24th June - 19th July 2019
Opening 6pm Wednesday 24th June
Image: Kieran Butler and Katherine Rooke, A study on distance and the photograph, 2019
Gelatin silver print, ink jet print, composite digital image, dimensions variable
Are we getting close to something
A MOP Projects exhibtion hosted by Galerie Pompom
Kieran Butler and Katherine Rooke
In Are we getting close to something, Kieran Butler and Katherine Rooke seek to understand the current status of photography through a navigation of the manifold notions of distance, both physical and metaphysical, within the photographic. Butler and Rooke meditate upon the ways in which photography has the ability to create, bridge or blur the distance between image and object, material and immaterial, analogue and digital. Through the acts of photographic production, reproduction, multiplication and manipulation, the ability to perceive distance becomes distorted. This photographic distortion of proximity and distance mirrors the act of production itself, and the nature of art-making; Butler and Rooke find themselves constantly doing a double take, reassessing the distances reached and the distances that become greater. They repeatedly ask themselves: are we getting close to something?
Kieran Butler (b.1992, Nowra, NSW, Australia) is an emerging photographic artist based in Sydney. In 2018 he completed a Bachelor of Fine Arts, Honours (First Class) from UNSW Art & Design, and received the John Gage Prize for Colour at the UNSW Art & Design Annual. Kieran has recently exhibited at the UNSW Galleries, Dark_space, Archive_space and Kudos Gallery and was a finalist in the Fisher’s Ghost Art Award and the Kudos Emerging Artist and Designer Award in 2018. In September Kieran will be undertaking D’Clinic Studios MiXER collaborative residency program in Slovenia.
Katherine Rooke (b. 1992, Sydney, Australia) is an emerging artist and curator based in Sydney, where she is currently completing a Bachelor of Fine Arts (Photomedia) / Bachelor of Arts (English) at UNSW Art & Design. She has recently exhibited at galleries such as Carlton St Project Space, Breezeblock, Kudos Gallery and the Shoalhaven City Arts Centre. Katherine recently curated the group exhibition OBSERVATION / MEDIATION at Archive_space, Newtown.
Photos by Docqment
MOP Projects is assisted by the NSW Government through Arts NSW
IImage: Sara Oscar, Scene from the Ballet of Necromancy (2019), c-type photograph
The Mobility of Happiness
Sara Oscar’s recent exhibition, Mobility of Happiness positions photographs, vernacular video footage and objects according to an iconographic language of mysticism and its perpetuation across time and place. Archives of the artist’s family history, the rituals of folk spiritual culture, and symbols of a fictional exotic other are reconfigured, layered over, bent and played upon. Spirit dancers, devices for catching dreams, magical caves, sexual transcendence are re-imagend with digital collage and video footage to play on a fiction of the exotic other. The work addresses the artist’s relationship to her mother’s cultural ethnicity located in Burmese Thai animism and the female dominated practice of spirit dancing, performance and folk culture. It rearranges the tropes of spiritualist folklore which have been colonised by modernist art practice, the New Age and the lust for happiness. In this show, alchemical processes and the language of magic draw images and objects together and push them apart, in a call to the Surrealist's fascination for the primitive other as an entry point into the psychoanalytical realm of the unconscious and irrational.
Sara Oscar received a Doctor of Philosophy (Visual Arts) from Sydney College of the Arts in 2012. In 2002 she completed a BVA at Sydney College of the Arts, spending an exchange Honours year at the Ecole de Beaux Arts in Saint Etienne, France for which she received an International Exchange Scholarship from the University of Sydney. She recently held the solo exhibition From Here to Eternity at the Centre for Contemporary Photography in Melbourne, a work that explored the relationship between still and filmic slide projections and the language of implicit cinematic representation. In 2017 she exhibited the commissioned project Dress Code: The World’s Longest Bar (Mildura Working Mans’ Club), an outdoor ephemeral sculpture combining images and performance with Mary Teague, at the Palimpsest Biennial, Mildura, along with the solo exhibition, Law of the Series at MOP Projects, Sydney. Her work has been included in numerous group exhibitions including Photographs Arranged in Series at Sutton Projects, Melbourne, The Containers Project, Next Wave Festival Melbourne 2003. In 2004 she was nominated for the Helen Lempriere Travelling Exhibition, presented at Artspace, Sydney while in 2014, she received the Kodak Award for Excellence in Photomedia presented by the Centre for Contemporary Photography, Melbourne.