Dell Stewart
(upper) acrylic & resin on wood
(lower) knitted cotton
variable dimensions
© 2009

Recently working with sculpture, drawing, animation and installation, Dell Stewart's work features recurring motifs and symbols in a range of media, creating a personal symbolism, suggestive of memory and elementary connections. These sculptural works draw loose connections, isolated objects linked by an unexplained gravitational attraction.

Dell Stewart has organised and participated in numerous solo and collaborative exhibitions, working with sculpture, drawing, animation and installation. Most recently she has exhibited at Bus and Utopian Slumps in Melbourne, Project(or) in Rotterdam and Takt Gallery in Berlin.

On show at Platform throughout August.


Adam Cruickshank
Enhanced Awareness Campaign
Discarded trophy pieces and assorted consumer detritus
variable dimensions
© 2009

Enhanced Awareness Campaign consists of a number of hybrid, bastardized trophies. Post-ironic religious icons destined to be sacrificed to the gods of ASX and NASDAQ or awards for those who excel in the implementation of enhanced consumer enabling, customer loyalty programs and the architecture of brands? Everything is AWESOME with these AMAZING PRIZES.

Adam Cruickshank went to the Queensland College of Art in the early 1990s and – after a period of exhibiting locally – worked in magazine art direction until 2007 when he restarted his dedication to fine art practice. His work ranges through sculptural installation, collaboration, image-making and sound. He has exhibited in Europe and Australia in various public spaces and galleries including TCB, Utopian Slumps, and Bus.

On show at Platform throughout August.


Carly Fischer
You took the words right out of my mouth
paper, foamcore and adhesives
variable dimensions
© 2009

You took the words right out of my mouth explores the idea that in an increasingly globalised contemporary context, where our environment is continually replicated, remixed and commodified, we have nothing left to say. In her installation, Fischer explores Berlin as a model environment where even dysfunction has been commodified. Fischer explores this idea of reproduction and it’s resultant expectation by creating idealised paper models of destruction that mimic the perfection of postcards. In Fischer’s installation, the emptiness of the objects and the title reflect on the tenuous situation of the individual whose intent is insecure; caught in between critiquing this system of reproduction and commodification while at the same time playing an active part in its construction.

Carly Fischer is a Berlin-based visual artist, originally from Melbourne. Her work spans sculpture, installation, photography and social research and seeks to question normative structures and representations that are produced and readily accepted in an increasingly globalised world. Much of her work deals with replicating elements from surrounding urban environments as paper models. This replication attempts to both mimic and mock the processes of hyper-efficiency and hyper-production, which surround her, as well as comment on contemporary expectations of perfection.

On show at Platform throughout August.


Annika Koops
Mixed Mythologies
(upper) acrylic on canvas
(lower detail) sgraffito with black acrylic on board
70cm x 50cm
© 2009

Mixed Mythologies re-visions historical 16th and 17th century paintings as the polygonal mesh used to create 3D computer models. The images present subjects characteristic of the period: vanitas, still lifes and religious icons. However these images are not generated by computer, but by hand, oscilating between old and new technology. There is an inherent paradox to these images, a cyclical redundancy which explores concepts relating to homogenization. The work simultaneously implies the ephemeral and eternal. This creates temporal conflict, in which the outcome is stasis.

Annika Koops works primarily with painting and digital photography. In 2007 she was the recipient of the Keith and Elisabeth Murdoch Traveling Fellowship. Annika currently works in Melbourne where she has been involved in group and solo projects at various galleries and ARI’s. Annika’s work is held in public and private collections in Australia and she has exhibited widely nationally and internationally.

On show at Platform throughout August.


Rachael Hooper
(upper) One Landscape
(lower detail) One Ham Sandwich
Acrylic on Paper
complete set 220 cm x 90 cm
© 2009

You could take a photo (it lasts longer, so they say). Or on the other hand you could rent a cold studio, buy some paint, tape up some paper, mix the paint and brush it on. Then you could mix it again, put some water with it or some curious medium and apply it again. Wipe it off, spray some water, paint it back on, stand back, tilt your head and contemplate.
Then do it all over again
and again.
Until you get what we’ve all seen before...
A landscape and a ham sandwich.

Rachael Hooper has exhibited in artist run spaces and galleries in Melbourne and Darwin. She has been short-listed for several prizes including the Brett Whiteley Traveling Scholarship, and won the Albany Art Prize in 2008.

On show at Platform throughout August.


Natasha Frisch
Between you and me
tracing paper, double sided tape
240cm x 100 cm
© 2009

Between you and me is inspired by tales of suburban myth and the seedier aspects of Australian domesticity, the constructions act as a document of the places where human behavior has altered the space for better or for worse, empty situations which via stillness and spatial displacement allow for a slippage between the real and unreal.

Natasha Frisch is a Melbourne-based artist who works with modest materials, such as paper and tape to construct installations and sculptures that emulate sites and objects from the every day. Natasha completed her Bachelor of Arts (Media Arts) - Honours at RMIT in 1997 and since this time she has exhibited extensively throughout Melbourne art spaces. She is represented by Dianne Tanzer Gallery.

