Welcome to the DRAWING OUT Festival of

Welcome to the
DRAWING OU
T Festival of Dr
awing.
This series of
exhibitions are
an accompan
April, RMIT Un
iment to the DR
iversity, Melbo
AWING OUT Co
urne, Australi
a way of think
nference, 7–9
a. Over 30 exh
ing, mapping
ibitions explor
and communica
investigation
e drawing as
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win
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creative writin
luded are the
Architecture,
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fields of Anim
Art, Built Envir
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Fashion, Film,
ctive Media,
graphy, Comm
Photography,
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Sciences, Socia
conference an
sign, Enginee
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Textiles. This
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trans-disciplina
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s the boundarie
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approaches to
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adaptation of
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are involved in
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the creation,
its forms.
adoption and
DRAWING OU
T is a creative
collaboration
the Arts Lond
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on and it is wit
University and
h pleasure to
from the Unive
the University
host three key
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explorative exh
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of London Co
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, Echo by Nerm
Leader at the
ative practitio
a Cridge, Senio
University of
ne
rs
the Art
r Lecturer / Sp
by Dr. Kristen
atial Pathway
Kreider and Jam s London and Video Shak
kei:
es O’Leary. Ac
ten trans-disci
companying the post-performance drawings
plinary displa
ys within RMIT
se are eleven
exhibitions by
key exhibitions
University Sc
RMIT Universi
hools and nin
,
ty staff, stude
United Kingd
e satellite
nts, alumni, an
om, South Ko
d invited guess
rea, Australia,
incorporates ga
New Zealand,
artists from the
lleries and op
Sw
eden and China
en spaces acros
includes comm
. The festival
s three of RM
ercial and art
IT University
ist-run-galleri
the big screen
campuses, it
es, and a three
at Federation
also
hour program
Square an eve
of moving imag
nt not to be mi
e on
ssed.
I invite you to
be a part of thi
s exciting and
Come be ench
free exhibition
anted by the
program over
art of creation
the month of
as expressed
April.
through drawin
For further inf
g.
ormation please
go to www.draw
ingout.com.au
Stephen Galla
gher
Curatorial Ma
nager, DRAWIN
G OUT
Very Slow Drawing Machine
Cameron Robbins
Curated by Vanessa Gerrans and Sarah Morris, RMIT Gallery
Cameron Robbins
Very Slow Drawing
Machine, 2010
Timber, whiteboard, steel,
stainless steel, brass,
plywood, 65 Watt 12Volt
amorphous solar PV cell,
yacht sail, line and ropes,
motors and gearboxes,
paint, paper, ink pens
Gosia Wlodarczak
400 Hours, 2009
One of 800 panels,
each panel drawn for 30
minutes
Pigment ink on Fabriano
Acid Free 120 gsm paper,
2 archival cardboard boxes
29.7 x 21 cm each,
installed
Courtesy the artist and
Arc One Gallery, Melbourne
A cause and effect experimental drawing-machine installation, Very Slow Drawing utilises solar
and wind energy from outside the gallery space to develop a delicate and rhythmic drawing over
the span of the exhibition.
MONDAY 15 FEBRUARY TO FRIDAY 16 APRIL
OPENING FRIDAY 19 FEBRUARY 6–8PM
LOCATION THE ATRIUM: FRACTURE GALLERY
ADDRESS FEDERATION SQUARE
400
Gosia Wlodarczak and Longin Sarnecki
Curated by Stephen Gallagher
This collaborative project documents 400 days and 400 hours of being together. It is both a love
story and a life story, captured through a drawing capsule and in written diary. The work creates
an immersive space where one can experience the ambiguity between drawing and text, between
image and story, between perception and memory.
TUESDAY 9 TO THURSDAY 25 MARCH
OPENING THURSDAY 11 MARCH 5–7PM
LOCATION RMIT PROJECT SPACE/SPARE ROOM
ADDRESS BUILDING 94, 23–27 CARDIGAN STREET, CARLTON
Contemporary Australian Drawings 1
Various Artists
Curated by Dr Irene Barberis
Contemporary Australian Drawings 1 explores the depth and diversity found in the drawings of the particular artists whose
works appear in a new survey of Australian drawing.
THURSDAY 8 APRIL TO SATURDAY 26TH JUNE
OPENING WEDNESDAY 7 APRIL 6–8PM
LOCATION RMIT GALLERY
ADDRESS 344 SWANSTON STREET, MELBOURNE
OPENING HOURS MONDAY–FRIDAY, 11AM–5PM, SATURDAY 12PM–5PM
Contemporary Australian Drawings 1
Contemporary Australian Drawings 1: explores the depth and diversity found
in the drawings of the particular artists whose works appear in a new survey on
Australian drawing by Janet McKenzie.
Curated by Dr Irene Barberis, Director of the international research centre,
Metasenta Pty Ltd ®, Contemporary Australian Drawings 1 explores the depth
and diversity found in the drawings of a selection of artists whose works appear
in the forthcoming publication Contemporary Australian Drawing Volume 1,
commissioned by Metasenta and authored by Dr Janet McKenzie.
“In a global context drawing exists irrespective of cultural identity. It is a basic
human instinct to make marks, to draw, to write.” Janet McKenzie.
