VIEW 2023

Review of Photomedia, Mixed media, Animation exhibition

VIEW 2023 | SEVEN ARTISTS (Emily April O’Neill, Aidan Gageler, Harry Merriman, Gabriela Renee, Aaron Sun, April Widdup and Chenfei Xiao)

Photo access | 2 Mar – 15 Apr 2023

The 2023 edition of VIEW (an annual exhibition celebrating emerging talent) delves into the themes of cultural identity and the queer body. Showcasing seven emerging artists from the ACT region, it includes a diverse array of multimedia installations, traditional and non-traditional photo media, and animation.

Each artist presents a personal exploration of self, drawing upon shared experiences and perspectives in social, digital, and environmental realms. PhotoAccess Director Wouter Van de Voorde says “Their work highlights the strength and diversity of emerging artists in our region, and we are thrilled to provide a platform for their voices to be heard.”

Multimedia artist Chenfei Xiao uses digital and augmented reality technologies. Here we see a discussion of a personal experience living as a queer Chinese Buddhist. The resultant three portraits fascinate us as we explore them, discovering features of that experience and delighting in Xiao’s various identities. I encourage you to spend time with these works before reading any explanatory material about them.

Chenfei Xiao, Guan Yin Help You (III), production still, 2022, augmented reality headset rendered images printed on gator boards, 59.4 x 84.1 x 0.5 cm

Aaron Sun is a new media and technology artist. Here he uses 3D modelling, virtual reality photogrammetry and more to create an excellent video work investigating racism in Australia. Watching it forces us to ask ourselves what we might do to remove our own biases.

Aaron Sun, White Australia 1 (still from video, provided)

Abstract artist Aidan Gageler works on film, but never uses a camera as part of the production process. Happenstance played a major role in determining the end product. The collection of six works here takes us through various senses, emotions and colours (or lack of). Our responses to one work, Old Skin, will reflect how often we have each seen ageing skin in our long (or short) lives.

Aidan Gageler, Old Skin, 2022, dye sublimation on aluminium

Interdisciplinary artist Emily April O’Neill has viewed how today’s modern technology has affected our lives. How are our public and private lives being modified? Are our personal behaviours, our confidential communications and even what defines us as individuals being permanently transformed beyond recognition?

Emily April O’Neill, Between Bodies & Screens – interacting with installation image – by Maria Koulouris

Harry Merriman’s video artwork Landscape of Light explores physical space and investigates how the alteration of our rural environment through human impact then affects our sense of self. It invites us to consider how various things change our views of the landscapes we are amongst.

Harry Merriman, The Landscape of Light, 2019, Still from Video

Multidisciplinary artist April Widdup explores place and isolation from a queer perspective, focussing on their art’s potential to challenge. They are showing two pieces in memory of Queer lives lost to hate-crimes and suicide. These artworks use numerous materials, including recycled wood, mirrors, hot sculpted glass, LED lights, vinyl and laminated sheet glass.

April Widdup, You lived, and I will remember that (II) (detail), 2022, [In memory of Queer lives lost to hate-crimes and suicide], recycled wood, hot sculpted glass, monitor, mdf, laminated sheet glass, 94 x 141.5 x 163 cm.

Through their immersive installation pieces, Widdup and Gabriela Renee explore complex cultural and personal narratives and challenge critical thinking around identity, mobility, and place.

Gabriela Renee – Gedara Yanava Going Home – installation image by Maria Koulouris

There are points along our journey through this exhibition where we are invited to get down amongst the work, temporarily becoming part of it. Quite near the floor, I peered through a small hole and saw another face looking back at me surrounded by names, including Devanny Cardiel, a transsexual woman ambassador for the state of Guanajuato in Mexico, and Disaya Smith, the 36th Trans American killed in 2021.

Uncomfortably on my back, head inside a space, I immersed myself into Widdup’s everchanging scene. Looking at other visitors doing this, and doing it ourselves, adds an extra dimension to our experience.

Brian at View2023 © Robyn Swadling

This excellently curated (by Gabrielle Hall-Lomax) exhibition of diverse works, and accompanying publication, is challenging to think about. Leaving, I wondered how I’d review it. I needed some time to digest what I had viewed before writing this. The artists should be proud of their work and we should look forward to seeing each of them develop their art.

