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Posts Tagged ‘Ashleigh Campbell

HABITAT OUT WEST: Environmental Art of the Darling Downs Exhibition

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Curated by Ashleigh Campbell and Anne Keam.

 

When, how, and why did the locality Darling Downs come to be known as the Surat Basin? This question informed the exhibition curators Ashleigh Campbell and Anne Keam and with it came the recognition that such a shift was deeply important to the region’s connections and perceptions of their place.

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Habitat is a word that accommodates the presence of life beyond the human shaped and perceived landscape. In any given habitat the living and the nonliving interact to the rhythms of the earth and the cosmos. As both observers and inhabitants, artists and scientists help shape human perceptions of and relations with the broader global environment. This includes the economy of the earth’s resources that supports humanity.

Campbell and Keam researched a broad range of influences including the natural and human habitat of the Darling Downs from colonial history to present. Through the eyes and minds of the region’s colonial and post-colonial artists, along with some scientific documentation and social artifacts, they sought to reflect on shift and its implications on the regions environment.

 

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John Mullins Memorial Art Gallery entry – Dogwood Crossing, Miles.

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John Mullins Memorial Art Gallery interior

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This exhibition brought together a diverse collection of works including: prehistoric fossils and other historical artifacts, references and narratives of the pastoralists struggle with the invasion of prickly pear cactus and other pests, floods and droughts. The artists represented in the show came from many disciplines. Paintings representing this landscape covered a range of movements and styles from romantic colonial pastoral period to impressionism, abstraction and modernism. Well known artists names: Kenneth Macqueen, Sam Fullbrook and Joe Furlonger are representative of the depth of creative work in this exhibition.

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Furlonger

Joseph Furlonger Round Up Ready Field, near Dalby 2012 Acrylic bound pigment 91 x 122 cm Courtesy of The Hughes Gallery, Sydney

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Some artists reflected on living with the natural environment as found in small corners of Patricia Hinz’s back yard in the work, Sanctuary (2014). Palpable in the drawing of Allan Bruce’s Stanthorpe, Late Winter (2008) is the feeling of being in the grand sun-soaked landscape of the Downs, and the relationship of small towns with the surrounding country. Bruce observes: “Stanthorpe is one of those towns where the natural and built environment coalesces almost seamlessly.”[1] The inventiveness and creativity that pervades every farmer’s shed and bushman’s camp is embodied in the sculptural work of Dion Cross’ Grass Harvester (2014), that highlights the competition for pasture between man and animal during periods of drought. The fine drawings of flowers and fungi by botanical artists and illustrators through scientific documentation reveal a deep understanding and investigation of the natural life forms found in this region.

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Dion Cross Grass Harvester 2014 Steel sculpture 150 x 60 x 180 cm Courtesy of the artist Image: Spowart + Cooper

Dion Cross Grass Harvester 2014 Steel sculpture 150 x 60 x 180 cm Courtesy of the artist Image: Spowart + Cooper

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Phil Bazzo’s painting, Miles: At the Crossroads (Triptych, 2008) presented two concepts: the physical nature of the intersections of roads in Miles including the dynamics of heavy road vehicles and the metaphor of crossroads to infer change and concerns for the future. Both found natural and manmade objects and materials were also utilized as the visual language of protest. This was evident in the mixed media works of Jennifer Wright (Summers): Searching for Life in the Anthropocene 1 (2014), using tea bags, feathers, fabric pen & ink, watercolour and Anthropocene Nest (2014), that was made from plastic bags and pelican bone. Nicki Laws’ Habitat Gone (2014) collaged and embroidered the materials found in the fluoro safety barriers widely used in the industries found in the region.

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Gillian Scott Grevillea x ‘Robyn Gordon’ 1993 Watercolour on paper 25 x 35 cm Courtesy of the artist

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The solastalgic plea for a balance with man and the land was also deeply felt when viewing the work of Barbara Hancock’s Brigalow Landscape (2014). Working with the land, technology and energy needs was also strongly referenced in the work of Sylvia Secomb (Mann), Synergism – Towards Regeneration I (2010), but also reflects on the question “What will we be leaving for those who come after?”[2]

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Sylvia Secomb (Mann) Synergism - Towards Regeneration I 2010 Acrylic and medium on canvas 91 x 213 cm Courtesy of the artist

Sylvia Secomb (Mann) Synergism – Towards Regeneration I 2010 Acrylic and medium on canvas 91 x 213 cm Courtesy of the artist

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For the city viewer who ventures out into the region to connect with this show, there is a unique experience: to be in the space and place of the exhibition, Dogwood Crossing, Miles, within the Habitat it references. This site-specific exhibition presents rare opportunity to engage with the historical and contemporary issues of living with the land through the creative energy and perception of those who chose to live and work in this region. The curators have also published an extensive and informative online catalogue to accompany the exhibition: Habitat_Catalogue or online at http://issuu.com/ourwesterndowns/docs/catalogue/1

Beyond the facts and information, the presence of a growing connection and love of the Australian environment pervaded strongly throughout this extraordinary show. Through visual story telling and lived experience, the artists and the curators have constructed a layered topology of the Darling Downs. A telling image of how the effects of a changing human condition: technology, energy and food production can be identified and chronicled through the artist’s vision.