Dr Barberis said that through her involvement in the RMIT Drawing Studio over
the past 12 years, alongside Godwin Bradbeer and James Taylor, she perceived
the real need for an incisive published survey on Australian Drawing.
“Each artist has their own language of the mark; that which defines aspects of
their practice and response to the world.” Dr Irene Barberis.
“Whether the drawings are the actual interface with the public or are quiet
private intimate notations within the process, drawing is an integral aspect to the
artist’s thinking, doing, being, working, finding, crafting, musing, saying.”
Over 25 well established artists are represented in the exhibition. Artists include;
Godwin Bradbeer, Mike Parr, Mandy Martin, Bernhard Sachs, Jon Cattapan,
Hilarie Mais, Alan Mitelman, Pam Hallendal, Euan Heng, Helen Maudsley,
Phillip Hunter, Jenny Watson, Stieg Persson, Wilma Tabacco and Jan Senbergs.
* Metasenta is sponsored by the Po and Helen Chung Foundation, Hong Kong.
Check the RMIT Gallery website for a full list of public programs.
www.rmit.edu.au/rmitgallery
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Dr Irene Barberis
Generic drawing
Constellations: A Large number of Small drawings
Various Artists
Curated by Vanessa Gerrans
Constellations brings together a large number of small Australian drawings from disciplines such as Music; Architecture;
Art; Cartography; Design; Fashion and Textiles; Film; Photography and Science. This diverse selection of work by familiar
and unfamiliar contemporary artists is linked by both intense curiosity and focused research.
THURSDAY 8 APRIL TO SATURDAY 26TH JUNE
OPENING WEDNESDAY 7 APRIL 6–8PM
LOCATION RMIT GALLERY
ADDRESS 344 SWANSTON STREET, MELBOURNE
OPENING HOURS MONDAY–FRIDAY, 11AM–5PM, SATURDAY 12PM–5PM
Constellations: A Large number of Small drawings
Constellations: A Large number of Small drawings explores the role of drawing
in a wide range of professions. The exhibition brings together a large number
of small Australian drawings from diverse disciplines such as Art, Architecture,
Cartography, Design, Fashion, Film, Photography, Science and Music.
Drawing is both a verb and a noun; it is both an act and the resultant images.
Constellations explores how drawings are used, from schematic ‘thinking
through’ studies, to objects for delectation. Alongside complete drawings of high
artistic value, the exhibition includes provisional, or preparatory drawings and
applied drawings for professional outcomes such as scientific drawings, designs
for installations and sketchbook notes.
The effect of emerging technologies is evident across disciplines. Constellations
documents the distinction between hand-drawn images and those that have
been made digitally. It raises the question; does the immediacy of the human
presence in hand-drawing extend to those made using new technologies?
We sought small drawings in anticipation that they might be intimate and
reflective; curiosities for viewers to ‘peer into’. The selection of diverse
participants was conducted in a viral manner to embrace familiar and unfamiliar
contemporary artists. Their work is linked by both intense curiosity and focused
research. The resultant configuration of drawings captures the quality, purpose
and breadth of drawing in Australia.
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Cache, The Queen’s Gambit (detail), 2009
Magnetic Islands
A selection of artists from Seoul National University [ROK] and RMIT University School of Art [Aus]
Curated by Associate Professor Peter Ellis and Stephen Gallagher
This exhibition highlights drawings and works on paper from staff of Seoul National University [South Korea], and RMIT
University School of Art [Australia], two of the universities originally involved Drawing of the World, World of Drawing
exhibition in South Korea, November 2009.
FRIDAY 9 TO THURSDAY 29 APRIL
OPENING THURSDAY 8 APRIL 5–7PM
LOCATION RMIT PROJECT SPACE/SPARE ROOM
ADDRESS BUILDING 94, CITY CAMPUS
OPENING HOURS MONDAY–FRIDAY 10AM–5PM
Magnetic Islands
This international drawing exhibition celebrates the longstanding friendship
between the College of Fine Arts, Seoul National University, South Korea and
The School of Art, RMIT University, Australia. Magnetic Islands presents a
selection of works on paper from staff of both Seoul National University and
RMIT University originally presented in Drawing of the World, World of Drawing
(Museum of Art, Seoul National University, November, 2009). This prestigious
exhibition included seven international art schools invited to participate by Seoul
National University.
The works in Magnetic Islands demonstrate the exuberance, innovation and
diversity that is contemporary drawing. Although Magnetic Islands is not
intended to be a broad overview of drawing, the works do depict the narrative,
abstract, calligraphic, and figurative concerns underpinned by individual
conceptual methodologies and philosophies. Within the work one finds a diversity
of media ranging from the traditional; charcoal, graphite, pastel, Korean ink,
water colour and gouache, to the unique combinations of gold leaf, silver oxide,
lithography, felt tip pen, photography, acrylic paint and dust. Papers used range
from traditional Hanji papers to carbon and plastic emphasizing the relief and
sculptural potential of the support. The use of contemporary media such as
digital prints has also opened new frontiers for the experimentation and discovery
within drawing. Many of the Australian artists in Magnetic Islands acknowledge
the influence of Eastern philosophy and esthetics within their practice; through
the use of exquisite compositional devices and gesture, chance, spontaneity and
the intangible poetics evident in Korean art of the 16th Century.
