Article Index – Panoptic Press

Home
Media Index
Article Index
FASST Index
Research
Contributors

Home
Media Index
Article Index
▼
FASST Index
▼
Research
Contributors

Panoptic Press

Artistic Visualisation

Home
Media Index
Article Index
FASST Index
Research
Contributors

Panoptic Press || Artistic Visualisation

All current and archived articles can be accessed via the provided links.

Feminine Power and Sorronda’s Garden: “Since graduating from the Fine Arts Fashion course at Queensland University of Technology and winning the Mercedes Benz Start Awards 2005 with her debut collection Angel at MyTable, Gail Sorronda has been acclaimed for her innovative highly stylised collections. She has attracted the attention of leading international designers such as Karl Lagerfield, Domenico Dolce and Stefano Gabanna who featured her garments…” © Christine Dauber all rights reserved.

Robert Andrew Recalibrating Country: “…and at a relatively early stage of his career the works impact as holding a maturity and knowledge beyond the artists years. This has the affect of exhibiting a combined ancestral awakening that is gently guiding Robert Andrew into playing a role of mediation between himself, between cultures and country. This is the conversation we all need to attenuate – we need to navigate these dualistic binaries – when viewing Andrew’s…” © Simon Marsh all rights reserved.

Carolyn Mckenzie Craig: “Print making is often considered one of the more menial mediums throughout contemporary art practice. However when we look forward from say Goya, we can clearly see print making involved in the distribution and subversion of knowledge: providing it, instituting it and importantly challenging acquired knowledge. And it is this form of disruption that can clearly find the viewer and artist inhabiting a space of artistic rupture”. I along with many…© Carolyn Craig 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…” © Simon Marsh all rights reserved.

Nic Plowman: The Sensation of Logic: “In viewing himself firstly as a drawer rather than a painter, and being known more for delicate watercolours than lusty oils and acrylics, Nic Plowman’s Popes, Kings and Other Fools exhibition at Anthea Polson Art marks a turn in his career. Where Plowman’s two previous shows were self-referential in reflecting his serious health issues…” © Jane Denison all rights reserved.

Christian Flynn: Power is Born Here: “When looking at the ten-year artistic output of Flynn, we get a distinct impression he has been systematically resolving perceived problems that have arisen out of an artistic inquiry into the Modernist epoch. Reframing these problems – whilst exploring ‘polarities such as authority, weakness, indeterminacy….” © Simon Marsh all rights reserved.

Featured Article

It is no secret that from around 2010 the medium of drawing has plateaued. Yet it remains an art form that has succeeded since time immemorial. To suggest that drawing could fail is at a glance, fanciful, headline grabbing hyperbole. After all drawing is a material event that manifests often before we can talk: it seems hard wired into the human DNA.
View Article
Featured Gallery

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…Celeste Chandler
View Article
Featured Artist

I’ve never adhered to the conceited nature swirling around the notion of an artistic full stop, specifically with regard to the medium of painting. That form of lexicality for me has never articulated what a medium can or cannot express at any given moment throughout history…Chris Worfold
View Article

Chris Worfold: The Fringe Benefit of Intention: “I think that what you’re searching for as an artist is to be able to visualise something that you know but haven’t yet seen. I know that this is a contradiction, perhaps even a paradox and yet I see it manifesting throughout all of my work, particularly in relation to the motives and motifs that repeat, as they have done throughout my visual art practice. Taking the familiar a step or two toward the artistically unfamiliar and thereby adding to the conversations that have preceded the finished…” © Chris Worfold all rights reserved.

This is NOT an Artefact: “…do artists need to mean what they say when talking about their medium? Does performance as an art form still celebrate its ephemeral nature? Yes and to a degree, however what is of great interest here is the hybrid nature of a lexicon of interdisciplinary actions that can and do lead to worthwhile artistic investigations. The capacity to blend disciplines in the performance of a piece of art and the benevolence of the shared attunement required in the performative process is certainly…” © Simon Marsh all rights reserved.

Kathryn Brimblecombe Fox: Twenty first century cultural politics creates a paradoxical situation which is not new. The historical avant-garde fought for acceptance in a world that was hostile to change. In their artistic practice they posed questions that threatened their own existence as artists by challenging the orthodoxies of both painting and sculpture. In doing so,they heralded the end of art. Yet art continues, but what now constitutes art and aesthetic taste has dramatically changed to the point where…” © Christine Dauber all rights reserved.