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Victoria Cooper

 

I am also privileged to have my work, 7 Gates (two forms: artists’ book, 2009; digital media presentation 2014), included in Habitat.

 

[1] Page 11, ibid.
[2] Page 21, Habitat: Environmental Art of the Darling Downs, 2014. The online catalogue for the show of the same name. See http://issuu.com/ourwesterndowns/docs/catalogue/1

 

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Anne Keam and Ashleigh Campbell at the opening.

 

 

 

 

 

 

 

MEMORY COLLECTIVE: Super Moon + Phoenix

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Eighteen months ago Toowoomba artist Damien Kamholtz began a project that was to bring together a team of local artists to participate in a conceptual artwork that would have many states and private and public iterations. The first public presentation of the The Memory Collective was at the Toowoomba Regional Art Gallery in August/September 2013.

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Two weeks ago a key element of The Memory Collective project was altered yet again into a new state. This took place near Cabarlah at a symbolic time for Kamholtz, the recent super moon…

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Here is part of the document made on that July evening.

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Damien Kamholtz @ the burning  Photo: Cooper+Spowart

Damien Kamholtz before the burning Photo: Cooper+Spowart

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The super-moon rising and the embers of the phoenix rising

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Aftermath of the fire

 

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Damien's Ash-Burn

Aftermath: ashes of the painting the next morning. Photo: Damien Kamholtz

 

…. this is not an ending for the Memory Collective…

 

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 THE BACKSTORY OF THE MEMORY COLLECTION

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An exhibition of the collaborative artwork as a singlarity

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Memory Collective image from the exhibition @ Toowoomba Regional

Memory Collective image from the exhibition @ Toowoomba Regional

 

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A painting and a performance

 

 

The Memory Collective painting by Damien Kamholtz

The Memory Collective painting by Damien Kamholtz

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The Memory Collective is a multi-disciplinary collaboration orchestrated by artist Damien Kamholtz. Kamholtz states: The Memory Collective Project is a creative collaboration between 12 artists across eight artistic disciplines exploring concepts and themes relating to the human condition such as change, constants, history, refection and memory. The artworks created during the project will make up an exhibition to be held at the Toowoomba Regional Art Gallery in September 2013.

There are different stages to the project. First Kamholtz created a large 2.2 metre square painting, while sculptor, Jessie Wright constructed the large vessel to hold the water. Kamholtz’s painting is embedded with personal meaning in the form of fragments of his past art, the ashes of diaries. In the presence of this artwork we are drawn into a poetic landscape where faces emerge; symbols and totems slip from passive dark spaces and come into conscious awareness.

The second stage of the work was the performance in the form of 9 responses to the painting by Kristy Lee. The painting and the pool created the reflective and reflexive performative space and the transformative process of the original painting then began. Integral to the space were David Usher’s delicate pots; these vessels contained the pallet of shades that then shrouded and clouded the memory of the work. Over the course of the day the painting’s physical form was transformed into something different loosing its current visual form as only a memory.

Our part of the collaboration was to witness, respond and record the transformation of the work over the day. The next stage of the Memory Collective’s work will continue over the next month our component will be to create 9 large collaged photograph memory states of the work for the show in September. Works by others include; a video art piece, a documentary video, a soundscape, interviews, prose and poems. It is a significant project and is being funded by the RADF and supported through the exhibition at the Toowoomba Regional Art Gallery.

 

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A fragment of photographic memories made by us for the MEMORY COLLECTIVE

 

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Kamholtz in the performance space with the painting and pool

Damien Kamholtz in the performance space with the painting and pool

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A performance

 

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Kirsty Lee and painting – in the early state…

Kirsty Lee performs before the painting

Kirsty Lee performs before the painting

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State 3 Kirsty applies paint to the paining...   Photo: Cooper+Spowart

State 3 Kirsty applies paint to the paining…

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Hand paint

Hand paint

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Kirsty Lee and her interaction with the painting   PHOTO Cooper+Spowart

Kirsty Lee and her interaction with the painting … around Stage 6

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Blue hand...