Magnetic Islands not only includes highly resolved articulated works, but
displays a cachet of sketch books, spontaneous and intimate works that exploit
the mechanism of inspiration — rarely seen in public exhibition — revealing a
fresh insight into the artist’s production.
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Fran van Riemsdyk
237 angles to consider when pruning (detail), 2009
Digital print
60.5 x 80 cm
Like no place known
Cecilia Darle [SWE], Gunilla Hansson [SWE], Patrick Nilsson [SWE], Andreas Soma [SWE]
Keiren Boland [AUS], Jin Shan [CHN]
Curated by Peter Westwood and Katarina Frank
Includes the work of contemporary Australian, Chinese and Swedish artists working in the field of drawing.
WEDNESDAY 7 TO FRIDAY 16 APRIL
OPENING FRIDAY 9 APRIL 5–7PM
LOCATION RMIT SCHOOL OF ART GALLERY
ADDRESS BUILDING 2, LEVEL B, CITY CAMPUS
OPENING HOURS MONDAY–FRIDAY 10AM–5PM
Like no place known
Is there such a place? Can we think of a place not known?
The idea of something unknown, whether based on reflection or imagination,
must come from some source of experience, knowledge or understanding.
Conceiving of an unknown place suggests the possibility of a proposition.
Envisaging such a place must primarily be about trying to step outside what we
already know in order to view the world through the language of metaphor and
image, or alternatively through heuristic conclusion. However, in conjuring an
‘unknown place’ one must work through what is known.
Like no place known brings together the work of six artists who consider the field
of drawing in various and diverse ways. Each of the artists approach drawing as a
way of implying a psychological rather than physical space.
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Patrick Nilsson
The Big Darkness (detail), 2007
Pastel, pencil and charcoal on paper
140 X 160 cm
Museum of Fine Art, Göteborg, Sweden
Unwrapping the Line
Dr. Francis Geesin [UK], Charlotte Hodes [UK], Hormazd Narielwalla [UK], Jeremy Radvan [UK] and
Jenny Shellard [UK]
Curated by Charlotte Hodes
Five practice led researchers at London College of Fashion highlight how the use of line is a key element within their
creative practice, presented in woven textile and digital mediums.
WEDNESDAY 31 MARCH TO SATURDAY 10 APRIL
OPENING WEDNESDAY 30 MARCH 5.30–7.30PM
LOCATION RMIT FIRST SITE GALLERY 1 & 3
ADDRESS STOREY HALL BASEMENT, 344 SWANSTON STREET, MELBOURNE
OPENING HOURS MONDAY–FRIDAY 11AM–5PM SATURDAY 12–5PM
Unwrapping the Line
Unwrapping the Line represents drawings by five creative practitioners who are
practice led researchers at London College of Fashion, University of the Arts
London. What brings these researchers together is their use of themes pertinent
to creative practice in a fashion design college, that is; cloth, textile, pattern
blocks and the figure. In addition, each researcher in their own way has used
the line as a key element, weaving the line through their imagery. The artworks
on exhibition represent a range of processes available to the contemporary
practitioner to make their line, from the pencil or thread, to film and digital
technology. Unwrapping the Line presents work by Dr. Francis Geesin, Charlotte
Hodes, Hormazd Narielwalla, Jeremy Radvan and Jenny Shellard and has been
brought together by Charlotte Hodes, Senior Research Fellow in Drawing at
London College of Fashion with the support of Professor Stephen Farthing and
the Centre for Drawing, University of the Arts London.
In this exhibition the work of Dr. Francis Geesin, Reader in Materials and Textiles
reveals the making process where the drawn lines are made using conductive
yarns to create small intricate sculptural forms replicated from photographs.
Jenny Shellard, Course Director Surface Textiles displays the line, realized
through the weave itself but it takes form as an outcome of light projection on
woven textile with colour adding to the mysterious and rich physical presence of
the line. Charlotte Hodes’ digital drawing makes use of a range of lines to depict
female figures as motifs. Hormazd Narielwalla, PhD student presents delicate
images contain a sense of time passing through history in his reinterpretation of
a young woman’s journal; Jeremy Radvan, Associate Lecturer uses the graphic
line as an expressive mark which embodies movement, with a strong element of
intuition and play in his drawings.
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Jeremy Radvan
Raj, 2009
Live digital wall projection
Dimension variable
Draft
Benjamin Forster, Malcolm Lloyd and Lisa Munnelly
Curated by Andrew Tetzlaff
An exploration in generative drawing in which artists and machine develop an exhibition in ‘realtime’. Framed by the
process of creation, Draft considers artefact as a temporal state — an alignment of concept, automation and materials.
WEDNESDAY 31 MARCH TO SATURDAY 10 APRIL
OPENING WEDNESDAY 30 MARCH 5.30–7.30PM
LOCATION RMIT FIRST SITE GALLERY 2
ADDRESS STOREY HALL BASEMENT, 344 SWANSTON STREET, MELBOURNE
OPENING HOURS MONDAY–FRIDAY 11AM–5PM SATURDAY 12–5PM
Draft
‘Artwork’, for the most part, is pigeonholed as a noun — ‘drawings’ are objects
that have been marked by pens and pencils; ‘paintings’ are bits of canvas with
plasticky dribbles. Mediums are conventionally defined by material and there
is a sense of physicality to this labeling. The authority of this classification has
profound influence on the artist and work as well as the greater industry and
audience. While functionally this system is understandable, it is not entirely
comprehensive, nor is it objectively true in the context of Contemporary Art.