This review was first published by The Canberra Times on page 10 of Panorama and online on 25/03/23 here. It is also available on the Canberra Critics Circle blog here.

SELECTED SUBURBAN WORKS – WILLIAM BROADHURST – FANTASY COLLISION – GABRIELLE HALL-LOMAX, REVERBERATION TIME – JAMIE HLADKY

Review of Photography, Mixed Media Exhibition

At Photo Access, 10 March – 9 April 2022

These three solo shows have been described as each sharing a fascination with the strange. They are said to probe notions that have long intrigued photographers in numerous ways, demonstrating the diversity of contemporary photo-media.

One show, William Broadhurst’s Selected Suburban Works, imbues everyday scenes with a sense of mystery through abstraction. He presents a series of fleeting encounters shot in south-west Sydney.

The majority of Broadhurst’s works convey a powerful sense of movement and, if you like, blur – causing the detail of the content to be strangely abstracted whilst, sometimes, revealing almost ghost-like shapes and figures.

William Broadhurst, Untitled#6, 2021

There are other works where particular content is more obvious – the moon is a clear presence in two works, in one seemingly hovering over a field of suburban lights.

Another work includes a person pushing a shopping trolley near the top of a hill. Others reveal a young person near a post and two youngsters alongside a soccer goal – doing precisely what is unclear in both images.

William Broadhurst, Untitled#5, 2021

Yet another work features a shirtless man (the artist?) working with a whipper snipper, although what it is cutting is out of the frame leaving us to imagine it. Perhaps the image I enjoyed most includes, it seems, a blurred reclining kangaroo surveying suburbia from a nearby hill.

William Broadhurst, Untitled#1, 2021

A second show, Gabrielle Hall-Lomax’s Fantasy Collision, integrates paint and digital manipulation techniques into layered photographic images. The works draw some attention to how human activity has transformed our Australian eco-systems. Expanding on environmental photography traditions – often used as a tool to raise awareness and educate us humans about the impact we cause on the environment – Hall-Lomax integrates paint and digital manipulation techniques into her works to reflect on the interconnectedness of nature – the body and the psyche are unified.

One work is titled Slip – whereas I saw a leap.

Gabrielle Hall-Lomax, Slip

Another titled Bushfires did not speak to me of that phenomenon – but is a lovely image, nonetheless. These are reminders, perhaps, that titles are unimportant to many artists and exhibition visitors. Whatever our views about that, these are fine images.

Gabrielle Hall-Lomax, Bushfires, 2021

Yet another is titled Rituals – it shows four modest-sized, standing stones amongst the mist – an acknowledgement of Stonehenge perhaps?

Gabrielle Hall-Lomax, Rituals

And Touching the sun is a sublime work that deserves lengthy contemplation – for me, the most interesting piece in the suite of three exhibitions.

The exhibition catalogue says the third show, Jamie Hladky’s Reverberation Time, “uses flash to explore places that have been reclaimed by nature after human occupation, illuminating the power of natural forces and our futile attempts to corral them.” Hladky himself has told me that the work is not so much about decay, or nature reclaiming, as he’s seen written. For him, his imagery is about “the irrelevant brevity of our short endeavours and our moments of self-absorbed pride.”

The titles of Hladky’s works reveal only where the images were taken. Around half are of decaying building interiors and half of cave and mining tunnel interiors.

Jamie Hladky, Gilgandra NSW, 2021

Jamie Hladky, Yarrangobilly NSW (1), 2021

One shot of the exterior of a neat and clean motel located in a desert area initially seemed out of place. Asked about it, Hladky told me he sees it as the first image in the series to pull the rest of them indoors – demonstrating that it is always good to have opportunities to discuss works with their authors!

In addition to viewing the three exhibitions, reading the delightful “essays” in their catalogues is a definite must, especially The House by Paddy Julian and A Cloak Stands in a Bore Hole, Arms Extended by Simon Eales.

This review was published in The Canberra Times of 4/4/22 here. It is also on the Canberra Critics Circle blog here.