The Extreme Climate of Nicholas Folland

Selected as feature artist for the 2014 South Australian Living Artist Festival (SALA), Nicholas Folland presents a collection of works spanning ten years alongside a specially curated suite of South Australian works by other significant local and international artists. The curation of this exhibition not only recognises Folland’s established career, it acts as a platform to broaden the conversation regarding what informs and inspires contemporary artists working today. Curated by the Art Gallery of South Australia’s Project Curator, Lisa Slade, this exhibition creates a new dimension to Folland’s older, well-recognised works and brings into perspective the historical and cultural influences that have shaped his practice.

At the centre of Folland’s practice is a reinterpretation of the ordinary and banal. By utilising common domestic materials, repurposed furniture, natural fibres, taxidermy and ice, Folland manifests fables of historical reference, exposing cultural differences and tapping into our individual and accumulated sense of identity. By marrying his sculptures with natural elements (ice and heat) the artist gives agency to these objects offering an opportunity for continued action and reflection. Captivated by his own family’s historical journey to Australia and referencing the extreme climates and sometimes ill-fated journeys of explorers, Folland’s work has a significant place in contemporary society. These themes and contemplations are a part of ‘our everyday’; social and cultural unrest are longstanding debates in Australia and although not explicitly intertwined here, a thought-provoking connection can be found.

The piece Am I missing something…. (2014) is a transformative sculpture that will morph in size over the course of the exhibition. Resting in the basin of a vintage timber cabinet we see a lit chandelier engulfed in ice. In what AGSA consider Folland’s ‘signature material’, the ice conveys a tremendous weight consuming the chandelier’s delicate framework. As a motif for the punishing climates endured by explorers, the ice will expand and decrease (ever so slightly) depending on the temperature changes within the gallery. This reliance on the external environment and its constant transformation within the gallery space is a key element in reading Folland’s work.

Domestic glassware like decanters, bowls, goblets and vases feature prominently throughout the exhibition. Doldrum (2005) is a magnificently quiet and menacing piece that consumes the central space. A large sail boat is ‘anchored’ in the middle of the gallery immersed in reflected light from the installed glassware in the body of the boat. A reflection of sea-blue and bright light is omitted from the base of the structure powerfully gleaming throughout the space. Doldrum is surrounded by the AGSA’s collection of historical works by artists and explorers such as Charles Alexandre Lesueur, Frank Hurley and Colonel William Light, as well as contemporaries like Sera Waters and Ian North. Each of these artists’ work reference colonisation and exploration generating a new sensitivity to Folland’s piece originally created in 2005.

The study of taxidermy and use of natural fibres form a selection of more recent works in the exhibition. Will it fit in the lift? (2013) is an abstract wall-mounted sculpture of zebra hide installed in a series of angular forms. Referencing the Russian Constructivist Kasimir Malevich’s influential Black Square (1915) and White on White (1918) works, Folland here acknowledges this critical shift in visual arts history and highlights the importance of the experimentation and reinterpretation of form and object. Installed within close range to Untitled (study) (2014); a taxidermy deer head shrouded in crystal jewels, Folland creates a new visual dialogue between these past, and perhaps, future iterations of this established form of process.

This exhibition is a clever presentation of Nicholas Folland’s established career as well as an appropriate opportunity for the AGSA to create a broader conversation about the relevance of their collection and its influence on contemporary artists. Nicholas’ practice is an important example of sculpture’s transformative qualities both in materiality and ideology.

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Joe Felber: Kontaktraum Ausländer

The Contemporary Art Centre of SA (CACSA) has undertaken a number of spatial and experiential projects to highlight the capabilities and limitations of their heritage cottage gallery in the residential suburb of Parkside. Previous projects have seen works squeezed into the confines of their unique ‘white cube’ or have been painted from floor to ceiling utilising every crevice of the space. These exhibitions have forced gallery visitors to engage with the physicality of the gallery as well as the depth of each artist’s practice on a different level.

Joe Felber’s presentation is no exception with guests invited to walk over his site-specific, floor based painting while participating in a sonic component triggered by floor sensors throughout the gallery. A collection of works that span a thirty year career culminate in an exhibition that explores nomadic experimentation, human identity, and his experiences as a ‘foreigner’.

While the Australian government deliberates over its policy on immigration and multiculturalism in both a historical and contemporary state, Felber’s exhibition is a timely example of an individual interpretation of this political debate. Felber immigrated to Australia in 1980, bringing with him a number of influences and interests that have been developed and realised through exhibitions in Australia and beyond since the 80s. Felber’s practice focuses on assemblages of materials, painting, performance and music.

For CACSA Felber has focused on the human interaction with sound in the public space. The floor painting offers layers of information interconnecting and overlapping; a geometry of shapes, colours and text is strewn on the floor uniting cultural dialogues through images and text. The convergence of imagery is an investigation and mapping of Febler’s artistic interests and many travels. Echoing throughout the gallery you can hear an edited score of Luigi Nono’s avant-garde compositions -another influence of Febler’s – further expanding the enquiry into human experience through art, sound and space.