It is not a simple matter of semantics. Even for the broad-minded observer
who might reclassify an etching as a ‘drawing’, a ‘painting’ or perhaps even
a ‘sculpture’, the work remains a thing. As a result, process work, events and
other ephemeral artworks are pre- and post-judged by the documentation of
their existence or the possibilities promised by the unplayed score. Sound artists
are all too often experienced via CDs, performance artists by DVD. Whether this
tendency is driven by the commoditization of time or a natural human attraction
to artefact, the result is the same. Art, not by definition but by consensus, is
bound, objectified and ready for collection.
For a moment, Draft invites artwork to be the verb it’s always wanted to be — an
event, an alignment of concept, automation and materials. After all, once the
pen is removed from the paper the ‘drawing’ is finished.
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Ben Forster
Drawing Machine, 2008-10
Photo credit: Eva Fernandez
Bodies for Motion
Chris Barker, Sue Earl, Pete Lowey, Adam Nash and John Power
Curated by John Power
Bodies in Motion reveals the ways drawing is used as a preproduction tool in the design of animated characters and
avatars. Working in the field of Animation and Interactive Media, each artist in Bodies in Motion showcases work that
demonstrates the genesis of different kinds of characters for film, television, games and multiplayer online worlds.
MONDAY 29 MARCH TO FRIDAY 16 APRIL
OPENING WEDNESDAY 7 APRIL 5–7PM
LOCATION RMIT FIELD36 GALLERY - SCHOOL OF MEDIA AND COMMUNICATION
ADDRESS BUILDING 36, LEVEL 3, CITY CAMPUS
OPENING HOURS MONDAY–FRIDAY 10AM–4PM
Bodies for Motion
Drawing carries a number of codes according to the drawer; it begins with the
melting down of the world into preparatory sketches that conjure particular
forms that fit a vision. In the hands of animators the first drawn gesture is
encoded with the anticipation of motion appearing as puffy, excessive gestures
in preliminary character designs; less anatomical in form, they are the clues to
potential movement. In Bodies for Motion five animators explore this process of
the development of animations via gesture by hand within the new ‘golden age’
of animation which sees time and space manipulated through the visualisation of
vectors. Choreographic pen strokes guide every joint of a body as it rolls around
the performance’s centre of mass; once in the palette of a very disciplined few,
the drawing of movement is now just about a global way of thinking.
Peter Lowey literally draws in time, summoning a yearning anima that bubbles
up through his character’s nervous systems. Chris Barker’s menagerie of bulbous,
knotty bipeds displays his keen sense of biomechanics found in the human
template. Barker is a Dr Moreau, his sketch books is his island, inhabited by his
experiments in his drawing laboratory while John Power imagines the solidity of
a body, character, or a portrait, derives not from matter but from thousands of
interlacing movements. He visualises clouds of motion vectors at many scales.
Susan Earl’s purple, pear-shaped Alien Valmay is everything that a main-stream
animated girl is not. Like all good aliens, she is a trickster, a political stirrer. The
internationally celebrated artist in Second Life, Adam Nash travels by ‘Adam
Ramona’, an avatar whose being gives a nod to the garish, distended forms of
Leigh Bowery’s revolutionary cabaret.
This is indeed an art of drawing which enables bodies to inhabit screen space of
imagined worlds.
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John Power
Trauma (detail), 2009,
Ink on Paper
Nerma Cridge - “Echo”
Works from The University of the Arts London
Curated by Irene Barberis and Andrew Hall
Nerma Cridge [UK] is a Senior Lecturer/Spatial Pathway Leader at the University of the Arts London and is also working
across the BA (hons) Arts, Design and Environment and BA (hons) Architecture: Spaces and Objects. She has a wide
practice and is at present focusing upon her interests in light, space and distortion of perspective. The exhibition “Echo”
is a transnational project shown concurrently at Central Saint Martins, London and Melbourne.
TUESDAY 6 APRIL TO WEDNESDAY 26 MAY
LOCATION THE DRAWINGSPACE, MELBOURNE (A METASENTA GALLERY)
ADDRESS RMIT BUILDING 49, CITY CAMPUS
OPENING HOURS MONDAY–FRIDAY 9AM–6PM
Nerma Cridge - “Echo”
Metasenta Projects is delighted to have artist Nerma Cridge as the April/May
exhibitior in the DrawingSpace, Melbourne. She is a Senior Lecturer/Spatial
Pathway Leader at the University of the Arts London and is also working across
the BA (hons) Arts, Design and Environment and BA (hons) Architecture:
Spaces and Objects. She has a wide practice and is at present focusing upon
her interests in light, space and distortion of perspective. The exhibition Echo
in the DrawingSpace, Melbourne, is a transnational project shown concurrently
at Central Saint Martins, London and Melbourne. As with all the DrawingSpace
exhibitions, Dr Irene Barberis curates and directs the international sequence
of artists, and the DrawingSpace Manager Andre Liew oversees teams of BA
students majoring in Drawing who translate the artists ideas onto the walls of
the space. For this exhibition a team of five students works with the instructions:
“give the students 3 reference images to work with: start on the wall, meet half
way up on the floor and finish on the left hand side of the handrail on the top
floor.” This piece is worked in pencil and tape.
