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An exhibition by UNSW Art & Design students Master of Art
Confluence An exhibition by UNSW Art & Design, Master of Arts students.
In what has now become a much anticipated bi-annual event, the students of the Consolidated Studio course present, Confluence, a group exhibition showcasing their diverse studio based practices, at Gaffa Gallery in Sydney. The works in Confluence reflect a diverse body of creative outputs that range across traditional and experimental forms, which collectively represent an engaging confluence of 21 individual practices. The Consolidated Studio is a core subject within the Master of Art program at UNSW Art & Design which is designed to develop trans-disciplinary modes of visual authorship and their relationship to the expanded field of contemporary creative expression. It supports the development of practice based research and provides an opportunity for students to consolidate their practical and conceptual skills through the production of a resolved body of work. This in itself is a rigorous undertaking, however, the students are required to do this in the context of a group exhibition within a twelveweek period. This exerts considerable pressure on the students individually, but as a whole it combines to extend their potential within a group related dynamic. There are significant undertakings involved in the preparation and production of a professional exhibition and this course aims to introduce the students to these. Issues surrounding how to evolve individual work within a group context are explored, as are the dynamics of
working together as a team. Meeting deadlines, liaising with gallery staff, documenting artworks and most importantly group communication are all integral to the success of the exhibition. However, there is much is to be gained through this shared experience, most significantly an understanding of the processes involved in taking an exhibition from concept to realisation. For many of the students, this is their first exhibition experience beyond the supportive environment of the University. Others have exhibited before and it is pleasing to witness their sharing of knowledge and skill in the spirit of communal advancement. I would like to thank the staff at Gaffa Gallery for this opportunity; Program Director Carol Longbottom for her support; course convenor Allan Giddy for his enthusiasm and guidance; Richard Crampton from Darkstar Digital for his professionalism and assistance with the production of this catalogue and special thank you to Franz Anthony for his expertise in the design and compilation of this catalogue. And finally, I would like to congratulate this talented and committed group of emerging artists and commend them for the professionalism with which they conducted themselves throughout this experience. Michelle Cawthorn, sessional lecturer, UNSW Art & Design. Sydney 2016
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ALISON PETERS
Black Sugar White Sugar
alisonpeters.net instagram: alisonpeters1
Repurposed textiles, palm husk, thread, glazed white raku clay, raw sugar · 176 cm x 93 cm x 35 cm
Black Sugar White Sugar is a reflection on Australia’s Sugar Bounty. Under this 1903 legislation, the Commonwealth Government paid farmers a bonus for White Sugar - sugar cane produced using white labour. Cane grown using South Sea Islander workers or Kanakas was known as Black Sugar. Same crop, lower price.
The stories of the 62 000 South Sea Islanders who came to Australia between 1863 and 1904 have been a long term research project for Peters, and a personal one. In the 1890s, when black labourers were no longer desirable for social and political reasons, Europeans like her greatgrandfathers were recruited instead. They came to escape poverty in Italy – a golden opportunity that benefited the generations that followed, including the artist and her children.
It was one of a raft of measures under the White Australia Policy aimed at extracting South Sea Islanders from the lucrative sugar industry that they had originally been recruited to build. Other government and industry measures included mass deportation, exclusion from unions, misappropriation of wages, and removal to aboriginal settlements.
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The descendants of the South Sea Island laborers were not so fortunate. Alison Peters is a multi-disciplinary artist. Her process is informed by her background as a TV reporter and writer.
AMALEA MANIFIS
Anamnesis ἀνάμνησις Oil on board 90 cm x 90 cm
Anamnesis ἀνάμνησις in classical philosophy is the act of significant remembering which gives meaning to the present and so anticipates the future, it does not simply refer to the past but a restoration to presence. It is the antithesis of anamnetic memory namely historical amnesia that is central to the work of Amalea Manifis. She conveys the act of significant remembering in her paintings, recalling as an act of recreating the past and giving meaning in the present. Reflecting on the relationship between history, memory and communal identity, Manifis focuses on her own ancestor’s history and the genocide of Christian communities in Smyrna 1922. She addresses memory to signify that
something has taken place, representing an active reconstruction of the past from the fragmentary and altered remains of the original trace. Without the relation between self, close relations and others (the individual and collective memory) the narratives, contacts and exchanges between generations would not escape the realm of silence nor be able to enter into the field of history. Amalea Manifis is a Sydney based artist who explores the traditions of landscape painting through classical oil painting techniques from a contemporary perspective.