Franz Ehmann: Many Things it’s a Colourful World. “on a certain level…there seems a certain stuckness to the art world and i think that this static nature of the gallery space has to be approached in a different way…i see this all the time in shows…old museums are sometimes wonderful to look at however when you go in there a few times you know where the Rubens hangs you know where the Velazquez hangs it’s simply the same thing and sometimes the reaction to the art work becomes so prescribed…so predictable that there is no other reaction possible…”

Renata Buziak: “When we look at the abstractions of startling photographic beauty Renata Buziak designates as Biochromes, we are immediately struck by thoughts of the transubstantiative atemporality of nature. This art/science endeavour holds an authenticity comparable to Eaweard Muybridge’s emblematic images of galloping horses that for many marked a moment where “technological perception definitively outstripped the human eye and ushered in a new mode of seeing” Appearing to defeat…. © Simon Marsh all rights reserved.

Karike Ashworth: Lamentation “…marked the two-year anniversary of the passing of her mother in May 2012. The exhibition conveys the collective grief of twelve women including the artist who have all lost their mother to death. A celebration of life viewed through the lens of artistic contemplation? Perhaps, though one is drawn to a speculative rending of the mind and body in the face of a perceived culmination of events amounting to the sublime certainty of death. It is a dialogue that as a society we tend to dismiss” and yet…© Simon Marsh all rights reserved.

Featured Gallery

Our Inaugural Seminar was presented in two half hour time slots by Associate Professor Rex Butler. The first paper – “I Am, You Are, We Are Australia” – co-authored by Rex Butler and A.D.S Donaldson began with the premise: What do a series of works called ‘Australia’ done by artists who do not come from Australia have to tell us about ourselves? Equally, what does the presence of paintings of gumtrees throughout European modernism have to tell us about the Australian landscape tradition?
View Article
Featured Artist

It’s an immense curatorial challenge to bring together a diverse range of mediums in one exhibition, but co-curators Margaret Hancock Davis, Margot Osborne and Brian Parkes use the irregular space at the Gold Coast gallery to great advantage. Recessed cubicles, staggered walls and display cabinets enable smooth transitions between mediums. They also offer intimate spaces for audiences to view individual works…The Jam Factory
View Article
Featured Article

In a crisis of faithlessness akin to the plight described by de Botton, Plowman tackles the papal portraits of the Renaissance and other religious icons with a conflicting blend of respect and mockery. Respect for tradition is suggested in the detailed copying of parts of the original work, and mockery arises from the artist’s changes that alter the entire tone of the original painting…Nic Plowman
View Article

Carolyn Watson: “The radicalness in Watson’s work is that her process influences the way we view the work. The variety of materials used in her sculptures (sheep leather, bones shellac, wax) imbues them with an intuitive sense of texture. When viewing her sculptures, the internal workings reveal themselves in the form of a semi-obscured fragment of bone or a gap in the outer fabric. These glimpses into the layers beyond the surface compel us to look closer, to investigate further, while all the time wondering: © Jane Denison all rights reserved.

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.” © Simon Marsh all rights reserved.

The Jam Factory: The Disorienting Virtuosity of an Artistic Integrity: “Craft has changed a lot since South Australia’s premier, Don Dunstan, proudly opened the doors to the JamFactory in the early 1970s. Having successfully ditched its folksy image, craft is frequently referred to as ‘contemporary design’ in art publications and online blogs. In New York, for instance, ceramic studios, cabinetmakers and textile designers are “hot” destinations on design tours. Gold Coast City Gallery presents…” © Jane Denison all rights reserved.

Archie Moore: Who’s Afraid of Indigenous Art? “ Similarly we may ask the question, who is afraid of conceptual art? 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…”? © Simon Marsh all rights reserved.

Written on the Body: “In a trans-disciplinary move reflecting the diminishing gulf between contemporary art and museology, Indigenous artist Judy Watson and museum director Diana Young have co-curated a small but important exhibition at the Anthropology Museum at the University of Queensland. This move is in keeping with an international trend that sees museums creatively reinvestigating…” © Jane Denison all rights reserved.

Kerry Tribe: The Terminal Attrition of a Conscious Memory: “Kerry Tribe’s time based media installation successfully negotiates the ever diminishing line between culture and popular culture, between entertainment and art and in so doing, poses artistically elegant questions for the discerning viewer who critically engages with Tribe’s fluid investigation of memory and cognition…” © Simon Marsh all rights reserved.

