BRISBANE EMERGING ART FESTIVAL 2010

DATE : Saturday 23rd January, 6:00pm - 11:00pm

VENUE : White Canvas Gallery


The 2010 Brisbane Emerging Art Festival was an independent arts showcase of local emerging artists currently practicing in Brisbane. The festival highlighted leading artists from across visual art, music and performance.

The exhibition titled ‘b.e.a.f’ showcased artists within both an entertaining and critical discourse, with a purpose of creating a forum for the public to view, celebrate and criticise new modes of art practice.

Artists :

Jasmin Coleman
Haruka Sawa
Warren Handley
Joshua Rufford
Benjamin Reeve
Zoe Porter
Carly Kotynski
Rachel Bartram
Clarissa Bones
Tammy Law
Reilly Smethurst
Andrew Cain
Nathan Mouritz
Anna McMahon
Marty O’Hare
Peter Wilson
Ellen Stapleton
Fiona Kennedy - Altoft
Michelle Van Eps
Drea Merkin
Amanda Heelan
Elise Terranova
Laura Bailey
Lucinda Wolber
Walrii (Dank Morass)
Nicola Morton

Haruka Sawa


Haruka Sawa was born in 1987 in Japan and came to Australia in 2004. Haruka has started photography at The Centre for Creative Photography in Adelaide as part of her secondary education. Since then, she won Senior School Photography Prize, her photographic works were purchased by Adelaide High School and her works were selected for SSABSA Design and Technology Show in 2007. She has currently undertaking the Bachelor of Photography with honours at Queensland College of Art. In the GAS, Graduate Art Show, she won GAS award for her installation work, ‘Conduit’. Also, she has recently won Clayton Utz LAUNCH Art Award 2010.

www.harukasawa.com

Jasmin Coleman


Abstract thoughts pertaining to time, change and forms in space.”

I am presently exploring these ideas through a process by which the formal design principles of Modernist Architecture and Geometric Abstraction Art are employed. A renewed interest in Kinetic Art has led me to begin new investigations into how I can most effectively use illusionist painting devices to create a sense of three dimensionality and dynamicism to static flat surface supports, or to simple solid forms, whilst still producing artwork that retains it’s grounding in the ‘real’ and actual physical environment. For this reasons my choice of material and supports are often utilitarian, raw and honest such as concrete, metal and timber. Observations of the current dynamic and transformative face of Brisbane’s built/constructed environment are a central focus in my artistic practice. Particularly the constantly shifting and evolving relationships between real objects and their surrounding space.

www.jasmincoleman.com

Warren Handley

As well as graphic symbolism, western cartography uses the human made processes of geometry as a way of both measuring and ordering the relative vastness of the space that we inhabit on this Earth. However the Euclidean based geometry used to project the world onto a flat piece of paper is only useful for describing human made objects and forms, such as cubes and prisms. Therefore when used to project the irregular spherical shape of the Earth onto a two-dimensional plane, inevitable abstraction occurs in its representation. Furthermore it is impossible to take three-dimensional space and project onto a flat two-dimensional plane without some form of distortion taking place. This apparent abstraction in cartography is often masked by the mathematic and supposedly objective aesthetic that geometry portrays.

It can be seen that the process of projecting this human made system onto the world within cartography is also reflected in how we physically construct it. All over the western world the use of the Euclidean grid can be found in how cities have been structured and laid out. Cities are abundant with architecture built using the system of geometry, the archetypal skyscraper being that of a rectangular prism. Furthermore the imposing of geometry onto the world can literally be seen in how trees are fashioned into geometric shapes to build furniture.

“We have literally imposed geometry on the planet, flattening the ground and building cities on grids of roads laid parallel and at precises right angles” (Turchi, 2004, 162).

Despite the unnatural rigidness of such geometric manifestations, the slick minimalist aesthetic of basic geometric objects is something that is either loved or hated. For me, particular resonance is found in the juxtaposition of slick geometric form with a contrastingly raw and organic aesthetic. This series of prism sculptures seeks to simultaneously explore the boundaries between the graphic representation of three-dimensionality and actual manifestations of it, whilst also exploring the aesthetic paradox between contrasting processes of creation.

www.ten-p-bag.blogspot.com.au

Peter Wilson

Having recently completed a degree in Photography at the Queensland College of Art, I am embarking on a career in photographic art practice. With this newfound freedom from the educational structure I have begun working on several bodies of work.
My work method adapts with my emotions and my concerns in life, and with death. Only my emphasis on telling stories through quiet moments remains constant as I fully embrace a desire to be always changing. In an industry where finding and eternally utilizing a niche style is encouraged, I choose to let my natural instincts to see and to try new things guide my path in creative art.

www.fragments.peterjwilson.com.au

Marty O’Hare

My art practice explores the interplay between certainty and uncertainty, the way in which well laid plans can play out along different lines and become stepping-stones in a larger story.