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ANGELA BEKIARIS
Sugar for Pleasure
angelabekiaris.com instagram: ang.e.la
Video Installation loop
In her piece Sugar for Pleasure Bekiaris explores the illusions of sound and sight. Burning what appears to be, perhaps, paperbark it is not until the stickiness and bubbling of the material that the illusion is revealed.
repetitive sounds that seem to drift to the background of our minds are often the sounds which have the ability to transport into an otherworldly, augmented reality.
Fire is considered an important element in regeneration and burning back aspects of life which no longer serve a purpose. Through collecting a sound vocabulary of firelike qualities found in unexpected places; boiling butter, pressed pawpaw fruit, body butter, yoghurt and mouth sounds, Bekiaris creates a journey through the Autonomous Sensory Meridian Responses of sound in triggering an elusive, satiated state for the senses. It is the mellow,
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Angela Bekiaris is a sculpture, installation, multimedia artist currently completing a Master of Art at UNSW Art + Design. Bekiaris is interested in exploring elements that interconnect all human species beyond any cultural, social or political identities. In her practice, Bekiaris draws on the alchemic aspects of materials, experimenting with their chemical composition and how they react within different environments.
ARIELLA FRIEND
A Constructed Landscape
ariellafriend.com.au
Recycled wood, acrylic, varnish 132 cm x 36 cm x 60 cm
Having never experienced the Australian outback, Ariella Friend makes sense of the natural environment through her reliance on digitally generated imagery. In this way, Friend’s perception of what is real and what is imagined is distorted.
Ariella Friend is a multi disciplinary artist with a focus on expanded painting. Her practice reflects the tensions that exist between humans and nature. She holds a Bachelor of Design (Visual Communications) with Honours from the University of Technology, Sydney and is currently completing a Master of Art (Sculpture, Performance, Installation) at UNSW Art & Design.
In the installation A Constructed Landscape, Friend brings her interpretation of the outback into the gallery space. Colourful three dimensional compositions reminiscent of Malevich’s geometric paintings, attempt to objectify the landscape while being effected in some way by technical glitches.
Friend has been a finalist in selected awards including the Chippendale New World Art Prize (2016), Meroogal Women’s Art Prize (2015) and Kudos Emerging Artist Award (2014). Her work is held in private collections both nationally and internationally.
Through the use of found materials and the processes of cutting, painting and assembling, dynamic sculptural forms emerge and the dualities of absence and presence are felt.
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CATHY BALL
Wayfarer Resin and graphite on board Dimensions variable
Maps hold a certain importance and intrigue to those of us on a journey – helping us to negotiate a pathway. But knowing that every view alters dependent upon our vantage point, even a small journey needs an orientation, a starting point and a direction. The walking journey gives us a grounding- an environmental interconnectedness but our movement through the world also embodies some transformation or erasure of sorts – we leave a trace. The next journey must include the essence of us having been there before. Cathy Ball’s works attempt to represent these elements of deletion and addition by the accumulation and layering
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of abstracted forms associated with the aerial landscape sometimes concealing the carved and drawn lines representational of the journey that underpins the work. Multiple resin pours and inclusions echo the repetitions yet individuality of living. Ball thinks that life’s physical journeys can be likened to our experiential journeys and the gathering of knowledge. In each journey the perceived path is in constant flux and cannot be an exact replication of the one before just as no new knowledge can be independent of what is already known- no reality can be without the basis of an already perceived reality.
DANNY GILES
Prosecting Addiction Mixed media work on laser etched fabrics and paper Dimensions variable
Prosecting Addiction (2016) investigates the temporal, accumulative and repetitive qualities of addiction. A typology of small individual works, each visually represents the inconspicuous manner in which an addiction enslaves the addict. Accumulated used tobacco tins, nicotine patches and the doormat at the threshold of his home underpin the creation of Prosecting Addiction. The doormat represents the threshold provided by his mouth to the smoke which travels to his lungs.
