Upcoming Exhibitions //

Exhibitions Runs October 2 - October 13

Leah Mariani

Leah’s latest series of work explores the link between love and fashion. Everyone knows that what we wear sends a message about who we are. Her works goes further and considers how what we wear tells a story about who we love. It is not uncommon for couples and close friends to dress alike. Similarly, twins and siblings are often dressed the same by their parents or may do so of their own accord. Whether done consciously or subconsciously, it shows that our choices about what we wear are influenced by our significant relationships. Not surprisingly, the subjects of these paintings are mostly couples and siblings, side by side. The subjects often look alike and whilst they may not be dressed identically, their clothing has been replaced by flat areas of matching pattern, irrevocably connecting them.

Alison Courtney

“We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter.”
~C. S. Lewis, The Weight of Glory, 1941

The Irresistible is a visual treatise on beauty. Taking inspiration from the writings of 20th Century English scholar and author, C. S. Lewis, the exhibition seeks to probe and reveal the multifaceted, contradictory, stirring nature of beauty. Each work is an attempt to make tangible some aspect of our experience of it, both as individuals and as a culture.

A recurring motif is the face, and specifically the lips. Lips can evoke seduction, a symbol of the irresistible magnetism of visual beauty, drawing its viewer into bathe in more than just visual delight. Lips can also suggest speech, a formless entity that reveals the thoughts and identity of a person, a kind of image not discernable to the eye. Through this motif, and other devices, The Irresistible is an attempt to scratch at that experience we know deeply, the one we call beauty, to peak at what might lie beneath.

Kirsten Cunningham

An exhibition of large format analogue black and white photographs in the Straight Photography tradition from Joshua Tree National Park, California.

Artist Statement

This exhibition explores the tradition of the early 20th Century Straight Photography movement pioneered by photographers such as Ansel Adams, Imogen Cunningham and Edward Weston, using a 4x5 large format Chamonix camera.

Originating in 1904, the term Straight Photography urged photographers to ‘work straight’ and reject the Pictorialism movement that imitated painting. Demanding that the photographer focus on the basic principles of photography, the movement advocated a purist aesthetic of the medium.

With much of my previous work centered on the fleeting and instantaneous nature of digital and 35mm street photography, this project is a personal challenge to slow down and work beyond the temporality of documentary, and like the early 20th Century straight photographers, use a large format 4x5 camera and manual film processes.

During two artists residencies undertaken at Joshua Tree National Park in southern California, I forced myself to focus on the basics of how to build a picture, what a picture consists of, how shapes are related to each other, how spaces are filled, and the overall unity of an image. In short, I slowed down, worked straight, and relearnt the basic principles of photography.

As a result this body of work is an exploration in seeing, using antiquated technology and subjects unchanged and unmoving for possibly millennia.

The project is also an artistic experiment to create meaningful images of landscapes typical to Joshua Tree National Park area, in the rich Californian tradition of laborious and methodical but 4x5 large format black and white photography.

(curated by Talia Smith)

Salome Tanuvasa

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.”