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Nerma Cridge
Echo
Constructed drawing
KREIDER + OLEARY : VIDEO SHAKKEI: post-performance drawings
Dr. Kristen Kreider [UK] and James O’Leary [UK]
Curated by Dr. Irene Barberis and Stephen Farthing
Works from University of the Arts London. A five part drawing cycle, related to site-specific works performed in Japan in
July 2009. These drawings are conducted post-performance, as a way of understanding the structure, codification, material
and temporal quality of the works.
TUESDAY 6 APRIL TO WEDNESDAY 26 MAY
LOCATION THE INTERNATIONAL CENTRE FOR DRAWING @ RMIT UNIVERSITY, MELBOURNE
ADDRESS RMIT BUILDING 4, CITY CAMPUS
OPENING HOURS MONDAY–FRIDAY 10AM–5PM
KREIDER + OLEARY : VIDEO SHAKKEI: post-performance drawings
The drawings in The International Centre for Drawing @ RMIT University
Melbourne space, relate to drawings that we made in various sites around Japan
in July of last year. The intention with these pieces is to re-position drawing
as a series of actions [via performance and video] related very specifically
to the spatial conditions within which they enacted. These pieces do not
generate drawings in the traditional sense, but a series of video documentations
subsequently presented as composite projections.
We are presenting a number of related, layered drawings, which are of various
different types and from various historical and spatial contexts, superimposed
on each wall plane. Each piece will be an accumulation of f.a.s.t drawings and
s—l—o—w drawings, forming a kind of palimpsest or archaeology of drawing
practices relating to the Video Shakkei works.”
“A five part drawing cycle, related to site-specific works performed in Japan
in July 2009. These drawings are conducted post-performance, as a way of
understanding the structure, codification, material and temporal quality of the
works.
The class of drawings we are engaging with here are those that relate to the
understanding of space, particularly architectural drawings that register the
qualities, dimensions, and material make-up of sites under examination. These
drawings sit somewhat uneasily on the threshold of the need to register historical
configurations of a site, while also providing a base from which to project forward
and provide instruction for new events in space and time, providing a kind of
map and itinerary in one single document.”
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Kreider and O’Leary
Water Temple (detail), 2009
mellifera
Dr.Trish Adams and Dr. Andrew Burrell
Self-curated
’mellifera’: mellifera consists of an on-line interactive environment in Second Life which is linked to a complimentary
series of real-time exhibitions in gallery and museum spaces.
WEDNESDAY 7 TO FRIDAY 9 APRIL
OPENING THURSDAY 8 APRIL 12–12.45PM
LOCATION DRI DESIGN HUB GALLERY
ADDRESS RMIT BUILDING 91, CITY CAMPUS
OPENING HOURS WEDNESDAY 12–5PM THURSDAY 10AM–5PM FRIDAY 10AM–4PM
mellifera
A mixed reality project by Dr Andrew Burrell and Dr Trish Adams.
mellifera consists of an on-line interactive environment in Second Life which
is linked to a complimentary series of real-time exhibitions in gallery and
museum spaces. Central to this innovative, ecologically sensitive artwork is the
artist’s direct engagement with various aspects of bee behaviour at Queensland
Brain Institute, where researchers are investigating cognition, navigation and
communications in the honey bee. The artist’s poetic and scientific interactions
with the bees has inspired the development of mellifera’s experimental series
of human / computer interfaces that provide modes of sensory delivery for both
virtual & real-world participant interactivity. Adams & Burrell explore cognitive
and navigational systems in order to develop configurations that allow viewers
to interact with artificial life created in virtual worlds through sensor readings
of nervous system activity such as physical gestures, breath and “presence”.
This collaborative research has led to the development of artificial life models in
Second Life (SL); providing a platform for adopting posthuman technologies and
modes of sensory delivery.
Project URL: http://mellifera.cc
Join Dr Patricia Adams, Dr Andrew Burrell; Artists and Media Arts lectures
Dominic Redfern, Martine Corompt and Dr Leonie Cooper, Lecturer in Art History
and Theory in a public panel discussion of this Second Life art project.
Date: Thursday April 8, 1–2.45pm
Location: Design Research Institute, Seminar Room
Address: RMIT Building 91, level 3, 110 Victoria Street, Melbourne
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mellifera - a mixed reality project
This project has been
assisted by the
Australian Government
through the Australia
Council, its arts funding
and advisory body
Linearis Light
Artists include James Geurts, Peter Alwast, Cathleen McCann, Emma Barrow, Paul Candy and Kit
Webster, Dominic Redfern to name a few and work by students of Media Arts
Curated by Paul Candy and Ted McKinlay
Open space areas become precincts for projected works from invited National and International artists.
WEDNESDAY 7 TO FRIDAY 9 APRIL
OPENING WEDNESDAY 7.30–11PM
LOCATION OPEN SPACES, RMIT UNIVERSITY CITY CAMPUS
ADDRESS RMIT BUILDING 10, CASEY PLAZA THEATRE, BOWEN ST
OPENING HOURS OPENING HOURS 7.30–11PM
Linearis Light
RMIT University City Campus Bowen Street precinct becomes alive with
projected works from invited National and International artists of various
disciplines. Casey Plaza Lecture Theatre is transformed with multi-projections of
20,000 lumens of light that feature drawings designed to challenge the visitor’s
notion of what is drawing through the activation of public space.
