Five shows- One gallery: New work by Paula McLoughlin, Olga Tsara, Daniel Gardeazabal, Stephanie Kam and Abigail Reisner
As summer bids its final farewell, Alternating Current Art Space is proud to present five new exhibitions beginning at 6pm this Friday. Showcasing an eclectic display of artists working in photography, film, painting and installation, all shows will be open to the public until the 25th of March.
Venue: Alternating Current Art Space
Address: 248 High Street, Windsor VIC 3181
Date: Opening Night: 3 March 6pm. Exhibition open until 25 March.
Time: Thursday & Friday 12- 7pm. Saturday & Sunday 12- 5pm.
Ticket: Free
Web: www.alternatingcurrentartspace.com
: https://www.facebook.com/alternatingcurrentartspace/
: https://www.facebook.com/events/1779315615728343/
EMail: info@alternatingcurrentartspace.com
Call: 03 9525 2459"‹
Address: 248 High Street, Windsor VIC 3181
Date: Opening Night: 3 March 6pm. Exhibition open until 25 March.
Time: Thursday & Friday 12- 7pm. Saturday & Sunday 12- 5pm.
Ticket: Free
Web: www.alternatingcurrentartspace.com
: https://www.facebook.com/alternatingcurrentartspace/
: https://www.facebook.com/events/1779315615728343/
EMail: info@alternatingcurrentartspace.com
Call: 03 9525 2459"‹
Alternating Current Art Space is pleased to announce the opening of five new exhibitions by Paula McLoughlin, Olga Tsara, Daniel Gardeazabal, Stephanie Kam and Abigail Reisner on 3 March at 6pm.
Beginning in Gallery One, Hey Josef- Why so square? by Paula McLoughlin draws upon the familiar symbol of the target in response to an imagined dialogue between Joseph Albers and Jasper Johns. As McLoughlin states, the works represent "what I imagine conversations between Josef Albers and Jasper Johns would look like." Through an intelligent use of colour and design, these works playfully trick and mesmerize.
Following this, Olga Tsara 'explores the power of the face and how 19th Century photography has responded to women' in Unreadable Presence. Tsara's latest series of oil paintings depict images of women whose identity remains unknown, their faces concealed from the viewers" gaze. Taking place in Gallery Two, Tsara's adaptation of historic works seeks to challenge how we view the hidden face, be they in circumstances either chosen or imposed.
Via images moving and still, Fragile by Daniel Gardeazabal is a personal response to depression through the metaphor of ice. For Gardeazabel, living with depression is akin to the deterioration of ice from a stable to gaseous state. According to Gardeazabal: "Ice feels a lot like depression; it shows a hard exterior that apparently is very robust and sturdy, while in the inside, little explosions are occurring but are never brought to the surface"¦ As conditions become harder for ice to keep solid, the ice's (my) inner turmoil is revealed." Taking place in Gallery Three, the artist captures this transition from one state to the next.
Meanwhile, the multidisciplinary practice of Stephanie Kam comes to the fore in A Fertile Void. As Kam describes, 'A Fertile Void' is an exploration into the abject horror, anxiety and terrible power of female-hood, its corporeality constantly struggling within controlled environments through imminently defunct technologies.' Continuing an ongoing investigation into DIY culture, the compositions themselves stray into the realms of sculpture with process and material exaggerated in a type of 'absurd theatricality.'
Finally, in Abigail Reisner's Tempo the Australian landscape is drawn upon as a means to question the effect time has on the creative process. This series of small paintings utilize the techniques of Monet in an attempt to illustrate 'how time spent can affect outcome.' Taking place in The Cupboard, Reisner seeks to record this transition of light and time by creating multiple versions of the same image at different stages in the day.
All exhibitions will be open from 3 March- 25 March.
Beginning in Gallery One, Hey Josef- Why so square? by Paula McLoughlin draws upon the familiar symbol of the target in response to an imagined dialogue between Joseph Albers and Jasper Johns. As McLoughlin states, the works represent "what I imagine conversations between Josef Albers and Jasper Johns would look like." Through an intelligent use of colour and design, these works playfully trick and mesmerize.
Following this, Olga Tsara 'explores the power of the face and how 19th Century photography has responded to women' in Unreadable Presence. Tsara's latest series of oil paintings depict images of women whose identity remains unknown, their faces concealed from the viewers" gaze. Taking place in Gallery Two, Tsara's adaptation of historic works seeks to challenge how we view the hidden face, be they in circumstances either chosen or imposed.
Via images moving and still, Fragile by Daniel Gardeazabal is a personal response to depression through the metaphor of ice. For Gardeazabel, living with depression is akin to the deterioration of ice from a stable to gaseous state. According to Gardeazabal: "Ice feels a lot like depression; it shows a hard exterior that apparently is very robust and sturdy, while in the inside, little explosions are occurring but are never brought to the surface"¦ As conditions become harder for ice to keep solid, the ice's (my) inner turmoil is revealed." Taking place in Gallery Three, the artist captures this transition from one state to the next.
Meanwhile, the multidisciplinary practice of Stephanie Kam comes to the fore in A Fertile Void. As Kam describes, 'A Fertile Void' is an exploration into the abject horror, anxiety and terrible power of female-hood, its corporeality constantly struggling within controlled environments through imminently defunct technologies.' Continuing an ongoing investigation into DIY culture, the compositions themselves stray into the realms of sculpture with process and material exaggerated in a type of 'absurd theatricality.'
Finally, in Abigail Reisner's Tempo the Australian landscape is drawn upon as a means to question the effect time has on the creative process. This series of small paintings utilize the techniques of Monet in an attempt to illustrate 'how time spent can affect outcome.' Taking place in The Cupboard, Reisner seeks to record this transition of light and time by creating multiple versions of the same image at different stages in the day.
All exhibitions will be open from 3 March- 25 March.