2nd August - 19th August2016
Opening 6pm Thursday 2nd of August
Image: Kyle Jenkins, untitled (Loving Cup) 2016 acrylic on paper, 29 x 38cm All work courtesy of Galerie Kant & Minus Space
Falling Down Kyle Jenkins
In this solo exhibition for MOP, Kyle Jenkins has created a new body of work that involves the deconstruction and reconstruction of various relationships between conceptualised and physical interpretations of space. The conceptual foundation for the work is the Rolling Stones concert at Altamont Speedway on Saturday, December 6, 1969, where various interpretations of space collapsed into chaotic and evolving forms of activity. Thus the composition of the work produced for this show is a procedure of sampling and layering images and space, through the collaged, the overlapped and the fractal. This has created a strategy where the work as a whole is a series of relational forms or fields of opportunities rather than separate and limited objects, and thus creates a system of references, hybrids, negotiation and reinterpretations from work to work, image to image.
‘In the country of the blind, the one-eyed man is king. They were the only people who were strong and together. [They had to protect the stage] because it was descending into absolute chaos’
Sam Cutler (Rolling Stones' road manager)
Kyle Jenkins is an Australian artist who uses paintings, collages, photographs, objects, Marquette’s, books, films, wall paintings and works on paper as a way of expanding upon the aesthetic possibilities of structures and how these are a way of examining the world as a series of abstract representations, compositions and constructions. He is the Coordinator of Visual Art at the University of Southern Queensland, and has exhibited extensively both nationally and internationally most recently in Mexico, Germany, Brussels and the USA. He is represented by Galerie Kant (Copenhagen) and Minus Space (New York).
MOP Projects is assisted by the NSW Government through Arts NSW
The Alexandra Clapham and Zoe M. Robertson
Alexandra Clapham and Zoe M. Robertson are not clean people. For the two of them completion is akin to death. They are now undertaking their third process-based exhibition, the holy ghost of their working relationship as directors of Kudos Gallery. They mean to hearken their past works and association with tandem sculptures -visually similar by appearing deconstructed and unfinished- whilst having very different ideas about what that means, due to Alex's interest in mathematic clarity and Zoe's penchant for obfuscation.