Linearis Light explores the cross over between traditional drawing media and
the digital. It investigates the challenges to the historical traditions of drawing
through digital technology and the creation of new territories in drawing.
Though the shift in the technology used has an impact upon the nature of the
transmitted experience, a mark — once scratched on a cave wall — can now be
digitally sent across the world and reproduced in multiple locations in a number
of different forms. Does the use of the digital in drawing affect the direct tactile
record of the artist’s hand? Does it abstract the conceptual nature of mark
marking? If we consider drawing, as a physical, tactile encounter; a process of
inscribing marks on the surface of paper, then it would seem at odds with the
immaterial realm of digital technologies. While drawing is fixed and inert, it
resists the instantaneous transmission and reproductive ‘efficiency’ of digital
communication.
Linearis Light asks ‘Can these two differing dimensions be the basis for a new
series of creative encounters?’
Linearis Light explores how the physicality of drawing can interrogate digital
technologies, whilst simultaneously subjecting its own historical and material
dimension to the possibilities of digital transformation. The tension between
drawing’s analogue specificity and the possibilities of digital manipulation
provides the artists of this exhibition with an important challenge — a response
to the evolving dominance of digital technologies.
Federation Square in CBD Melbourne will also be showcasing many works and
other programs @ 6.30–9.30pm Thursday 8 April.
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Paul Candy
Corona
Digital still from video Transported
A Common Language: Drawings by Acton and Bouret
Alfredo Bouret and Prue Acton OBE
Curated by Claire Wilson and Amy Middleton
From research material housed in the RMIT Design Archives the curators present a contrast of the drawing techniques and
processes used by twentieth century fashion illustrator, Alfredo Bouret, and fashion designer, Prue Acton, an RMIT Alumna
who received an RMIT Doctor of Arts Honoris Causa in 2007.
FRIDAY 26 MARCH TO TUESDAY 30 APRIL
LOCATION RMIT UNIVERSITY CITY CAMPUS LIBRARY
WITH ACCOMPANYING DISPLAY AT PROJECTIONS SPACE, CITY LIBRARY
ADDRESS RMIT BUILDING 8 LEVEL 5 AND CITY LIBRARY, 253 FLINDERS LANE MELBOURNE
OPENING HOURS MONDAY–FRIDAY 8AM–10PM SATURDAY–SUNDAY 10AM–5PM
A Common Language: Drawings by Acton and Bouret
“The visual aspect of clothing...is fundamental to knowing where we are in the
world, who we are in the world and what the world seems to be.”
Peter Corrigan
Alfredo Bouret and Prue Acton were involved in the fashion industry, collectively,
spanning the years from the 1940s to the 1980s. Mexican-born Bouret, a
fashion illustrator, bewitched with his elegant illustrated figures and fabulous
colour palette. His classic drawing style appeared in major European fashion
magazines of the 1940s through to the 1960s, and he worked with many major
couture houses including Pierre Balmain and Balenciaga. Australian Acton
displayed great versatility throughout her career which began at nineteen years
of age in the heart of Melbourne’s ragtrade, Flinders Lane. Acton and Bouret’s
works reflect the beauty of fashion as well as the ever-changing, fast-paced
world of design. However, the Bouret and Acton collections also provide more
intimate glimpses into ideas of self. Through drawings and preliminary sketches
depicting the traditional dress of indigenous tribes in his country of birth,
Mexico, Bouret highlighted the importance of dress as a form of identity for
these groups at a time when Hollywood was selling a stereotypical image of his
compatriots. Bouret’s later Mexicana range reflects this heritage and codes of
dress. Likewise, throughout her career, Acton’s mood boards, sketches, paintings
and fashion ranges experiment with female identity. For example, Acton’s 1980s
suit designs accentuated feminine strong silhouettes that could hold their own in
the boardroom. Through the drawing process, both Acton and Bouret explore the
body and its adornments, and in doing so demonstrate how creative practice can
be a platform for explorations of identity.
Peter Corrigan, The Dressed Society Clothing, the Body and Some Meanings of the World, London, Sage Publications, 2008, p. 7
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A Common Language (detail)
Surface
Kirsty Lillico [NZ] and Pippa Sanderson [NZ]
Self-curated
A drawing performance involving a mark making process that leaves coloured traces on the surfaces of the gallery wall and
the clad bodies of the performers. The process brings together drawing in action and textile based sculptural work.
THURSDAY 8 APRIL TO SATURDAY 24 APRIL
OPENING THURSDAY 8 APRIL 6–8PM WITH PERFORMANCES 8, 9 AND 10 APRIL 12.30–3PM
LOCATION BLINDSIDE ARTIST-RUN SPACE
ADDRESS NICHOLAS BUILDING, LEVEL 7, ROOM 14, 37 SWANSTON STREET, MELBOURNE
OPENING HOURS THURSDAY–SATURDAY 12–6PM
Surface
Two artworkers wearing white protective suits enter the gallery. They set up
their gear: coloured bubble mix and blowing utensils, and begin their drawing
performance. Blowing bubbles at the wall, they leave indexical traces on the
white surfaces of the wall and suits: making and being drawings. Their pace is
determined by the breath-inspired mark-making.
