MERRIC BRETTLE: HYPNAGOGIC BLINK
23.07.2019 - 17.08.2019
In this new body of works titled, Hypnagogic Blink, Merric explores the relationship between hand-painted and digitally-created mark-making. In order to do this, he employs various visual art computer programs, spray paint and a variety of material and conceptual digital image-making techniques.
Employing these materials and methods Merric explores his mark making as he translates found and constructed digital images into material objects. This kind of practice allows him to explore the qualities of the ‘screen’ yet still insert ‘himself’ into the art object.
When looking at these works, Merric would like the viewer to consider two aspects in particular. Firstly he would like them to consider his ‘marks’ in for example the care of his construction, the layering of paint, and the small mistakes or human ‘glitches’ in the fabrication process. Secondly he would like them to contemplate the patterns he created in these abstract images and the way that they may have meaning in themselves. The reason behind these requests he explains,
“…is because it is behind these marks you will find me and behind these patterns you will find the way that I see the world.”
ROBERT JACKS & JAMES CLAYDEN: WHAT IN THE WORLD
28.05.2019 - 22.06.2019
Blockprojects is pleased to present, What in The World, an exhibition of paintings by two of Australia’s most pre-eminent painters of our time, Robert Jacks and James Clayden. The exhibition features paintings from the late 1960s to mid-2000.
JO WILSON: MATERIAL ONLY
JO WILON: MATERIAL ONLY
JAMES CLAYDEN
10.10.18 - 30.10.18
Installation images
Material only
Jo Wilson’s sculpture is inspired in part by the contents of her father’s factory. The artist has taken delight in the industrial trappings of this mechanised workspace.
She has found mysterious beauty in sections of machinery, discarded workshop objects, sprockets, offcuts and fragments, which she has reconstructed and repurposed into elegant abstract forms.
The resulting objects are strangely familiar, yet also enigmatic. A discarded sheet of pressed cardboard, rescued from the factory floor and cast in bronze, is now eternal; the utilitarian roll of sticky-tape, cast in the same permanent metal, becomes a poetic relic of the age, as intriguing as any Bronze Age artefact.
Elsewhere, circular wooden forms have been constructed, with concentric rings emanating from the centre-point. These mandala-like objects suggest shields, or charts of the cosmos as they set out the trajectory of their own enclosed universes.
In Wilson’s work, we may find echoes in the sculpture of Constantin Brâncuși, or British artist Eduardo Paolozzi, the godfather of British Pop Art, who also saw the sculptural potential in the detritus of contemporary life.
