23rd July - 17th August 2018
Opening 6pm Wednesday 23rd July 2018
Image: Penelope Cain, Superdry, 2018 (detail)
Pencil and rag paper, 128 x 95 cm
Superdry and other panoramas Penelope Cain
Superdry and other panoramas is a series of recent drawings by Penelope Cain.
In 1967, the land artist, Robert Smithson, undertook a 'tour' of Passic, New Jersey, where he documented the hulks of steel bridges, pumping plants and rusting water pipes sitting squatly on the land. He darkly called the views he documented 'zero panoramas', and 'ruins in reverse'.
Superdry and other panoramas is not this. It does, however, search for a line of partial redemption between Smithson's 'ruins in reverse' and the sites, views and panoramas that surround us in the urban and beyond.
Through this series of large scale drawings, Penelope Cain marks out lines of enquiry into the articulation between sublime, nature and the built, proposing a series of small-time questions about 'the city', beauty in the landscape and consumption, in what ever format these are experienced.
In these works Cain uses imagery sourced from her practice of walking around the city and beyond. She cuts lines through the drawings with pencil on paper to collide two spatial planes, creating a type of spatial glitch or rupture. In collapsing facets from the modern commercial city into panoramas of their cultural opposite of 'nature' or 'sublime', Cain marks out the terrain between these two constructs.
Penelope Cain is a Sydney based artist working at the porous point between drawing, photography and video. She has undertaken residencies at the Australia Council for the Arts studio in Rome, Asialink residency in Taipei and the Power Institute Cité des Arts Studio in Paris. Most recent exhibitions include Fractured Fairytales at Queensland Centre for Photography (2018), Dobell Drawing Prize finalist, 2016, Hazelhurst Works on Paper Award finalist, 2018 and Selectively Revealed, An Asialink travelling exhibition, Seoul, Taiwan and Thailand (2016/2017).
Penelope Cain has recently completed a MFA at Sydney College of the Arts (2018).
MOP Projects is assisted by the NSW Government through Arts NSW
Image: Carla Liesch, Hour Glass IV, 2016, MDF, acrylic paint, perspex plinths, estapol.
A MOP Projects exhibition hosted by Galerie pompom
Carla Liesch Carla Liesch
For her first solo show, Carla Liesch will be installing her second site responsive work for the premises of 995B Marvin Rivertreet since joining the MOP Projects committee in 2015. Carla works between painting, sculpture and installation to create an affective gallery-scape. This installation will be a record of an unseen performance in which Carla has removed layers of paint along the wall running the length of the gallery, revealing traces of past exhibitions. The revealed screw holes, star plugs, coloured paint, putty and cuts recalls previous incarnations of the gallery space, tracing back to a history of the space even prior to MOP Projects and Galerie pompom.
This instillation follows on from Carla’s previous installation work Landscape Painting in 2016, in which the newly renovated entry to the space was engulfed in plants, soil and turf to create a passage-way into the gallery. As with Landscape Painting Carla’s new work is conceived of as a result of a close engagement with the space. However, where the first work filled the space with matter, Carla will now slowly and carefully enact a process of removal. Through this performative work, Carla’s history becomes further entwined and layered with the space itself.
Carla has exhibited in group exhibitions at Alaska Projects, the Graduate School Gallery, Sydney College of the Arts, ICAN, Peleton and Roslyn Oxley9 Gallery in Sydney; Raygun Contemporary in Toowoomba; Blindside ARI in Melbourne; Constance ARI in Hobart and the Australian Experimental Art Foundation and Fontanelle in Adelaide.