breeze between the clouds

Concept image for my new work titled ‘Breeze’.

Concept image for my new work titled ‘Breeze’.

I’m presently creating a new sculptural installation using internally gilded, concrete cloud-form breeze blocks to interrogate through structure, form, light and shadow, the commingling of human and non-human narratives that occurs in our post-natural (the intentional and heritable alteration of nature by humans) contemporary urban reality.

Breeze blocks were an architectural feature commonly used in commercial and residential construction in the 1950s and 60s. Contemporary symbols of suburbia, they are a hallmark of the social and cultural expansion of post-war Victoria. Often used as decorative wall detailing, breeze blocks mark the division of spaces in places such as boundary walls, were gardens meet houses, as patio screens or carports. As a partially solid construction material, breeze blocks have a unique duality that emphasises solidity and permeability as well as division. This duality makes breeze blocks an ideal material to interrogate the commingling of human and non-human narratives.

The idea for the sculpture is play with perspective; as viewers approaches the work, they will see a solid concrete screen. As they move closer and away from the work, their perspective relative to the sculpture will change to reveal and obscure the highly reflective gold internal structure, patterned forms and sections of the landscape visible through the work. More on this work to come.

simples feel that became complex

Tomorrow is the opening of 'feel forever feels’ at Trocadero Art Space in Fitzroy, a collaborative show between myself and the stunningly talented Shannon Garrrett examing what it means to be ‘forever’ within the context of globalisation. The show presents a series of photographs printed onto suspended double-backed white linen, each depicting a second-hand sofa. 

‘Discarded sofas are products that once embodied ‘newness’ and luxury before becoming worn and ‘out-of-date’ as a result of human use. They are relatable symbols of the contemporary relationship between visual experience, technology and wealth within the system of global modernism where aesthetics are formed, elevated as 'taste' (often through textiles and fashion), used and thrown away.’ 

The exhibition is inspired by the concept of 'social sculpture' as described by Joseph Bueys; a theoretical framework for understanding human activity that has played a part in shaping society or the environment as a form of art.

Make sure to check out the show. Click here for more details.

‘feel forever feels’ Supported by MEL&NYC PROGRAM MELBOURNE 2018 National Gallery of Victoria through the All Conference facilitated program MAKING SPACES.

feel forever feels (installation view), Shannon Garrett and Ren Gregorčič, 2017.

feel forever feels (installation view), Shannon Garrett and Ren Gregorčič, 2017.

Local Lonely Girls

It has been a tremendous week. My show Local Lonely Girls at Tacit Galleries in Collingwood opened on 9th May, when I also launched by very first publication of the same name. None of this would be possible without Duncan Bean, Casimira Melican and Shannon Garrett, who have supported me all the way.

On May 19th from 1-2pm, I'll be delivering a floor talk at Tacit Galleries (123 Gipps Street, Collingwood) to discuss the themes of the show and my attempts to combat the often invisible and entrenched hegemonic, non-digital masculine, heteronormative systems of power, class and fortune in which these messages originate. Damn the man.

I hope to see you there!

Installation view of Local Lonely Girls. On show at Tacit Galleries (123 Gipps St Collingwood) from May 9 to June 3.

Installation view of Local Lonely Girls. On show at Tacit Galleries (123 Gipps St Collingwood) from May 9 to June 3.

you probably don’t know but you’ve already won

This year, I have had the absolute pleasure of working with the very talented Gong practitioner Mona Ruijs of Sound Interventions ( to create ‘you probably don’t know but you’ve already won'. The project is an ambitious, experimental collaboration that combines sound and installation art to engage audiences with the physiological consequences of the Anthropocene (the geological age marked by the dominant influence of human activity on the Earth’s climate and environment) by inducing the listening body: one that is conscious of the forces that are acting on it.

The project has two components: an exhibition of my work ‘sour sour sob’ and sound immersion activations by Mona (held amongst ‘sour sour sob’). In the sound immersions, participants will be invited to lay down on a mat, close their eyes and experience the vibrations created by Mona using multiple gongs, quartz crystal bowls, Himalayan singing bowls, a shruti box and other various sound tools. The aim is provide a space where individuals can sense and contemplate the often unnoticed forces of our changed world (due to the influences of human activity) and how these changes impact our physiology.

We're currently looking for venues - so stay tuned for details about how you can participate!

Image of Mona Ruijs courtesy the artist.

Image of Mona Ruijs courtesy the artist.



sour sour sob

'sour sour sob’ is an immersive installation that examines the experience of 'nature' in the Anthropocene that will be on exhibit later in 2018.

I was introduced to Oxalis pes-caprae as an edible plant at the age of 10 or 11 by friends who would eat the sour-tasting flowers and stalks for fun. I would often eat soursobs until my senses became saturated with the taste of metal. Although I no longer eat soursobs, I continue to experience the metallic sensation of over-consuming these plants each Winter and Spring when the iridescent yellow Oxalis pes-caprae flowers bloom.

Stay tuned for more information on this upcoming show.

Ren Gregorčič, sour sour sob (installation view), 2018.

Ren Gregorčič, sour sour sob (installation view), 2018.



where the rare flowers grow

In 2010 I created a body of performance works that responded to the dry lightning storms that frequently ignited small fires in the arid, abandoned potato farms around the asbestos-clad shack that I as living in. I never finished the performances but the research aspect of that series became an ongoing reference point.

My research into arid landscapes led me to the Kazakh semi-desert; a place where, just like where I was living, a number of rare plants can be found. In the wake of Soviet rule, Kazakhstani contemporary artists such as Said Atabekov (born Uzbekistan but lives and works in Kazakhstan) have turned to the landscape anew to re-set the mythology of a claimed and repressed territory. Flowers feature in a number of Atabekov’s works, including Southern Cross (2009) (below), which is the inspiration for a series of light works I’m currently working on.

Said Atabekov, Southern Cross, 2009 Installation with 21 C-prints Each: 50 x 50 cm. via  Aspan Gallery .

Said Atabekov, Southern Cross, 2009 Installation with 21 C-prints Each: 50 x 50 cm. via Aspan Gallery.