On show at Platform throughout August.


Dominic Kavanagh
Perkins’ Leg
acrylic paint, wood, sticks, sand, mdf board, rope, plants, curtains,
(installation) 400 cm x 150 cm (detail) 50 cm x 30 cm
© 2009

The Myth
A preserved, three and a half metre wooden leg was recently found half buried in desert sands just south of the Moroccan city, Tangier. Due to a series of severe desert storms, much of the covering sand had been removed, exposing the leg for the first time in what is believed to be around 1650 years. There has been much controversy over the leg’s origin. Mobile in design and consisting of several carved, interlocking pieces, many baffled archaeologists have suggested the leg functioned as a component to a large, primitive, mechanical farming device. Professor Perkins, who discovered the leg, believes its origin to be far more significant. Perkins speculates that the remnants belonged to an apparent creature of mythical renown: Nemorosus Aroxus (Wooden Horror).

Perkins’ Leg is the fantastical discovery of a large limb belonging to an unknown creature. Constructed almost entirely from wood, the artefact is half buried in sand in order to portray the desert scene of its apparent discovery and its display is designed to provoke curiosity about its origin. This kind of installation is reminiscent of ‘nature’ displays in museums and theme parks. Fake environments like these are created in a variety of ways to depict and inspire speculation about the life of the subjects placed within them. I want to create my own myth surrounding the existence of a supposed artefact or relic. In this case, everything has been fabricated, from the relic itself, to the brief publication of its history that accompanies it.

Dominc Kavanagh graduated with first class honours from the University of Newcastle before moving to Melbourne in early 2007 to pursue an art career. Dominic held his first Melbourne solo show, The Rebellious Garden Shed, at Seventh Gallery, Fitzroy in 2008. He received the Jennie Thomas Traveling Artists Scholarship in 2004, and was short-listed for the Brett Whitley Traveling Artists Scholarship in 2003 and 2004. Dominic is currently completing a Master of Fine Art degree at Monash University.

On show at Vitrine throughout August.


Claire Gallagher
Absence of the Inner

glass tank, potted plants, taxidermy birds, taxidermy fox, animal bones, wire, string, flouro tubes, dirt
(upper) 200 cm x 90 cm
(lower detail) variable dimensions
© 2009

An empty vitrine, void of material matter other than hot air, suggests suffocation. It alludes to the fate of the subject inside suffering a slow death. Paradoxically, hot sticky air can also generate life, such as within a hot house. With these ideas in mind, Claire Gallagher surrounds an empty glass vitrine with a mix of living pot plants and taxidermied animals. The environment she creates is oddly eerie and monstrous, yet at the same time illustrates a continuation of life. Absence of the Inner suggests that the human desire to control, manipulate and contain the living may originate in an underlying fear of a rampant, uncontrollable nature.

Claire Gallagher is currently completing her Honours degree in Fine Arts at the Victorian College of the Arts and works across sculpture and installation to create environments that explore the tensions and parallels between the living and the dead, the artificial and the natural.

This is the second Sample show to be curated by Laura Castagnini as part of her 2009 Curator in Residence with Platform.

On show at Sample throughout August.


toothpicks, mdf board, wire, mirrors, dvd players, screens
(150 x 100 cm)
© 2009

Chronox is an ongoing investigation of time, space and perception, incorporating installation, performance and publications in a variety of media. Further information and archival documents can be found online at Chronox.

Sadly, this will be the last installation by Tape Projects as part of their 2009 Frame Residency at Platform. Tape Projects seeks to promote the wealth of talented and underrepresented young and emerging artists in Melbourne and throughout Australia, who practice media art and hybrid forms not necessarily suited to the traditional gallery format. As young and emerging artists ourselves, we believe in supporting our highly skilled community by creating new opportunities for the screening and showcasing of accomplished experimental art.

Tape Projects is comprised of the following individuals: Alice Hui-Sheng Chang, Sunday Ganim, Tanja Milbourne, Eugenia Lim, Michael Prior, Zoe Scoglio, Jessie Scott, Lee Anantawat and Nic Whyte. For more information about Tape Projects visit their website

On show in Frame throughout August


Caroline Ierodiaconou
Role Model
Oil on canvas
150 x 70 cm
© 2009

This exhibition consists of a series of drawings and paintings exploring the homogenisation of culture, beauty and aesthetics, as well as the politics behind this process. The artwork will also explore the subversion of the feminine ideal, which is used to constantly attack a woman’s sense of identity and self.

Caroline is an emerging Melbourne artist, whose powerful figurative pieces are a thought provoking meditation on the times in which we live. Her work often depicts humanity as a fragmented and threatened species, at war with both itself and the rest of nature. There is also a lighter, whimsical side to this artist’s work, representing the vulnerability, foibles and quirks of being human. Since graduating from the Victorian College of Arts in 2002, Caroline has exhibited widely with both group and solo shows in commercial and artist-run galleries. After spending three months in Asia in 2009, in 2010 she is scheduled to return to China with a three-month residency at the Red Gate Gallery in Beijing.

On show throughout August at the Majorca Building entrance on the corner of Centre Place and Flinders Lane Melbourne.