in the making 2019
“in the making”
PROJECT CONTEMPORARY ARTSPACE, Wollongong
27th March – 14th April 2019
Gabrielle Adamik, Felix Allen, Lizzie Buckmaster Dove, Michele Elliot, Anita Larkin, Geoff Morrell, Catriona Stanton
As I walk the Illawarra shoreline, collected coal pebbles mark my hands black. When pocketed they knock together, remembering the music they made when dancing on the ebb and flow tide.
In High Tide New Moon 7 April 2019 pebbles are arranged in the shape of an antique lace doily, echoing the overlay of one culture upon another. The diameter of the circle is the same as the highest tide occurring on the new moon within the exhibition period.
On the wall is its’ ghosted Remnant. In Australia only pockets of remnant bushland remain unchanged since Colonial settlement.
Turning of the Tide is a distillation of activity, density, potency. The phrase was lifted from an email earlier in the year on the need for action on climate change. The circle shares the same diameter as the turning tide on the new moon which falls on the middle day of the exhibition.
…chunks of coal, lengths of string, felted wallaby fur & merino wool, salvaged linoleum, cracked earth, suspended glass, weathered boards, toothpicks leaning toward entropy…
in the making shows seven Illawarra based artists in communication with materials. The process of making and the dialogue that opens between artist and their chosen materials is laid bare. The artworks inhabit the space of the gallery, claiming individual place while in communication each with each; bound together by process and materiality. Lean in, listen, hear (the growing crescendo) of their chatter.
The artworks are grounded in the physicality of making forms, allowing the artist to abandon thoughts toward the functional, instead opening to the unexpected. There is dissolution & resolution between material, thought, action. Each informs the other. The artworks part way express the human need to engage with elementary materials, which unite us in the world we live in.
in the making reveals the discipline of sustained artistic practice and makes bold claims on the importance of fostering and retaining alternate modes in which artist and audience might engage, as well as spaces to exhibit.