Prosecting Addiction evolved from blue-sky research and experimentation, two fundamental components of Giles’ art practice, which explores psychological concepts around identity creation including coding and labelling. Laser etched fabrics, laser etched papers, rice paper, Stonehenge paper, hand water coloured woodblock prints, tobacco tins, nicotine patches, cotton thread, a door mat, glue, charcoal, graphite and acrylic paints were used to rub, print, collage, sew, etch, and burn designs into each material.
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QIANG ZHANG (EDISON)
Translucent Tree Mixed media on Belgium linen 160 cm x 120 cm
Translucent Tree (2016) is an artwork created by artist Qiang Zhang (Edison) as a spontaneous and intuitive exploration into the materiality and aesthetic qualities of the metal copper and the artistic results which can be achieved through its combination with other materials. Translucent Tree is a 1.6m x 1.2m collage of copper leaves glued to a Belgium linen canvas painted with black acrylic paint. The individual copper leaves were formed by melting copper and pouring it into moulds.
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Zhang used copper as a material in this work for its properties of strength and malleability, qualities that are also inherent in trees, which display strength and flexibility. The copper leaves appear visually heavy but in reality they are light, just as a tree has its weight in its trunk fused with the earth while its leaves are light enough to travel on the wind. The copper leaves are graphic in their representation; individual sculptures combining solid and hollowed out areas mirroring the translucent qualities of leaves with the veins running through them.
ERIC LÖBBECKE
The Fool Paper clay, plastic glitter, HDTV, animation, and projection, wooden plinth · 100 cm x 70 cm x 75 cm
The divisions in humanity, drives a negative narrative. We focus on differences and consider ways of widening the gap in our relationships. An argument has two sides with very little commonality. Löbbecke’s interests are in finding similarities in the polarity of any conflict, and to do so visually. The practice is multidisciplinary with the use of sculpture, video, and animated drawing. The narrative is the key to this visual search allowing the drawing to reveal relationships and truths about our commonalities as social beings. The sculptures (actors) are central to an animated video stage allowing the imagination to wonder through a journey that will bring up more questions than answers.
The artwork on display is a play on the idea that the clown is not the fool, representing a mirror to reality, and the absurdity of pretence, exploring Gestalt’s theory of (nothing is greater than the sum each part) A cartoonist for The Australian newspaper since 1988, Löbbecke is finishing a Masters of Fine Art by coursework an UNSW Art & Design. My interest lies in an ever expanding visual political art practice that is researching new ways of communicating and revealing human social complexities. — Eric Löbbecke
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KERRY BRACK Never Installation, mixed media Dimensions variable Never is a body of work comprising soft sculptures that use the medium of black balloons to reference and incorporate autobiographical fragments that are anchored in Cystic Fibrosis, genetic mutation and miscarriage. Focusing on the esoteric and dormant emotions of loss and grief, the work speaks of interwoven remnants and sequences based in the ideology of motherhood and expectations. Brack uses the concept of brutalism in her stark and irregularly composed forms to expose the viewer to the rawness of emotion and the uncertainty of what lays ahead when genetic mutations are inherently and unknowingly presented in a family. Fundamental to the work is the act of knitting, reexamined for its conceptual and material purposes, and the scenarios and associative meanings synonymous with birth. Historically balloons are recognised as an object of celebration and evoke and imbue a sense of joy, humour and fun surrounding pregnancy and newborns. The medium signifies the underpinning and disquieting of knowing something is not quite right and recharacterises the meaning. Through the artistic process of repetition, the balloons ribbons are manipulated to the periphery of materiality and converted into landscapes of navigation and patterns of transformation.
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WOO CHAN CHUNG
Hairy Mary (Untitled no.1) Video on HD digital screen, 2:13 min, loop 610 mm x 120 mm x 425 mm
Art has been in the forefront in challenging traditional opinions on the female body. With this premise, Woo Chan Chung’s latest work Hairy Mary (2016) is an extension from the idea where female body hair is a taboo and conclusively explores hair as a neutral human bodily trait. In doing so, Chung addresses the constant play between conventional stereotype and one’s self-definition of being a woman. Drawing upon the Western cultural perspective, female body hair is positioned as an aesthetically offensive and
undesirable object. Their very presence and absence can give indications on one’s gender, age, health and hygiene. Consequently, Hairy Mary is presented with hair like forms in a minimalistic yet whimsical manner as a way of neutralising the stereotype that being hairy is masculine and being hairless is feminine. Chung has emphasised this notion by removing the body and allowing the hair to appear to have a life of its own; genderless and foreign. A humorously eerie portrayal of these organisms appear to be emerging and gently swaying above the skin.