I’m particularly interested in instances when an image appears to be something other than what it really is, or occasions when ‘alternate circumstances’ come to mind when viewing an image.

Ideas of the world we are forging and scenarios that may await us are important in my photography. My images often attempt to contrast the experience and emotion of our surrounds with aspects of a world taken for granted.

www.qcp.org.au/artists

Anna McMahon


Anna McMahon is currently exploring the cross over between sculpture, photography and ideas surrounding ‘the real’, and in her most recent work, McMahon furthers her enquiry into this area. By cutting out the image of the light and mounting it into a light box, McMahon subtly investigates the difference between literal light and the representation of light. In doing this she creates a cross over between photography and sculpture; the works are not contained within the two dimensional world, but are transformed and extended into the three dimensional real space. Additionally, these artworks explore the idea of what is real by intentionally undermining the presumption of the photograph to be a depiction of ‘reality’

www.annamacmahon.com.au

Tammy Law

Tammy Law is a freelance photographer based in Brisbane, Australia who pursues photo documentary stories. Her work has been referred to as, “evocative documentary… that includes social justice issues and the ostensibly mundane urban spaces in which we live”. With a strong community focus, she has produced bodies of work on ageing day-labourers homes in Japan, post- earthquake China, domestic living in Inner Mongolia and inequalities in Ethiopia. Her photographs have appeared in publications like the Sydney Morning Herald, Frankie Magazine, The Big Issue and Blueprint UK.

www.tammylaw.com

Zoe Porter

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I am an emerging visual artist and I live and work in Brisbane. I am currently studying a Doctorate of Visual Arts at the Queensland College of Art. I use a variety of media and approaches including painting, sculpture, collage, performance, digital photography and animation.

I have exhibited regularly in group exhibitions in Brisbane, Perth, Sydney and New Zealand. My work is an exploration into the human psyche; the paintings and collages are often a combination of human and animal features, conveying the hidden aspects of the self. The subjects could be considered both sinister and innocent at the same time - these creatures are somewhat familiar yet strange.

www.zoertroper.blogspot.com.au

Benjamin Reeve

His creative work can be found on an impressive list of projects and have featured in many Australian and international productions from large scale graffiti murals to big budget films. The development of Brisbane city’s traffic signal boxes, a concept he conceived and fought at government level to see realized has become a quintessential part of the Brisbane landscape and the idea has as a result been adopted internationally.

At the start of 2005, Benjamin Reeve ceased working on films in favor of further developing his personal paintings for gallery shows. He travelled to Tokyo where he lived and exhibited for approximately 4 years. Ben’s exposure to such a multi-layered culture refined his focus somewhat by expanding his artistic development process. This resulted in a desire to further his process by returning home to study. Ben wanted to develop techniques employed in creative advertising as a tool for his own creative focus and exploration. Following this path of creative development, and due in part to his completion of his Master of Creative Advertising degree, his work has taken on a new conceptual ground.

[www.benjaminreeve.com][(http://www.benjaminreeve.com/)

Ellen Stapleton

After years of travelling to exotic locations around the world, artist and designer Ellen Stapleton has returned to her home town of Brisbane to dedicate her life to her painting. Highly inspired by her travels, she has embraced imagery from visually rich cultures, including Asia and the Middle East, as well as her love for art nouveau, street art and tattoo design. Ellen has a self taught, illustrative style of painting which is highly detailed, textured and layered. She uses a combination of acrylic, ink and stencilling. Her paintings give you a glimpse into her colourful world, full of passion, vibrancy and energy.

www.ellenstapletonart.com

Nicola Morton

Remote Viewing Experiment #1 is my copy of a military experiment to test and challenge psychic powers. We are given an object from a room and asked to visualise the room the object came from.

