FRONT GALLERY

RITUAL/ METHOD/ PROCESS
by Callum Bardon, Amity Poskitt-McDonald, Rhiannon Winter and Morgan Wyley

CATALOGUE

 Photographic image making follows a sequence of actions and events for the image to materialize. This is especially the case with analogue image making. The process often involves the act of pre visualization, image capture, processing, and printing. We are interested in this process driven, almost ritualistic nature of image making. Our collective approaches push the creative possibilities of analogue and hybrid image making, through the use (and misuse) of old and new technologies and photographic materials and techniques. Some of us allow for deviations through repeated experimentation, (sometimes making forced and unforced errors), others follow a prescribed, traditional working method. As image makers, we all have our individual rituals.

RITUAL/METHOD/PROCESS is an exhibition of works by four photo-based artists currently undertaking a Diploma of Photography and Digital Imaging at NCAT, Preston.

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BACK GALLERY

SOLACE NEW WORKS
by Selwyn Hoffmann 

CATALOGUE

 The ocean of lockdown, dark, deep and unknown has impacted on my emotional state. To escape the indentations of ocean waves on the flight of stairs, out of the mist, the peak, to embrace my solace, with a splash of turquoise present my identity as Deaf.

SIDE GALLERY

HARD EDGE ABSTRACTION
by Liam Snootle, Aileen Ng, MÜSS

CATALOGUE

Hard Edge Abstraction brings together three Melbourne creatives working in contemporary abstract shapes and edgy forms referencing architecture, music, pop culture and all things inspiring to their individual art practices.

UPSTAIRS GALLERY

DARK WATER
by Julia Schmitt

CATALOGUE

This exhibition features some of the waterfalls I have visited along the east coast of Australia and represents these landscapes as complex ecosystems. I am particularly drawn to waterfalls and rainforests as their dark beauty and incredible detail parallels many of the stylistic and structural aspects of my architectural drawings.

I have expanded my practice in this exhibition to include works on plywood and skateboard decks as well as my familiar works on paper. The permanent nature of art-liner pen solidifies places that while appearing solid and permanent have the potential to be destroyed at any moment.

I acknowledge the Woi Wurrung, DjaDja Wurrung, Bundjalung and Palawa peoples upon whose lands I have had the privilege of representing in these works.