FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by Associate Professor, Dr. Catherine Bell, Australian Catholic University, FEM-aFFINITY uncovers related variations of female identity and perspectives on historical feminist concepts that materialise in distinctive and uncanny ways.
By situating female Arts Project Australia studio artists alongside female contemporary artists from Australia, the exhibition uncovers shared perspectives on female identity. Drawing upon interdisciplinary and collaborative approaches and understanding artworks as a complex and nuanced way of thinking about embodied knowledge, the exhibition reveals how feminism materialises in distinctive and uncanny ways.
Artists: Fulli Andrinopoulos / Jane Trengove, Dorothy Berry / Jill Orr, Wendy Dawson / Helga Groves, Bronwyn Hack / Heather Shimmen, Eden Menta / Janelle Low, Cathy Staughton / Prudence Flint, Lisa Reid / Yvette Coppersmith.
Image: Cathy Staughton, Catherine Bel Love Ann Baby Same 2019, gouache and marker on paper, 28.5 x 38cm. Courtesy the artist, represented by Arts Project Australia.
FEM-aFFINITY is a NETS Victoria and Arts Project Australia touring exhibition.
This project has been assisted by the Australian Government through the Australia Council for the Arts its arts funding and advisory body, as well as receiving development assistance from NETS Victoria's Exhibition Development Fund 2018, supported by the Victorian Government through Creative Victoria.
Dates to be confirmed
ELYSHA REI : 故郷 (Furusato) Patterns From Pilgrimage
"Essentially the concept of furusato is nostalgia for the past, remembered, desired or constructed (Robertson, 1988). Generally, the word means 'one's home' or 'one's hometown', but it is also perceived to have connotations of a place that is not a city...it invokes a strong sense of nostalgia with warm and positive emotions. This fits beautifully with my experiences walking along the path of my ancestor and also of my grandmother in Japan. It is also the name of a Japanese kid's song, which I will never forget, as my blind great Aunt 95 years' young sang it to me when I met her for the first time...the same song she used to sing to my grandmother when she was a child." - Elysha Rei
Elysha Rei is a Japanese-Australian visual artist whose work draws upon her mixed heritage and lived experiences between places, cultures and communities. Her works are created from personal and historical archives which embed narrative and symbolism within a Japanese design aesthetic. Works include portraits, patterns and paper cutting which have been translated into large-scale murals and installation commissions. Since completing a Bachelor of Visual Arts in 2008, Rei has created and exhibited work, curated exhibitions and managed cultural spaces across Australia, Japan, Thailand, New Zealand and the US. - Biography of Elysha Rei (Source: http://www.elysharei.com)
Image: Elysha Rei, Furusato (detail).
DANIEL AGDAD : Miscellaneous Assemblies
“I am trying to create my own world, rather than replicate the one I see around me” – Daniel Agdad
Melbourne artist and filmmaker Daniel Agdag's practice sits at the nexus of sculpture and motionography.
Primarily working by hand with cardboard, Agdag’s fantastical sculptures of machines, gears and technological structures are symbolic self-analysis; ''the mechanical manifestations of his thoughts and ideas in relation to the world around him'. (http://publicoffice.com.au/internal)
Explains the artist, “It’s really details that intrigue me, both as a curiosity of what they do and why they were designed to look in such a certain way. The details never get old, they are the strongest driver of my ideas and my questioning of their logic is what creates my narratives.”
Inspired by the overlooked, concealed mechanisms and systems that enable the industrialised world to function, Agdag explores the playful, fantastical realms of invention and imagination. His detailed sculptural pieces are architectural in form, whimsically antiquated in nature and inconceivably intricate. - adapted from the artists' website(http://publicoffice.com.au/internal)
Image: Daniel Agdad, The Caboose 2019, cardboard, trace paper, mounted on timber base with hand-blown glass dome, 58.5 x 30.5 x 30.5cm.