Please note FRIDAY night opening 03.12.2014 6 - 8 pm
Image: Kate Scardifield 'Untitled (False Narratives)' 2013
(Installation detail- 'Some sort of exquisite demise, yet some sort of trifecta' 2013)
Fabric, heat set adhesive, dress pins on wall
Photo: Ella Condon
The whole and the sum of its parts Kate Scardifield
The whole and the sum of its parts explores the multiple physical and philosophical fractures that are distilled through the act of cutting and the ritual of fragmentation. Engaging with the spectacle of silhouettes and the classical (albeit theatrical) sediment that is inherent in these objects, the works expand on the silhouettes ingrained symbolic connotations to evoke the domestic, the macabre and the divine.
This exhibition sees the artist continue her exploration into the implicit relationships between 17th century anatomical discourse, dressmaking and the practices of modern day surgery, in an attempt to explore the nuances between cutting open and cutting out the body. By drawing on the study of early comparative anatomy and its connections to the pseudo-science of physiognomy, the works divide, fragment and dislocate their subjects into countless parts in the pursuit of understanding the relationship of part to part, and part to whole. Extending from earlier wall based installations, Scardifield expands the tableaux vivant into the gallery space, where folding cut-outs come away from the gallery wall, with each figurative fragment intersecting another at various parts to cause a series of joints, angles and hinged points of connection. Like the small wooden craft models that require piece by piece assemblage in order to reveal their skeletal like structure, in turn what is still left is a multiplicity of parts and unassimilable remnants – a corps morcelé.
Kate Scardifield is an artist who traverses between sculpture, assemblage and installation in an attempt to stage explorations into the politics of body, site and space. Kate graduated from the College of Fine Arts (Honours 1) and is currently undertaking a PhD at Sydney College of the Arts. Her research concerns the spectacle of the cut and the act of cutting, exploring its relationship to medical imaging and the practice of silhouettes and craft cut -outs. Kate has previously exhibited at PICA (2012), King Street Gallery on William (2012) and completed a large installation at the Australia Council for the Arts as part of 32 Metres Square (2013). Her recent solo exhibitions include Patience. This is a means and not the end (Firstdraft 2012) and False Narratives (Peloton 2013). In 2013 she developed the artist workshop Vicious Threads in collaboration with the Museum of Contemporary Art; a public program that loosely draws from artmaking methods in her own practice and encourages collaborative experimentation with fabric and textiles. Kate is an outgoing Director at Firstdraft (2013/10) and in 2014 she received an Art Start grant from the Australia Council for the Arts.
Concurrent to this exhibition, Kate is presenting a paper at the Art Association of Australia and New Zealand (AAANZ) Conference in Adelaide, convening in December 2014. Her paper ‘Into theatre and under the knife’ explores the fragmented body in the comparative anatomy collection of Musée Fragonard, drawing on the spectacle of anatomical dissection to explore the collections relationship to the 19th century silhouette.
Image: Camille Serisier, “Snakes and Skulls” detail, 2014,
Digital print, Dimensions variable.
GALLERY 3 (Wall)
In this new series Camille Serisier combines drawing and photography to present imagined representations of the process of human perception. Her composite portraits study a traditional human centric narrative that depicts life orbiting humanity and radiating from every action. Although these images are reassuring in their human orientation, Serisier presents an unstable view. Her performative backdrops make few attempts at realistic space, and in order to exist ignore contextual factors like gravity and scale.
Camille Serisier is an interdisciplinary artist who investigates the distanced relationship of human beings to the natural world. Serisier graduated from the Australian National University with First Class Honours in 2003. While at University, she was awarded the National Undergraduate Scholarship and the Neil Roberts Sculpture Prize. She also travelled to New York after being awarded the New York Studio School Travelling Scholarship. Since leaving University Serisier has exhibited in solo and group exhibitions along the east coast of Australia. From 2011 to 2012 she was on the board of Directors at Firstdraft Gallery. During 2012, she became a founding member of The Free Association. In 2013, she was awarded the NAVA Marketing Grant for a website of her work. Serisier now lives and works in Brisbane.
MOP Projects is assisted by the NSW Government through Arts NSW
Image: Heath Franco, PARK LAND, (still), 2014, HDV transferred to SD, 4:3
GALLERY 2 Park Land Heath Franco
Enter PARK LAND, a digital nature reserve alive with creatures languishing in obsession.
Heath Franco's new multi-channel video installation uses sculpture, performance and digital media to explore repetition and isolation through the progression of time.
Heath's current work examines desire and popular modes of leisure through absurd performance and references pop music videos, cartoons and horror films.
In 2013, Heath received the Parramatta Arts Fellowship from Parramatta City Council, which included a three-month residency in London through ArtQuest, UK. The Fellowship culminated in his first solo exhibition, Fun House at Parramatta Artists Studios in March 2014, where he is currently a resident.