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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.

time, materials and entrapment

Earlier this year I was doing some research on bio-feedback art and came across ‘Eudaimonia’ by Lisa Park, a phenomenal work that translates thoughts into visualisations (click here to visit Park’s website). The black pools of rippling water got me thinking about how humans (mostly unconsciously) translate subjective thoughts into materials to create objective, shared experience. I also started thinking about the role of sculpture within this process and am planning to make a new body of work that interrogates the sociocultural position of sculptural practice to either re-enforce or dismiss subjectivity or objectivity.

The practice of Sekine Nobuo (関根伸夫) came to mind as one that provides a schema for how artists can use sculptural and spatial practice to critique human perspectives and senses of nature. By drawing attention to the surface of natural and industrial materials, Sekine presents us with an interrogation of how we perceive 'solid’ objects and the way we form associations and use personal references to shape our understanding of what is around us. Beyond a critique of sensory experience, Sekine’s practice as well as other members of Mono-ha, are also interesting in their political perspectives of overturning the dominance of art-as-commodity. Mono-ha provides a framework for exploring how one can, through sculptural practice, provide a counterbalance to tricky modern relationship between materials, existing, influence and owning.

Sekine Nobuo, Phase of Nothingness–Black No.1, 1977.  Click here  to visit image source.

Sekine Nobuo, Phase of Nothingness–Black No.1, 1977. Click here to visit image source.

form and proximity

Sculptural and spatial practice for me has always been more expansive than Kraussian quadrants. Simply; sculptural and spatial practice encompasses a wide range of philosophical and artistic interrogations that break down/emphasise/piece together how humans perceive and feel dimension and expressions of form* that can include, painting, drawing, photography etc.

British artist and painter Clare Woods is a great example of an artist working in a medium traditionally considered outside sculpture, but whose practice is formally sculptural. Woods uses paint as a means of expressing the three-dimensional value of form using techniques that emphasise the structure of an image (see below video).

I think it’s important to recognise that historical as well as contemporary sculptural and spatial practice is consistently an expression of form relative to human and human-scale concepts of space and time. As such, form is perceived and experienced at a human level as both a 2D as well as 3D phenomenon relative to distance/proximity. I can’t help but wonder why, at least in Australia, formal distinctions that individuate sculpture from drawing from printmaking from photography etc. continue to persist despite contemporary social shifts in understanding about dimension/space-time concurrently with acknowledgement of the advent of the Anthropocene.

NB. I consider that there is a distinction between the philosophical and artistic interrogation of the dimension and expression of form (sculpture and spatial practical) and the rendering/depiction of form to create the illusion of dimension (broadly printmaking, drawing and painting).

F*ack my background

More than 10 years has passed since I opened the email account that I still use today. Since opening my account, I have received countless spam emails promising access to everything that one could imagine; methamphetamine, new age spirituality, brides, porn, free computers, gold, easy ways to tighten by abs, get-rich-fast secrets, Viagra, employment offers, psychic readings, and the list goes on. In a digital universe of limitless possibilities, the highly graphic and often cryptic nature of junk mail has always been both alluring and problematic.

🎡 YOUVEE WOM! GET YOUR FREE 20000💲now! ⭐⭐

Junk emails are problematic not only for their intentional and often use of creative strategies to deceive others through mechanisms of influence and manipulation. But also because they symbolise and communicate the maintenance of a gender order of power that is focused on sex and money; one that is masculine, dominating and hetero-normative, well in-tact and thriving.

💰 😃 💰 HURRY UP!!!* Online dating that is worth your time.*

Ren Gregorčič, hi dear, you're lucky, 2017

Ren Gregorčič, hi dear, you're lucky, 2017

exhibition at Brunswick Street Gallery

Last Thursday 25th January was the opening of Emerge: Extended at Brunswick Street Gallery, an exhibition of emerging and established artists that includes my sculpture 'what am i to you'. The turn out was really great and I received a lot of thoughtful feedback, which I am always grateful for. Thanks to everyone for coming to the opening. Emerge: Extended goes until February 6th.

what am i to you, 2017, installation at Brunswick Street Gallery

what am i to you, 2017, installation at Brunswick Street Gallery