Description:
Federation University Australia hosts an exhibition by Sam Harris as part of the Ballarat International Fotobiennale 2015 Core Program at the Post Office Gallery, 22nd August - 20th September 2015. Image: Sam Harris Uma with Cheepy, 2015 (from the book ‘The Middle of Somewhere’, 2015) photograph Courtesy the artist.
Description:
Federation University Australia hosts an exhibition by Sam Harris as part of the Ballarat International Fotobiennale 2015 Core Program at the Post Office Gallery, 22nd August - 20th September 2015. Image: Sam Harris Uma with Cheepy, 2015 (from the book ‘The Middle of Somewhere’, 2015) photograph Courtesy the artist.
Description:
Wed 29 Jul – Sat 16 Aug Undergraduate Visual Arts students studying at the Arts Academy, Faculty of Education & Arts, Federation University Australia, will present their current work, in the Gallery's special annual exhibition, showcasing the creativity, skill and talent of the next generation of visual artists. BENCHMARK showcases an outstanding mix of works including photography, drawing, painting, sculpture, mixed media, ceramics, film and printmaking and provides insight into young people's ideas, thinking and forms of creative practice. Image: Casey Bolton Untitled in Colour, 2015 pastel and charcoal on paper 3rd Year Bachelor of Visual Arts ( Fine Arts)
Description:
Wed 29 Jul – Sat 16 Aug Undergraduate Visual Arts students studying at the Arts Academy, Faculty of Education & Arts, Federation University Australia, will present their current work, in the Gallery's special annual exhibition, showcasing the creativity, skill and talent of the next generation of visual artists. BENCHMARK showcases an outstanding mix of works including photography, drawing, painting, sculpture, mixed media, ceramics, film and printmaking and provides insight into young people's ideas, thinking and forms of creative practice. Image: Casey Bolton Untitled in Colour, 2015 pastel and charcoal on paper 3rd Year Bachelor of Visual Arts ( Fine Arts)
Description:
10th – 20th June 2015 Drawing is recognised as a direct and sensitive method of revealing the artist's state of being. It is an immediate form of expression that reveals its own process of creation, moment to moment as it is made. Therefore, drawing suits an exploration of self in its ever changing, moment to moment state of development and has been used to combine, record and express different aspects of experience. Image: Cody Joy Untitled (drawn out, pulled together), 2013 ink and thread on paper 56 x 56 cm.
Description:
10th – 20th June 2015 Drawing is recognised as a direct and sensitive method of revealing the artist's state of being. It is an immediate form of expression that reveals its own process of creation, moment to moment as it is made. Therefore, drawing suits an exploration of self in its ever changing, moment to moment state of development and has been used to combine, record and express different aspects of experience. Image: Cody Joy Untitled (drawn out, pulled together), 2013 ink and thread on paper 56 x 56 cm.
Crossing Paths : Marks by a select group of printmakers
Date:
2015
Type:
Text
, Visual art work
Full Text:
false
Description:
25 March - 16 April 2015 The exhibition, from Colorado University USA, assembles an international group of printmakers from across America and the Pacific. It features a range of Native American artists including the renowned Jaune Quick-to-See Smith, whose work is held in the collections of The Museum of Modern Art and the Whitney Museum, New York. The exhibition was assembled by Navajo printmaker and curator Associate Professor Melanie Yazzie, a past artist-in-residence at Gippsland Centre for Art and Design, Federation University. The result is an intriguing set of images in a wide range of printmaking media, which celebrate sense of place and exchange of ideas across distance and between cultures. Said exhibition co-curator Rodney Forbes, "Melanie Yazzie made many connections here with both indigenous and non-indigenous artists and it's great that this relationship has given us access to this exciting range of international printmakers." Image: Image: Jaune Quick-to-See Smith The Long Shadow, 2013, woodcut and monoprint
Description:
