Design and Art Australia Online

Carsick was an interactive installation using sound and video which looked at what happens when our expectations of technology literally break down, elements were triggered by the movements of the spectator in the space and around the stationary parts of the dismembered car.

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

The works in this installation are part of a bigger community project, not only does each component concern itself with narrative in some way, but the three in turn make connections and generate their own relationships

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
http://www.eaf.asn.au

A sculptural and video exhibition in three parts, large three dimensional word constructions represent certain 'rite of passage’ events in a surreal, non-felicitous play of content.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
http://www.cacsa.org.au/archives/index_frames.html (15/11/04)

A large two piece installation. The viewer entered first a kind of antechamber (Strawberry Girl) filled with arrangements, vanity-mirror-style, girlish objects, surrounded by pink & white illustrative images of a 'type’ of sexuality that seemed to morph from David Bailley, sentimentalized soft-porn to a more aggressive, punkish & androgynous perversity & provocation. Decor turning scornful.

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

Sound by Peter Sansom. 'Mutant!’ posited powerfully two sets of imagery, each with its own distinctly yet related connotations & associations. On the walls two pairs of static images were projected by high-placed projectors, pairs of bodies, male & Female, classical, complementary poses suggestive of human physical possibility & power.

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

The exhibition conjured a strange kind of surreal space, where objects floated as if we were inside someone else’s dream, the elements in the installation flipped back and forth from benign humour to a darker sense of circularity. Lit by little plug-in lights that ran the perimeter of the space, like theatre-aisle lights, where stood rows of cast and split cats of the Chinese 'good luck’ variety.

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

Eugene Carchesio’s exhibition was marked by a certain quiet optimism… restrained but most definitely there. The exhibition consisted of watercolours variously positioned in the space which was subtly articulated through the careful and considered placement of movable walls.

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

Bary’s paintings used shapes and texts that follow paths determined by the grain of the plywood that he works on.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report; http://www.logan.qld.gov.au/thingstd/catalog/pages/bary.htm (16/04/04)

The exhibition was an extension of a project the artist has been working on over the last few years: a project that interrogates the positions and the syntaxes of painting.

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

An installation that filled the gallery with several islands of furniture – an arm chair, a low table and a lamp – and on every table a small hard bound blue book containing a text – each one of which was different. The only light in the gallery was that thrown by the reading lamps.

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

The visitor walked across the stones, traversing the water, thus becoming the sign within the representation for the electric signal which would traverse the biological/organic synapse.

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

Installation consisted of various forms of containment and closure which both closed off and delimited, but at the same time allowed leakages and partial escapes.

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

The space was divided into two parts, the first area contained not only the artists more 'usual’ work, found objects, images and material are combined within frames in highly aestheticised configurations that flick between abstraction and representation, usually simultaneously, but also larger works using images and material set in cubes, moving the works into a rugged three dimensionality.

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

Funded by Australia Council of the Arts. In the work of Andrew Petrusevics this went as far as echoing the design and graphics of constructivism and the Bahaus in the constructions of his images, be they computer-manipulated portraits of politicians or three-dimensional works. his practice has evinced an ongoing fascination with the structures and expressions of power.

Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
EAF annual report; 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. John Reid has been working on a piece made up entirely of Australian banknotes since 1982. The project, designed to draw attention to the economic underpinnings of political repression – and in particular political disappearances – resulted in a three year legal battle. the case ended, under a new Act in Parliament, with the granting of permission for the artist to cut up banknotes – an act other wise illegal for individuals in Australia.

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

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

Funded by Australia Council of the Arts. H.J. Wedge’s work consists of figurative paintings, made using the dot style, which refer to incidents and events that happened on the mission, others about wildlife etcetera and the difference in attitudes to such.

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

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

Funded by Australia Council of the Arts. This work used the witness request boards found on the streets of London where Mannall had been recently resident. These offer brief descriptions of crimes or accidents that have occurred at that site, serving to reveal violent or criminal events or narratives linked to a seemingly anodyne location, that would otherwise be occluded from view.

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

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

Funded by Australia Council of the Arts. The artist’s work references many different codings and languages: from those of advertising, fine art practice, popular culture and gay iconography in works that blur the boundaries between these areas.

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

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

Funded by Australia Council of the Arts. Patricia Picinnini used nine monitors in a horse shoe shape, which carried the sound and image of a computer-generated mouse scrabbling around a constraining environment or maze. These monitors accompanied a series of large format ciba-chromes of beautiful female models surrounded by, in proximity to, mice, with human ears growing out of their flanks in a work that looked at new developments in genetic and tissue technology.

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

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

Laurens Tan used a monitor as the central focus of a piece that was essentially a non-operational poker machine, borrowed the form of a futuristic poker machine, beautifully crafted out of formed plywood to carry an animation that used the iconography of gambling and money in a sort of hallucinatory visual mantra.

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

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

Stevenson’s work was built around electric buggies which had been accreted with texts and stickers referencing a multitude of concerns, from politics to 'if you drink and paint you’re a bloody expressionist’. These works refer to the trolleys/wheelie buggies that are often seen in shopping malls etc laden up with Bibles, conspiracy tracts and so forth.

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

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

This show was part informed by a trip to Europe during which the artist viewed some of the productions of visual arts practice that were praised.

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

The exhibition was a continuation of a project that Cruickshank has been engaged in from the 'Arcanum Museum’. Previously the work focused on photographs from colonial white Australia, and on which, through the use of computer technology, faces from other (excluded) peoples have been seamlessly insinuated into the frame: suggesting another potential history. This work reversed and expanded the substitutions, whereby Victorian and Edwardian photographs of black people – posed, designed and photographed by white people – were used as the base for the work.

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

Exhibition Catalogue:
Arcanum museum project/Alan Cruickshank. Adelaide, SA: Alan Cruickshank, c1995
ISBN 064626009X

Documentation was also an element in this work, part of which utilised a video projection of film footage shot in Paris by the artist, The footage was of shots of the artist making small leaps from doorways and kerbs, launching herself briefly into the air, only to land, after a nano-second, on her feet, to repeat the process again. The image was projected some three and a half metres square and inevitably drew to mind (and referenced) the Yves Klein image of the artist launching himself our of an upper storey window on a French suburban street….

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