Panoptic Press || Artistic Visualisation
A consolidated archive of mediums spanning a four year period.
Dr Courtney Pedersen: FASST 2016.“In both Art and fashion, there has always been a keen interest in redesigning the body as a response to technological and social change. Dr Courtney Pedersen invites us to consider the provocations exhibited, with regard the capacity for bodily redesign.” © Courtney Pedersen all rights reserved.
Renata Buziak: Unfolding Rhythms. “Renata Buziak has been testing the limits of the photographic print by exploring the aesthetic tension that has always existed between the photogram and photograph and more dramatically by complimenting sensitometry with biochemistry.” © Ross Woodrow all rights reserved 2014.
Chris Worfold: Hot Summer Nights 2022. An exhibition in three iterations, showing at showArts Brisbane, was in direct response to the artists PHD:”Facture,Fold and the image-screen: The Effect of Digital Imaging on the Production of Analogue Painting.” Published by Creative Works, QUT, 2021.© Chris Worfold all rights reserved.
Celeste Chandler: Embarrassment of Sincerity.
What we very quickly ascertain when viewing Chandler’s oeuvre is the patent unverifiability of the underlying sentiments of production being seamlessly mapped onto that of the reception of the work. In fact what becomes very clear is that sentiments informing the reception of Chandlers art – one might say the dominant assumptions – are in fact in a constant state of subjective flux and importantly sit comfortably within their purview of being fundamentally unverifiable. (2) Which immediately brings to mind Ad Reinhardt’s infamous aphorism:
Art is Art. Everything else is Everything else. Art-as-Art. Art from Art. Art on Art and Art of Art.
Shahzia Sikander: A Relationship Between Collective and Individual Histories.
Across two decades Shahzia Sikander has revised the laborious art practice of miniature painting in order to investigate the relationship between collective and individual histories. Sikander was born in Pakistan in 1969 and graduated from Lahore’s National Academy of Arts in 1992. She later moved to New York and completed a Master of Fine Arts at the Rhode Island School of Design. As a Pakistani-American woman, Sikander’s infusion of traditional iconography with contemporary motifs encourages multiple ways of looking and creates space for exploring identity.
Archie Moore: Who’s Afraid of Indigenous Art?
…similarly we may ask the question, who is afraid of conceptual art? (1) However, when we are met with a combination of both propositions, augmented by a third, then perhaps the more appropriate question to ask would seemingly be fashioned along the lines of – who is afraid of the relational aesthetics of conceptual indigenous artist Archie Moore?
Gary Carsley Sciencefictive: “…is in effect representative of a Baudrillardian desert of our own making, our own desire and yet it is an interior garden of thought that possesses a persuasive undercurrent of critical benevolence in its interrogation of artistic, economic, political and digital propositions et al that together comprise contemporary social conventions. It is, “a disobedient mirror in which the reflection no longer corresponds to the person who may be regarding him or herself. Carsley’s meticulously constructed inferred…” © Simon Marsh all rights reserved.
Celeste Chandler. An Art Beyond the End of Art:“A fearless and at times brutal re-imagining of the act of contemporary figurative painting, the artwork of Celeste Chandler unmistakably engages with the development of a new set of strategic maneuvers in her reconfiguration of a visual lexicon with which to communicate ideas. This was clearly evidenced and importantly felt in her most recent solo exhibition The Embarrassment of Sincerity: The Changing State of Contemporary Figurative Painting, shown at the Margaret…” © Simon Marsh all rights reserved.
Kerry Tribe. The Terminal Attrition of a Conscious Memory: “…time based media installation, There Will Be____… (2012) poses artistically elegant questions for the discerning viewer who critically engages with Tribe’s fluid investigation of memory and cognition: the viewer who critically engages with the mechanics and representational spatial aspects of an installation format, and in particular the overall methodological fluctuation between the structural and post-structural framework of her medium, which can and at times…” © Simon Marsh all rights reserved.
Gail Sorronda: Feminine Power and Sorronda’s Garden
Constructed around an “ethereal garden” of Eden with its mythic expulsion, what the launch offered to those present was a romantic idyll of feminine power and romanticism where a “new order”
based on the reinstatement of the feminine is articulated. But this was not all that was offered because this is to overlook the power of the brand Gail Sorronda and in particular the significance of the Quelle Horreur collection which has been featured with seventy three images in the June issue of Vogue Italiaiv, thus confirming Reid’s ability and status as international designer and celebrity.
Renata Buziak: The Absolute Authority of Authenticity
The disciplines of both art and science have shared a long history of cross-fertilisation. In fact the interdependence of the rational and irrational mind, or put another way, the interactions between the detached scientific objective mind and the subjective artistic imaginative mind, have corresponded over millennia resulting in parallel developments throughout both disciplines. And whilst art has and continues to provide science with visions that inspire rational articulation, conversely this scientific rationalism continues in it’s prompting of the artistic imagination to reach ever further into its visionary range of experience. As a result a cyclical knowledge is created that enters the provenance of a self-sustaining ecosystem of inspired output.
Carolyn McKensie-Craig: Through The Keyhole, Gambit Lines.
Everything that enters our gaze on a daily basis is a jarring of many multiple elements with one of my roles being to garner an understanding of what it is that I am responsible for. And just how much more aware I can become of gender and inscribed behaviours surrounding these archaic forms of gender specificity. And can I give a fairer score to the next generation? Yes I believe that this is possible, that whilst uninscribing the power structures that surround gendered binaries we can enliven a space where gender performance enters a blurred arena. However it is all about class, education, broader aspects of resource management and that is all about the binaries that exist between a reconciled gendered understanding of both truth and justice and conversely privilege and power.
Rex Butler ( A.D.S Donaldson) I Am, You Are, We Are Australia. “Art Historians for some time have tried to define what “Australian” art is. Their definitions have inevitably been exclusive, often leaving out, for example, Australian artists working overseas and artists from overseas working here…” © Rex Butler and A.D.S Donaldson all rights reserved.
Franz Ehmann, Many things (it’s a colourful world): “…essentially it is colourful and a world in which many things are going in different directions…in a way throughout my practice there exists a stimulus that comes from the sixties art movement minimalism…and while things are reduced to certain materials as i use them…© Franz Ehmann all rights reserved.
Flatline (Todd Fuller + Carl Sciberras): Under Arena opened the Drawing International Brisbane Symposium 2015 and was an initiative of the Griffith Centre for Creative Arts Research. “What we are dealing with here is the interior/exterior nexus of line, point, space, shape and contour and how these basic actions…© Flatline all rights reserved.