drawing, paper, chrome vinyl
Kate McIntyre is rendering an improbable growth down beneath Flinders Street, toying with a contested underground space and unravelling an argument of territory between urban and natural development.
McIntyre is a New Zealand artist recently relocated to Melbourne. She creates installations that draw forth a potential hidden history, future or present from the banalities of a space, allowing the viewer to rethink the situations in which we are surrounded. In the cabinets of Platform , McIntyre is documenting a creeping expansion that seems to be breaking through the structures of its environment, questioning the usual patterns of construction and growth. McIntyre works with man-made and artificial materials to construct her scenarios, using surfaces and motifs to emulate space and form, suggestively fabricating architectural creations, inversions and destructions. Her work is driven by a fascination with suggested potential, and the improbability of seeing both things at the same time.
Kate McIntyre is a New Zealand artist recently relocated to Melbourne. Along with graduating from the University of Canterbury’s Sculpture Studio in 2005, McIntyre has exhibited her work extensively in Christchurch, as well as in Auckland, and Kurashiki, Japan as part of a sculptural exchange. She has also acted on the Board of Trustees for Christchurch’s HSP Gallery, and adapted ideas from her practice into the production design for several short films. Recently McIntyre has shown in the Physics Room Gallery’s public art site in Christchurch, The Kiosk, and held a solo show, Lost in Space, at HSP Gallery.
I'm Lichen You a Lot
felt, cotton, polysheets
Our rapidly developing society continues to blur the distinction between Science and Nature. In petri dishes all over the world, nature is being ‘re-designed’ for both beneficial and destructive ends. I’m Lichen You a Lot will be the most beautiful felt fungal disease to infect the city of Melbourne. Thousands of tiny felt lichen spanning many species, both real and invented, will create a saturating composition of ‘artificial nature’. Painstakingly categorised according to colour and form, these curious objects will be overwhelming in mass yet fascinating in detail. Intricately crafted from felt, this soft sculpture installation will appeal to the distant onlooker as a whimsical explosion of colour and composition whilst rewarding the observant viewer with a deeper understanding of the forces at play in the work. I’m Lichen You a Lot is an attempt to challenge our increasingly confused notion of natural beauty, changing the city’s landscape with an injection of beautiful and fragile synthesised nature within the subway.
Sue-Ching Lascelles is a Brisbane-based textile artist specialising in the creation of everyday objects from felt. Her collections of soft sculptures are based on the perception and memory of childhood. Inspired by a playful, childlike vision of the world around us, she rejects so-called ‘grown-up’ forms of aesthetic naturalism. There is a keen sense of novelty that resonates in her desire to transform the banal into the fantastical. Sue-Ching is presently artist-in-residence at Juggler’s Art Space in Fortitude Valley, Queensland.
"To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt."
Susan Sontag, On Photography, 1977
These photographs directly explore rural and urban landscapes and architecture, which promise much but await change. Mortality, truth and the fragment are themes which reappear in my work and which share a vital relationship with photography. There is an interesting relationship between photographer and subject; the power of the photographer and the vulnerability and mutability of the subject and furthermore, what becomes of the subject once it has become an object or commodity.
Georgia Gillard completed her Bachelor of Fine Art (Painting) in 2008 and is currently completing her Honours year at Monash University. Her photography has appeared in various student exhibitions and will be featured in the upcoming publication Stab Your Brother in 2009.
A Pictorial Essay of Devolution
print on paper
A Pictorial Essay of Devolution is an exploration of interference by mankind, and the modern condition of flora and fauna. ‘Devolution’ as a term is widely argued as only appropriate for science fiction, as a species is only able to 'evolve' and does this through natural selection. What then, when humanity interferes so heavily with domestic and captive animals, along with popular garden plants and the effects of introduced species? If it isn't pollinating an orchid to create a completely dependent hybrid that has no means of reproduction, it's inbreeding a domestic pet such that it is almost guaranteed hip dysplasia and physical malfunction. Using medical illustration conventions, these anatomical studies take an investigative, scientific approach, whereas the opposing windows deal with human intervention in a more lyrical manner. The delicate lines and children's story book-style soften the blow of the road kill we interrupted on its daily journey by a bumper bar.
Having trained horses for over a decade, Ness Flett's pursuit of understanding animals and their architecture comes as no surprise. Ness studied painting at RMIT before traveling to Portugal to continue training horses while exhibiting her work on the anatomy and movement of animals. More recently, her work has begun including botanical elements in more detail, and her two separate studies began to collide. Ness has exhibited widely in Melbourne and interstate, and she has been a finalist in the Swan Hill Regional Art Gallery Drawing Award, Churchie National Emerging Art Award, Queensland Darebin Acquisitive Art Award. Ness lives in Melbourne and is a member of Artback, the roaming regional artist group.
Louise A. Dibben
Regarding cheap special effects and the codex of body language as the most refined communication devices available, Louise Dibben makes video installations that re-position cultural and sexual power struggles through simple actions that are recontextualised.
The Hunt is the fourth Tape Projects Frame Residency work at Platform for 2009. For more information visit the Tape Projects website.
The Underground Garden III
plants (grevillia), soil, rocks, burnt logs
This is the third Underground Garden installation at Platform by horticulturalist and artist Matt Shaw for 2009. This work shifts the setting of the previous installation of Boxed In from the night cityscape that was slowly being taken over by plants, and transplants us into a slice of forest recently burned in the Black Saturday bushfires. Consisting of indigenous plants and burnt logs from his friends’ properties outside of Melbourne, Matt has created a memorial to not only the victims of the bushfires this year but shows us that new life always springs back from destruction.
Matt Shaw is a Melbourne based horticulturalist and artist specialising in creative and sustainable gardens, for more information visit Matthew Shaw Designs.