Curator Dr Sam Bowker discusses works within Windowless Worlds exhibition.
Centred on shards of shattered window glass collected from the streets of Beirut, Windowless Worlds offers an unconventional lens to reflect on trauma, resilience, recovery and accountability. Bringing together glass objects from Lebanon, Egypt, Palestine, Syria and Turkey along with Australian works from the National Art Glass collection, Windowless Worlds critiques a world that is broken, but also a world where hope survives.
Exhibition curated by Dr Sam Bowker in conjunction with Wagga Wagga Art Gallery.
You can’t see White, if you won’t see Black
Wagga Wagga Art Gallery Curator Andrew Halyday talks about new exhibition from the National Art Glass Collection, You can’t see White, if you won’t see Black.
This exhibition seeks to comment on the coexistence and unity of opposites as well as duality in politics, spirituality and morality. Day, light, and good are often linked together, in opposition to night, darkness, and evil. These contrasting metaphors represented as White and Black go back in human history, and across cultures, including in the Judeo-Christian tradition, ancient Chinese Yin and Yang and ancient Persia.
As seen in this exhibition, the use of black and white creates a focused attention upon content, form, pattern, texture or upon the way in which the object has been made. Glass itself presents as a particularly expressive medium to explore abstract ideas. Both solid and fluid, glass absorbs and refracts light, and in so doing communicates spiritual purity and intensity of feeling, such as the oneness of the universe might be felt.
Tony Curran (b.1984) is a visual artist. His paintings, drawings and digital media aim at the desire to be free in a cybernetically constrained age. His work combines painterly approaches and web 2.0 aesthetics through GUI (Graphical-User-Interface) abstraction.
The digital wiggle is an enduring motif in Curran’s work and pivots around mobile devices as a pressure point of visual culture. His attention to colour, combined with the digital ‘wiggle’ provides an improvisational foil for systems-based, process-oriented art making.
Riverina-based artist Gregory Carosi aims to create immersive experiences that grapple with the wider environmental, consumerist and existential anxieties of the contemporary world, while elaborating the essential humanism of painting as an emotive, intellectual art form.
Exploiting the gaps between figuration and abstraction, my work raises questions about the nature of representation, supplanting mimetic notions with the assertion of paintings as objects in their own right, engaging audiences in complex ways of looking and seeing.