Sevé de Angelis. costal portrait (2022). Oil on canvas.
Opening Event Friday 1 July 2022, 5:30pm – 7:30pm
late for tomorrow, by emerging artist Sevé de Angelis, is a series about love and time, care and frustration. The water, the sky, the wood and the rock.
This is a series of process-based entries that have evolved through the alchemical properties of paint.
A process of morphology gives faces, figure and landscape an ability to rise.
Musings on our environment as an extension of ourselves, John Michell’s book Simulacra; a familiarity of human likeness in nature, and Daevid Allen’s Garden Song with its brief passage on us being an extension of the dreaming planet were the ideas for this series.
At the core, they are about love and time, care and frustration; about living with the water and sky, and the rocks and trees with voices and memories.
Sevé de Angelis is a Tasmanian visual artist. He is from Launceston and graduated with a Bachelor of Fine Arts in 2018 from the University of Tasmania. He lives in Hobart.
Alyce Bailey. Thither (2022). Pen and acrylic on canvas. 70cm x 90cm.
The Long Way Home features new original paintings and limited edition prints by Alyce Bailey
“I believe that to long for home, is to be human. It is the ache to be whole, to be known, loved and understood. To be at home with oneself is one of life’s greatest challenges and to be considered someone’s home, one of life’s greatest joys.
For me, home isn’t just a place. It’s those feelings we experience once we’ve found what we have been searching for – whether that’s love, acceptance or peace and it is from these longings that my works have sprung.” – Alyce Bailey (2022)
Opening Event Friday 1 July 2022 @ 6:00pm
Alyce Bailey. Marie (2021). Archival print on cotton rag. 60cm x 40cm
Alyce Bailey. Grace (2021). Archival print on cotton rag. 60cm x 42cm.
Alyce Bailey. Jack (2021). Archival print on cotton rag. 60cm x 42cm.
Photo: Remi Chauvin
Why did we start building things so symmetrical?
An installation by Georgie Vozar
Baron landscapes, the harsh undulating lines of new rock formations. Holding space. Moulded and re-purposed. The kind that hold up, fill up, and trip up. Do you see? Why did we start building things so symmetrical? Now feel the nature of the earth: what lies beneath its surface? Can you see the reddish-metallic copper? Like the metamorphic hole it was taken from, it will never rust.
Image Credit: Emma Bingham. Untitled (detail) (2022). Pastel on paper. 190cm x 150cm.
convoke verb. con·voke | kənˈvəʊk – call together or summon; – a summons to assemble; – a calling up of a number of things that form a group in order that they may be exhibited, displayed, or utilised as a whole.
Convoke is an annual showcase of works by Salamanca Arts Centre’s Resident Visual Artists, with all works created during the artists’ Residencies as part of their Studio Practice.
Works range from photograph to painting to collage; sculptural works to video to ceramics; figurative to abstract; from Artists who work in the Willis, Stanmore and Morrison Studios.
Last Dance Orange Roughy depicts the final Australian voyage of the RSV Aurora Australis to the Antarctic continent. The Aurora Australis has been carrying expeditioners and resupply to Antarctica for over 30 years. This final voyage was special in many ways. It departed with COVID-19 just a whisper and returned to a fundamentally changed world. The extra protocols instituted on the ship in response to COVID-19 reinforced the interdependency and collaborative actions of such a tightly knit microcosm, already essential for survival in Antarctica, but with a renewed sense of urgency in the emerging emergency. At that time Antarctica became the last COVID-19 free continent and we had a duty to preserve that status.
Using laser and photogrammetry scans and ambisonic sound recordings of the ship, crew and expeditioners, Last Dance Orange Roughy presents a virtual experience depicting the intricate choreography of ship and expeditioners. Using an artistic rendering of the ship along with choreographed impressions of the crew and expeditioners, Last Dance Orange Roughy portrays the final voyage as an intricate dance sustaining life.
Last Dance Orange Roughy is an immersive visual and sonic feast of three-dimensional environments and spatial sound visualising and sonifying the last grand Antarctic dance of the Aurora Australis, crew and expeditioners. John McCormick and Adam Nash (Wild System) were the 2020 Australian Antarctic Arts Fellows on the final Australian voyage of the icebreaker Aurora Australis to the Antarctic continent.
