Tuesday, 30 December 2014

'Feral', Articulate Project Space (APS): Urlaub im Balkon

Day 17: Saturday,17th 2015: Group B +C's opening last night saw many excellent and playful responses to the laboratory brief for this project. I particularly enjoyed Nicole Ellis's Soft Pole, Night work (2015)[see image below], Bianca Burn's Spatial study No.2 (2014-2015), Tim Corne's Negative Space (2015), Julian Wood's [time based work/dvd projection] Spirit: Life through breath (2015), Linden Braye's Continual Re-actions (2015) and Margaret Robert's Occupy Kobro (SC2) (2015). 

It made me smile to see Justine Holt's Untitled (2015) near my Der Papagei [#5]; Nicole Ellis's works in conversation with my drawings; and unexpected conversations between Linden's and my works.
Linden Braye | Continuing Re-actions (2015), section view| Materials: Electrical extension cords, ply wood, Articulate Project Space



Nicole Ellis | Soft pole, Night work (2015) Materials: Chalk paint, fabric, wood, Articulate Project Space


autocartographical drawing, automatic drawing, experimental drawing
India Zegan, Die Papageien (2015), Feral, Articulate Project Space
autocartographical drawing, experimental drawing, automatic drawing
India Zegan, Die Papageien (2015), Feral, Articulate Project Space
autocartographical drawing, automatic drawing, experimental drawing
India Zegan, Die Papageien (2015), Feral, Articulate Project Space
automatic drawing, experimental drawing, autocartographical drawing
India Zegan, Die Papageien (2015), Feral, Articulate Project Space
automatic drawing, autocartographical drawing, experimental drawing
India Zegan, Die Papageien (2015), Feral, Articulate Project Space

Autocartographical drawing, experimental drawing, automatic drawing
Justine Holt | 'Untitled' (2015) Material: Salt blocks. My watercolour drawing 'Der Pagagei' [#5] (2015), can be seen in the background, Articulate Project Space




Autocartographical drawing, automatic drawing, experimental drawing

 India Zegan, Die Papageien (2015), Feral, Articulate Project Space


Margaret Robert's ongoing investigation into Katarzyna Kobro's work is of particular interest to me. Robert's ongoing project to re-make selected Kobro minimalist sculptures enables Sydney viewers to see and experience Kobro's sublime works.

To be with a minimal work, and to have quiet and mindful time in a space with a minimalist work is slightly akin to a ensemble singer or musician breathing quietly as she follows the notations on a page sheet music that her ensemble is currently rehearsing. By necessity, this is a quiet, private and voluminous experience. It is only knowable to those undertaking such an excercise. 

By contrast, viewing a photographic reproduction of a spatial or minimalist work on the internet or in a hard copy publication reduces the viewer's understanding and experience of the work. It also invariably sets up a misguided understanding of the work through representational painting discourses, as opposed to understanding the work through spatial and sculptural discourses.

Margaret Robert's deep understanding and ability to perfectly remake Kobro's work has enabled me to experience several of Kobro's early works from the 1920s. When I was last in Poland, I unfortunately missed Kobro's works held in Lodz art collections. I'm looking forward to visiting her archive when I am next in Poland and Germany. As some readers will know, I am currently re-focusing my eyes on Polish and German artists who have been over looked and/ or who have minimal currency in anglocentric art histories. 
Margaret Roberts, Occupy Kobro (2015). Background: Marta Ferracin in 'Feral', Articulate Project Space, Sydney
Margaret Roberts, Occupy Kobro (2015). Backgroud: Anya Pesce (monochrome wall works) & Marta Ferracin in 'Feral', Articulate Project Space, Sydney

Margaret Roberts | Occupy Kobro [SC2] (2015) Materials: Plywood, paint, contact adhesive                           Notes: This work was 'activated' when visitors held the white and black plywood section. Activators were asked to aligned the verticals so that the ply section met and aligned the silver wall section; and also aligned the bottom edge of the ply section with the vertical/ horizontal that divided the silver and white sections of the floor element. I will be uploading additional 'activation' images shortly. 




Day 12:  Sunday, 11th January, 2015: Der Papagei [#6] was bisected from its roll of paper yesterday and suspended for public display. This then leaves two elements that need to be completed to finish this suite of drawings. Good documentation photographs will follow shortly.


autocartographical drawing, automaticdrawing, experimental drawing
India Zegan | Die Papageien [#5, #1 and #3] (2014-), work in progress, Feral 1, Articulate Project Space, Sydney

Feral opening: Following the suggestion of a dear artist friend, I continued to draw at the opening of Feral [A+B, aka 1+2] on Friday night (09/01/2015). By illustrating automatic drawing processes, visitors were able to appreciate the Godot like task of completing this suite of drawings that are strictly limited to one white tone and 12 grey watercolour pencils. The same artist friend also suggested setting up a go-pro camera to document my drawing processes. This is something I will most likely do once I have moved studios and sessional work re-commences for 2015.
 
Working on these autocartographical drawings provides me with an opportunity to totally immerse myself in the spectral inflections and atonal possibilities within automatic drawing. Following this, I have also been thinking about the unique silence that follows a chord, after it has been struck on a piano or string instrument. I am interested in the moment after sound production has passed, despite that note/ chord still being actively held down by a musician's fingers.
 
I've now packing up both trestle tables in order to make space for group C [3] artists. I'm looking forward to seeing the next set of responses. 