The clothing worn by the artists is ambiguous. The protection is excessive for a
relatively benign and childlike activity. The uniform-like forms of the garments
endow the figures with an aura of authority and purpose that clashes codes
with the cartoon-like felt feet. The close proximity of the figures to the surface
of the wall (a condition of the drawing process) renders the performers’ bodies
progressively less distinguishable from the architectural surfaces. The artists
become immersed in their bubble.
In this sense the work encapsulates the relationship of contemporary drawing to
process art: 1. the work is an indexical trace of an act, a gesture 2. the artist’s
body is often used as a drawing implement, or surface, and 3. duration – the
drawing is finished when the clock says, an artist imposed parameter that and
speaks of art-making as work rather than the result of aesthetic inspiration and
resolution.
Regarding aesthetic considerations: the choice of hue in the huge fluid
fields of colour, while lush, is reigned in by the process parameters. Thus
the individualism and authorial voice associated with modernist action art
is shrugged off, while signifiers of enclosed psychological spaces, sensitized
surfaces, elements of vulnerability and the fragility of Utopian ideals, are given
breathing space in the process and traces of the work.
Surface involves two artworkers completely clad in white blowing colour-fields of
bubbles onto a gallery wall over a period of three days, becoming progressively
less distinguishable from their work as the drips and stains of the process
accumulate on their bodies.
Surface straddles drawing and painting, process and performance art, enjoying
and replicating the blended boundaries between the diverse disciplines.
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Pippa Sanderson and Kirsty Lillico
Surface (detail), 2008
Toi Poneke Gallery, Wellington
Photo credit: Sarah Simpson
Screen IT
Kit Webster [AUS], Trish Adams [AUS], Andrew Burrell [AUS], James Geurts [AUS], Ilka White [AUS],
Paul Candy [AUS], Dominic Redfern [AUS], Bob Trempe [USA]
Curated by Stephen Gallagher and Martine Corompt
Both the Big Screen of the Square and the Atrium screen come alive with the world of drawing. Featuring animation,
avatars and moving image.
THURSDAY 8 APRIL
LOCATION FEBERATION SQUARE
ADDRESS CRN. SWANSTON AND FLINDERS STREET, MELBOURNE
ONE NIGHT ONLY 6.30–9.30PM
Bob Trempe
24X7@PHL_Codify (Detail), 2008
Three dimensional animation composite
34 x 11”
WEDNESDAY 7 TO FRIDAY 30 APRIL
School of Media and Communication
Professor Peter James Smith
A large 3 panel of black oil on linen with white text mathematics reminiscent of blackboards
LOCATION RMIT BUILDING 8, CITY CAMPUS
School of Fashion and Textiles (TAFE)
Curated by Claire Beale and Patrick Snelling
Students will research through drawing at Villa Alba (Kew) work to be displayed in windows.
LOCATION WINDOWS, RMIT BUILDING 513, BRUNSWICK CAMPUS
School of Art - Ceramics
Curated by Sally Cleary
Ceramics - SOA Staff, Students and Alumni
LOCATION GREY AREA, RMIT BUILDING 24, CITY CAMPUS
School of Design TAFE
Visual Merchandising students from the 2nd year Diploma program design, produce and
install a window to showcase the School’s programs and their application of line in the various
disciplines.
LOCATION FRONT WINDOW, RMIT BUILDING 94, CITY CAMPUS
School of Art - Indigenous Arts Unit
Unatural Histories by Sharon West
A cabinet of drawn antipodean curios and oddities from the Bencks expedition of 1802.
LOCATION RMIT STUDENT UNION ARTS CABINETS, BUILDING 8, CITY CAMPUS
School of Art - Indigenous Arts Unit
Beyond Charcoal Lane curated by Sharon West and Aunty Bunta Patten
A student exhibition of charcoal works on paper inspired by Elder Aunty Bunta Patten artworks
and childhood experiences living at Framlingham Mission.
LOCATION PIT SPACE, RMIT BUILDING 214, BUNDOORA WEST CAMPUS
School of Art - Painting
Curated by School of Art – Painting Staff
Corridors come alive with drawing.
LOCATION OPEN SPACES, RMIT BUILDING 2, CITY CAMPUS
School of Art - Drawing
Curated by School of Art – Drawing Staff
Corridors come alive with drawing.
LOCATION OPEN SPACES, RMIT BUILDING 4, CITY CAMPUS
School of Architecture and Design - Fashion
Curated by Liam Revell
Developmental drawings of student entries for the Melbourne International Flower Festival Award.
LOCATION RMIT CITY FASHION WINDOW, BUILDING 8, LEVEL 10, CITY CAMPUS
WEDNESDAY 7 TO TUESDAY 20 APRIL
School of Fashion and Textiles (TAFE)
Drawn Thread Art 4 Design curated by Phillip Doggett-Williams
RMIT Textile Design (TAFE) students display drawings and related textile works that focus on
student engagement in creative arts practice for design innovation.
OPENING WEDNESDAY 7 APRIL 2PM
LOCATION FOYER, RMIT BUILDING 514, BRUNSWICK CAMPUS
Self-centered
Gosia Wlodarcza
Image detail from Self-centered
Sometimes one has to withdraw into seclusion and take refuge in the limits of the visible. The project Self-centered is a
journey into spaces enclosed within oneself, within one’s body: the intimate, the inner, the hidden, the out of site.
