Gallery 1 An Ordinary Kind of Ornament Hannah Bertram
An Ordinary Kind of Ornament is an installation which transforms dust into an ornamental carpet. The work explores the possibility of preciousness within the incidental. By symbolically using the language of ornament - which simultaneously adds value and is functionally superfluous - it seeks to highlight the ambiguities of preciousness.
At the end of the exhibition, visitors can watch the work being swept away. Its fragile and temporary existence, seeks to shift the value of the work from the concrete object, to the transient realm of experience and focus on the preciousness inherent within the everyday.
Hannah Bertram completed her Master of Fine Art at RMIT in 2005. Her decorative artworks often transform worthless materials in temporary installations to engage in a dialogue about value and worth. Hannah Bertram is represented by Dianne Tanzer Gallery, Melbourne.
An Ordinary Kind of Ornament has been generously funded by the City of Melbourne – Arts Projects grant 2007.
The closing performance of this project will be on Saturday 3 November 4pm.
Gallery 2 Deep Cuts Ellequa Martin
Deep cuts, Down into the ever yonder, It can be felt on the other side, You can feel it all over.
Deep Cuts is an installation observing destructive and hostile deeds towards fragile environments. A mood of seizure and infestation dominates a peaceful place of habitation, from which an awkward overtaking emerges. Seemingly endless pillage and plunder is further morphed and manipulated to an irksome moment, in which things are forevermore left looking not quite right. Deep Cuts reflects on the inevitable chain of cause and effect, catching our tails quicker than we think.
Ellequa Martin is a Melbourne-based artist. She completed a Diploma of Visual Arts/New Media at Swinburne University in 2002 and a Bachelor of Fine Art – Painting at The Victorian College of the Arts in 2006.
Deep Cuts has been generously funded by the City of Melbourne – Young Artists grant 2007.
Gallery 3 Gulliver Melanie Velarde and Wang Changcun
Wang Changcun and Melanie Velarde first met while performing together in Shanghai, China in 2006. Both are interested in electro-acoustical compositions that take their origins in phonography. In opposing different field recordings they aim to create abstract soundscapes and to generate artificial sonic landscapes within a new environment. In Gulliver, they probe and confront each other with their individual compositions based on field recordings ranging from the mountains in North China to Germany's suburban wastelands.
Melanie Velarde is interested in the spatial and semiotic properties of mostly existing sound. She has been using field recordings to produce audio/sensual textures that can be experienced within a defined space, usually in form of sound and video installations. She received a Master in New Media Art (Sound Studies) from RMIT, Melbourne in 2001.
www.melanievelarde.com
Wang Changcun's works were selected for CHINA: the Sonic Avant-Garde, the first compilation of Chinese sound art released by the California-based label Post-Concrete. Wang Changcun performs regularly throughout China and toured Europe with Belgian label Sub Rosa in 2004. Wang Changcun’s The Mountain Swallowing Sadness was released on Sub Rosa in 2006.
