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october 2 - 20, 2007
STRIP
Nicola Page
Page explores the relationship between the digital manipulation of images and the traditional practice of painting. The use of Photoshop has seen the simplification of form, flattening of colour and deletion of image detail. Information is lost as it is processed from subject to digital photograph. Page is interested in these gaps of information created by this simplification and processing of the image.
Bethanie Nichols
Nichols deals with how we inhabit both domestic and public constructed spaces. It is in our nature to manipulate our environment. Negative spaces, and the areas of nothing between things allow structures to exist, such as corridors and verandahs, and blur the notion of inside and outside.
Nichols is attracted to the materials utilised to layer the surface of our spaces, such as wallpaper, tiles and textile patterns, rust, aged wood, old carpets and bricks which contain subtle variations of colour. Recently her work has become more influenced by the idea of interior spaces and surfaces juxtaposed with the outside.
Elizabeth Bryan
Bryan’s current body of work investigates the possibility of beauty in the so called mundane. Ordinary objects such as vegetables can be given meaning and beauty beyond their function. Bryan is influenced by the symbolic nature of still life, and how the genre and its’ themes have evolved throughout history. The still life object and subject can be a means of representing power or wealth, the abundance of objects, mass consumption and waste. The artist’s exploration began with waste and abundance, which has led to an investigation into the processes between life and death. Within this framework Bryan is particularly interested in how the process of decay can be a means of expressing life and beauty.
Yasmin Holm
Yasmin Holm graduated from The University of Newcastle with a Bachelor of Arts (Communication Studies) degree in 2004, and is currently undertaking a Postgraduate Diploma in Visual Art at the Victorian College of the Arts.
Her practice consists of photographs, videos, objects, and installations inspired by her personal experiences. She deals with representations of women, everyday life, and is beginning to explore ways to document less tangible, more cerebral experiences like dreams and memories.
Hannah Gatland
Gatland’s practice focuses on renegotiating the physical and cultural spaces of urban scapes. This negotiation is fuelled by the habitual consumption of her surroundings. Passing through the urban environment the artist absorbs and re-processes the influences encountered, and in turn records them as personal mind maps. These painted mind maps reference each other beyond the painted canvas. Few rules are applied and a formal juxtaposition of stripes is a familiar backdrop for the negotiation of fragments and compositions from the variety of stimuli.
Hannah Gatland
L to R: Bethanie Nichols, Nicola Page, Hannah Gatland
L to R: Nicola Page, Elizabeth Bryan, Bethanie Nichols
L to R: Yasmin Holm, Elizabeth Bryan
Nicola Page Elizabeth Bryan
Yasmin Holm Bethanie Nichols
by Anke Stäcker
Anke Stäcker’s photographic works investigate and record the changing urban environment. transitory explores the ephemeral nature of places and buildings which are then translated into abstract patterns. Sections of wall, corrugated iron and abandoned structures weave together fragments of history.
While the photographed image remains as a form of truth, Stäcker has lightly left her presence in each image by delicately manipulating the production process. Invisible light sources add subtle changes, a coloured flash inundates the subject or coloured paper bounces off the lens. The result is a body of work that traces beauty in the neglected, the overlooked and the derelict in the urban landscape through the subjective view of the artist.
Anke Stäcker is a Sydney based photographic artist. In 1988 she immigrated to Australia form Germany. She completed a master of Visual Arts at the Sydney College of the Arts in 2000. This is her third solo exhibition in Victoria.
All works are in an edition of 6
available in the following sizes:
290 x 210 mm $170
300 x 420 mm $ 230
Anke Stäcker, Sydenham Park, 2006,
Type C photograph, $170 / $230 / $350
Anke Stäcker, Regent Street, 2006,
Type C photograph, $170 / $230 / $350
velocity
If a photograph was taken every one tenth of a second, then a day would be made up of 864 000 photographs. How many of these photographs would be remembered? Each photograph would have no meaning without the context of the photographs before and the photographs after. Each snapshot would be a brief experience of reality, where all moments are equal. A light shifting of the head, the passing of a light, many of the images would be blurred and distorted to the point of abstraction.
Through the medium of painting Benjamin Champion has explored this concept further. velocity is a group of seven works that explore the human impossibility of inhabiting the present moment. Each image is a brief one tenth of a moment, suspended out of context without the moments before nor the moments after.
These moments emerge from each carefully rendered canvas to evoke a sense of the fleeting, and remind us of the abstract nature of time.
Champion graduated from RMIT in 2000. This is his first solo exhibition at red gallery.
Benjamin Champion, velocity 1 (detail), oil and varnish on canvas,
1200 x 1800 mm, $ 900
more images by Benjamin Champion
opening night drinks
wednesday october 3
6-8pm
exhibition duration: october 2 - 20, 2007