Chromophilia is an exhibition by Mark Titmarsh of constructed work that investigates the physical and ontological extensions of colour into three and four dimensions. Titmarsh has trained and practiced as a painter developing it into a form he calls ‘expanded painting’ that includes material environments, visual poetics, conceptual politics and spatial investigation.
The work in this show moves freely up and down the scale of painting, from wall work to deconstructed painting that occupies the ‘in between’ zones of the gallery and its lived spaces. As these paintings progressively discard layers such as the frame, the signature, the easel and ultimately paint and canvas itself, more and more space is left for three dimensional objects, temporal performance and the presence of pure colour.
This exhibition is an attempt to think colour by allowing colour to shine. As such colour is awesome in its presence, it is in all things, producing a direct affective experience, that begins with perception and ends as a sensation of being in a world of things, of meaning, of depth and surface and interconnection through light. As Michel Haar puts it, “Colours are the intimacy of the universe revealed to light”
Light and colour open a horizon of disclosure, so that everything in the world is revealed through the relationality of colour. Like a second skin, I feel everything I see, I breathe in the volumes occupied by colour and light.
Chromophilia investigates these ideas through various kinds of work that includes painting, coloured plastics, photography and an opening night performance that involves painting the artist with cans of coloured party string.
Blank Media playfully explores the possibilities and the limitations of linguistic communication. I’m interested in articulating something about the process of making meaningful marks, and in exploring the space between maker/writer and audience/reader. My work utilises photography, sculpture and installation to create textual artefacts in plastic forms, blurring the distinctions between looking and reading, writing and making, and saying and communicating.
Blank Media references mass-produced limited language tools (like the crossword, printing press, or magnetic fridge poetry), re-presenting them as hand-made objects. These works examine the reproducibility of objects and of written and printed marks, inhabiting a space on the boundary between word and object.
Emma White graduated with a Masters of Visual Art from Sydney College of the Arts in 2008. Her practice spans the disciplines of sculpture, installation, photography, video, drawing and writing. Her work has most recently been seen in the exhibitions Seamless: Object and Image at the National Art School Gallery, Under Stars at Hazelhurst Regional Gallery, Making Sense at Craft Victoria, Rise and Fall at Firstdraft, and in the 2008 Helen Lempriere Travelling Arts Scholarship exhibition at Artspace
Image: Blank Media (detail, marker) polymer clay, 2009
This project was assisted by a marketing Grant for NSW Artists administered by the National Association for the Visual Arts (NAVA) through funding from Arts NSW, an agency of the New South Wales Government.
4 MARCH 2009
runway 13: Dead. Guest edited by Daniel Mudie Cunningham
Launch: MOP, Wednesday 4 March, 6pm with performance by Anastasia Zaravinos
Issue 13 of runway speaks to the dead. Ranging from the spiritual to the macabre, the contributions in Daniel Mudie Cunningham’s guest edited issue of runway breathe new life into how we comprehend the inscrutability of death. Artists featured include Anastasia Zaravinos, Matthew Hopkins, Julia deVille, Michael Butler, Locust Jones, Carla Cescon, Jelena Telecki, Clinton Garofano, Cherine Fahd, Ron & George Adams, Pete Volich, Elvis Richardson, Drew Bickford, Luke Thurgate, Cash Brown and Leo Coyte. Contributing writers are Ella Barclay, Marise Williams, Christopher Dean, Ross Murray, Mark Brown & Sophia Kouyoumdjian, Josephine Skinner, Ella Mudie and Alex Gawronski. Get dead with runway.
This project has been assisted by the Australian Government through the Australia Council, its art funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.