25 March - 16 April 2015 The exhibition, from Colorado University USA, assembles an international group of printmakers from across America and the Pacific. It features a range of Native American artists including the renowned Jaune Quick-to-See Smith, whose work is held in the collections of The Museum of Modern Art and the Whitney Museum, New York. The exhibition was assembled by Navajo printmaker and curator Associate Professor Melanie Yazzie, a past artist-in-residence at Gippsland Centre for Art and Design, Federation University. The result is an intriguing set of images in a wide range of printmaking media, which celebrate sense of place and exchange of ideas across distance and between cultures. Said exhibition co-curator Rodney Forbes, "Melanie Yazzie made many connections here with both indigenous and non-indigenous artists and it's great that this relationship has given us access to this exciting range of international printmakers." Image: Image: Jaune Quick-to-See Smith The Long Shadow, 2013, woodcut and monoprint
Description:
'Hyperborean Tales' Exhibition at Switchback Gallery, Federation University Australia, Gippsland Campus; 6th October - 5th November 2015. Jennifer Murray is a Masters candidate at Federation University’s Gippsland Centre for Art and Design and a painter of miniature images. Her Masters project explores the imagery of cold climates, focussing on places in the Arctic Circle. During her candidacy she undertook a residency at Skagestrond in Northwest Iceland, painting onsite out of an old converted fish warehouse and experiencing directly the visual and cultural effects of the cold climate. The result is an intriguing set of miniature paintings, which reveal the otherworldliness of our planet’s ultra-cold places. Murray is an admirer of Persian and Victorian miniature painting. The small scale meshes with the claustrophobic nature of cold climate living and these works illuminate what it is in cold places that adds new visual and cultural understandings about place. Image: Jennifer Murray, Hyperborean Tales, 8cm x 6cm (from Blue Series), 2011,acrylic on Lanaquarelle paper.
Description:
'Hyperborean Tales' Exhibition at Switchback Gallery, Federation University Australia, Gippsland Campus; 6th October - 5th November 2015. Jennifer Murray is a Masters candidate at Federation University’s Gippsland Centre for Art and Design and a painter of miniature images. Her Masters project explores the imagery of cold climates, focussing on places in the Arctic Circle. During her candidacy she undertook a residency at Skagestrond in Northwest Iceland, painting onsite out of an old converted fish warehouse and experiencing directly the visual and cultural effects of the cold climate. The result is an intriguing set of miniature paintings, which reveal the otherworldliness of our planet’s ultra-cold places. Murray is an admirer of Persian and Victorian miniature painting. The small scale meshes with the claustrophobic nature of cold climate living and these works illuminate what it is in cold places that adds new visual and cultural understandings about place. Image: Jennifer Murray, Hyperborean Tales, 8cm x 6cm (from Blue Series), 2011,acrylic on Lanaquarelle paper.
Description:
Federation University Australia hosts Wendy Bolger's exhibition 'Journeying along fence lines' at the Post Office Gallery, 30th September - 24th October 2015. Image: Wendy Bolger Piakonui Rd. Waikato, New Zealand, 2013 type C print 535(h) x 655(w)mm (framed).
Description:
Federation University Australia hosts Wendy Bolger's exhibition 'Journeying along fence lines' at the Post Office Gallery, 30th September - 24th October 2015. Image: Wendy Bolger Piakonui Rd. Waikato, New Zealand, 2013 type C print 535(h) x 655(w)mm (framed).
Description:
Federation University Australia hosts Erin McCuskey's exhibition 'Luxville Delusion' at the Post Office Gallery, 28th October - 28th November 2015. Image: Erin McCuskey Queen Mary, 2014 digital cine still Courtesy the artist.
Description:
Federation University Australia hosts Erin McCuskey's exhibition 'Luxville Delusion' at the Post Office Gallery, 28th October - 28th November 2015. Image: Erin McCuskey Queen Mary, 2014 digital cine still Courtesy the artist.
