This exhibition examines the site of the artist’s studio and the incidental marks collectively built while creating new work.
Rasir’s painting process is a dance-like performance and focuses on energy and movement. His studio walls and floor contain the material remnants and the trace of his performance. Along with purposeful, new marks, his works pick up these incidental remnants and traces. Discarded canvas scraps also make their way into Rasir's works, finding new purpose again and again. The brick walls and floor are imprinted in some works, as Rasir pushes oil pastel and spray paint into unstretched canvas sprawled across the floor, or draped from nails in the walls.
In a way, the studio which houses the production, can’t be separated from the work and is an extension of both the artist and his practice. If a surface contains traces from many (if not all) of the artist’s work created in that space, then is that surface of the same or greater value than all the works combined?
For this exhibition, Rasir's works were photographed with the walls and floor visible. On display in Closed on Monday, there becomes an interesting play between the digitally rendered wall surfaces and the digitally photographed surfaces. In some instances a concrete texture may seamlessly bleed into a photograph, or a photographed brick may perfectly align with a rendered brick.
Submissions for our 2019/2020 exhibition program are now open! Head to the Submissions tab to apply.
Naomi Olivier uses databending techniques (altering images and video coding information in computer programs not intended to work with visuals e.g. Word Pad) to ‘break’ files. Through a laborious trial and error process, Naomi corrupts image files just enough to transform them visually while still retaining the information needed for the file to remain useable.
By modifying assets from the driving game BeamNg.drive, Sydney based artist Brenton Alexander Smith presents a world populated by crashed cars moving through a virtual space. Their movements have a vaguely human and/or animal quality to them, yet they can also appear like new creatures with their own unique behaviours.
One Million Views by Sydney-based artist Tiyan Baker examines the emotional transactions between three Australian YouTube celebrities and their fans.
An exhibition of historical botanical illustrations, photographs, samples and studies from the Metropolitan Museum of Art's open access image collection.
Model/Modal combines painting, drawing, photography, and 3D modelling in a way that attempts to navigate the self as bodiless, existing increasingly in the margins of physical reality and non-physical (cyber) spaces. The images center around two central identifying themes, that of a veil and that of transparency.
From travel photographs of a grandmother’s adventures, to vintage magazine cut-outs and botanical illustration, the artists in Fleeting Moment use both analogue and digital assemblage to explore moments of material, environmental and societal change.
This is an exhibition of recent work and works in progress by Lilium Burrow.
Closed on Monday is an online interactive 3D space that hosts monthly exhibitions.
An experimental project between artist/curator Lilium Burrow and interactive designer Xavier Burrow, COM was designed as a grungy, abandoned cyber warehouse-turned-gallery. COM is an expansion on the gallery/ARI model as a dynamic space that is globally accessible and always open (even on a Monday in Sydney).
Walk or fly around the space from anywhere and at any time.
COM accepts submissions all year round.
If you have an idea that can't be realised in the physical world, we want to hear it!
To apply email firstname.lastname@example.org the following:
Images: JPEG’s, under 5MB please and must have artist name and artwork title in the file names.
We accept all art forms and want to collaborate with you to produce exhibitions with no limitations. Send us an email if you have any more questions: email@example.com