EXHIBITION DATES: 3-24 February 2012
OPENING NIGHT: Friday 3rd February6pm - 9pm

Opening Night Photos

Photos of Exhibition

Ruin by Rob Ball
Recent Works by Louise Gresswell


RUIN by Rob Ball
RUIN comprises wall and floor-based constellations of cast objects that resemble outmoded technology from the 1980’s and 1990’s. These works are cast from moulds of conjoined manufactured surfaces, making reference to materials important to manufacturing production and trade. The mediums range from porcelain to polyurethane and gypsum-based plaster and are presented unadorned.  

These pieces are inspired by a concern with ‘planned obsolescence’, which industrial designer Brooks Stevens defined as "instilling in the buyer the desire to own something a little newer, a little better, a little sooner than is necessary". Rob concentrates on how technology is used in domestic settings, and how easily tempted we are to abandon it for something more desirable. Is this what stimulates contemporary consumerism reflective of the ephemeral bounds of our mortality? The conjoined composition of these works, presented as a wall and floor based constellation, explores repetition and volume but also a metamorphism of objects we discard.





M.I.Y.O by Rosina Prestia
When the observer is asked to become the artist we see a fresh new form of art emerge. 

M.I.Y.O (make it your own) by Rosina Prestia is an interactive project where individuals are invited to participate in a series of instructed artworks. Using audio instructions and materials provided in sculptural forms, the audience becomes the artist. As part of M.I.Y.O, selected artists will feature at random times to provide assistance, or use their own skills to personalize M.I.Y.O’s concept. This exciting and original project sets out to investigate the process, method and labor required to execute contemporary art.






RECENT WORKS by Louise Gresswell
The high gloss fantasy of human perfection is consistently canonized throughout all areas of the media. Louise Gresswells’ work inquires into society’s increasing obsession with youth, beauty and the flawless image. In particular the work is commenting on the social and personal regard for the female form - how do we define beauty?

Working on paper, the surface is perforated in a repetitive and meditative way, recording words, graphs, continual lines and the figure. The image of the graph is repeatedly referred to, questioning the measurement and comparison of human form and characteristics. The process of Gresswells’ art making is a tactile experience and the unpredictable perforations work well, opening up the space and allowing for spontaneous mark making. The beads are used to accentuate areas on the figure and have been gathered from old garments when travelling throughout Europe. The unknown history and imperfections of the beads make the assemblage more meaningful to the artist.

Gresswell holds an honours degree from Chelsea College, London. She has exhibited both internationally and locally and has private works held in the UK, France, Belgium and Australia.


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