The First Act, 2011. Digital print.
Kiki Hunwick continues her ongoing investigation into the essence of light. Across multiple filmed projections sessions, she captures the process of light degrading to create a dynamic composite image from nine layered projection stills.
The Original Copy, 2011. Silicone, resin, acrylic paint, plaster, digital photograph.
Lauren Ravi’s recent work has explored ancient vs modern methods of construction by using bricks as a starting point – mud, limestone, hand hewn and engraved.
This installation of real and cast bricks serve to prioritise the process of making over the sculptural outcome. They are infused with qualities found in their originals. However although they are seen as practical objects, they ably function as instant artefacts when contextualised within an exhibition space.
Baptism, 2011. Digital print.
Continuing her fascination with representations of decorative beauty in a contemporary context, Tash Gray created this striking tableau in the creek in her backyard.
Inspired by the sumptuous decorative aesthetic of Pre-Raphaelite painter Waterhouse, the work investigates ways to represent the intersection of the spiritual, mystic and decorative in portraiture.
A painterly subject matter is photographed to capture the agony and ecstasy of a spiritual moment. Check out the gallery below to see the research images and test shots that informed the final work.
Skullaleuca, 2011. Acrylic, digital print.
The swampy Australian paperbark native, the Melaleuca, is given an alarming edge when captured in Fudge’s inimitable, highly detailed style. Surrounded by ghoulish butterflies, it was laboriously hand drawn before being coloured digitally. The tree skull combines Fudge’s ongoing interest in juxtaposing natural elements with the beautiful and grotesque.
The layered composition benefits from techniques learned as a sign writer as well as a fifteen year history creating art on and about the streets. Browse through the process images before checking out the final composition in the gallery below.
From left to right:
Fudge
Skullaleuca, 2011. Acrylic, digital print.
Kiki Hunwick
The First Act, 2011. Digital print.
Tash Gray
Baptism, 2011. Digital print.
Lauren Ravi
The Original Copy, 2011. Silicone, resin, acrylic paint, plaster, digital photograph.
Anthony Kelly
Family, 2011. Gold flock curtain, found photograph, bronze rosette medallion.
Patrick Bridges
Horizon Lines, 2011. Digital prints.
Patrick Bridges is currently completing a Bachelor of Arts at Curtin University. His works have previously featured in the group exhibitions Art in Bloom and Year 12 Perspectives at the Art Gallery of Western Australia, and he was awarded the 2009 Year 12 Perspectives People’s Choice Award.
A surfer and photographer, Patrick’s contribution to the Light Locker Art Space is Horizon Lines, a multi-layered photographic installation. This piece is a product of Patrick’s ongoing visual exploration of the horizontal line as it relates to the intersection of earth and sky.
“Amongst the adrenalin-inducing mixture of wind and waves often comes a moment of calm. But it’s not really calm. It’s awe, patience, anxiety, waiting and concentration. It’s concentrating on the one unifying element that brings the entire experience together – the horizon. Simplified to nothing but a line, we become aware of this division all around us – the flatness of our state, the headlights of a car or train smashing past us, the distance. The horizon holds a meditative power over us.”
-Patrick Bridges
Text by Jenii Scott
Amok Island
Day in the Life of a Tree Frog, 2011. Plexi-glass, aerosol, inks, acrylic.
Amok Island’s multi-layered work creates an illusion of depth while being inadvertently analogous to the animalia mural surrounds.
Netherlands born Amok Island presents his depictions of animals and natural elements on the street and in the gallery. After escaping a stifling art school atmosphere, Amok moved to Australia to pursue his girlfriend and his craft.
Amok saw the Light Lockers as an opportunity to explore 3D techniques, creating a layered plexi-glass arrangement that mimics the process of image creation in Photoshop or Illustrator. The illusion of depth is enhanced at night by the LEDs.
Placing the natural in an urban environment is a hallmark of his work to date, as is a dedication to achieving an aesthetically pleasing balance of key design elements.
Anneke de Rooij
Ghost Wall, 2011. Porcelain bricks, silicone.
Anneke de Rooij imagines what this wall may have looked like long ago, creating a solid but translucent structure that speaks to its brick surrounds and glows phantasmal at night time.
Anneke often works serially rather than making single artworks, employing her art practice as a defence or avoidance mechanism. Without an identifiable end point to her repetitive processes, she works in a purposefully laborious manner to indefinitely avoid facing ‘real life’ issues. On the flipside, engaging in repetitive actions positions her in a contemplative space where she can’t help but reflect on deeper psychological uncertainties or consider if she should “get a real job”.
Time consuming and repetitive endeavours are often haunted by what Anneke describes as “the ghost of excess labour”. She references an oppressive aura where the viewer is poignantly aware of the time and energy invested in artworks or “awe-inspiring and absurdly unnecessary” architectural feats like the Egyptian pyramids. She likes to envisage this aura as a physical material (like a glaze or paint) that coats the work. Whilst the delicate porcelain of Ghost Wall remains unglazed and unfinished, it retains the aura of its own tedious construction.
Alex Wolman
IM TOO YOUNG, 2011. Plasticine.
Alex Wolman works across a diverse range of practices, moving between performance, film, drawing, painting, installation and sculpture. Earlier this year he wrote, directed and starred in a one man play called My Experience of Things. He also completed a short film titled A Girl Didn’t Commit Suicide. He has released a zine of poetry and was the feature poet at the Perth Poetry Club in April 2011. He is currently studying a Bachelor of Fine Arts at the University of Western Australia.
Alex makes intensely emotional works that often find their inspiration in personal experience. “IM TOO YOUNG” is his first overtly textual piece – a practice he intends to explore in the future.
“Too young to be meaningful. Too young to make art. Too young to love properly. It’s all a person growing yet never arriving. Never being satisfied with where you are. Always in the process of becoming without ever being able to enjoy what you are. Conquering what you desired. Becoming that thing you intended. But the satisfaction eludes you. And the gains you have made, and the new things you can do and be, which you had once desired, they are no longer your desires, because there are new ones on the horizon. ‘Here’ is not okay, because as soon as you have arrived there is a new ‘there’ – that point in the distance that is continually eluding you”
- Alex Wolman
Text by Guy Louden
Jacobus Capone
Untitled, 2005. Found leaves, 24 carat gold leaf.
“During 2005, I stopped speaking for a six-month period as part of a major work. Inevitably I noticed a lot of subtle interactions and gestures emerging within me in this time. One was walking from sunset until sunrise, merely for the desire to wander in the absence of people. These semi-ritualistic wanderings took place maybe 2-4 times a week. During this time I started collecting dead leaves from the streets around the city.
“I’ve kept these leaves from 2005 and archived them according to the corresponding dates when they were collected. Those that lie in the light box were collected on June 11. There is no exact site from where they were gathered because each was individually collected upon the journey at various points.
“When asked to contribute to the Light Locker Art Space and having visited the site, it only made sense to include dead leaves from the winter’s city from six years ago. It also made sense to release them back out onto the street after their two month’s in the light box is up.”
