts, 2012
Description:
We are pleased to be showing Sanné Mestrom’s new exhibition The Reclining Nude. This body of work was produced at her recent residency at Gertrude Street Gallery over the last two years and was shown in exhibition at Gertrude Street. This body of work is an extension and more mature reification of ideas that Mestrom began in her PhD work at Monash; Chalk Horse exhibited this body of work in 2009 at the old space and we have continued to support Mestrom since then. The Nothing Show, curated by Westspace’s Kelly Fliedner, was another serious outing within a group show, at the gallery for Mestrom’s work. Sanné Mestrom won the Kath Fries Art Prize last year having been shown as a finalist the year before. She was also shown in Social Sculpture, Anna Schwartz Gallery, curated wonderfully by Charlotte Day. What characterises Mestrom’s work is a fusion of different approaches to sculpture and conceptual installation through the twentieth century. She is an adept archivist who conflates and juxtaposes different methodologies to poetic ends. For example on one hand her work seems to recall Arte Povera or the object found by chance seen in the surrealist object, this aspect of her work was focused on in Social Sculpture. But then Mestrom recombines this poor, or industrial material or refuse with the aims of high modernism: Picasso, Matisse and Henry Moore (surrealist?). Is there a humour in the contrasts or does it create a more serious rupture? It is the sense of breadth and confusion that in the end creates the power in her work. Perhaps like Aby Warburg or more anthropological approaches to art, Mestrom seems to tap into more primal feelings towards the object and towards art’s materiality. In her eloquent visual essay, which we ask you to take away with you, Mestrom has moved from ancient votives to high modernism. What is it about the sculptural object, installed in a sacred space (the altar, the white cube) that makes us believe in things we share: beauty, love and other absolutes. -Oliver Watts, 2012
Description:
Between Somewhere and Nowhere exhibition - Jenny Port Gallery, Melbourne 26th October- 18th November, 2011 The exhibition built upon the artist's long standing investigations into concepts of place, myth and history via the depiction and manipulations of the body. Gender roles and the trauma of Australia's colonial-settler heritage are also alluded to (Yet never explicitly stated) within each of the works, as are links to European/Greek myths and fables.
Description:
Between Somewhere and Nowhere exhibition - Jenny Port Gallery, Melbourne 26th October- 18th November, 2011 The exhibition built upon the artist's long standing investigations into concepts of place, myth and history via the depiction and manipulations of the body. Gender roles and the trauma of Australia's colonial-settler heritage are also alluded to (Yet never explicitly stated) within each of the works, as are links to European/Greek myths and fables.