Feral observations: 
1. Group A +  B artists have all presented their work well. 
1. Standout: Linden Braye's (group B) conceptually driven responses to painting discourses located upstairs at APS. For one work, Braye's placed a hard cover edition of Johannes Itten's The Art of Colour (1973) in a found carboard box on the floor. Itten's publication was positioned standing on its bottom edge as it would on a book shelf, and was oriented so that the publication bisected the rectangular base of the box, creating two triangular voids on either side of Itten's publication. The final element to this work was the inclusion of one green electric light bulb. Braye accommodated the light bulb by cutting a neat void in one of the box's fold down tabs. As I was not able to take in all of Braye's works on the opening night, I am looking forward to carefully viewing them before they disappear.

Linden Braye | Continuing Re-actions (2015), Articulate Project Space                                          







2. Emma Wise's (Group A) memory game and her homeless person's shelter provides viewers with an opportunity to think on the mercenary budget cuts actioned by Tony Abbott's government.  

Group B, which includes me, will be deinstalling all works after closing at 5pm, Sunday 18th January 2015. Followed closely by Group D who move into APS on 19th January.

Day 9: Thursday 8th January, 2015: My work space at APS has a become my temporary studio for the next week or so while I am participating in Feral 1+2. I am still working on #6.

Both old and new studios are currently unusable as I have started deconstructing one and have started transporting equipment and materials to the other. I am looking forward to working with my friend, Damon Hannon who is an architect and eco builder. Hannon's extraordinary talent, skill and work ethos means that we will be able to push through the build in record time and under budget. I need to push everything through as quickly as possible so that I can return to 100% studio productivity on the 1st February: new studio configured and old studio completely vacated.  

Day 7: Today is Tuesday 6th January, 2015. The most fitting adjective to describe the current atmosphere at APS is 'inspiring'. If there was a  barometer-like instrument that could measure goodwill, experimentation, professionalism and a collegiate approaches to this laboratory exhibition, the reading at 6.30pm last night would have measured 90%. The invited artists  include 2014 BVA and Hons graduates from National Art School and Sydney College of the Arts; emerging and mid career artists; current and ex- staff from Sydney College of the Arts, UNSW Art + Design (ex-COFA) and the National Art School. 

The refreshing cross generational conversations that emerge from APS's laboratory style projects travel against current Sydney art fashion. This 'pop-gun-soda' mash-up of emerging, mid career and recent graduates encourages viewers to create their own playful links and narratives between works. For readers and visitors based in Sydney, the first Feral opening is this coming Friday at 6-8pm. For more info, please visit the Articulate Project Space blog: http://articulate497.blogspot.com.au/

Studio news: I am greatly relieved that I have avoided a non-studio period later in the year, when my current studio is handed their unfortunate (but unavoidable) eviction notice by property developers. I have taken my first crate of equipment over to my new studio. 

Regarding this urban development, I find it deeply curious that there are now thousands of new apartments that have sprung up in the Wolli Creek area in the last 3 years, and not one single pedestrian crossing has been installed. There is only one speed hump in this area, no traffic lights, many SUV cars and a sub-culture of souped-up car drivers.

Thinking on the changing landscape around Wolli Creek, which is near Sydney airport, brings to mind the Australian painter, Jeffrey Smart (1921-2013).  Smart is best known for painting Australian urban landscapes that included shipping crates, semi-trailer trucks, highways and commercial transit locations. 

Drawings: I am still working on #6. This element is progressing slowly due to the tone I am working towards and the particular hand weight register that I have set for this element.

Day 2:  
Today is the 1st January, 2015. Working in the space today with fellow Feral 1 group one artists has been a quiet affair and a delight. For visitors who have not had the pleasure of visiting APS, this project space/ spatial laboratory has two levels; both levels will be used for this project.

Project tracking: I have put down 70% of the pencil marks on #5 and have commenced #6.

Automatic drawing, autocartographical drawing, experiemntal drawing
India Zegan | 'Der Papagei [#6]' (2014-), located on work table, work in progress, Feral 1, Articulate Project Space, Sydney

experimental drawing, autocartographical drawing, automatic drawing
India Zegan | Der Papagei [#6] (2014-), work in progress, Feral 1, Articulate Project Space, Sydney
























Day 1: Wednesday 31st December, 2014: As I am working in the space and with the space, I am treating this project as a mini residency. I am thrilled to be participating in both Feral 1 and Feral 2. Starting a new project on the cusp of a new year is the perfect way for me to start a new year. 

Drawing quietly and listening to Ane Brun seems the most perfect way to think and reflect on the last 12 months; and preparing oneself, as much as one can, for the unknowable opportunities that will present themselves in 2015.
https://www.youtube.com/watch?v=qU6ye0Kjw4o
https://www.youtube.com/watch?v=uHhOEvneKKg

I will be working in the space each day until I go back to work on the 12th, and after that, when I am not at work. In the first instance, I am continuing with the drawings that belong to 'Die Papageien' suite. I am also looking forward to making new works in response to other Feral project artists.

Autocartographical drawing, automatic drawing, experimental drawing
India Zegan | Der Papagei [#1] (2014-) Notes: This suite of drawings in work in progress. All drawings are 585cm long and vary between 17- approximately 30cm wide. Each drawing is made on archival Fabriano paper 200gsm and a selection of grey toned watercolour pencils.


Experimental drawing, autocartographical drawing, automatic drawing
India Zegan | Der Papagei [#5] (2014-)| Notes: I started the 5th drawing in 'Die Papageien' series today, 30/12/2015.



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