Curated by Michael Graeve & Billy Gruner Artists Sarah Keighery, Jim Speers, Leigh Martin, Tony Triff, Simone Lanzenstiel, Jurek Wybraniec, Phil Edwards, Ron Adams, Kyle Jenkins, Michael Graeve, Manya Ginori, Helen Smith, Mimi Tong, Tom Fruchti, Pam Aitken, Billy Gruner, David Thomas, Julian Dashper, Trevor Richards, Andrew Leslie, Monika Kapfer, Lydia Rodrigues
As a starting point for this project the curators have organised an exhibition of artists engaged with a convergence of sound and aspects of post-formalist painting. As such, Joseph Albers sonically evocative work ?Study for Homage to the Square >>amplified<< (1957)1, provided inspiration. This seminal abstractionist work epitomises ideas historically associated with colour-form painting, such as 'after image', 'simultaneous contrast', 'luminosity', 'relativity', and other transitional effects like fluting, remembrance, 'Purkinse Effect' (fading radiation), 'spreading' (colours appearing weaker) and 'irradiation' (enlargement as an effect). Albers used a simple methodology reflecting on the abstract expression of wave forms? premised upon a folk-art (Aztec) heritage. Interestingly, Albers' work retains a unique aesthetic currency today, whereby the notion of abstraction (subsumed from pre-modern 'patterning') expresses various aspects of aesthetic experience.
The artists invited to contribute for Amp'd have responded to Albers" 'Amplified' in individual ways in the process of making a contemporary painting-based work of art. Without being tied to a particular formalist history, the abstracted themes of music, noise, sound, depth, resonance, colour and shape, come freely to mind when looking at these experimental contemporary works; as such they each exemplify current developmental practices.
PROJECT ROOM Experiments with colour Elizabeth Day
Three new works by Elizabeth Day in a range of materials.
Elizabeth Day's work in the project space at MOP consists of pieces that have been or could be segments, excerpts of larger works. The works shown in Experiments with Colour, involve the sometimes darkly comedic use of various processes and materials, which typically for Day are engendered with social meanings. Her minimalist, mostly installation practice references the history of painting. The knitted stripy Similar but Different follows on in the tradition of among others Rosemary Troeckel, who have already elevated the homey art of knitting into the vernacular of contemporary art making. Cross-section , like an anatomical display, reveals the living processes of the city. The loosely classified colour groupings of the chewing gum works on hessian are continuations of earlier works, such as Shadow, where the abject marginalised spaces of institutions are sources for these tasteless but compassionate works.