Design and Art Australia Online

Objects and photographs are speculative and from a reflexive, Koori perspective, pointing to (ab)uses of indigenous cultures within history and current media. The use of T-shirts in this exhibition are subversive, slogans are political expressions, all from the artist’s collection, which at one time or another affected the artist.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report 1997; AGNSW Library catalogue

Exhibition Catalogue:
Lawyers, guns & money: a project of the Experimental Art Foundation. Adelaide, SA: Experimental Art Foundation, 1997
ISBN 0949836338

Part of the Lawyers, guns & money project.
Rebecca Cummins stacked monitors six high in a work from 1991 called Descending metaphors in which an endless list of euphemisms from the gulf war descended constantly to chilling effect, as the anodyne, and literary construction of the phrases masked the physical actuality of the referred outcomes.
Liquid scrutiny rearticulated a conversation piece from the 17th century, where wine glasses, or in this case silver goblets, also operate as a form of surveillance technology with which to keep an eye on your fellow diners through peering down a lens placed at the bottom of the bowl.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report 1997; AGNSW Library catalogue

Exhibition Catalogue:
Lawyers, guns & money: a project of the Experimental Art Foundation. Adelaide, SA: Experimental Art Foundation, 1997
ISBN 0949836338

A collaborative project by Wigg and Grayson which has been commissioned by the Art Museum and is the first occasion that these well known Adelaide artists have worked together.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
UNISAM exhibition archive

This was a major work by South Australian based artist George Popperwell. One half of the gallery on entrance was empty, its boundary marked by a dividing wall. Passing one entered a space that was filled with shapes and forms constructed out of marine plywood. These referenced various scales and expressions of architecture: from flat sheets at the far end of the space that suggested both decorative ogees in walls as well as funerary slabs, to simple cubes, to buildings with eves and roofs, some entire, some sectioned.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Conceptual work.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The space was occupied over the ten days by artist spent in the gallery constructing the work.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Premiere of a new work which consisted of a series of large photographs of the artist, sometimes echoing an academic anthropological photography (in profile, holding a measure) and others in which she echoed iconic western images: Madonna, Monroe, Keeler, Grable.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Gas presented works of hesitated meanings, elided links, where implication and the nearly voiced were generated by and between the component elements.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

An auto-biographical/biographical element, with artist continuing her series of works based on her late father’s collections, the lists, strategies and objects used and listed as pertinent to a caravanning holiday, supplies, maps etc, were assembled and articulated into works.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The work flickers between the now, enlightenment and pre-enlightenment in its uses and articulations of space and memory.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The exhibition referenced ideas of minimalism and colour field practice, however confusing and problematising these through their combination with other references to historical practices, and those autonomous to the work and project itself.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The starting point was a reflection by Wittgenstein on how words might be placed or generated, whether they are held in place through images.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Consisted of furniture and domestic interiors constructed by the artist referencing ideas of sixties and seventies opulence best exemplified in the interiors of Graceland. Speask about kitsch, and the sublime.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The painted sheets of hardboard propped by means of sticks across the gallery floor were stripped of their function and readings, and shift into another inert state, another mode of being.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

A series of works, made via computer technology and colour photocopying, using images drawn from adverts offering fetishistic clothing and accessories, and images of the unadorned un-retouched middle aged female body.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The installations central concerns were those of the institution, work, and women.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Two artists were invited to make work for the South Australian Museum and were given access to collections of the Museum. Works that looked at, and experimented with, ideas of how we structured and make sense of the world; concerned with questioning and illuminating the ways that we read meanings into individual objects and how we place them in structures that, in turn, generate meanings.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

A video, in which the artist held a series of self-portraits onto his face purely through inhaling hard against the paper, leading him to hyperventilate, accompanied live by counter-tenor John Breheny, in full evening dress, taking individual images from the box of 100 self portrait etchings in front of him, and using them as a cue for a sung improvised response.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report; UTAS catalogue

Exhibition Catalogue:
Mike Parr: The self-portrait project. Melbourne: Bookman Press Pty Ltd, 1994
ISBN 1 86395 043 5

The artist used easily available technologies to construct simple robotic systems that both echoed the natural world in their movements and remained true to their simple mechanical nature.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Kevin Todd produced large pixillated images of the body and its interiors using medical scanning technology. The works were about mapping and investigation and the epistemological expectations that we load onto the machine which we feel that a machine can “know’. In this case the knowledge has to do with our expectations of the hidden, that, through transcending the surface and the visible, a transcendent meaning may also be revealed – literally insights.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

The sound of the Box Being Made represented an extension of David O’ Halloran’s investigation into the idea, and the framing devices, of the museum/gallery. The show consisted of funkily polychromatic wooden volumes that were at the same time both plinths and vitrines, grouped and arranged about the space in a way that reinforced their architectonic and sculptural qualities and their relations to the modernist white cube that housed them, thus setting up tensions of expectation and context.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

Trin Vu used computers to make paintings. The work was generated on screen and then printed out, at some considerable size, onto a variety of supports – handmade papers and others – that were then pasted, stitched or variously assembled. The images that the artist used were lettering, scribbles, numbers and text giving a strong graphic and abstract sensibility to the work.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

A row of light boxes bearing no image other than layer of blue gel, with the exception of one that bore the X-ray of a cruciform of grains of corn. This work played complex games with iconographies and narratives, suggesting that our daily bread – the corn – only results in a dissolution of that which it builds – the absence of the body on the screen.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report

This work was an array of empty beer bottles on a sheet of MDFG board, a half burnt wax candle head on an empty stereo cabinet and a series of drawings of piano key boards in Texta pen, on the ripped out pages of a register/accounts book (disbursement register). It used ideas of the abject and also layered scratchy metaphors into a consideration of a (pointless) action or repetition, in which an action, or the contained, was always denied.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report