After sending an open invite to friends and strangers, from 4 special ladies, I received 4 objects in the mail - a frog, a blue strawberry, a mini-carpet and a piece of pink holographic paper. I did my own readings and re-distributed the objects. The special ladies, Holly Flux (Australia), Sarah Harro (plus her friends Hanna Bergfors & Melody Panosian in Germany), Rin Healy (Japan) and Melanie Bonajo (The Netherlands) sent me their video readings.

Remote Viewing Experiment #1 is a compilation of all these readings. Aesthetically it examines private spaces throughout the world and the objects we find within them. Metaphysically, psychic ripples are felt in the cosmos during its conception, communication, materialisation and distribution. Psychic communication and love is building entropic power, it’s the way of the future.

www.nicolaisgreat.com

Rachael Bartram

My practice stems from the innate desire to produce images from both intuitive and conceptual processes. In other words, my artistic ideas begin with a drawn, etched, cut/extracted or found image. These works are the outcome of both an intuitive drawing process and an ongoing more ‘counter-intuitive’ process of collecting images from narrative texts.

I’m also especially interested in how intuitive drawing or mark making, lends a sort of ‘zoned out’ affinity to a surface such as paper. Recently, my work has dealt with narrative archetypes and collage methodology. Max Ernst is known to have described Surrealist collage as “the fortuitous encounter of two mutually distant realities upon a non-suitable plane”. These cut and extracted visual symbols, when merged together, form new two-dimensional realities and stories. The Illustrated Chapters forces a number of ‘cut-out’ teenage characters together in a diagonal montage. Each of the figures derives from a different setting/page - thus representing varied moments in the narrative story. It was also in this artwork that, intuitive mark making materialised in the formation of a kind of muted speech - as the droplet type marks replace any presence of printed text and dialogue between characters. Whereas Boys Trick Secrets and Faye’s Skiing Success/Poland by Night are the result of further experimentation with fundamental processes and materials namely - image collection, extraction/cutting and two-dimensional layering. These works lend themselves to the act of narration, the protagonists or central figures are present but they are also obscured by their own disjointed and mysterious visual profiles.

Carly Kotynski

I am a Brisbane based emerging artist with a background in graphic design. Sculpture is now the primary art form driving my practice and my work includes small scale pieces and commissioned public art. The concepts behind my work continually evolve and often derive from the context or the situation the artwork is created for. I believe no work is hermetic and the audience and location are given thoughtful consideration in relation to each piece I create. I endeavour to create artworks layered in meaning to allow the viewer their own unique reading. Materials, the method of construction and conceptual relationships are all important in my work which is divided between two different mediums – copper and sponge. The artworks created from these two materials differ dramatically both in style and meaning.

Techniques of welding, weaving and crochet, are employed in the fabrication of my copper-based artworks and these pieces suggest a link to the organic world. They are largely inspired by nature’s great diversity and beauty of form, and the interconnectedness of all living things. These sculptures demonstrate sensitivity to the delicate balance of life. I am also fascinated with light and shadow and endeavour to use light in creating shadows that are an extension of the sculptures and add another layer of meaning to the conceptual component of the work. These artworks explore the junction between art and science, where the imagined meets the observed and the conscious meets the subconscious. The result is the creation of evocative works with ambiguity of form. My practice also incorporates artworks carved from dishcloth sponge. These pieces comment on contemporary social issues pertinent to Brisbane and Australia. The bright colours of these sculptures and installations are alluring yet have serious social issues underlying their facade.

www.carlykotynski.com

Joshua Rufford

Exploring various forms of mark making and creating interesting and different visual compositions is what inspires my works and has lead me into various mediums such as animation (traditional 2d and stop-motion), design, illustration, typography, painting and printmaking. Everyday observations and thoughts are present themes throughout my work.
I graduated from Queensland College of Art with a Bachelor of Animation in 2003 and currently work as a graphic designer/pre-press operator by day and freelance illustrator/animator by night.

www.ruffoart.com

Drea Merkin


Dreak Merkin with Chloe Cogle - Face Your Fear, Performance, 2010

Lucinda Wolber


I create works with evident social and popular culture comment themes. With these particular works and the majority of my recent works I have been exploring the concept of the psychology of celebrity in contemporary society, the influence entertainment media has on wide public views and the way in which they manipulate truth for monetary gain.

I draw comparisons between celebrity and freak shows, fairytales and religion. These works challenge the viewer to question what it is they are actually consuming when they read celebrity magazines or watch entertainment news programs.

