Upcoming Exhibitions //
Exhibitions Runs September 4 - September 15
These series of paintings are centered on the community that orbited around Adam Gant's grandparents’ house when he was growing up in England in the 1970s and 80s.
Adam uses a combination of snapshot photography as source material for the peculiar and personal moments enjoyed by the young family and friends, and comic like figures and shapes to heighten the dreamlike and halcyon narrative in the art works.
The inclusion of pattern and naive personal drawings in these paintings come from an influence of Outsider Art, which has been a strong guide to bridging the subject matter of the photographs and Adam's curiosity in reimagining how these situations could be transformed into a fictional reading of a different story.
DOES MY BUM FEEL BIG IN THIS?
Exploring notions of gender identity both as they appear and as they are felt, my sculptures invite touch and are meant to be touched. So much of our experience is purely visual. I seek a return to the haptic - a redress to the dominance of the visual by engaging the observer through tactile means.
Fabric elements offer a contrasting tactility to ceramic, sometimes hiding surfaces beneath, which can only be experienced through touch, drawing the observer "in" to an
experience that is felt, not simply seen.
Feeling elements, especially when hidden, carries erotic under/over tones, alluding to the forbidden, intimate aspect of touch. In the shaping of personal identity, the inner journey finding outer expression engenders a tension between one’s ‘inner self’ and outer appearance. I seek to contact/touch/feel the disjunction between what appears and what is felt.
In a fearful world of cosmetic surgery and genetic pre-disposition to cancer, I play with social conventions of female beauty. Through playfulness and the combination of ceramic and fabric, two materials with traditional feminine associations, I question the ‘beauty myth’. In the context of feminine identity, the suppression of emotion has a long, dark history, which remains as a backgrounding ghost in the female psyche. I hope, by favoring the haptic, playing with appearance and commodification, having fun with superficial notions of femininity, to open the door to feeling in an emotional sense as well. I hope you enjoy the experience and would love to hear your thoughts about it.
Koji Makino is a Japanese/Australian photographer.
His work has been shown in several exhibitions in Australia and has been held in private as well as public collections.
He moved from Japan in 1996, and currently resides and works in Sydney, Australia.
TAKE CARE PROJECT SPACE
Curated by Talia Smith
New Zealand based artist Salome Tanuvasa examines the hard working ethic of Pacific factory workers and hotel staff in her video work Expensive Movements. As a child Tanuvasa recalls the time spent waiting outside of various factories for her parents to finish their long hours at work. As a way of acknowledging this hard, labour intensive work that some families have to go through Tanuvasa takes her camera into the factories themselves and captures the people who work there. Giving them the acknowledgement and space that they deserve.
“…showing the individuals that drive the economy forward, the physical demanding jobs that are expensive movements.”
Salome Tanuvasa is a New Zealand based artist of Pacific descent who is currently completing her Masters of Fine Arts at Elam Arts School in Auckland, NZ. She has exhibited her work widely throughout New Zealand including – This Must be the Place at St Paul Street Gallery, Siapo Cinema in Wellington and Return to Sender at Papakura Art Gallery. This will be her first show in Australia.