Reality is an illusion, although a very persistent one
Date:
2015
Type:
Text
, Visual art work
Full Text:
false
Description:
4th-19th March 2015 Lorry Wedding-Marchioro is a Masters candidate at Federation University's Gippsland Centre for Art and Design and a public sculptor. Her sculptural and installation work explores connections between quantum physics and visual arts practice, drawing on quantum physics' idea that all solid things are composed of wave particles and are in reality as insubstantial as light. The result is an intriguing set of installations and sculptures, which challenge our ideas of what reality is. These works make us question what is real and substantial and what is not. Recent advances in physics bring us closer to the ancient Eastern idea that the world is actually an illusion and this is an idea that has always engaged artists. Switchback Gallery is at Gippsland Centre for Art and Design, Building 6S, Federation University Gippsland and is open 9 - 5 weekdays or by appointment Image: Image: Lorry Wedding-Marchioro, Metonymy, detail 2014 Perspex, Plexigravure, LEDs, mirror, wood. 101 x 101 x 10 cm photographer, Heath Britton
Description:
4th-19th March 2015 Lorry Wedding-Marchioro is a Masters candidate at Federation University's Gippsland Centre for Art and Design and a public sculptor. Her sculptural and installation work explores connections between quantum physics and visual arts practice, drawing on quantum physics' idea that all solid things are composed of wave particles and are in reality as insubstantial as light. The result is an intriguing set of installations and sculptures, which challenge our ideas of what reality is. These works make us question what is real and substantial and what is not. Recent advances in physics bring us closer to the ancient Eastern idea that the world is actually an illusion and this is an idea that has always engaged artists. Switchback Gallery is at Gippsland Centre for Art and Design, Building 6S, Federation University Gippsland and is open 9 - 5 weekdays or by appointment Image: Image: Lorry Wedding-Marchioro, Metonymy, detail 2014 Perspex, Plexigravure, LEDs, mirror, wood. 101 x 101 x 10 cm photographer, Heath Britton
Description:
4th February - 7th March 2015 SCOPE15 was opened by Associate Professor Jennifer Jones-O'Neill, PhD, Head, School of Arts, Humanities and Social Sciences, Faculty of Education and Arts, Federation University Australia, on Thu 5 Feb. In the Post Office Gallery's important annual visual arts exhibition, 2015 SCOPE presented a rich cross-section of work by practicing visual artists who lectured in the visual arts in art history, painting, drawing, graphic design, printmaking and ceramics at the Arts Academy or undertook significant roles as visual arts research associates. Image: Jill Orr The Promised Land – Moving, 2012/13 70cm (h) x 105 cm (w) photograph Courtesy the artist and Jenny Port Gallery
Description:
4th February - 7th March 2015 SCOPE15 was opened by Associate Professor Jennifer Jones-O'Neill, PhD, Head, School of Arts, Humanities and Social Sciences, Faculty of Education and Arts, Federation University Australia, on Thu 5 Feb. In the Post Office Gallery's important annual visual arts exhibition, 2015 SCOPE presented a rich cross-section of work by practicing visual artists who lectured in the visual arts in art history, painting, drawing, graphic design, printmaking and ceramics at the Arts Academy or undertook significant roles as visual arts research associates. Image: Jill Orr The Promised Land – Moving, 2012/13 70cm (h) x 105 cm (w) photograph Courtesy the artist and Jenny Port Gallery
Description:
Wed 15 – Sat 25 July Post Office Gallery Laraine Peters' recent drawn studies express her interest in the analysis of stromatolites that date back some 3.5 billion years and cyanobacteria, believed to be the progenitors of all life forms on earth. Peters is also interested in the close connection of cyanobacteria to soil, water, air and sunlight and the way in which these forms of bacteria mirror similar relationships between other descendant life forms and the land. She is also concerned with the connections and perceived metaphors that exist between these basic elements through a Jungian, archetypal perspective and need that she considers resides in all of us - to be more intimately connected with the earth. For Peters, the stromatolite sculpted forms, with mellifluous lines and patterns, together with the macroscopic and the microscopic elements, provide a rich source of visual material with an artistic tension that inveigles her to pursue and understand her subject. Laraine Peter's exhibition and recent work constitute the visual outcomes emerging from a practice-led research project for the award of Master of Arts at the Arts Academy, Faculty of Education and Arts, Federation University Australia. Image: Laraine Peters Stromatolite Pattern 2, 2014 graphite & watercolour pencil on Arches aquarelle Courtesy the artist Photo: Ian Hill
Description:
