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be,twixt Greg Ansell, Leigh Corrigan, Hans Kreiner, Jennifer Newton The Project Space, CACSA 29 July - 4 September, 2005  'be,twixt',
curated by Leigh Corrigan is showing at the CACSA Project Space until
September 4. The installation works of Greg Ansell, Corrigan, Hans
Kreiner and Jennifer Newton show an interesting array of approaches
to making and exhibiting. Ansell's work, in its coded, layered and complex way, is reminiscent of the three monkeys and their phrase; 'see no evil, speak no evil, hear no evil' (if only for the senses mentioned). Links are made between objects and imagery the longer one participates in the work. Alternatively, Kriener's Tween and Zone almost work as bollards and nets capturing, or keeping watch over spaces not to be entered. Painstaking labour is often evident in Kreiner's work as he manipulates unusual materials and these are no exception.  Touching
on the absurd or bizarre, Newton's There's Not Enough Room In My
House features taxidermied albino finches wearing party hats tied
with ribbons sitting side by side on a white perch. It seems unjust
that these sweet, cute and once-chirping creatures bathed in the pale
should take the exclusionary position stated in the title. Newton's
other work, Crying Man Mourns For The Trees, constructed from
soap and plasticine and shows a little scene of a googly eyed man
within his white treed environment. Shadows of the trees were cast
upon the wall behind the work making it seem larger and more ominous
than without. Once again this was a purely white scene but its use
of materials making one think of cleanliness and loss.Corrigan's Muse and Song To The Siren incorporate a material usually rid of, dust. Tubes of dust are held in semi-transparent sheets in a sculptural display informed by Corrigan's interest in ikebana. Song To The Siren blows up microscopic views of dust's anatomy into large circular images on the gallery wall, then rendered with dust. An interesting material, dust usually incorporated into the category of debris, is collected and used lovingly through Corrigan's practice as she notes the different kinds (soft, silt, grainy or heavy) and uses it to analyse the patterns of itself.  |
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