Migration, displacement and homeland have been articulated in this exhibition through the eyes of an explorer. Although not politically driven the work reveals a deep connection and concern for shared experiences and understanding. The use of installation demands that you participate in reinforcing the notion of the work as transitory and presents only fragments of a much larger composition.

This exhibition is an experience-orientated, multi-sensory and carefully curated show. Viewers can engage with numerous musical and philosophical influences in Febler’s work highlighting the possibility of a shared spirit in both space and culture.

Roy Ananda: Slow crawl into infinity

In 2010 a group of Star Wars fans raised roughly $12,000 to restore the fictional home of Luke Skywalker in the barren desert of Tunisia where Star Wars was filmed. Over 400 people donated to the cause; the site became a destination for die-hard fans as well as a quasi-memorial for the deteriorating props of the film. There’s a performative and artistic quality to this bizarre project; the repurposing of an art object which was originally conceived as an artefact of our future.

The future has been presented in numerous ways in cult films and while technology at the time was unable to create the realism we see in feature films today, its charm and craftsmanship is still well respected and coveted. The original Star Wars films were produced on what would now be considered a modest film budget and were realised through experimentation with process, materials and space. The films retained a two dimensionality (which is still much loved by audiences) and overtime gave reign to legions of fans to recreate, reproduce and rearticulate George Lucas’ original vision.

From one act of Star Wars fandom to another, Roy Ananda presents an ambitious site-specific sculpture that replicates the opening rolling text made famous by the Star Wars film. ‘Slow crawl into infinity’, is an homage, a sculpture, and an example of history, popular culture, and contemporaneity cunningly colliding all at once.

Roy’s practice is process and material driven; it’s calculated and ram shackled, while referencing both high and low art. He utilizes popular culture icons – film, science fiction, and video games as a source of reference and wittily embeds these objects or ideas into his sculptures with precision and effect. The use of space and scale is fundamental to understanding the work, exaggerating the limits of the gallery or the stability of the form itself. We see weightlessness and sheer strength straddle against each other, precariously balancing while you navigate around the work.

Commanding the gallery void, the text rolls down from one level of the gallery to the other. The scale is compounded by the use of rough wood and exposed bolts; a tool of Ananda’s to position the artist within the work and retain a sense of DIY.

The ‘flatness’ of the Star Wars opening scene is transformed into an incredible three dimensional work that wondrously brings life to this iconic set of text. Ananda has cleverly and lovingly created a tangible scale to Star Wars fandom, making infinity feel that little bit closer.

Sarah CrowEST: A Serious of Objects

Making, un-making and re-making are fundamental processes in Sarah crowEST’s practice. Her work has always been on the move – packing and unpacking ideas of formation and transformation whilst humorously commenting on social and environmental agendas. Her assemblages of blobs, lumps, found objects and textiles exemplify Sarah’s multidisciplinary practice and commitment to process. A lot is left to chance; focussing on exploration and experimentation, haphazardly stumbling on an appropriate and concise outcome.

A Serious of Objects at the AEAF is a collection of crowEST’s sculptures and ‘non-paintings’. Coinciding with the 40th anniversary of the gallery, Sarah’s solo exhibition is not only a fine representation of her current practice; her materials and documentation offer a little insight into her own history with Adelaide and its artistic community. Lining one wall hangs a series of large pieces of unfinished Belgian linen repurposed as ‘canvases’; strewn over the surface the artist has hand-stitched remnants of cloth leaving exposed marks of paint or aerosol paint – signs of its previous function, and a cue to Sarah’s commitment to sustainable materials and recycling. Similar to an heirloom quilt full of history pertaining to one’s family, crowEST has hoarded (and continues to collect) donations of fabric from friends, family, and influential types. crowEST considers herself a bit of a social recluse believing this to be her attempt at ‘networking’ and documenting her community. The pieces are titled with a list of names who have contributed to the piece, cataloguing their relationship with the artist whilst sharing ownership of the work without being overly sentimental.

Cycles, processes and experimentation is consistent across the exhibition. A catalogue of images pinned to the wall relay Sarah’s on-going investigations into materiality and highlight some of locations, interactions and influences Sarah has felt over time. Again, this piece continues to morph, much like her sculpture, increasing or decreasing in scale. The images are both documents and artworks in themselves, some have been tampered with, and others are records of people and surroundings. Whilst experimenting with ideas of the unknown Sarah has created a cyclical narrative that exposes a kind of energy which can only be produced through constant exchanges of movement.

Sustainability plays a significant part in Sarah’s oeuvre. She believes in re-using materials and wasting nothing. Her sculptural pieces are constructed from a collection of discarded materials and endure a process of rearticulation with every public presentation. Her piece accomplished naturally without effort (2012-14)is a testament to her philosophy; her lumpy mound sits quietly with wide glass eyes looking out at the exhibition inhabiting the space almost like a gallery invigilator. These sculptures are curiously funny and quirky and are reminders of Sarah’s process driven practice. These forms have an embedded history within them – beaten, crafted, and carved into every dent of their surface.

It cannot be denied that the artist’s hand is at work in this show. A Serious of Objects is a fine example of Sarah’s determined practice whilst being both playful and critical. Whether this show is an introduction, continuation or finale for some of Sarah’s objects, there is certainly an abundance of possibilities on show here.