NIKE SAVVAS

Nike Savvas, Atomic: Full of Love, Full of Wonder, 2005, polystyrene, nylon wire, electric fans, dimensions variable.

NIKE SAVVAS's installation Atomic: Full of Love, Full of Wonder (2005) is currently on the cover of Arte Al Limite Magazine. The article featured in the magazine discusses Savvas’ ability to transform a space through various dimensions and simultaneously through minute and enormous forms. Savvas' work delves into the notions of repetition, colour and space - qualities that are epitomised by ‘Atomic’.

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ANNE ZAHALKA

Anne Zahalka, Marble Foyer – Parliament House, 2014, 2014, inkjet print, 80 x 160cm, Parliament House Art Collection, Canberra.

ANNE ZAHALKA has recently completed a commission for Parliament House in Canberra, marking its 25th Anniversary. The series of photographs will go into the Parliament House Collection, as part of the commission.

Zahalka’s work explores all levels of the Parliament building from the subterranean basement to the monumental marble foyer, reflecting on the role staff play in securing, maintaining and breathing life into its hallowed halls. This includes the varied tasks undertaken each and every day, such as maintaining the building, its grounds and collections, as well as providing services to parliamentarians, workers and visitors. Zahalka truly captures and highlights Parliament House not merely as a piece of architecture or the seat of our government, but as a place, a symbiosis of people, power and architecture.

ROSE FARRELL GEORGE PARKIN

Rose Farrell and George Parkin, Unified Field, 2011- 2014, digital print on archival cotton rag, 57 x 121cm.

The Mornington Peninsula Regional Gallery is currently exhibiting National Works on Paper 2014. The exhibition opened on the 23rd of May and is on until the 20th of July, featuring a work by ROSE FARRELL AND GEORGE PARKIN titled Unified Field.

The following is an artist statement by Rose Farrell on the exhibited collaborative work: 

“Throughout our collaboration, performance was at the core. In 2003 we drew the camera closer and photographed our own faces which began an ongoing interest in the self portrait. This image of George’s and my face was taken in 2011 and was pixilated, distorted and constructed by George at that time. It shows our embrace of the changing digital technology which had, since 2003, allowed for the more extreme "closeup" in order to experiment with the face "as the landscape or tableau."

I, Rose, in 2014, with George’s passing in 2012, have incorporated a collaged digital landscape to reference our love of historical landscapes and nature which previously we used to paint as background sets in our large constructed photographic tableaux. Here the landscape of our faces are joined and unified across the imaginary field which divides us now.”

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MARIA FERNANDA CARDOSO

Image: by Tamara Dean. Maria Fernanda Cardoso wins Australia Council grant to video insect sex, The Age, 22 May 2014.

Internationally-acclaimed artist MARIA FERNANDA CARDOSO has been awarded the Australian Council Fellowship grant of $100,000. Artists are awarded the grant whose practices address the exploration and experimentation in a cross-disciplinary approach. Through the blending of art and science, Cardoso’s project depicts the sexual organs of insects in the forms of sculpture. For this work she will be focusing on Australia’s smallest spider species, the Maratus, a project that has been in development for the past two years. The grant will go towards funding the creation of a documentary on the Maratus spider, highlighting high standard elements of installation, sound and performance. Titled Dancing With Spiders, Cardoso will capture visual and auditory proof of the 3-4mm-long spiders' dance and subsonic vibrations, inaudible to the human ear but revealed to us through the use of laser vibrometer technologies in what could be called music. Using large-scale, multi-screen HD Projections, Cardoso will make a video art installation featuring the different mating dances and looks of several of the Maratus species, including the amplified sounds they make.

Read more in the articles below.

 Sydney Morning Herald

The Age

ROBERT OWEN

Image: Robert Owen and Joanna Buckley, Under the Sun, 2014, stainless steel, aluminium, acrylic and dichroic glass, 435 x 660cm.

ROBERT OWEN and Joanna Buckley have unveiled a public commission at the Point Cook Town Centre for Stockland in association with Places Victoria and Wyndham City Council. The title of the work, Under the Sun, engages the interplay of light, space and time between earth, moon and sun, offering a profound reminder of our mysterious broader environment.

Under the Sun pays homage to this relationship, metaphorically bringing the moon closer to the ground plane to frame its distant mirrored self at night. Or, in conjunction with the sun during the day, casting a filigree shadow on the ground and those passing below.   

The presence of the Point Cook Coastal Park and Cheetham Wetlands remains a significant aspect of Point Cook's identity and Under the Sun provides a vehicle to create and enhance new meanings to the site and its environment. It reinterprets nature and draws focus from our constructed world and the tightly determined space of transit, towards a connection to the sky and contemplation of our broader reality.

Artists' Statement: "Under the Sun, the moon is our most significant heavenly body offering precious moments of perspective and wonder. The moon as feminine recognises the important role of women in the community, and embodies a memory of nature in the life and tides of the Bellarine Peninsula Wetland."

NIKE SAVVAS

NIKE SAVVAS was recently interviewed by Triple J reporter Tom Tilley on Art after Hours to discuss her colourful installation at the Art Gallery of New South Wales (AGNSW), Rally. This newly commissioned work is currently being exhibited above the entrance hall of the Gallery and is composed of more than 60,000 strips of coloured plastic bunting. Savvas discusses the process of her creative decisions and the significance of colour and energy in her art. The exhibition's title, Rally, plays upon the physically-immersive nature of a parade or protest, but is not linear in meaning.

To watch the interview, click here

DANI MARTI

Dani Marti, the making of Armour for Adelaide Biennial 2014.

