‘Dunes’

Ali Glover considers his practice to be formed of site based/determined interventions. Glover’s interests stem in the dialogue between architectural/material infrastructures and subject. This provides the platform for his on–going interest in exploring new discourses of institutional critique and site specificity. Glover’s use of materials comes from a belief that presence is as much absence as it is presence and seeks to manipulate objects, materials and sounds as a way of shifting our relation to them.

Currently, working on a project series titled ‘Dunes’. ‘Dunes’  is an ongoing research into anthropological aspects of cognitive mapping and the linearity of time, incorporating visual objects and sound. This work focuses on blindspots and unrecognised potentials and pathways of everyday life. In doing so, ‘Dunes’ looks into the eerie elements of our current landscape, haunted by how the world is being presented and how it is being made.

GIVE NEW REDEMPTIVE FORM TO SUBJECTIVE EXPERIENCE

I measure my paintings by their historicity, by how much they weigh. Finger painted words and lines and characatures ride rough–shod over the ghostly palimpsests of countless wrong turns that no amount of glued canvas or household gloss seem able to cover. This heavy–handed project becomes a process of pawing, as through dirt, in search of something. Word and image collide to form unlikely bedfellows. The vernacular of the works that emerge owes much to the offset litho comic strips I grew up reading but end up a sabotage of such nostalgia. Sometimes real spaces emerge from these oversized playthings. Plywood flats hastily assembled in parodies of human spaces assume theatrical proportions but to which the actors never arrive. The paintings, these spaces and now smaller objects, other found ephemera and now audio documents share in this sense of incompleteness, single moments redacted from something bigger. The disparate facets of my practice become the building blocks of a cannibalistic language perpetually trying to eat itself.

Martial–Kitsch Art II

Sihan Ling is interested in the translation and communication between different cultures in the context of globalisation. He often reconstruct the cultural reference within objects through altering the original formats of objects.

Martial Sports Boxing (MSB) is a mandatory Martial art training in his Mukden uni education. In the work Martial–Kitsch Art II, the silhouette of MSB is embroidered onto a red pillow, installed with a flag pole. The work is about the dysfunction of culture translation through multiple layers of mutation.

WEEE

Juliette Pénélope Pépin (b. 1992) is an artist living and working in Paris (FR). She is co–creator of the micro–publishing house Bernard Georges Editions. Her practice revolves around critical thinking and material research. Trained in design, computer science and fine arts, her work oscillates between moving digital images, installations and participatory interventions in public or private spaces. Centred on subjects such as protest, ecology as well as poetry and philosophy, Juliette’s artistic work is one of perpetually materialized critical research rather than a fixed form. Recent show includes a video commission from Blindside Gallery Melbourne (AU) curated by James Carrey.

WEEE is an attempt to trace WEEE and have it rust throughout its time in Access. WEEE is waste, yet… It is possible that a “yet” still emerges through time and certain ways of looking at it. However, WEEE is not greenwashing, just a poetic hypothesis.