I use a variety of materials to create my works including stained wood, velvet, lace, beads and original illustrations to create scenes and characters that are strongly influenced by the visual elements of Victorian illustration, tattoo and circus art and fairytale books with a dark twist.

Fiona Kennedy Altoft


Conceptually, these paintings explore aspects of human behaviour that compare to animals, in particular that of my children. The first in the series was to capture the determination on my sons face while riding his bike. The images evolved into portraying the playful side and to poke fun at our similarity to dogs.

Becoming a child again, for me, is one of the privileges of parenting. In the process of becoming a logical and conscious adult we often discard our instincts and gut feelings. The fearlessness, mischief, pranks and laughter, are by necessity, buried deep within us. We are expected to act in a certain way and comply with society’s rigid rules of behaviour.

This series encourages us to act on instinct and return to our enchanted world. We can escape ceaseless domestic demands and rebel against the expectations of responsibility by reclaiming our childhood. Who wants to become lost in their roles of mother and provider and lose their identity in the ceaseless demands of domesticity? These painting portray the free, crazy and playful side of life with children.

www.retrospectgalleries.com/artist

Andrew Cain

My work deals with the human condition, emotions and narratives. I find comfort in the figure, as it represents emotions through its movement and shape that explain stories words cannot tell. Each movement and line becomes something abstract, expressive and beautiful. I like to use a abundant variety of media, through sculpture, painting and printmaking, using the juxtaposition of abstract and expressive mark making, I narrate tales of social, emotional and political tales using lines, colour and the figure, explaining everyday experiences. I am inspired by perception and how it creates a new narrative within each piece, how every work of art is a conversation between the viewer and the art work.

Artists’ works that I draw inspiration from include Francisco De Goya’s series ‘Los Caprichos’ and the ‘Disasters of War’. Auguste Rodin’s ‘Gates of Hell’ and his Figurative Drawing have influenced the development of my drawing. William Blake’s figures, prints, poetry and theories have stimulated my printmaking development and drawing. Contemporaries that have motivated my works are Jess’s paste-ups particularly ‘Narkosis’, with his working with the human figure and compositions, as well as Australian artists, Darren Swies and Gordon Bennett’s works dealing with search to find ones identity within society.

www.theartsmap.com

Clarissa Bones

Clarissa Bones is a multidisciplinary Brisbane based Visual Artist and Photographer.

With a background in Visual Arts including a Bachelors in Creative Industries, Clarissa has been an exhibiting freelance artist for approx 11 years, she dabbles in all types of visual media but it was in 2007 that she decided to take her love of photography a little more seriously and has been utilising the photographic medium ever since.

Self taught she considers herself more a visual artist rather than a photographer and sees the camera as an extension of herself. Capturing and creating visual moments in time, which can sometimes be overlooked, is something that really appeals to her. Clarisas utilises her photographs as a canvas, building from them creating conceptual vivid pieces encorporating twisted daydreams and opulent nightmares.

www.rawbonesphotography.com

Michelle Van Eps

A contemporary version of a ‘painting within a painting’, Closure depicts one of my own self-portraits completely distorted and fragmented behind an art deco era door in my apartment. The emotion of the subject intensifies and metamorphoses into an expression that is even more indefinable and yet seems to retain the curious hope and apprehension of the original painting, manifesting closure and release in a singular yet multi-dimensional work. Distorted, and with no definition of her facial features, the tilt of the woman’s head and the angle of her body and neck work to embody the eagerness of a woman peering outside. The dark shadow on the wall seems to give the figurative image behind the glass presence in the interior room, further questioning reality and fantasy, asking whether the woman in the next room is real or merely the subject matter of the painting.

This contemporary self-portrait appropriates the composition of a 17thC Dutch genre painting by Frans van Mieris and was painted during the preliminary stages of the artist’s investigation into the role of Dutch ancestry in her Dutch-Australian cultural perspective. Genre art often depicted women in their domestic environment caught in a ‘moment in time’. However, unlike the sense of serenity and contentment that was typical of genre art, this painting depicts a young woman in her apartment gazing down her nose at herself, caught in a moment of self-judgment and critical self-questioning, reflecting an internal emotional struggle of self-perception in a domestic setting. For me, this work also reflected a time when I debating my cultural identity and identifying the need for me to include my Dutch ancestry within my artistic practice.

Music Performances

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Walrii

Millions (Nathan Mouritz) / Brendan Gore (Poetry)

Catherine Stevens