There are a few more installation images to come and this gallery will be updated soon, but for now, browse through some snaps by Daniel Grant of Exhibition 6. Thanks to Benchwork, Sohan Ariel Hayes, Lee Kennedy and Markela Panegyres for allowing us to screen their fantastic, and in most cases new, video works.

[View with PicLens]

Following on from its debut series of six fortnightly exhibitions featuring video and new media artworks from 37 young artists, the In Transit screen-spaces will showcase four new exhibitions of compelling student work.

Lecturers from Central TAFE (Jeremy Blank), Curtin University (Julian Stadon), Edith Cowan University (George Karpathakis) and the University of Western Australia (Laetitia Wilson) have selected four promising young artists to exhibit their works within two disused shops in the Wellington Street Bus Station.

The program kicks off with the below exhibition of UWA students Dairus Kowal, Caris McCabe, Elizabeth Pedler and Tatjana Seserko.

The exhibition will be followed by Central TAFE students Ian Cox, Rebeeca Girling, Jennifer Pitch and Alan Wade exhibiting from September 13-26, Curtin students Alan Arazo, Emma Bland, Dylan Hewson and Michelle Williamson exhibiting from September 27-October 10, and ECU students Jostein Larsen, Thao Ly, Stacey Northley and Jared Rowe exhibiting from October 11-24.

Extended Flash-back: Action Screen Series, 2009

Tatjana Seserko
Extended Flash-back: Action Screen Series, 2009

Tatjana Seserko recently completed her Masters of Fine Arts at UWA, with a thesis that focused on Viennese Actionism in relation to Total Art and the social unconscious. She practices art locally in her studio at the Kurb Gallery. Currently, she is participating in the project “Zeitblut,” an intermedia electroacoustic performative reinterpretation of Peter Weibel’s 1972 original, in collaboration with Dr Malcolm Riddoch at the Triennial of Expanded Media in Belgrade, Serbia.

For In Transit, Seserko presents Extended Flash-back: Action Screen Series (2009) which comprises of nine actions, each of which were projected on a separate black screen, filmed and then re-projected. The first action is Blood Action #4, which is then followed by reproductions of its subsequent eight actions. The film is the outcome of a series of formalist experimentations that tested the immanent relationship between the artist body as an agent of action, camera and the corresponding material substance (paint). This tautological succession resulted in the obliterating process of an initially conceived idea.

Extended Flash-back: Action Screen Series, 2009

Extended Flash-back: Action Screen Series, 2009

Extended Flash-back: Action Screen Series, 2009

Still from Being And Non-Being I, 2009 by Elizabeth Pedler

 

Elizabeth Pedler
Fanomenology Part One, 2010
Fanomenolgy Part Two, 2010
Being And Non-Being I, 2009 

Elizabeth Pedler is currently completing her Honours degree in Fine Arts at UWA. Her work focuses on individual perceptions of space, light, touch and sound. Through her multidisciplinary practice, she aims to create environments that can be entered, engaging the viewer in an experience that provokes thought and reflection.

Fanomenology Part One and Part Two is an experiment in light and sound that is still incomplete, although parts of the process have been captured and edited together for In Transit. Elizabeth utilised unwanted fans, replacing their blades with coloured transparent acrylic. Instead of plugging them into the mains power, she created systems by which the viewer could control the speed and direction of the fans. At times, the fans blew air over pipes to create resonance which was picked up by microphones and directed into headphones worn by the viewer. The work allowed the viewer to interact with the installation while giving each individual control over their experience.

Being and Non-Being I and II is an immersive installation that enables the viewer to walk into and engage with the artwork and its surrounding environment. The work is designed to act as a large mobile that hangs centrally from the ceiling, from which a number of small lights are suspended. Each light is individually powered by a battery and operated by a switch. At the beginning of Being and Non-Being I, all the switches are turned on and the lights exist only as long as their batteries. The sound of a wineglass being played by the artist blocks out noise from outside and loops from multiple speakers at three different frequencies. The work provokes reflection on perceptions of the present and subtly interrogates the process of living and dying.

Still from Fanomenology Part One, 2010 by Elizabeth Pedler

Still from Fanomenology Part One, 2010 by Elizabeth Pedler

Still from Fanomenolgy Part Two, 2010 by Elizabeth Pedler

Still from Fanomenolgy Part Two, 2010 by Elizabeth Pedler

Still from Who Needs Wings To Fly?, 2009 by Caris McCabe

Caris McCabe
Who Needs Wings To Fly?, 2009

Caris McCabe studied Theatre, Creative Writing and Psychology before commencing her Bachelor of Fine Arts at UWA in 2006. She has remained at UWA and is currently completing her Honours in Fine Art.

Foremost a filmmaker, her avant-garde shorts incorporate an experimental and surreal aesthetic that is being introduced into a narrative context for her forthcoming feature, The Potato House (www.thepotatohousemovie.com). Her practice can be thought of as psychological experiments that recontextualise the everyday, encouraging viewers to question how their responses and reactions are conditioned. In her work, she often utilises cognitive and behavioural psychological methodologies to challenge the viewer’s preconceived notions of their surroundings.

After the birth of her first child, McCabe acknowledges her life view shifted to primarily encompass the baser human instincts associated with motherhood, survival and protection. What once seemed important became trivial, materialising as a distraction from the fulfilment of her biological destiny. Finding freedom in this new mindset, she developed a body of work entitled

‘The Devolution of Man’. Who Needs Wings To Fly? is the second film in a series of five that examine the regression of man from master of the universe to a mere constituent. Ironically utilising an intentionally ‘dreamy’ aesthetic, the work constructs a humorous narrative in which a young girl attempts to fly. The work subverts the romanticism of human achievement and examines how forces beyond human control can have a levelling effect on the individual’s persona.