Featured Gallery

The understanding of how to make paintings that are both original and reiterative of something else is highlighted throughout this show. As a PhD candidate, the depth of Degroot’s research means his work must knowingly take onboard the impossibility of undoing the Modernist monochrome.
View Article
Featured Article

Throughout her complex and multi-faceted oeuvre Tribe is well known for her pathological amounts of appropriation. The cult of postmodern cultural quotation is simply inescapable. The language that Tribe utilises…
View Article
Featured Artist

Print making is often considered one of the more menial mediums throughout contemporary art practice. However when we look forward from say Goya, we can clearly see print making involved in the distribution and subversion of knowledge: providing it, instituting it and importantly challenging acquired knowledge. And it is this form of disruption that can clearly find the viewer and artist inhabiting a space of artistic rupture. © Carolyn Craig all rights reserved.
View Article

Susan Best is an art historian with expertise in critical theory and modern and contemporary art. Her book, Visualizing Feeling: Affect and the Feminine Avant-garde (London: I.B. Tauris, 2011) focuses on four women artists of the 1960s and 70s: Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha. It shows how their work transforms the avant-garde protocols of the period by introducing an affective dimension to late modern art. The project was funded by… © Susan Best all rights reserved.

Varda Caivano: The Density of The Actions: “Each of Caivano’s works are a collection of temporal pivots – changes in perspective, line and colour – oscillating between a dead painting and the possibility of a beginning. For Caivano, “each painting is a game with its own rules”. Painting, thinking, working, leaving, un-thinking, re-seeing, re-working ,un doing, over painting, over-working, cutting, contracting, rotating, expanding: the paintings are alive and in-flux;” © Jonathon R McWilliam all rights reserved.

Rex Butler I Am You Are We Are Australia: “What do a series of works called ‘Australia’ done by artists who do not come from Australia have to tell us about ourselves? Equally, what does the presence of paintings of gumtrees throughout European modernism have to tell us about the Australian landscape tradition? Perhaps, in a way, we are all Australian, even those that were not born here. Perhaps “Australian” art can be made overseas by artists who are…” © Rex Butler all rights reserved.

Zoe Knight, A Show of Devotion: If you have ever kept something that doesn’t work, salvaged something that was destined for the rubbish, or repurposed something and reflect on why it was you performed that specific action, whilst remembering the pleasure that it achieved, you will have a sound introduction into Zoe Knight’s artistic practice. The key that unlocks Knight’s oeuvre is in understanding the why of her practice. Why indeed? Was the object unique, unfamiliar, unappreciated or beautiful? The most recurrent formal feature of Zoe Knight’s artistic practice is the knot… © Cameron Hope all rights reserved.

Michael Zavros, A Longing for Meaning: The horses and handsome men are still present in Michael Zavros’s latest exhibition, The Prince, but this time they’re mustangs and cowboys ensconced in the American frontier. It may appear like a radical change in subject for the artist who usually favours thoroughbreds and glamour models, but The Prince sees Zavros reverting to his early artistic practice of copying found imagery. That the found imagery is Richard Prince’s iconic Cowboy series suggests that Zavros has something to add to the appropriation issue that… © Jane Denison all rights reserved.

Shahzia Sikander, Monolithic Identities: 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. Bound to her Pakistani past by the style and iconography of her miniatures, Sikander infuses highly personal narratives into the traditional painting genre in order to subvert cultural expectations and reclaim identities. This process is evident in early works such as The Scroll (1991-1992) which is an intimate portrayal of her youth and the roles…. © Julia Rodwell all rights reserved.

Featured Article

Throughout the month of October, Brisbane was treated to a series of events intended to focus attention on and raise the profile of Queensland fashion designers and trends. In particular under the banner Resort 2016, the James Street precinct became the focus for a three day festival which included lunches with fashion industry notables, seminars on fashion, art and design, talks and parades. Arguably, the highlight of this festival was Cruise, the Friday evening presentation of Queensland designer Gail Sorronda’s 2016 spring summer ready to wear range.
View Article
Featured Gallery

Where once the locations in Werner’s paintings were clear, this new body of work sheds the referent to engage more purely with colour, composition and sensory experience.
View Article
Featured Artist

Discussing and disseminating questions surrounding fashion, body modification and the the post human condition, Dr Courtney Pedersen lays the historical foundation upon which a contemporary configuration of the post human condition can clearly be reconciled. Dr Laini Burton takes us on a fantastical journey surrounding how we might fashion our bodies in the future.
FASST Index

Courtney Pedersen: ‘While we often think of body modification and a ‘posthuman’ condition as being contemporary phenomena, we can look to the avant-garde art and design of the early twentieth century as predictors of many of our current concerns. In both art and fashion, there was a keen interest in redesigning the body itself as a response to technological and social change. Dr Courtney Pedersen invites us to consider the provocations that these practitioners raised and how many of their concerns are still relevant for us today’.