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MOON HEE KIM jesskimphoto.com
Desire Desires Desire Photography pigment ink print 60 cm x 60 cm Every human desires satisfaction and material possessions are one of many ways people can feel satisfaction. What people value and their security can be defined by the products that they own and wear. This impacts social views and urges people to continue to buy and consume, leading to over-consumption. Moon Hee Kim’s series Desire Desires Desire (2016) emphasises human greed and portrays this reality of over consumption in our society. Kim utilises everyday objects in her works including, shopping bags, clothes and receipts, as a way to convey our impulse to satisfy our needs. In doing so, Kim also explores the idea of how a specific type of materiality can influence and shapes one’s identity. As a society we are constantly bombarded by the media and thus, are subconsciously in search of meaning and individual identity through material possessions. Kim’s interest is mainly in film based photography however her practice also explores across other disciplines including installation and screen print. She has been a finalist in numerous art prizes, including the Chippendale New World Art Prize (2016), National Campus Art Prize (2016) and received Highly Commended prize at the KUDOS Award (2016).
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NANCY CONSTANDELIA nancyconstandelia.com instagram: nancyconstandelia
Every Time Acrylic on primed polyester 122 cm x 92 cm Life has become a race against the clock. Our lifestyles seem to be moving faster due to globalisation and advances in electronic technologies. As a result, we seem to have lost our sense of presence and being in the moment. Nancy Constandelia is interested in the process of painting as a way to enhance and recalibrate the phenomenal body, in order to slow down and resist the culture of speed in contemporary life Constandelia’s body of work Every Time (2016) draws inspiration from the slow aesthetic of Hiroshi Sugimoto’s photographic series, titled Theaters Sugimoto uses slow shutter speed photography to capture an entire film which results in a glowing whitish aura-like rectangle, framed by the ornate theatre interior. Constandelia uses painting similarly, to ground oneself in time, space and materiality. She layers different temporal trajectories which encourage a state of consciousness and presence that traverses beyond the durational aspect of time. Like Sugimoto’s images, Constandelia’s paintings look empty but they are full of information (Cue 2016). Her works are reductive and expressive. They invite the viewer to enter a non-linguistic space beyond our everyday senses. Constandelia is completing her Master of Art at UNSWAD. She exhibits both locally and internationally.
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PAULA NGU
While I am Awake Today
instagram: paula_ngu
Watercolour and pen on cotton paper 100 cm x 150 cm
Paula Ngu’s practice metaphorically explores the concept of fragility, impermanence and transience. This work consists of many delicate layers of chromatic grey watercolour washes. There are flowcharts, paralleling her experience with computer programming, based on her decision paths of mundane day-to-day tasks like making dinner or feeding the dog and procrastinating to more complex decisions like working on this art project. A repetitive doodle motif recurs throughout the work, an act which occurs between daily tasks, as a mental refuge and a meditative practice to relax or just be present in the moment. The work is made up of many squares, each mimicking her acts of being and existing. The textured washes and repetitive mark-making strives to present viewers with a contemplative viewing
experience whilst leaving room for interpretation and connection with her work.
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Ngu is a Malaysian born, Sydney based artist completing her Master of Art at UNSW Art and Design. Since 2009 she has devoted fully to her art studies and developing her art practice. Prior to this she worked full time as a computer programmer for over 25 years. She has shown in several group exhibitions including the recent 20th Anniversary Jenny Birt Award for which she received a Highly Commended. Ngu works mainly with paper and is currently experimenting with video and sound with interactive elements and performance.
RACHEL DOORIS
ONEHUNDREDANDONE
racheldooris.com instagram: racheldooris
Etching on Velin Arches paper 200 cm x 100 cm
Rachel Dooris creates etchings from photographs that encapsulate ephemeral moments in strangers’ lives. Capturing a glimpse of an unaware figure as it moves past the lens, the camera becomes a mask; allowing her to photograph the subject while remaining anonymous – much like the figures in the works.
