Exhibitions The Organic Sublime Subterrain 24th July 2018 - 5th August 2018

SUBTERRAIN:
The Organic Sublime within Contemporary Practice
An official MELBOURNE ART WEEK 2018 event

FLG POP-UP @ COLLINS PLACE GALLERY
Level 1, 45 Collins Street Melbourne

Opening Hours:
Friday 3 August 12 - 7pm, -Art PArty from 5-7pm- free entry all welcome
Saturday 4 August 12-5pm,
Sunday 5 August 12-3pm

ART PARTY: FRIDAY 3 AUGUST 5 - 7PM
GUEST SPEAKER: Mr Charles Justin
Co-Director of Justin Art House Museum & 2018 Chairman of Melbourne Art Foundation

This exhibition aims to provide audiences with a highly tactile and intimately immersive arts experience, inspired broadly by ideas of organic forms and systems found beneath the earth’s surface. Referencing the beauty of nature’s patterns, textures and currents, the works presented will offer an alternative view of the world, inviting visitors to enter a nocturnal, interior space full of sense of wonder and curiosity.
Using natural formations and geological structures as points of departure the artists selected to participate in Subterrain share a common interest in challenging the limits of their chosen practices, to achieve highly complex and utterly unique artworks. Free of any representational limitations, the abstract nature of their practices offer an experience of nature mediated through acts of repartition, duration and reimagining.

Liquid Portalz, 12.35minute 2 channel video by Jacob Leary for Subterrain in collaboration with Ariel Ruby, 2018.

CATALOGUE ESSAY
by Phe Luxford 2018

I gazed at these marvels in profound silence. Words were utterly wanting to indicate the sensations of wonder I experienced. I seemed, as I stood upon that mysterious shore, as if I were some wandering inhabitant of a distant planet, present for the first time at the spectacle of some terrestrial phenomena belonging to another existence.
Jules Verne, Journey to the Center of the Earth, 1864

It is a wholesome and necessary thing for us to turn again to the earth and in the contemplation of her beauties to know the sense of wonder and humility.
Rachel Carson, The Sense of Wonder, 1956

We find ourselves beginning with two encounters of the sublime. From Jules Verne’s Journey to the Center of the Earth, a passage that communicates a fantastical moment of possibility deep within the earth, when the world is seen anew. And then another from the Godmother of environmental science, Rachel Carson, with her prescient appeal for humanity to find moments of connection with the Earth and a sense of humble perspective within it.

The cultural interpretations of the term ‘subterranean’ – the dark mantle of this vast lump of soil and rock we call home, full of fossils and oil and volcanoes, worms, roots and caves – is loaded with both a profound sense of marvel and a terrifying state of trepidation. From the time of the Ancient Greeks to today's daily news of seismic activity effecting global populations, Earth’s potholed depths holds a grip over our psyche. It can represent the inevitability of death, the fear of loss or some suppressed primal memory. But it can also represent great optimism, goodness, sustenance and the well-spring of life itself.

As the creep of modernity, full of high rise apartments and online realities, draws us further away from earthly experiences, many of us are seeking new ways to find a path toward meaningful connection. Canberra based printmaker Annika Romeyn is one such individual. A keen hiker, Romeyn walks and kayaks with paper, pencil and camera in hand, gathering up geological annotations of rock fragments, cliff faces and root systems. Meticulous and painstaking in their observational detail her micro/macro sketches serve to inform her later monotypes and drawings. The multi-panelled Ghosts series, printed in a base of cool antiquarian blue, reveals complex black and white pencil layers which, slightly offset, produce a kind of solarised, meta-real visual quality. Combined with an intentionally tilted use of perspective at a larger-than-human scale, these impressive images envelope the viewer and give rise to a palpable, disorientating sensation of vertigo.

