22nd August - 8th September 2013
Opening 6pm Thursday 22nd August
Image: Mitchel Cumming 'Two Hands Hold Hollow Claps' (Study)
2013, Digital Sketch
TALK SHOW Anney Bounpraseuth, David Capra, Mitchel Cumming, Elliot Hughes, Daniel McKewen, Giselle Stanborough and Skye Wagner
Curators: Sandra Di Palma & J.D. Reforma
“You’re not anybody in America unless you’re on TV. On TV is where we learn about who we really are. Because what’s the point of doing anything worthwhile if nobody’s watching? And if people are watching, it makes you a better person.”
Suzanne Stone Maretto, (To Die For, 1995, Gus Van Sant)
In 2011, Oprah Winfrey flew 302 members of her American studio audience to the land Down Under. Her Endeavour seemed to crystalise all of society’s preoccupations, obsessions and aspirations into a good ol’ fashioned chinwag: expertly documented and conveniently presented as a four-episode long televisual saga called Oprah’s Ultimate Australian Adventure. But dialogue requires two voices, and though Australia physically hosted her, we were always her guest.
Talk Show is a two-part exhibition – staged first at MOP Projects, and finally at Kudos Gallery – co-curated by Sandra Di Palma and JD Reforma that brings together the work of seven, contemporary Australian artists, who have been invited to respond, simply, to Oprah Winfrey: anything and everything that she is and represents to society. Through their work, artists Anney Bounpraseuth, David Capra, Mitchel Cumming, Elliot Hughes, Daniel McKewen, Giselle Stanborough and Skye Wagner investigate and explore the social, cultural, economic and political implications of one of the most powerful public figures of the 20th Century.
Sandra Di Palma is a Sydney-based administrator and curator with an interest in emerging and contemporary practices. She has studied a Bachelor of Art Theory and Master of Art Administration at the College of Fine Arts, University of New South Wales. Di Palma has worked for the Biennale of Sydney, Kudos Gallery, Tin Sheds Gallery, and was a founding member of The Paper Mill Gallery, Sydney. In 2012 Sandra worked as Exhibitions Manager for SafARI, Sydney. She is currently the Administrative and Executive Assistant at Artspace, Sydney. She has also curated a selection of exhibitions including For the Lulz (2011), and WUNDERPOND (2012), at the Tin Sheds Gallery, Sydney and Saundering Cahoots (2013) at Firstdraft Gallery, Sydney.
JD Reforma is a Sydney-based artist, writer and curator, and a current Master of Fine Arts Research candidate at the College of Fine Arts, University of New South Wales. His work encompasses sculpture, performance, installation, photography and video, and has been widely exhibited in solo and group exhibitions in artist-run spaces including Firstdraft Gallery, Gaffa, Alaska Projects, The Paper Mill, 55 Sydenham Road, Casula Powerhouse Arts Centre and MOP Projects. 2013 will see his work exhibited at Mosman Art Gallery, Kudos Gallery and Campbelltown Arts Centre. He is currently a Co-Director of Firstdraft Gallery, Sydney.
Wagner and Anney Bounpraseut
Eliot Hughes, David Capra, Mitchel Cumming and Daniel McKewen
Mitchel Cumming, David Capra,
Giselle Stanborough, Skye
Wagner and Anney Bounpraseut
MOP Projects is assisted by the NSW Government through Arts NSW
Image: Yanni Pounartzis 'The disintegration of the truth'
2013, 340cm x 70 cm oil on polyester
DISORIENT Yanni Pounartzis
Disorient is intrinsically motivated by and linked to the dark and tangled web of family law and a decidedly unjust justice system. In 2010, he lost custody of his nine-year-old son. After three futile years Pounartzis decided to reveal his private turmoil and devote a series of paintings to his journey, grief and frustration.
Disorient explores this confused world and losing a sense of direction. It also delves into irregularities, the irrational and unexpected forces that can set one off-course.
This is expressed through speedy and spontaneous compositions, but the brushwork is meticulous and considered – part catharsis, part story telling. Each brushstroke brims with his self-preservation and self-analysis.
The individual pieces are created in stages. Pounartzis continually builds on the layers with rich colours to create vibrant, bold forms. The canvas is often rotated so he can attack every edge with exactness. The shading is the most technical part. Pounartzis is particularly concerned with believability. He wants to trick the eye into believing the forms really exist and form layers into darkness.
Heavily inspired by De Kooning and Pollock, Pounartzis has made a very deliberate choice to not work this theme in a figurative sense. For him, it’s about creating an energy and an emotional maze that a viewer can follow and feel.