Placing images which are a literal response to the photographs next to others that subtly suggest a figure or are devoid of any identifiable image creates an esoteric quality. They hint at a narrative while allowing the viewer to form their own interpretation
Inspired by the work of the Czech photographer Miroslav Tichy, the clandestine nature of the photographs interests Dooris. There is often a moment where she feels she may be caught. She explains, there is an intensity in photographing someone unaware that feels simultaneously invasive and vulnerable.
The idea of a fleeting moment is juxtaposed against the permanency of an etched mark. Each plate is printed once to highlight the significance of one moment within hundreds of others, hence the title: one hundred and one. Dooris lives and works in Sydney, Australia and is currently studying a Master of Art Printmaking at UNSW Art & Design. She won the Waverley Art Prize: Printmaking (2016).
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ROSE CHRISTINE TRIPODI
Cocoon Preloved linens, HD video 180 cm x 60 cm
Rose Christine Tripodi explores the material, transformative and therapeutic possibilities of artmaking. With a contemplative and process-driven approach she has hand-stitched and reshaped pieces of pre-loved linen into a sculpture resembling a protective cocoon. Having worked on these pieces in varied locations, the hand-stitched marks materially record the varied quality of emotions the artist experiences in direct response to these diverse settings. Tripodi relates the needlework processes of alteration, restoration and stitching to a sense of atonement, whereby the handstitched marks autobiographically reflect the process of transformation the artist herself has undergone in constructing the cocoon.
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Tripodi is invested in the pre-existing history of the old fabrics as carriers of knowledge and their potential to convey a story of fragility, self-growth and renewal. For Tripodi, her engagement with these stories through artmaking, is a catalyst for transformation. Based in Sydney, Tripodi is a multi-disciplinary artist whose practice includes drawing, painting, sculpture and video/ film forms. She is currently completing a Master of Arts from UNSW Art & Design. Group exhibitions include 1200k West, Something a little different and Australian Watercolour Institute 88th Annual Exhibition. Tripodi has been a finalist in a number of prizes including Fishers Ghost Contemporary Prize and The Waverley Art Prize.
SALLY CUSHING
High Adventure / Shoot Safe
Fine-tune Thine Anarchy
sallycushing.com instagram: sallycushing
Mixed media on paper 28.5 cm x 38.5 cm
Mixed media on paper 30.5 cm x 42.5 cm
Sally Cushing’s work is as much about process as subject. Her way of making is a balance between considered, deliberate mark-making and a letting go of control; accessing a stream of consciousness from something outside of logic, be it metaphysical, spiritual or simply the unconscious. Cushing has described her drawing as a way to actively converse with the universe about ideas such as, parallel universes, eternity, karma, darkness and light, and the search for the divine. The drawings for Confluence are an extension of this conversation, based in part on a piece of autobiographical writing. Cushing aims to translate her experience more
poetically than literally. Gesture, expressive mark-making and reoccurring motifs are clues to the subject matter but of most importance is the feeling evoked. The viewer may not have the same experiences but they can connect to the greater emotional and psychological space that we all share as a part of the human experience. Sally Cushing is a Sydney based artist whose practice encompasses drawing, painting, and printmaking. She holds a Bachelor of Visual Arts, a Graduate Diploma of Art Therapy, a Diploma of Graphic Design and is currently completing a Master of Art (coursework) at UNSW.
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SUE JACKSON THOMAS
VENTRIS Reflecting on Taoism: The Inner, Human Landscape Jackson Thomas’s recent artwork is intensely process driven and alchemical. Her artistic visualization commenced due to a mysterious siting of an indigo plant outside her home. Taking this as a sign, Jackson Thomas began indigo dying silk cocoons and other natural materials. Engaging with a plant from the immediate environment provided her with a continuous connection with nature and the greater human conditions of making. Preparing the Indigo vat became a further fascination. Jackson Thomas, with deep and sensitive viewing, observed energetic images and forms appearing within the vat.