Blue hand…

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Kirsty Lee in a frenetic stage…

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brushes

Kirsty Lee and brushes before the pool

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Paint fluid in the pool…

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Towards the final state…

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The final state …


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Memory Collective logo.

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Additional material

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Damien discussing movement with Kirsty

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Kirsty Lee towards the end of the performance

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Another creative work from the performance by Jason Nash…

Jason Nash - Time lapse video

Jason Nash – Time lapse video

CLICK HERE to see Jason Nash’s ‘Memory Collective’ time-lapse video

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The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling). Not present: Craig Allen & Jake Hickey

The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart
Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling).
Not present: Craig Allen & Jake Hickey

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Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

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__States-1-9-24cmX270cm.

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© 2013+2014 Victoria Cooper and Doug Spowart for The Memory Collective

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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MEMORY COLLECTIVE: A performance documentary project

with 6 comments

The Memory Collective painting by Damien Kamholtz

The Memory Collective painting by Damien Kamholtz

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The Memory Collective is a multi-disciplinary collaboration orchestrated by artist Damien Kamholtz. Kamholtz states: The Memory Collective Project is a creative collaboration between 12 artists across eight artistic disciplines exploring concepts and themes relating to the human condition such as change, constants, history, refection and memory. The artworks created during the project will make up an exhibition to be held at the Toowoomba Regional Art Gallery in September 2013.

There are different stages to the project. First Kamholtz created a large 2.2 metre square painting, while sculptor, Jessie Wright constructed the large vessel to hold the water. Kamholtz’s painting is embedded with personal meaning in the form of fragments of his past art, the ashes of diaries. In the presence of this artwork we are drawn into a poetic landscape where faces emerge; symbols and totems slip from passive dark spaces and come into conscious awareness.

The second stage of the work was the performance in the form of 9 responses to the painting by Kristy Lee. The painting and the pool created the reflective and reflexive performative space and the transformative process of the original painting then began. Integral to the space were David Usher’s delicate pots; these vessels contained the pallet of shades that then shrouded and clouded the memory of the work. Over the course of the day the painting’s physical form was transformed into something different loosing its current visual form as only a memory.

Our part of the collaboration was to witness, respond and record the transformation of the work over the day. The next stage of the Memory Collective’s work will continue over the next month our component will be to create 9 large collaged photograph memory states of the work for the show in September. Works by others include; a video art piece, a documentary video, a soundscape, interviews, prose and poems. It is a significant project and is being funded by the RADF and supported through the exhibition at the Toowoomba Regional Art Gallery.

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A fragment of photographic memories made by us for the MEMORY COLLECTIVE

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Kamholtz in the performance space with the painting and pool

Damien Kamholtz in the performance space with the painting and pool

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Doug-documents the space ...... Photo: Victoria Cooper

Doug documents the space …… Photo: Victoria Cooper

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OLYMPUS DIGITAL CAMERA

Kirsty and painting – in the early state…

Kirsty Lee performs before the painting

Kirsty Lee performs before the painting

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State 3 Kirsty applies paint to the paining...   Photo: Cooper+Spowart

State 3 Kirsty applies paint to the paining…

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Hand paint

Hand paint

.

Kirsty Lee and her interaction with the painting   PHOTO Cooper+Spowart

Kirsty Lee and her interaction with the painting … around Stage 6

.

Blue hand...

Blue hand…

.

ertyu

Kirsty Lee in a frenetic stage…

.

brushes

Kirsty and brushes before the pool

.

rrrrr

Paint fluid in the pool…

.

ffh

Towards the final state…

.

dfghj

The final state …


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Memory Collective logo.

.

.

/.

yghjk

Damien discussing movement with Kirsty

.

fghjk

Kirsty Lee towards the end of the performance

.

Another creative work from the performance by Jason Nash…

Jason Nash - Time lapse video

Jason Nash – Time lapse video

CLICK HERE to see Jason Nash’s ‘Memory Collective’ time-lapse video

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The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling). Not present: Craig Allen & Jake Hickey

The Team: Front Ashleigh Campbell, Julio Dunlop, Kirsty Lee, Victoria Cooper, Doug Spowart
Back: David Usher, Jason Nash, Jesse Wright, Damien Kamholtz, Zac Rowling ( weakling).
Not present: Craig Allen & Jake Hickey

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Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

Toowoomba Chronicle 17 June, 2013 by Kate Dodd PHOTO: Dave Noonan

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..

__States-1-9-24cmX270cm.

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© 2013 Victoria Cooper and Doug Spowart for The Memory Collective

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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