Antarctic Art Fellows: John McCormick, Adam Nash 3D Artists: Casey Richardson, Casey Dalbo Choreography: Kim Vincs, John McCormick Dancers: Valentina Dillon, Wendy Feng Ambisonic Sound: Adam Nash Antarctic Arts Program: Sachie Yasuda, Tiffany Brooks Drone Filming: Simon Payne, John McCormick 3D Stereo development: Joshua Reason Ambisonic sound consultant: Simon Maisch
John and Adam would like to extend their thanks to all the crew and expeditioners aboard the final voyage of the RSV Aurora Australis to the Antarctic Continent.
Whilst the wearing of masks is not mandatory it is recommended in certain situations by Tasmanian Public Health. Masks will be available upon entering the venue for those patrons who would like one.
If you’re unwell, it is recommended that you stay at home, and we look forward to welcoming you at Salamanca Arts Centre another time.
Artists
Photo John McCormick
John McCormick
John McCormick is a technology based artist with a major interest in movement. John is a lecturer and researcher at the Centre for Transformative Media Technologies, Swinburne University of Technology where he investigates artistic practice in mixed reality environments, robotics, artificial intelligence and human movement. John has collaborated on works worldwide, including at ISEA, SIGGRAPH, Melbourne Festival, SIGGRAPH Asia, Ars Electronica Futurelab and Art Science Museum Singapore.
Photo: John McCormick
Adam Nash
Adam Nash is an artist, composer, programmer, performer and writer working in virtual environments and generative platforms. His work has been presented all over the world, including SIGGRAPH, ISEA, ZERO1SJ, the National Portrait Gallery and Venice Biennale. He is Associate Professor (Virtual Interior) in the Interior Design discipline, School of Architecture and Urban Design, RMIT University.
A painterly surface with the echoing motif of the bottle.
This work talks directly to Jake Walker’s exhibition Grog, which was held in Kelly’s Garden and which is part of our curated OPEN SKY / Kelly’s Garden Program.
Jake Walker | Genevieve Griffiths
Jake Walker
Jake Walker was born in New Zealand and moved to Australia in 2000. His practice is inextricably linked to the natural and cultural landscapes of New Zealand. Walker admits that as a child he ‘didn’t really know there were too many other kinds of painting’ aside from landscapes. His works are constantly shifting and revisited after some time, with chance and instinct at the core of his working practice. Sometimes this results in works of ‘weightlessness of accident and incident.’ Exploring themes of modernist architecture and abstract perspectives, Walker’s free and loose sense of play embraces material forms. Walker sees paintings as objects, not flat two-dimensional images. This openness to experimental processes has led to a series of works using clay- painterly forms and stoneware frames that lead from one thing, to another.
Thursday 20 January- Sunday 27 March 2022 This exhibition is part of the OPEN SKY / Kelly’s Garden 2022 program Curated by Ainslie Macaulay
Closing Event 23 March 2022 5.30pm – 7pm
Jake Walker will present a group of ambiguous ceramic objects, alluding to keys, paintings and alternate realities.
Grog: a granular material that has been crushed down from brick, refractory rock, or other pre-fired ceramic product and added to clay to give textures, reduce shrinkage during firing, help the clay to form uniformly and stop cracking and warping when being fired.
Grog; a strong alcoholic drink, originally rum , mixed with water
Jake Walker was born in New Zealand and moved to Australia in 2000. His practice is inextricably linked to the natural and cultural landscapes of New Zealand. Walker admits that as a child he ‘didn’t really know there were too many other kinds of painting’ aside from landscapes. His works are constantly shifting and revisited after some time, with chance and instinct at the core of his working practice. Sometimes this results in works of ‘weightlessness of accident and incident.’ Exploring themes of modernist architecture and abstract perspectives, Walker’s free and loose sense of play embraces material forms. Walker sees paintings as objects, not flat two-dimensional images. This openness to experimental processes has led to a series of works using clay- painterly forms and stoneware frames that lead from one thing, to another.
Consisting of paintings and a musical composition, Notation by Hann Pärssinen is a loosely woven abstract diary of contemplation and dialogue with loved ones over a period of 5 years.
The paintings are figurative. Oil on canvas and timber.
when the world feels it has endedthe equator is in prayer
with love
grief
continue
still like trees, living
under the one sun
The works have been a language in the dialogue with family, before and after the death of a parent in 2021.