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Ventris
Spiritual Foetus
Indigo and silk 120 cm x 40 cm
Photographic print on paper 60 cm x 42 cm
These images metaphorically shared strong sensibilities with the Microscopic Orbit and Neidan. Terms used synonymously with Qigong, the Taoist Art and Science of gathering storing and circulating the energies of the human body. For this exhibition, reflecting further on ideas of bodily energy, conception and human growth, Jackson Thomas has beautifully presented a sensual ventris like sculpture complemented by imagery of the spiritual foetus. Jackson Thomas has a deep sense of gratitude for the creative journey she travels and enjoys using her art as a cultural tool to raise spiritual awareness and the critical link between the sustainability of humankind and the natural environment.
VINCENT FUNG
A Shrine of Sediments
vincentarts.net fungvincent.415@gmail.com
Graphite and ink on tracing paper, needles, foam on wooden frame ¡ 60 cm x 80cm
In the modern world, we can often find ourselves in liminal spaces. Existing and belonging in a void that is not really here nor there. This between-ness and ultimately statelessness involves us reaching out to recall and anchor ourselves within the memories that have been seemingly cast aside. We do this in the hopes of gaining some clarity on what makes us who we are.
what ultimately forms our identity. The fragility of tracing paper is also emphasized when recreating and mirroring other materials and items to simultaneously imitate the ethereal sensitivity of memory.
Fung’s choice of tracing paper as the primary material for the artwork stems from the notion that our memories are not only blurred and unclear, but also they are something we can only hope to repeatedly retrace to make clear of
Mimicking different objects, such as photos, identification cards, pencils, paintbrushes, that reiterate his past, Vincent Fung aligns these materials in an archival order on an opaque cork board. This setting acts as a personal shrine, marking and layering items to bring clarity into what forms the artist and is thereby a reflection of who he is.
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LOUISA CUNNINGHAM
We live in a rainbow of chaos. — Paul Cezanne In the 21st Century our relationship with the world around us is constantly in a state of flux without the safety of a guaranteed resolution. On the surface things can appear to be chaotic but after shifting perspective we can sometimes see a universal order to everything. Intuition could be described as the unconscious becoming conscious. Our intuition is another way in which we can find a way to collaborate with this universal order. Cunningham’s work addresses these ideas through both process and materiality. Led by intuition in a process akin to meditation Cunningham has created abstract work
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Untitled (Chaos)
Untitled
Watercolour, acrylic and pen on cotton paper 260 mm x 280 mm x approx 4000 mm
Watercolour, ink, acrylic on Arches Paper 1300 mm x 2500 mm
rich with personal symbols and motifs. Painting with vivid colour, using acrylic paint on paper, Cunningham has made six paintings that can be seen through a viewfinder. The work invites a concentrated and intimate viewing making it largely experiential creating a dream like visual landscape. This space offers a different viewpoint. Louisa Cunningham is a Sydney based artist whose practice encompasses drawing, printmaking, photography, painting and journaling. She teaches visual art at high school and holds a Bachelor of Visual Arts Education and is currently completing a Master of Art (Coursework) at UNSW. Her work is held in private collections nationally and overseas.
XU HAN
Self Perspex, turntable, rhinestones and LED lights Dimensions variable
Xu Han’s 2016 installation piece Self is an existential questioning of the reality of our existence and the theoretical existence of others within our universe. Is life real or not and is our visible universe a mere illusion? The inspiration for the creation of Self came from the novel The Three-Body Problem by Liu Cixin, which suggests that our three dimensional universe could simply be a surface for a four dimensional space and by Fermi’s paradox; an argument for the probability of the existence of other intelligent life in the visible universe due to the number of stars and planets, opposed by the fact that besides earth there is no evidence to support this hypothesis so. Where are they?
By combining these two concepts in his artwork Self, Han questions how as lonely individuals we are able to live when life and everything around us could be an illusion and that true loneliness is the understanding that nothing really exists except self. The artwork consists of more than one hundred Perspex sheets and Han’s images of the galaxy, attached to a rotating turntable with rhinestones. Four LED lights introduce colour and light reflection.
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GAFFA GALLERY SYDNEY 27th October — 7th November 2016 UNSW Art & Design · Master of Art Semester 2, 2016 · Consolidated Studio artdesign.unsw.edu.au COVER DESIGN PRINTING
Ariella Friend Franz Anthony Darkstar Digital
with thanks to sessional lecturer Michelle Cawthorn and course convenor Allan Giddy
ISBN · 978-0-7334-3667-3 This catalogue is also available to download from issuu.com/franzanth/docs/confluence_catalogue
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