Alicia Frankovich was born in New Zealand, and currently lives and practices art in Melbourne. She explores ideas of social conditioning vis-à-vis a language of architectural constructs. Alicia's installations draw from unrelated inhabited sites from the world, reproducing them through personally constructed pieces in ways that make us question the generic origin of the site. She has recently used the showroom, sports arena, and notions of domestic space as a basis for her re-workings. Her performative body is present in the work both physically and conceptually. There is a primal trace of herself and her autobiography in the work.
Radochola looks closely at poorly rendered structures not to be found in our houses, advertising posters that target mainstream audiences, and Ikea labelling systems mocked through sports diagrams. This is Alicia Frankovich's second show at MOP Projects, returning from 2003 and follows solo shows at Conical Inc. Melbourne (2004) and Rm 103 Auckland (2004) Her most recent group shows are www, Kaliman Gallery Sydney (2005), and Manoeuvre at St Pauls ST Auckland (2004).
Alicia Frankovich is currently a Studio Artist at Gertrude Contemporary Art Spaces Melbourne.
image above: Alicia Frankovich
PROJECT ROOM In Black Susanna Strati
In Black, is an exhibition of 3 dimensional objects by Susanna Strati that explores expressions of personal identity through a vocabulary of grief and mourning. Imagery and idiom echoed through the objects are drawn from broken narratives. The theme is interrelated with the artist1s Southern Italian cultural background where there has been a strong tradition of ritualised mourning. Saw pierced olive and Cyprus metal-silhouettes are presented as slices of the southern Italian hillside, while subject matter incorporates occasions such as burial and the wearing of black by women to signify a period of mourning. Objects associated with these are also included such as ex-voto1s and memento mori.
Materials chosen by the artist correspond with and mark the body's mortality. Many of the works are carved in wax because of the mediums suitability in rendering likeness of the human body. The waxes are abstract studies of human anatomy, and act as signs that denote human mortality and impermanence. Ex-voto's, traditionally given up to saints in the hope of reparation - remind us of possible moments spoken before and around death. While customary paraphernalia associated with memento mori such as hair and bone act to trigger memories of those past.