Wed 15 – Sat 25 July Laraine Peters' recent drawn studies express her interest in the analysis of stromatolites that date back some 3.5 billion years and cyanobacteria, believed to be the progenitors of all life forms on earth. Peters is also interested in the close connection of cyanobacteria to soil, water, air and sunlight and the way in which these forms of bacteria mirror similar relationships between other descendant life forms and the land. She is also concerned with the connections and perceived metaphors that exist between these basic elements through a Jungian, archetypal perspective and need that she considers resides in all of us - to be more intimately connected with the earth. For Peters, the stromatolite sculpted forms, with mellifluous lines and patterns, together with the macroscopic and the microscopic elements, provide a rich source of visual material with an artistic tension that inveigles her to pursue and understand her subject. Laraine Peter's exhibition and recent work constitute the visual outcomes emerging from a practice-led research project for the award of Master of Arts at the Arts Academy, Faculty of Education and Arts, Federation University Australia. Image: Laraine Peters Stromatolite Pattern 2, 2014 graphite & watercolour pencil on Arches aquarelle Courtesy the artist Photo: Ian Hill
Description:
Wed 15 – Sat 25 July Post Office Gallery Laraine Peters' recent drawn studies express her interest in the analysis of stromatolites that date back some 3.5 billion years and cyanobacteria, believed to be the progenitors of all life forms on earth. Peters is also interested in the close connection of cyanobacteria to soil, water, air and sunlight and the way in which these forms of bacteria mirror similar relationships between other descendant life forms and the land. She is also concerned with the connections and perceived metaphors that exist between these basic elements through a Jungian, archetypal perspective and need that she considers resides in all of us - to be more intimately connected with the earth. For Peters, the stromatolite sculpted forms, with mellifluous lines and patterns, together with the macroscopic and the microscopic elements, provide a rich source of visual material with an artistic tension that inveigles her to pursue and understand her subject. Laraine Peter's exhibition and recent work constitute the visual outcomes emerging from a practice-led research project for the award of Master of Arts at the Arts Academy, Faculty of Education and Arts, Federation University Australia. Image: Laraine Peters Stromatolite Pattern 2, 2014 graphite & watercolour pencil on Arches aquarelle Courtesy the artist Photo: Ian Hill
Description:
Wed 15 – Sat 25 July Laraine Peters' recent drawn studies express her interest in the analysis of stromatolites that date back some 3.5 billion years and cyanobacteria, believed to be the progenitors of all life forms on earth. Peters is also interested in the close connection of cyanobacteria to soil, water, air and sunlight and the way in which these forms of bacteria mirror similar relationships between other descendant life forms and the land. She is also concerned with the connections and perceived metaphors that exist between these basic elements through a Jungian, archetypal perspective and need that she considers resides in all of us - to be more intimately connected with the earth. For Peters, the stromatolite sculpted forms, with mellifluous lines and patterns, together with the macroscopic and the microscopic elements, provide a rich source of visual material with an artistic tension that inveigles her to pursue and understand her subject. Laraine Peter's exhibition and recent work constitute the visual outcomes emerging from a practice-led research project for the award of Master of Arts at the Arts Academy, Faculty of Education and Arts, Federation University Australia. Image: Laraine Peters Stromatolite Pattern 2, 2014 graphite & watercolour pencil on Arches aquarelle Courtesy the artist Photo: Ian Hill
Description:
Curated by Kim Anderson. 2nd December 2015 - 30th January 2016 WALL | PAPER brings together six artists working on and with paper and encompasses drawing, printmaking and sculptural works. A meticulous and methodical approach to art-making is shared by all, along with repeated forms, marks and motifs surrounding an individual singular focus. Each artist takes inspiration from different aspects of the external world that trigger a personal emotional response, and in translating these onto paper evoke themes of landscape, fate, memory and loss. Image: top row L- R: Cody Joy, Untitled, 2015 ink on paper (detail) Kim Anderson, Joy, 2015 Copic pen on paper (detail) Loris Button, Springtime in Renkum, 2015 linoprint on paper (detail) bottom row L-R: Tarli Glover, Conglomerate, 2012 recycled paper (detail) Debbie Hill, The Clotho,Lachesis and Atropos Series, 2015 graphite & coloured pencil on paper (detail) Trudi Harley, Transition, 2015 carbon pencil on paper (detail)
Description:
Curated by Kim Anderson. 2nd December 2015 - 30th January 2016 WALL | PAPER brings together six artists working on and with paper and encompasses drawing, printmaking and sculptural works. A meticulous and methodical approach to art-making is shared by all, along with repeated forms, marks and motifs surrounding an individual singular focus. Each artist takes inspiration from different aspects of the external world that trigger a personal emotional response, and in translating these onto paper evoke themes of landscape, fate, memory and loss. Image: top row L- R: Cody Joy, Untitled, 2015 ink on paper (detail) Kim Anderson, Joy, 2015 Copic pen on paper (detail) Loris Button, Springtime in Renkum, 2015 linoprint on paper (detail) bottom row L-R: Tarli Glover, Conglomerate, 2012 recycled paper (detail) Debbie Hill, The Clotho,Lachesis and Atropos Series, 2015 graphite & coloured pencil on paper (detail) Trudi Harley, Transition, 2015 carbon pencil on paper (detail)
Description:
Although livestock welfare issues were once barely visible to mainstream consumers, animal welfare activists now combine traditional public media advocacy with digital media advocacy to spread their campaign message and mobilise consumers. This article examines one attempt to mainstream animal welfare issues: Animals Australia's' 'Make It Possible' multimedia campaign. Specifically, we contend that the campaign puts into circulation an 'affective economy' (Ahmed, 2004a, 2004b) aimed at proposing and entrenching new modes of everyday behaviour. Core affective positions and their circulation in this economy are considered from three interrelated articulations of this campaign: the release of and public response to the YouTube campaign video; Coles' short-lived offering of campaign shopping bags; and public engagement in the 'My Make It Possible Story' website. Analysis also opens up broader questions concerning the relationship between online activism and everyday life, asking how articulations in one domain translate to everyday practices.
Description:
Although livestock welfare issues were once barely visible to mainstream consumers, animal welfare activists now combine traditional public media advocacy with digital media advocacy to spread their campaign message and mobilise consumers. This article examines one attempt to mainstream animal welfare issues: Animals Australia's' 'Make It Possible' multimedia campaign. Specifically, we contend that the campaign puts into circulation an 'affective economy' (Ahmed, 2004a, 2004b) aimed at proposing and entrenching new modes of everyday behaviour. Core affective positions and their circulation in this economy are considered from three interrelated articulations of this campaign: the release of and public response to the YouTube campaign video; Coles' short-lived offering of campaign shopping bags; and public engagement in the 'My Make It Possible Story' website. Analysis also opens up broader questions concerning the relationship between online activism and everyday life, asking how articulations in one domain translate to everyday practices.
Description:
Scala Exhibition held at Gallery FAB, 7th November-7th December, 2013 University of Missouri-St. Louis, St. Louis, Missouri The Visual art works comprising Scala investigated the manner in which nature is mediated through both architectural forms and topographic codes; abstracting and embellishing our sense of space, time and ancient/contemporary culture. In doing so the work arrives a point of new knowledge for the discipline in terms of mapping, displacement and the use of motif within our navigation of real and imagined spaces. The significane of this research is attested to by the fact that it was shown at two international, university art galleries; strengthening ties between the Arts Academy at the University of Ballarat amd other art/research institutions in the United States.
Description:
Scala Exhibition held at Gallery FAB, 7th November-7th December, 2013 University of Missouri-St. Louis, St. Louis, Missouri The Visual art works comprising Scala investigated the manner in which nature is mediated through both architectural forms and topographic codes; abstracting and embellishing our sense of space, time and ancient/contemporary culture. In doing so the work arrives a point of new knowledge for the discipline in terms of mapping, displacement and the use of motif within our navigation of real and imagined spaces. The significane of this research is attested to by the fact that it was shown at two international, university art galleries; strengthening ties between the Arts Academy at the University of Ballarat amd other art/research institutions in the United States.
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:
Visual art work exhibited at the The Light In Winter Festival, Federation Square, Melbourne 5 June - 5 July 2008, This work depicted a multi layered image of India reference various cultural, religious and historical traditions. It comprised laser cut highly reflective panels attached to the steel fabric of a buildign in Federations Square. It was alternately backlit and front lit with coloured lights to convey a sense of drama reminiscent of Diwali Festival of Lights.
Description:
Visual art work exhibited at the The Light In Winter Festival, Federation Square, Melbourne 5 June - 5 July 2008, This work depicted a multi layered image of India reference various cultural, religious and historical traditions. It comprised laser cut highly reflective panels attached to the steel fabric of a buildign in Federations Square. It was alternately backlit and front lit with coloured lights to convey a sense of drama reminiscent of Diwali Festival of Lights.