25 September to 16 October 2009
Each of these five artists interprets the notion of 'peripheral': an active space of thought, outside of the expected. Their respective works heighten awareness of the incidental relationships that exist through contemplation and musing about our selves and our environment.
Utako Shindo references the interplay of reality and fiction in relation to the self—particularly as each year she divides her time between Australia and Japan. Shindo's work manipulates our vision through the creation of questionable play between an image and its reality, via the Cardigan Street window of Project Space Gallery.
In contrast, Larissa Linnell translates aural experience across various technological and manual platforms to arrive at visual presentations of auditory observations of Merri Creek in Melbourne's inner north. Creating drawings that are reflections of these Merri Creek trails in two and three-dimensional representations, Linnell awakens our interest in the often-overlooked experiences of our environment.
James Geurts' Psycho-geography Project is an investigation of the entwined nature of land, place and thought. Using an innovative translation process across various drawing techniques, Geurts brings us to a 'new potentiality' of experience from various geographical locations he has worked in around the globe.
Using the metaphor of transcendence in his work Beyond, Daniel Armstrong takes us to other-worldly experiences via the anecdotal behaviours of people using a telescope. Each person looking into the telescope reveals more about themselves through their physical viewing behaviours than the universe they are attempting to look at or into. Armstrong's work examines that infinite and unsettled space between the 'here and now' and the 'what might be out there'.
George Poonkhin Khut's artistic explorations into the less-understood sensory modalities of touch, movement and proprioception take the viewer on a journey. By using video-cued recall Khut allows subjects to study themselves, post some kind of interaction experience. Khut references Feldenkrais and Alexander Technique as examples of these types of sensory investigations. In this review process the subject and viewing audience become aware of many aspects of themselves that would otherwise go unnoticed and unexplored.
Lisa Byrne, 2009
Daniel Armstrong acknowledges:
The Lowell Observatory, Flagstaff, Arizona; Visual Arts Board - The Australia Council for the Arts; Deakin University, School of Communication and Creative Arts; Bethany Wheeler and Monash University Glass Studio; Assoc Prof Lesley Duxbury, School of Art and Prof Peter Downton, School of Architecture and Design, RMIT University.
Larissa Linnell acknowledges:
Technical help and collaborative effort of Eliot Palmer with the soundscape parts of small sounds and soft edges.
George Poonknin Khut acknowledges:
Video interviews recorded at Performance Space, Redfern, 2009, as part of 'Thinking Through The Body - ArtLab '08' a collaborative research project with Jonathan Duckworth, George Khut, Somaya Langley, Lian Loke, Lizzie Muller, Garth Paine, Maggie Slattery, and Catherine Truman, supported by the Australian Government through the Australia Council (Inter-Arts Office) its arts funding and advisory body. Special thanks to project venue partners Campbelltown Arts Centre, Bundanon Trust and Performance Space, and Alejandra Mery Keitel (production assistant). http://thinkingthroughthebody.org/