Still from Who Needs Wings To Fly?, 2009 by Caris McCabe

Still from Who Needs Wings To Fly?, 2009 by Caris McCabe

Still from Who Needs Wings To Fly?, 2009 by Caris McCabe

Still from Who Needs Wings To Fly?, 2009 by Caris McCabe

Still from The Daily Grind, 2010 by Darius Kowal

Darius Kowal
The Daily Grind, 2010

Darius Kowal maintains a multidisciplinary practice that has developed through his Bachelor of Contemporary Arts at Edith Cowan University and Bachelor of Fine Arts (Honours) studies at the University of Western Australia. In addition to exhibiting in group shows like Hatched (PICA), Sculpture By The Sea (Cottesloe Beach) and the forthcoming Joondalup Invitation Art Award, he developed a solo exhibition, Stripped, in 2009. He is soon to present a new body of work in an upcoming exhibition entitled Bending Cullity.

Darius created the two parts of The Daily Grind specifically for the In Transit screen spaces. Playing concurrently across both spaces, the work engages with the temporal elements of people travelling through busy public transport zones. The rising sun in the east synchronises with the setting sun in the west to position the screen spaces as a meditative site of contemplation. The camera struggling to focus on the slow movements of the sun is juxtaposed with the brisk pace of commuters to produce an open-ended inquiry into the motivations of the 9 to 5 lifestyle.

Still from The Daily Grind, 2010 by Darius Kowal

Still from The Daily Grind, 2010 by Darius Kowal

Still from The Daily Grind, 2010 by Darius Kowal

Still from The Daily Grind, 2010 by Darius Kowal

In Transit’s fifth exhibition screened from August 2-15. It featured new works from Tom Cramond and Oliver Kellow and an unexhibited animation from Kate Faulds (who you can meet at Free Range Gallery for her upcoming opening this Friday). It also presented a survey of works from Erin Coates, who has recently returned from a fantastic residency in China.

It was fantastic to see a great mix of artists with a variety of exhibition experience dealing with ways to construct and represent our national identity, reflect on the now, and transport the viewer to fantastical realms.

Daniel Grant has again documented the installed works – browse through the below image gallery to see his highlights.

[View with PicLens]

In Transit’s fourth exhibition screened from July 19-August 1, and featured new works from Steve Berrick, Lisa Businovski and Kenta McGrath. It also presented a survey of recent works from DIY film maker Mat de Koning.

Daniel Grant has once again documented the installed works – browse through the below image gallery to see his highlights.

[View with PicLens]

Still from Chance Encounter, 2010 by Markela Panegyres

Markela Panegyres
Exchanges/Encounters, 2010

Markela Panegyres is currently completing Honours in Visual Arts at Curtin University. Between 2003-2009, she undertook concurrent Bachelor degrees in Music Performance and Art at UWA, culminating in an Honours degree in Music Performance. Broadly, her practice aims to explore and illuminate the subtleties of physical and emotional exchanges. In collaboration with Elizabeth Pedler, she recently exhibited video and installation works in Exchange/Play at Free Range Gallery.

Panegyres primarily uses performative actions to explore a variety of physical and emotional exchanges ranging from the poetic, intimate or loving to ambiguous, disturbing or violent. Panegyres seeks to draw parallels between these performed actions and deep-seeded issues within contemporary society.

For In Transit Panegyres is presenting five video works which each deal with the above issues: Cornered  (Revised Version) (2010), Let’s put our Heads together (2010), From hand to mouth (2010), Pinch (2010), Chance Encounters 1 (2010).

Chance Encounters 1 was developed specifically for In Transit. In this experimental work Panegyres imagines a chance encounter with/in the condemned old Perth Entertainment Centre. This is the first in a proposed series of works which meditate upon the oft-experienced chance encounters that occur within public space. Panegyres says that “exhibiting this work at In Transit will enable commuters to have a chance encounter with an artwork, encouraging them to reflect upon their own experiences of chance encounters with/in the city.”

Still from Cornered (Revised Version) 2010 by Markela Panegyres

Still from From Hand To Mouth, 2010 by Markela Panegyres

Still from Let's Put Our Heads Together, 2010 by Markela Panegyres

Still from Pinch, 2010 by Markela Panegyres

Still from Lightworlds Alpha, 2010 by Lee Kennedy

Lee Kennedy
Lightworlds Alpha, 2010

Lee Kennedy’s practice traverses the realms of film, music, youth development initiatives and visual arts. In addition to regularly creating music and producing videos about town, he has been an artist in residence at the 2009 Awesome Festival, and has run youth arts workshops for the Town of Kwinana.

For In Transit, Kennedy examines unnoticed worlds and the threshold between life-forms that are considered ‘alive’ and ‘dead’. The first in a series of works exploring overlooked modern territories, Lightworlds Alpha projects inanimate objects with subtle ‘human’ attributes in an effort to contemplate what can be considered ‘living’.

Lamps, LEDs, torches and street lights, amongst others, are framed to be read as living beings. Within a series of understated filmed actions, the lights are constructed as purposefully limiting the viewer’s understanding and perceptions of their surrounding environment.

Still from Lightworlds Alpha, 2010 by Lee Kennedy

Still from Lightworlds Alpha, 2010 by Lee Kennedy

Still from Lightworlds Alpha, 2010 by Lee Kennedy