SOAP at FORT DELTA: ARCHIVING AND FRAGMENTATION IN THE DIGITAL AGE
2nd - 6th June: Flatness and Hybridity
Exhibition: Jack Brown, Kendal McQuire, Sophie Neate, Azza Zein
Tuesday 2nd June – Saturday 6th June
11:00AM – 5:00PM daily
How does the flatness of the digital screen and contemporary technologies map our relation to the body, to physical space and depth? How can we materialize the three-dimensional inherent within the two dimensional image?
Jack Brown's work looks at some of the contradictions that exist in a lens-based practice, giving attention the reconciling of flatness and depth within the photographic image. Attempting to work around the cusp of photography and sculpture, the images and objects tend to address the hybridity of images alongside his own concerns with photographic production such as privilege, obsession and humiliation.
Kendal McQuire is interested in the translation between the drawn image and the three-dimensional object. What happens when a drawing becomes an object? She has investigated this by displacing 2D shapes into the 3D world and by prompting images to perform as if they are 3D objects. The resulting works materialize flat forms, graphic gestures and digital vectors.
Sophie Neate explores the qualities of surface and depth in materials and images researching aerial photography and treating images as materials. In her work, terrain is presented as a skin stretched over a whole lot of other objects and activity. The variation in surface qualities points to something happening beneath its surface (wet, dry, cracked, soft etc...)
Azza Zein's work explores parallels between museums and digital archives. Her process embraces the excess in the detritus of the Internet. By modifying the found digital images through painting, gestures of erosion, cut outs and use of precarious material, she is interested in creating spatial images that blur the line between sculpture and painting.
Discussion: With guests Toby Juliff, Samantha McCulloch and Christopher Williams-Wynn
Saturday 6th June
Please join us at Fort Delta for a discussion group with the artists and guests Toby Juliff, Samantha McCulloch and Christopher Williams-Wynn. The discussion will follow up on some of the aesthetic and conceptual concerns of the week. Whilst not essential, attached in our 'references' are some readings that participants may find interesting to read prior or following on from the discussion.
Christopher Williams-Wynn is a PhD candidate in History of Art and Architecture at Harvard University. A graduate of the University of Melbourne, he holds Bachelor of Commerce (Honours) and Bachelor of Arts (Honours) degrees. An independent writer, editor and curator, he is also co-founder and co-editor of Dissect Journal and co-editor of emaj (electronic Melbourne art journal).
Samantha McCulloch is an artist and curator. She holds a Bachelor of Fine Arts (Honours) from the University of Cape Town and a Master of Art Curatorship from the University of Melbourne. In her artistic and curatorial work she focuses on exchange between sites and the objects situated within them. Through her projects and research, she examines how curatorial strategies explore relationships between objects and contexts (both virtual and physical).
Toby Juliff is Lecturer in Critical and Theoretical Studies and coordinator of the Fine Art Honours program at the Victorian College of the Arts, University of Melbourne. His most recent published works include an article on code as support in contemporary computer art (eMaj #9) and a catalogue essay for last year’s Lynda Benglis ‘73/74 show (Neon Parc).
All guest involvement supported by the University of Melbourne.
In preparation for this discussion, we compiled a list of questions to send out to our guests. You can view this not-so short list below, to get an idea of some of the questions around object and image that we will attempt to tackle on Saturday.
Q1: Flatness and Embodiment: As we engage with online images of public and private events, we find virtual space occupying our physical experience. How can we materialize the 3D inherent in the 2D image? How do we transfer the textures implied in the photographic image onto the object/ artwork/ performance?
Q2 Frame and Flatness: How does the exhibition space flatten and frame objects and images, often privileging one perspective over another? What is the effect of this condition and how could artists work with or around it?
Q3: Subject, Image and Code: Can we talk about ‘image’ without referring to its content? Does the subject matter? Does it operate as an index? What does the choice of material reveal?
Q4: Multiplicity of Time and Anachronism: What is the difference between the time delineated in the digital image/ the print out/ the collage/ the performance and the object? Can we talk of flat time vs hybrid times?
Q5: The Push and Pull between Internet and Archaeology? Is there a form of tracing and retracing between past, present and future as we create works that hover between the use of digital technology and archaeology? Is there a reversal in the urge of creating physical objects from the encounter of images? Are we trapped in this condition?