Abbate installation will incorporate 2D and 3D explorations of abandoned office hardware, based on the experience of a current art residency at St Vincent hospital. Expanding upon the cropped black and white drawings in previous exhibitions, Abbate new work zoom further into the detail, placing the subjects at the cusp of abstraction.
There is a tactility inherent in these drawings of photocopies of photographs due to the generations of translation involved. Abbate intends to remain faithful to a precision in representing the quirks of each accumulative version of reality in the final drawing.Expanding
upon these themes Abbate juxtaposes the drawings of found objects and the objects themselves.This installation carries the humour of investing and providing an unwarranted amount of attention and labour to the ordinary object, imbuing the banal with a surreal cast.
A labyrinth of derelict rooms – modernist curved corners and stucco walls – perched high in St Vincent’s, was once the nurses’ residence. Now the rooms house defunct machinery, files, office furniture. The booty is fascinating and melancholic; records of syndromes and diseases. Mostly, painful prognoses of death.
Down the corridor and around a corner, Abbate has been in residence, set up in what was perhaps a record’s office, laboriously re-creating images from his photocopies of
photographs in charcoal. Inspired by the graveyard of document heavy systems, his photographs record Kafkaesque standard issue – parades of computers, lockers, lives...perhaps.
Abbate then draws us in, magnifying this world to reveal patterns within (the patterns), tracing the workplace’s extinction into abstraction, making something beautiful. The worker ant, regardless of its regime, is a complex creature. Abbate privileges the act of rendering his photocopied photographs, flagging his allegiance to conceptualism and concerns about the nature of representation.
Proposals to exhibit at Spacement are due by the 1st of Febuary and the 31st of August each year.
In your proposal, please outline the following:
Propose whether the proposal is for the long gallery, square gallery or project space.
Specify whether the exhibition will be a solo or curated group show
A summary of the concepts contextualising the work, theoretical background and critical concerns.
A current CV for each artist wishing to exhibit; including all contact details
Visual support material in an appropriate in a format appropriate to the work. Indicate whether the images provided are the work proposed for exhibition or existing works.
Indicate details of the proposed artwork[s] including medium, size and installation requirements.
Please do not send applications via email.
A large, stamped and self addressed package or envelope to ensure the return of your material.
Glen Wall’s has drawn together a selection of Melbourne’s text-based artists, recognised for their use of language as the subject, form or content of their artwork.
Text Me explores our ability to manipulate the textual form, reverting it back to a visual language that suits our needs in order to communicate to some whilst excluding others. In each of these works, there is a resonance between the linguistic meanings of the words, and the aesthetic significations the texts assume visually – to a large degree, each text’s ‘message’ is imparted by their physical embodiment: its material, shape, two or three dimensionality, size, colour or font.
In response to the Text Me exhibition, the diversity of the artists’ work encompasses sculptural work, photographic work, performance, paintings and site-responsive wall installation.
Text, whether spoken or written forms our most complicated means of communication. From early childhood a complex process begins of learning visual symbols that need to be formed together in order to communicate. However it is our innate ability as human beings to recognize visual imagery and distinguish between them that allow us to communicate beyond the spoken and written word. As we get older we become aware of our ability to be able to manipulate the textual form, reverting it back to a visual language that suits our needs in order to communicate to some whilst excluding others. Text Me is an exhibition that seeks to explore our unique ability to be able to manipulate our visual language by altering imagery to form a new visual and spoken language.
This, like the make-up of the worker ant, is misleading. Although the drawings sit within an assemblage which has its own discourse, any notion of ‘anti-expressionism’ behind this process of removal (and the choice of ‘banal’ subject) is negated by Abbate’s highly selective meticulous graphic renditions. If there is an irony in making such precision work from low-quality sources (i.e. photocopies of photographs), it loses its edge when we see the resulting luminous artworks. A frisson has emerged between the subject’s inherent inertness and a dynamism stirred by the choice of perspective and Abbate’s touch.
The conceptual intent pressed by the complete assemblage; the photographs as source material as art, the source as readymade, and their multi-layered relationship to the viewer, threatens to slip into aestheticism. The flatness of Abbate’s photographs might counter the disquiet of these empty work spaces, but instead abstract shapes that make up the images are brought to the fore. The reconfiguration of the readymade perhaps sums up the whole; the familiar made unfamiliar. Abbate has raised form above moral concerns. Whether he likes it or not, he’s got an eye.
Brie Trenerry’s mixed media installation, ‘She Creeps’ is a poetic exploration of the subconscious as an unknown landscape. The artist aims to create an environment that evokes the sensation, rhythm and orientation of a state in between being awake and dreaming. Trenerry juxtaposes the interplay of motifs to suggest growth and decay in a timeless space.