Please join us at Firstdraft for the opening of our April 2014 exhibitions.
Opening Wednesday, 2 April 6-8pm
Artist talks: Saturday 5 April 2-4pm
Firing on all cylinders
Objects in space. Space in general terms.
The extrapolation of a limit. A limit defined within a set that itself seeks to define the limitless - the infinitely extendable and by association the irreducibly complex.
The constraints of architecture.
It’s not ALL sex and death but they are respectively an excellent pastime and a definitive marker.
B2 is the name of a commercial photographic studio in Sydney. B2 caters primarily to photographic work intended for viewing through digital (online) and print media magazine publication in Australia.
This context frames Samuel Kirby’s research into painted sets at the site, which take the form of wooden panels, plinths, floorboards and cyclorama’s. These are utilised during photo-shoots as backgrounds and visual supports in photographic picture-making. Research and documentation of painted sets within B2 is facilitated by Kirby’s employment at the site as a set builder and studio hand.
Kirby is interested in how the physical qualities of paint, inherent on the surface of a painted set, are perceived as a digital photographic reproduction. Kirby’s installation practice engages with notions of the digital photographic image and art object (painted sets) as exemplars of, or substitutes for, the tangible real.
Harle’s practice explores the contemporary use of digital technologies to map and make sense of the world. He critiques the often ideological practices of digital capture that result in representations ranging from the schematic and reductive (e.g. GPS navigation and Google maps) to the immersive and evocative (e.g. narrative-based video games).
His works take various established and emerging mapping technologies – laser scanning, photogrammetry, 3D printing – and re-appropriates them as expressive mediums, altering their outcomes to introduce an affective element which is normally absent.
Through these cartographic practices, Harle reveals his own place in a field of competing drives to organise, stake-claims, and dictate boundaries: the map as a performance of exploration, of trying to make sense of the world.
Firing on all cylinders
Firing on all cylinders responds to the ritual of day-dreaming about remote places while living in a busy metropolis. In this work, original and appropriated images sit side-by-side in a photo-tapestry format.
The work focuses on the 'island' as a form and an idea. As an in-between to the round-trip, islands are both a respite and demise to the expedition, sitting (sometimes uncomfortably) between the leaving and the return. Similar ambiguities are addressed in the photo-tapestry process, which uses low-resolution digital images to feed a mechanical loom.
Firing on all cylinders brings together multiple forms (while being singularly none of them): a primary image, an appropriated image, textiles and the machine. The work - like the island journey - is anchored somewhere in-between the here and there.