Design and Art Australia Online

French photographs from the last century of a matelot were featured in conjunction with a drum kit which had the skins replaced with photographic images of discarded clothing.

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

A video installation consisting of a single monitor mounted at the end of a vast grey box that extended across the space – nearly invisible, as it was illuminated only by the light from the screen, but still making its monolithic presence felt to the viewer. The monitor carried a black and white image of couples first embracing and then relinquishing the embrace. The gender combinations were made more amorphous through the androgyny and short hair of the participants. The movement happened in silence, and built up to a poignant repetition of need and loss, the 'farewell’ becoming increasingly powerful.

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

This installation utilised tachite ink stains, a repeated Chinese ideogram meaning dream/impermanence, and the artist’s dark painted and photocopied canvases incorporating details from 'old masters’ in a work that amplified some of the concerns constant in the artists practice, in particular, the use of the grid. The grid is both closed (framed) and open, the parallel lines stretching towards infinity.

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

Cardboard boxes were building blocks for a ruin (or a cave or a deserted tomb) and hollowed shells, constructing a melancholy metaphor of previous use, of things evacuated and left behind. The boxes had a deadening effect on sound and the temperature dropped on entering the work; referenced not only minimalism and arte povera, but a European romantic tradition where the deserted tomb or temple was used as a memento mori, as well as our own ontological lost innocences where we had used boxes to construct our own shelters.

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

A computer randomly plotting all the three dimensional co-ordinates within the space of the gallery, displayed by means of three digital print outs arranged in the space in such a way as to recall the installation of minimal sculpture. Even though the work was 'understanding’ and modelling the space that it occupied, it was doing so in such a way that it was only comprehensible within the system’s own terms of reference: the artist described it as a Cartesian scatter piece.

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

Charcoal wall drawings of gardens and slide projections of flowers in a mediation of the current taxonomical systems and in consideration of the symbolic meaning of gardens. The work spoke about not only the 'scientific’ organisation of information into sets, but of the use of 'pre-scientific’ models – the occult, the mystic, the alchemical, how these models may inform each other in poetic dialogue.

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

This exhibition was part of a dual project – the Adelaide Festival Centre’s Artspace exhibited a retrospective of the prints of Pam Harris, whilst the component at the Experimental Art Foundation celebrated her performance and video work through photographic documentation, videos, and the display of the props and constructions she use in performances. Pam Harris was a significant artist and had considerable influence in South Australia as an artist, teacher and exemplar, and this exhibition paid tribute to her practice.

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

This exhibition included wall reliefs made from hammer-toned handbags with texts underneath as well as a series of light boxes of images of glamorous office furniture.

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

Computer manipulated necco prints to illustrate and interrogate our fascinated gaze as regards 'the east’, 'Mien’ used the format of the oriental scroll, so that the faces were presented in a series of confronting banners.

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

Exhibition Catalogue:
Mien: Chinese scrolls, Singapore-Adelaide 1990-93. Adelaide: Alan Cruickshank, 1993
ISBN 0958956812 (prepublication)

Large temporary sculptural installation by Adam Boyd generated through the admixture of chemicals, swirly foamy forms that operated between the determined, the random and the ready-made.

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

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

Shane Carn was awarded a Samstag in 1993. This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report; http://www.google.com.au/search?q=cache:HXhYyACY2vQJ:http://www.sydneyfestival.org.au/archive2004/content/media/032_31%2520Museum%2520of%2520Dreams%25201p.pdf+Tony+Kastanos&hl=en&ie=UTF-8 (29/03/04)

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

This exhibition is part of a season of turn-around exhibitions (about 10 days) called Short Sharp Shock, making strong pro-active links with a new practitioners and audience, artists exhibited works-in-progress. It allowed the institution to take the risks partially denied to it through the pragmatics involved in putting on exhibitions that last for over a month.

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

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

A major installation work by this artist sound element integrated with the illuminated texts and projections.

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

Iacobelli dealt with a series of small images drawn from his recent VACB residency in Barcelona painting the entire wall area of the gallery in the red and yellow horizontal stripes of the Catalan flag this transformed the works and gallery into an autonomous vibrationary unit.

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

Simryn Gill constructed two works, (Loot/Poona) was made out of – largely British – books that were from the early to mid part of this century and were about geography, exploration, and (colonial) adventure, she had cut ogees that echoed the shapes of Indian and Asian architecture, and within these, small objects were placed.

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

An exhibition of media while also commenting on media. The artists were asked to consider photography from a number of positions that sought to analyse such imagery’s 'naturalness’ ,domination and fascination
EAF Annual Report 1989

British Performance Night: UK Artists in Residence Silvia C Ziranek and Charlie Hooker and 1984 EAF Artist in Residence Richard Grayson