TUESDAY 30 MARCH TO SATURDAY 1 MAY
OPENING TUESDAY 30 MARCH 6–8PM
LOCATION ARC ONE GALLERY (PROJECT SPACE)
ADDRESS 45 FLINDERS LANE, MELBOURNE
Louisa Jenkinson
Through the medium of large scale drawing, Jenkinson’s work investigates the interstices of the urban environment where
one finds a cornucopia of brief human interactions, prolonged dramatic interpersonal relationship sagas and momentary
lapses of normality. These prolific and profound moments are then deconstructed, rebuilt and then released into the wild.
SATURDAY 3 TO SATURDAY 24 APRIL
OPENING SATURDAY 3 APRIL 3–5pm
LOCATION DIANNE TANZER GALLERY
ADDRESS 108–110 GERTUDE STREET, FITZROY
Autumn Collection
Selected works by Eolo Paul Bottaro, Godwin Bradbeer, David Bromley, Alice Byrne, Jazmina Cininas, Dagmar Cyrulla,
Richard Dunlop, Agneta Ekholm, David Fairbairn, Jeremy Kibel, Martin King, Joanna Logue, Sue Lovegrove, Robert Malherbe, Jeff Makin, Mitch McAuley, Milan Milojevic, Amanda Penrose-Hart, Adam Nudelman, Ian Parry, Jenny Rodgerson,
Mark Schaller, Luke Sciberras, Gria Shead, Sally Smart, Sophia Szilagyi, Wayne Viney and Vince Vozzo.
THURSDAY 8 APRIL TO SATURDAY 1 MAY
OPENING THURSDAY 8 APRIL 6–8PM
LOCATION JAMES MAKIN GALLERY
ADDRESS 67 CAMBRIDGE STREET, COLLINGWOOD
First Draft
Curated by Sarah Ross
Image detail from First Draft
A display mapping the processes of jewellery making from working design to completion featuring the work of Linda
Hughes and others.
WEDNESDAY 7 TO WEDNESDAY 21 APRIL
LOCATION STUDIO INGOT
ADDRESS 2/234 BRUNSWICK ST, FITZROY
Matt Hinkley
Matt Hinkley’s drawing practice is a discursive examination of the legacy of modernist values in today’s contemporary
vernacular. Hinkley manually reproduces page smudges and op-style patterns through a painstaking process of minute
marking-marking. This exhibition follows on from Hinkley’s recent solo presentation at Frieze Art Fair in 2009.
WEDNESDAY 7 APRIL TO SATURDAY 1 MAY
OPENING THURSDAY 8 APRIL 6–8PM
LOCATION NEON PARC
ADDRESS 1/53 BOURKE STREET, MELBOURNE
Just the way I am & A place in the landscape
Gallery 1 - Just the way I am - Penny Parkinson and Romany Glover search for beauty in the ordinary, emphasising the
flaws and simplicity of material to find beauty in our everyday surrounds and experiences. Gallery 2 - A place in the
landscape - Carole Bullock’s landscape paintings, etchings and drawings represent her memories, recollections and
feelings of place and the texture of the Australian landscape with its air and vast spaces.
FRIDAY 16 APRIL TO SUNDAY 16 MAY
LOCATION COUNIHAN GALLERY IN BRUNSWICK
ADDRESS 233 SYDNEY ROAD, BRUNSWICK
UNCERTAINTY (drawing)
Lynette Smith, Vin Ryan, Elke Varga curated by Martina Copley
Three artists think on the flow of the line, systems of representation and precedural constraints to draw a provisional link
between materiality and language.
TUESDAY 6 TO FRIDAY 30 APRIL
LOCATION CITY LIBRARY DISPLAY NICHES
ADDRESS GROUND LEVEL, 253 FLINDERS LANE, MELBOURNE
Something in the Air
Colin Batrouney, Rhett D’Costa, Kate Derum, Peter Ellis, Robin Kingston, Claire Mooney, Johannes
C Pennings, Fran van Riemsdyk, Salote Tawale, Sarah Tomasetti, Deborah Walker and Karen Ward
curated by Martina Copley
An exhibition in which six selected artists each invite another artist to exhibit. Counterpoint and confluence in the relations
between the paired works opens up the space to dialogue. Possible readings become prismatic and suggest various ways of
thinking about drawing.
TUESDAY 25 MAY TO SUNDAY 6 JUNE
LOCATION 27 GIPPS STREET RICHMOND
ADDRESS 27 GIPPS STREET, RICHMOND
Cupola
Cathy Brophy
Image detail from Cupola
A large-scale, mixed-media, multi-panel drawing on paper, featuring dynamic, geometric motifs derived from the archetypal
geometry of religious architecture. The drawing is assembled in a site-specific installation, which celebrates the complex
ways in which interior space is constructed and experienced in ‘ritual’ or ‘sacred’ spaces.
WEDNESDAY 31 MARCH TO SATURDAY 10 APRIL
CLOSING PARTY SATURDAY 10 APRIL 2–4PM
LOCATION JENNY PORT GALLERY
ADDRESS 7 ALBERT STREET, LEVEL ONE, RICHMOND
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This project has been
assisted by the
Australian Government
through the Australia
Council, its arts funding
and advisory body