DANI MARTI’s sculptures, Armour, featured in the 2014 Adelaide Biennial, have been acquired by the Art Gallery of South Australia (AGSA) for its permanent collection.

This year, the Adelaide Biennial attracted more than 110,000 visitors over approximately two and a half months – a 10 percent increase on attendance in 2012.

For further information click here

EUGENIA RASKOPOULOS

Eugenia Raskopoulos, Vestiges #1, 2010-2014, digital pigment print on archival paper, 142x105cm. 

EUGENIA RASKOPOULOS

Vestiges

13 May – 14 June 2014

ARC ONE Gallery is excited to present Eugenia Raskopoulos’ photographic series, Vestiges, from which she won the 2012 Josephine Ulrich & Win Schubert Photography Award with the work Vestiges #3.  

In Vestiges, Raskopoulos has photographed carefully kept pieces of material and wrapping – plastic, paper and fabric – used to wrap gifts given to her over her years of birthday celebrations from 2010 to 2014. The series of twelve archival digital prints illustrates a ritualistic and physical connection between giver and receiver, as well as a sense of emptiness; of roles played out, of things been and gone. Anneke Jaspers, Assistant Curator of Contemporary Art, Art Gallery of New South Wales, refers to the photographs as records of ‘soft violence’ - ‘an act of destruction that is inflected by tenderness’ while Raskopoulos unwraps her gifts.  Within these images, we are left with a strange yet familiar vessel, imprinted with Raskopoulos’ touch and testament to a moment past. In its capture, each piece of decorative refuse becomes an object that hangs in a state of temporal logic.

Raskopoulos has exhibited in numerous exhibitions nationally and internationally including, Read your Lips, Australian Centre for Photography, Sydney (2013); footnotes at the Art Gallery of New South Wales, Sydney (2012); Words Are Not Hard – Intrude 366, Project Zendai MoMA, China (2008), and Writing Towards Disappearance, at ARC ONE Gallery, Melbourne (2009).  

Raskopoulos has also participated in various group exhibitions such as Image Anxiety/Ansiedad Visual, PhotoEspana, Spain (2012); Light Works, National Gallery of Victoria, Melbourne (2012); Group Exhibition, William Wright Artist Projects Space, Sydney (2011); How We Know that the Dead Return, Gertrude Contemporary Art Space, Melbourne (2010); Mirror Mirror Then and Now, Samstag Museum of Art, Adelaide (2010) and Video Logic, Museum of Contemporary Art, Sydney (2008). In 2007, Raskopoulos’ work was shown in Nightcomers at the 10th International Istanbul Biennale.

In 2012 Raskopoulos was awarded the Josephine Ulrich & Win Schubert Photography Award for her work, Vestiges #3. In 2010 and 2009 Raskopoulos was a finalist for the Albury City National Photography Prize and the Redlands Westpac Prize respectively. In 2006 she received a MoMA scholarship for The Feminist Future conference from the Museum of Modern Art in New York. Raskopoulos has also been the recipient of a number of grants from the Australia Council.

Raskopoulos’ work is in Australian and international collections, including the National Gallery of Australia, Canberra; Art Gallery of New South Wales; Queensland Art Gallery; Art Gallery of Western Australia; Artbank Collection; Macedonian Museum of Contemporary Art, Greece; Polaroid Corporation Australia; Bodo University, Norway; Malmo University, Sweden; Gold Coast City Art Gallery, QLD; Groningen Hochschule University, Netherlands.  Raskopoulos’ works are also held in private collections in Australia, Greece, China, Switzerland and the USA. 

For all enquiries contact Annabel Holt at mail@arc1gallery.com

ROBERT OWEN & PETER DAVERINGTON

Robert Owen, Endings - Kodachrome 64, No. 00, 22/07/1992, 2009, archival print on 310gms Carsons BSK Reeves Paper, edition of 7, 104x72.5cm.

ROBERT OWEN and PETER DAVERINGTON has been selected to participate in the exhibition Perceptions of Space: Justin Collection at Glen Eira City Gallery. Owen will participate with an archival print, titled Endings - Kodachrome 64, and Daverington with a video work, titled Arcadia.

The Endings series comprises a series of colour photographic prints that are the result of an expansive collection of film stubs that Owen collected from 1968 to the mid 1990s. From these accidental end bits of film Owen has transformed chance images into what could be viewed as “apocalyptic landscapes” and refers to more than just the end of film. Marking the end of film itself and the beginning of the digital age, these film ends are notations in time, recording the residue of analogue image construction.

Robert Owen’s practice engages with a sensory investigation of nature, light, colours, time relations and situations in space that play between the physical and metaphysical.

Peter Daverington, Arcadia, 2012, HD single channel BluRay video (loop) 8:54 min.

Daverington's Statement

"Arcadia is an audio-visual meditation on a basic unit of perceptual reality, the Monad. In science, the Monad is often used to describe the primal unseen entity of creation, which has lead some people to describe it as the God particle. Arcadia begins as a single point in the nameless void from where a linear narrative develops suggesting that all things are intricately connected. As we follow a line that develops from a point in space to a complex hypercube we travel through the microcosmic labyrinth of quantum physics and out into the landscape.  The landscape here represents the sublime - a reference to the romantic portrayal of nature by the Hudson River School painters.
 
Arcadia is an attempt to fuse my oil paintings and music together in a single work. In this way I refer to it as a moving image painting. I am interested in finding a way for images and music to represent the experience of being in the world as an infinite cycle of duration and extension - a meditation on how the ‘One’ reflects the many and how a grain of sand can reflect the entire universe."
 

The exhibtion runs from 16 May - 15 June 2014.

Opening night: Thursday 15 May 2014 at 6:30pm.

For further information, click here