Fristar ViliamuTefflon
Sarah WhitesideBirds Sylvanian series
Kirsty Oliver Indoor Outdoor flow
John Vea
Untitled
Ship In High Transition was the fourth instalment of the Pilot series. From the get go, this was an interesting bunch, having one person switching groups due to travel commitments and then a few weeks later, another dropping out completely. This led to just four people left and that rather large Gallery 3 space...
What to do? The clever people closed off a good section of the gallery (which wan't admitting defeat so much as a simple way to make do) and even filled it with a band on opening night (nice touch). There wasn't a lot of clutter, just four strong sets of works.
Favourites would be John's plank sculpture and Fristars attempt at copying it (above). Fristar always seems to pull something strangely different out of the bag. Being a part of his Talk Week crit group, we were exposed to a large, painted art cupboard filled with video works (one of which was a naked man running through bush) and sketches. I had assumed he would go down a similar path for this show (especially with the video), but instead decided to one up my expectations and do a double take on each other person in the show. I'm impressed with his funny sensibility such as shown in his photos of dead animal heads, mimicking Sarah's photography style. This is a poke for those who know that Sarah is a boldly steadfast vegan. A talk with Kirsty revealed that most people couldn't discern between her photography and Fristar's photography (again copied). It's these qualities that made this work interesting, that even when you're let in on the joke, the repercussions continue...
I also enjoyed Sarah's photographs, which were reminiscent of Iconography in its hanging. The alcove in which they were installed seemed very much like a curious domestic altar. I like this extra bit of reading that we can get from her photographs which add onto other concerns such as relationships between viewer and the viewed (the gaaaaze) and the idea of power play, who's in charge here?
The catalogue accompanying this show was also excellent (bar the terrible formatting and spelling/grammar). It was an informal look into each person's views on each other's works. Simple, easy and to the point and again, funny enough to still take it seriously.
People are getting better at using the Gallery space, as well as thinking bout the show as a whole. I think that was the success of this exhibition and the rolling with the fact that they only had four members in the team. It was cohesive. It worked.
- Agnes
John VeaUntitled
Ship In High Transition was the fourth instalment of the Pilot series. From the get go, this was an interesting bunch, having one person switching groups due to travel commitments and then a few weeks later, another dropping out completely. This led to just four people left and that rather large Gallery 3 space...
What to do? The clever people closed off a good section of the gallery (which wan't admitting defeat so much as a simple way to make do) and even filled it with a band on opening night (nice touch). There wasn't a lot of clutter, just four strong sets of works.
Favourites would be John's plank sculpture and Fristars attempt at copying it (above). Fristar always seems to pull something strangely different out of the bag. Being a part of his Talk Week crit group, we were exposed to a large, painted art cupboard filled with video works (one of which was a naked man running through bush) and sketches. I had assumed he would go down a similar path for this show (especially with the video), but instead decided to one up my expectations and do a double take on each other person in the show. I'm impressed with his funny sensibility such as shown in his photos of dead animal heads, mimicking Sarah's photography style. This is a poke for those who know that Sarah is a boldly steadfast vegan. A talk with Kirsty revealed that most people couldn't discern between her photography and Fristar's photography (again copied). It's these qualities that made this work interesting, that even when you're let in on the joke, the repercussions continue...
I also enjoyed Sarah's photographs, which were reminiscent of Iconography in its hanging. The alcove in which they were installed seemed very much like a curious domestic altar. I like this extra bit of reading that we can get from her photographs which add onto other concerns such as relationships between viewer and the viewed (the gaaaaze) and the idea of power play, who's in charge here?
The catalogue accompanying this show was also excellent (bar the terrible formatting and spelling/grammar). It was an informal look into each person's views on each other's works. Simple, easy and to the point and again, funny enough to still take it seriously.
People are getting better at using the Gallery space, as well as thinking bout the show as a whole. I think that was the success of this exhibition and the rolling with the fact that they only had four members in the team. It was cohesive. It worked.
- Agnes
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