Saturday 11 February, 4pm – 6pm.
Brought together via an open-call, this collection of moving image works suggests time, space and material as mutable and unsettled. Through the potential of the moving image as both form and process, and its possibilities for the juxtaposition, re-articulation and compression of time and space, the artists in Flux blur boundaries between past and present, new and old, public and private, interior and exterior.
Artists include: Holly Ahern and Eden Crawford-Harriman, Laura Carthew, Lyle Duncan, Tyza Hart
Image: Laura Carthew. The clouds have died, 2020.
HOLLY AHERN AND EDEN CRAWFORD-HARRIMAN
As environmental disasters, ecological concerns, and political instability on a global scale remain at the forefront of our minds, we question whether technology can provide us with meaningful or constructive escape. Both willing and unwilling participants of the rapidly changing technological age, we are fascinated by the ‘outmoded’ where old technologies aren’t just rendered obsolete but are staged as already outdated. The introduction of
‘technological structures’ takes the ‘digital’ off the platform and into the physical, providing a way to take control over the interpretation of technology. No Tears (2018-2023) is the amalgamation of an intimate, collaborative practice over five years, connecting ideas from what we understand as before and bringing them into the ecology of the now.
It’s a great and terrible gift to be reborn. The only trouble is, you have to die first.
The clouds have died is an installation of video, sculptures and sound. Symbols such as a dog’s ear, an inverted staircase sun and astronomical imagery, form a romantic landscape entrenched in allegory. Using poetry, three different generations of females speak of real and imagined memories collapsing in time. This immersive installation is a manifestation of death and rebirth; both melancholic and sublime.
Space Supervised brings to question the ever-blurring line between private and public spaces in our cities. The viewer follows the artist around a peculiar ‘rooftop parkland’ in Brisbane city, which feels neither public nor private. The work examines the equity of access to spaces like these and interrogates the authority that public space holds over us.
In the mid 90’s I wrote a collection of autofiction exploring queer desire, existential malaise, social power dynamics, and dreams of alternate futures. I was 7 years old living next to a church in Pittsworth; I dressed my bike as a dragon. In Pittsworth 1998/2018 (2018, digital video 3:49 mins) I rode around town stopping at places significant to a selection of stories that I read from my grade 2 writing book.
Holly Ahern and Eden Crawford-Harriman are emerging artists who live and work on Bundjalung country. Their practice explores interdisciplinary modes of production, placing emphasis on the recontextualisation of existing objects. By examining collaborative practice as the assemblage of ideas and skills, their work investigates materials through a dialogue that is both playful and continuously negotiated.
Approaching 12 months of recovery after the catastrophic flooding events in the Northern Rivers, they are piecing together what remains of their practice by revisiting old ideas through a “post-disastrous” lens. In 2023, Ahern and Crawford-Harriman are experimenting with installations that evoke feelings and emotions while steeped in technological systems.
Laura Carthew is a visual artist working primarily with video installation. She uses layers of recognisable and esoteric symbols to create sentimental and meditative works which explore rebirth, time and ritual. Her otherworldly and atmospheric compositions encourage contemplation about the border between mortality and immortality.
Carthew has shown works in both solo and group exhibitions across Australia and Asia. Recent solo shows include, ‘生府君神位 Farewell my darling’ at Musée Shuim, Seoul (2019) and ‘Immortal flower’ at MARS Gallery, Melbourne (2016). Recent international group exhibitions include ‘각양각색(各樣各色 Various Colours’ Bucheon City Museum, Seoul (2021), ‘시간의 궤적 The trace of time’ at Ara Art Center, Seoul (2019), ‘Video Stage’ at Art Stage Singapore (2016), and ‘Floating Grounds’ at The Ferry Gallery, Thailand (2015). Selected group exhibitions in Australia include ‘Something inherent to Nature’ at Tinning St Presents, Melbourne (2019) and ‘The Blake Prize’ at Casula Powerhouse, Sydney (2018).
Lyle Duncan is an interdisciplinary artist based in the Yugambeh Region (Gold Coast). He is interested in the construction of meaning and how we, collectively or individually, create meaning for objects or ideas. He utilises the process of recontextualisation or subversion as his work takes the form of sculpture, installation, performance, and digital-media.
Recently, Lyle had a collaborative exhibition at Wreckers Artspace in Brisbane and was a finalist in the 2022 Josephine Ulrick and Win Schubert Photography Award. He was commissioned by HOTA at the start of 2021 for the Terrace Billboard Commission and has previously shown work at The Walls and with Nextdoor ARI.
Tyza Hart’s artworks extend from ungraspable and indefinable experience. They’ve shown at the Australian Centre for Contemporary Art, and West Space, Melbourne; Artspace, and FirstDraft, Sydney; QAGOMA, the Institute of Modern Art, the Museum of Brisbane, and Gympie Regional Art Gallery.