22 August -3 October
Through a combination of artists, materials and ways of makingElectric maps the collaboration of the handmade with digital technology. Crafted objects across metals, plastics, ceramics and textiles engage the body in participatory gallery experiences with installations referencing interaction, wearability and function.
Alterfact (Ben Landau and Lucile Sciallano), Mark Edgoose, Douglas McManus and Bin Dixon-Ward with Jon Osborne.
3D printing is a deliberate layering process which translates given data into physical form. However, the limitations with printing clay are numerous: the clay cannot support sharp angles or overhangs; the extrusion process never stops, so objects need be designed in one ‘coil’; and the slurry mix is unstable and inconsistent, requiring constant attention to ensure a uniform print. Errors in these calculations ultimately result in sudden disheartening implosions. However, it’s these collapsed objects which we love, because they achieve an end result which is impossible to replicate- they are ultimately beautiful failures.
From our large catalogue of failed prints, we created a taxonomy of collapse. Some fall in; some fall out; some twist; some buckle but hold another part upright; and some completely flatten. Through failure they take on a more dynamic form, which is both unprintable and (near) impossible re-print. But, through dissecting the structures which led to the collapse, we can now plan it’s construction and destruction. We create forms that can just hold themselves when wet, and are frozen in time when fired. Thus a semi industrial process creates individual objects, which are ultimately engineered to create the Perfect Collapse.
Alterfact is an experimental design studio created by Lucile Sciallano and Ben Landau in 2014. Since graduating from the Design Academy Eindhoven in 2013, Lucile and Ben have worked in tandem on various issues in different mediums. They explore current and future issues and translate them into experiences, installations and objects. They conduct critical research with materials and data, and invite the viewer into their world.
Bin Dixon-Ward with Jon Osborne
Grid Sounds reimagines the human relationship with the city grid. Through digital sound processing, CAD and 3D printing, the human heart emerges from the city grid. The grid sounds are explored through interactive movement. The project examines the apparent binary between the rigid controlled logic of the grid and the organic form of sound.
A collaboration between sound artist Jon Osborne and jeweller, Bin Dixon-Ward, Grid sounds brings together two disciplines to test the perception of the city grid as a organising and framing devise that shapes human activity; and asks what if the grid takes on an organic form?
Go ahead, pick up the heart!
Bin Dixon-Ward, has exhibited in Europe and North America and is the recipient of several awards for her jewellery. Recent exhibitions include, The Victorian Craft Award, here solo show Grids at Craft Victoria, Melbourne Now, NGV, Melbourne, The Itami Contemporary Jewellery Exhibition, Japan, Making It Real, OCAD University, Toronto 2013, New Edition, 2013, Gallery Funaki, 2013. Her work is held in public and private collections including the Powerhouse Museum, Sydney and Musee des Artes Decoritifs, Paris and The National Gallery of Victoria. Bin explores the relationship between new technologies, jewellery and cities.
Jon Osborne has spent the last decade working in sound design as it relates to cities. Most comfortable at the intersection of public art, urban transformation and acoustic design, Jon explores the boundaries between music and noise, a dichotomy which he recently discussed in his TEDx talk, ‘Does Sound Have a Shape?’
Experimental textile artist Douglas McManus, explores a dark milieu. The underlying concept of this new interactive work is the emotional concealment and camouflage of the male psyche in contemporary society. McManus explores the intensity of this experience through the visual and material metaphor of male clothing that can be easily discarded and abandoned, like fetishized piles of unwashed laundry. McManus takes the audience on a visually explosive romp through the psyche, where men and beasts battle zombie gimps. Couture, alien landscapes, laundry, role playing games, neurological disorder and brooding sexuality collide spectacularly in a commentary on the detachment of male sociability from masculine psychic experience.
Douglas McManus is an experimental textile artist who explores emergent textile technology to create large-scale sculptural installations. Originally studying fine art printmaking, he swapped his medium to Textiles early in his career. McManus has emerged as a major contributor to the culture of textiles in Australia through his work as a practitioner, curator, researcher, and educator at RMIT University. Key processes in his award winning work include laser engraving, 3D printing and sound activated lighting. A major theme in McManus’ recent work is commentary on the male psyche,and conceptual notions of erasure, emotion, violence and deterioration of the masculine body. McManus is represented in major Australian museums including The Powerhouse, Sydney, National Gallery of Victoria, Melbourne and TheQueen Victoria Museum , Launceston.
My current work and focus investigates perceptions of the vessel, and how craft objects appear, inhabit, extend into and pertain to space and the viewer. My interest is focused on thinking about and experimenting with possible new significations of the object, which may emerge in relation to a particular environment. The ambition is to broaden viewers’ perceptions beyond traditional notions of the craft object as a self-contained entity, and for me as maker to reflect on my own perceptions and assumptions.
Electric explores relationships between objects; between object and space; and object and viewer, by offering the rail and vessel in a range of contexts. The works are predominantly made from titanium sheet, which is assembled, connected and given form by welding. The welds are sometimes expressed, signaling technique and the craft process. Edges and planes are coloured to emphasise surface and lines, continuous or broken. Forms and voids accommodate and convey ‘home’. Each detail is considered, finely resolved and executed with precision. In addition, the work in Electricfocuses on the way architectural spaces can be activated through movement within the space while responding to shifts of light and shadow generated on the wall.
‘Rail as Vessel’ is a linear work. Like most lines, the rail has a sense of being incomplete. It appears to be a fragment. It has a beginning and an end, but they are incidental – it could go on in either direction by connecting more parts. As you move along and inspect the details, the work changes. It involves manifold intersections where the emphasis is on relationships, and the whole is an open-ended sum of the parts, rather than focusing on an object of singular, individual or hermetic identity. The rail expands and contracts to support and display a range of vessels and containers that are part of the work, and are housed by the rail… they hang, clip or perch on the rail, but the rail itself also becomes a vessel. It determines and potentially challenges the way we define and regard the object… be it art object or perhaps something more prosaic – phone, letters, toys, keys.
Mark Edgoose has undertaken 25 years of independent practice in object making for commission, exhibition and limited production. He has exhibited widely both nationally and internationally and received major commissions and awards including the National Craft Award, National Gallery of Victoria, 1995. Residencies include Tokyo, 1997 and Paris, 1998. Mark’s work is represented in major public and private collections at the National Gallery of Australia, Art Gallery of Queensland and the Museum of Applied Arts and Sciences.