Judy Millar BeDoBeDoBeDo: Post-expressionist painter Judy Millar is a paradox. She seems to do everything she can to distance herself from the old idea of authentic, expressive painting. She has made candy-coloured, heroically-scaled, parodic abstract-expressionist paintings. She has blown-up her painterly gestures using a billboard printer. She has attached these printed ‘paintings’ to giant sculptural supports (so it’s hard to tell if her painterly gestures are in competition or cahoots with their support). The spatial language of sensation…

Dr Laini Burton is a Lecturer at the Queensland College of Art, Griffith University where she convenes Studio Art and Honours within the Bachelor of Digital Media. Her research centres on body politics, bio-art and design, fashion theory, performance and body/spatial relations. Laini’s professional activities work across practice and theory where she both exhibits and publishes. Recent publications include essays in Fashion as Masquerade: Critical Studies in Fashion and Beauty (University of Chicago Press) – co-edited with…

Benjamin Werner Blinded By The Lights: The bright lights of the city are a recurring metaphor representing the seduction of the ‘big smoke’, with its promise of fame, fortune and endless possibilities. Indeed the city at night, seen from a high vantage point like a lookout, appears almost magical. We can imagine the lives of those living amongst the beckoning lights and dream about who we could become and what the city has to offer us. Sometimes it’s more about…

Peter Hennessey: Making it Real…territories of phenomenological implication, territories that arouse a compelling insinuation of our future selves. While Hennessey’s conversation is clear and visually coherent, the works prompt unanswerable questions. This is an exhibition that reverse engineers the conceptual framework of its four-part premise. Meticulous, obsessively brilliant, as well as conceptually solid…

Simon Degroot: A Synthesis of Abstract Constructs: The understanding of how to make paintings that are both original and reiterative of something else is highlighted throughout this show. As a PhD candidate, the depth of Degroot’s research means his work must knowingly take onboard the impossibility of undoing the Modernist monochrome. He must work ‘in direct response’ to the black monochrome…

Featured Article

Painting for Katherine Brimblecombe-Fox is a spiritual event. It is something that she has always done. Her work has a lyrical optimism that emanates from the beauty of the work itself and from the poetic nature of her supporting texts. Her personal oeuvre is both intelligent and understated. It comes with a big agenda – to make the world a better place in which to live. A daunting goal: but for Brimblecombe-Fox, optimism is a state of mind – a matter of choice – a way of always moving forward.
View Article
Featured Gallery

And at a relatively early stage of his career the works impact as holding a maturity and knowledge beyond the artists years. This holds the affect of exhibiting a combined ancestral awakening that is gently guiding Robert Andrew into playing a role of mediation between himself, between cultures and country. This is the conversation we all need to attenuate – we need to navigate these dualistic binaries – when viewing Andrew’s liminal artistic objects…Robert Andrew
View Article
Featured Artist

As we engage with artworks and seek out meaning, the process of belief and its suspension has begun. In the case of Peter Hennessey: Making It Real, the concept of belief is of paramount importance.
View Article

Megan Puls, Bloom: “Transgressing the need of function traditionally associated with ceramics, Puls’ visual language is concerned with the balance between opposing qualities such as smoothness and texture, stillness and movement, and the vertical and horizontal. The Ebb Tide series is a collection of slightly askew-shaped porcelain bowls. Displayed in small groups nestled inside each other, these bowls mimic the manner of sea crabs seeking protection…” © Jane Denison all rights reserved.

Chris Inwood Life Is 2013: “Each portrait is, in some ways, a recorded failure of the medium to capture some truth of the subject. Each figurative portrait falls conceptually short of the subject, and in the artists eyes, fails to be anything more than an evocation. This is most clearly expressed in Masquerade and Identity. In many ways the suggestion is presented that the only true portrait is the palette; the only truth to the image is the process of…” © Jonathon R. McWilliam all rights reserved.

Caitlin Franzmann: Intelligible Inversions of a Tired Reality: “Desire, arguably is a fictionalised or indeed a fantastical aspiration and yet the hunger it engenders in the human psyche has the power to motivate actualisation: the power to satiate a seemingly uncontrollable appetite to possess. It is not a one size fits all, readymade human emotion and like a cut gemstone, desire exhibits a plethora of differing facets. From the surface response of a subjective gratification…” © Simon Marsh all rights reserved.

Header Image courtesy the artist: Caitlin Franzmann, Dissolve, six helmets, audio, lightbox shelf and light installation. Fresh Cut 2013, Pt1, Institute of Modern Art, Brisbane. Music Courtesy: Raphaella Smits, Le-Romantique, Johann Kasper Mertz.

© Panoptic Press || Respective Artists

Search: