Upcoming Exhibitions //
Exhibitions Runs May 28 - June 8
HEAVEN AND EARTH
Lisa Woolfe and Jan Handel
Jan Handel’s tondi are gentle evocations of the moment the ‘soul’ leaves the body. They examine the notion of death as an inherent condition for life, and originate from a childhood preoccupation in trying to ‘catch the soul’ of dying insects. These works loosely reference ceiling paintings in European chapels and cathedrals. They create a sense of spiraling upward movement towards an imagined heavenly space, a long-held idea of death in the western world. Lisa Woolfe’s drawings are the second iteration of her series Ficus Macrophylla. The series is an exploration of the detailed relationships and connections between each element of the tree and ultimately to the Earth and to ‘you’: “I am curious about the way our world view is now predominately mediated through technology (smart phones, Instagram etc) and effect this has on our connection to the Earth and nature. We look, but do we really see? We hear, but do we really listen? Executing these works requires me to sit for hours in nature, draw and map the forms. Really look and really ‘see’.” Although the works of Lisa Woolfe and Jan Handel are aesthetically divergent, they complement each other conceptually. ‘Heaven and Earth’ presents the viewer with aspects of life and death; the flourishing of trees rooted in the earth, and the ebbing and floating at the end. Life exists between the two.
Freedom is an idea that has a range of different meanings and connotations. To Fly is an exploration of the idea of freedom from several cultural, romantic and political perspectives. A diverse group of South African, Chinese, and Australian Artists have approached this theme using a variety of media including video, jewellery design, painting, animation and photography.
Featuring works by: Eleanor Evans, Lucia Masango, Rebecca Hinwood, Josh Sellick, Wei Rong Wu and Ellie Windred
Art is the tool by which I can share my thoughts and beliefs to the world. This new body of work identifies the widening economic gap between cities and rural towns. This widening gap is a far cry from a commonly held historic perception of an egalitarian Australia.The inspirations for my new work are to decipher the strategies used by luxury fashion brands (e.g. Chanel and Yves Saint Laurent) and apply these to rural country towns (e.g. Collector and Yass). In presenting my work I have not been confined to one specific medium but have instead chosen objects best suited to the concepts that I am illustrating. In this exhibition I use a number of different media – screen printing bags, posters, and boxes similar to luxury branding merchandise, advertisement and packaging. The exhibition offers my audience a chance to stop and reflect on the power of branding.
FOR THAT WHICH IS BETWEEN THE EARTH
Curated by Luisa Tresca
For that which is between the earth, rather than being a traditionally curated show as such, is an ongoing collaborative research between an artist and a curator. After a year-long conversation, the two reached the starting point of the project -or one of the many possible- which will start taking its shape with the first exhibition at Gaffa this May 2015. In For that which is between the earth, Moldvaer and Tresca, using Sydney as a starting point, attempted to investigate what constitutes a meeting with an unknown place, the experience of finding oneself foreign in an unfamiliar environment, and finally how we can understand and speak of intangible presences, like memories, fictions, imagined cities and places that we’ve never been to, but that are as present and vivid as manifest realities. The exhibition examines the abstraction of language, the need for home, the concept of pilgrimage and the nature of knowledge. These rather vast subjects are not exhausted in any academic sense, there is no abstract explaining the essence of the project, nor will there be any fixed conclusion. Such broad overarching themes have sprung more as a necessity to try to understand and grasp Sydney from afar, rather than being focal points of observation. Even though the project is structurally site-specific, it has come to be an inquiry into places in general: how we meet, experience, and interpret environments that are unknown to us, and furthermore, how we can speak of these places and these encounters, taking into account all our limitations and the fallacy of our interpretative systems.