14th January - 1st February 2019
Opening 6pm Wednesday 14th January
mage: Austin Buckett – Fugue , 2018, still from audio-visual installation for 4 speakers and 2 screens.
Image courtesy of Christopher Gautier-Coles
PRELUDES AND FUGUES Austin Buckett
In January 2017, Austin Buckett was commissioned by arts patron Michael Galloway to create a work in celebration of his 80th birthday which explored their mutual intrigue of both Bach’s Well Tempered Klavier. The work, which manifests in the form of both an audio-visual installation, and limited edition book, aims to realise Buckett’s relationship as a composer and
artist to form, structure and to explore the dichotomy between visual and audible materials.
Austin Buckett (b.1988) is an Australian composer and artist working in mediums that explore ideas focused around repetition, the perception of sound and the environments of its presentation. His practice includes writing works for various concert settings, audio-visual installations and producing studio albums.
He has been a featured artist at festivals such as the 2015 Tura Totally Huge New Music Festival, and the 2016/2017 NOWnow Festivals of experimental film and music, and has curated events for Canberra Centenary’s ‘You Are Here Festival’ and ABC Classic FM including ‘Everything Always’ for their New Music Up Late program in late 2016.
This year a 12” vinyl entitled Grain Loops for thirty one-minute snare drum works was released on the renowned experimental music label Room 40, receiving critical acclaim internationally. Buckett also curated an associated remix EP featuring artists from around the globe including Giuseppe Ielasi (Milan), and DJ Earl (Chicago/Teklife). He is a past student of artists Peter Ablinger (Berlin) and Marina Rosenfeld (New York).
Image: Coen Young, Versailles October 2018, courtesy the artist and William Wright Artist Projects, Sydney.
Untitled (studies for a mirror) Coen Young
Coen Young’s new series Untitled (Studies for a Mirror), sees an introduction of silver nitrate into his paintings, and through rigorous experimentation has addressed the ways in which we perceive contemporary painting.
Discovered by Albertus Magnus in the 13th century, silver nitrate is an inorganic compound, pivotal in the production of other silver compounds, such as those used in 19th century photography. When silver nitrate is exposed to light it decomposes, turning to black. Young’s use of the material is highly unorthodox and leads to works that resemble Yves Klein’s fire paintings more than the monochromatic, reductionist works he has exhibited in the past.
While photography is implicitly concerned with representation, with its indexical precondition, Young’s use of a photographic precursor here is unrelated, and the result is a body of work that has more in common with Gerhard Richter’s grey paintings – a series the great German artist devoted to a colour suitable for ‘illustrating nothing’.
However, what is impossible to deny is an important performative thread in the work. The patina of the silver nitrate creates a reflective surface, transforming these works into mirrors somewhat reminiscent of those in run-down art deco buildings. And so, in a way, perhaps these works do oscillate between representation and abstraction – with our presence activating the white cube, inserting us into a new psychological space.
So important in Young’s practice is an interrogation of the modes of colour field painting. On display is the artist’s intense preoccupation with colour, materiality and composition. He transforms the surface of the paper, and in doing so creates paintings that are never fully optical, yet never fully material. There is a palpable tension between the individual works, and in the group installation here, Young alerts the viewer to how much the works differ from one another. These are paintings that require our attention, our patience, to watch as they unfold before our eyes. By limiting the elements for each painting, Young has seemingly narrowed the range of possibilities, yet the impossibility of applying the silver nitrate evenly, means that there will always be a range of outcomes, each more exquisite than the last.
- Joel Draper
Coen Young (b.1988) lives and works in Sydney. The exhibition at MOP Projects will mark the 4th solo presentation of the artist’s work. Coen Young is represented by William Wright Artist Projects, Sydney.
MOP Projects is assisted by the NSW Government through Arts NSW
Image: Susanna Strati, “Io Sono Terrone”, 2017,
Object: 33 x 15.5 x 4.5cm. Copper, Glass, Pigment, Graphite, Wine, Dirt.
No Lutto: Materialising Gestures of Grief
Susanna Strati references funereal ritual, Catholic religious performance and devotional objects as a framework for creating new work. The material dimension of her practice extends declining traditional Southern Italian mourning customs through objects, expressing the spirit of lamentation, ritual, and commemorative-performative space away from their original contexts. Her objects combined with gesture, function to mediate sentiment, register emotion, and explore identity.
Strati lives and works in Sydney, her work integrates object, installation, video, photography and performance. She is an Alumna of UNSW Art & Design and recipient of awards and residencies, including an Australia Council Residency at the British School at Rome, an Australia Council research grant for independent study in central and southern Italy, and an Australian Post Graduate Award for research. Strati’s work has been exhibited nationally and internationally, as well as selected for inclusion in The Blake Prize, Fishers Ghost and Woollahra Small Sculpture Prize.