In joining together the fragments of a previously experienced landscape, Romeyn is imparting a deeper sense of encounter. Agneta Ekholm’s work takes the darkness and light of those earthly geological folds and pulls us, slipstream, into the chasm. Between each luminous veil of paint any reading of distance or space is. As our eyes follow the glowing edges of sensuous sweeps within inky blackness, we become orientated through thoughts of trickling subterranean rivers, icy rivulets or the falling curtain of a waterfall. Ekholm’s language of intuitive abstraction exudes the calm of an ethereal inner world.

We behold the natural world and wonder at the surreal quality of it forms. Within the familiar and marvellous we try to make sense of our own one-way ticket through this wonderland. With his latest installation Tasmanian artist Jacob Leary has jumped head first down the rabbit hole. Like the bedazzled travellers in Jules Verne’s Journey, The Object Compendium presents us with a rich seam of riotous colour and scintillation. Little mountains of shiny paper and valleys of mossy plastic, each scattered with equally plastic springtime buds, offer up a kitsch treasure trove of sparkling, opalescent bling. These distorted, dreamt up landscapes replace nature’s fecundity with a ceaseless outpouring of tiny man-made objects. In his collaborative video work with fellow artist Ariel Ruby, Leary extends his enquiry into the darker depths and complexity of systems, questioning the state of flux and transmutation that occurs there.

Painter and printmaker Melinda Schawel also draws upon the endless mutations of the natural world with Descent I & II conjuring up complex new structures filtered through her own bodily experience. Each of her images offer a panoramic view of ecology in action. Inspired by the forms of spider egg sacs, the slow-motion reach of microbial fungi or the floating spore of coral, details once microscopic are rendered large and miraculous, teaming with sensitively rendered textures, colours and fluidity. Via pools of liquid pigment and torn surfaces, Schawel’s images invite us to get down on hands and knees, to peer under the leaf litter and witness the abundant microbial life that exists there.

The movement of the earth’s surface is the subject of Dan Lorrimer’s large metal monoliths. Akin to the geological forces that play out on tectonic plates, the artist feeds sheets of metal through a hydraulic press, allowing selective pressure to buckle and distort their planes. Recalling the strata in a cliff face or the crumpled surface of a cave wall, the resulting sculptures stand like monuments to geological time, baring the scars of a slow but determined power. With the ability to shift continents and raise up mountains, the same geological pressure is also responsible for the creation of diamonds. The layers of Zac Koukoravas’ cast acrylic paneled Descent to Hades reminds us of the glinting beauty of precious stones; crystalline clusters found within prehistoric geodes or glistening refractions in a finely cut gem. Using geometric shapes that scatter their points in multiple directions, catching the light and playfully casting shadows within the multiple sheets of acrylic panels, there is an energy in these works that speaks of the fabulous wealth extracted from the Earth’s layers.

Also seen shimmering in the darkness, like so many phosphorescent jewels are Hannah Quinlivan’s painstakingly woven LED lights. Bringing time and movement into the logic of her practice, Quinlivan’s actions liberate the drawn line off the page and give it the freedom to exist as its own entity. Within her Holding Pattern series the slow and deliberate weaving of industrial materials into something new and highly organic recalls the flows of ebbs & flows of underground systems or deep ocean currents.

In the most direct sense Subterrain is an exhibition concerned with the abstract representation of Nature. On a subtler level it is a meditation on the human need to connect with the systems that support us. Each of the selected artists share a common interest in exploring the limits of their chosen materials, to discover new visual languages that will allow them to scrutinise those ecological systems of interest to them. When experienced together, the final selection of works seeks to take the audience into a lived experience, to celebrate the wonder and beauty of a natural world increasingly at odds with our urban life.

AGNETA EKHOLM PROFILE
DOWNLOAD BIO / CV (PDF)

JACOB LEARY PROFILE
DOWNLOAD BIO / CV (PDF)

DAN LORRIMER PROFILE
DOWNLOAD BIO / CV (PDF)

HANNAH QUINLIVAN PROFILE
DOWNLOAD BIO / CV (PDF)

ANNIKA ROMEYN PROFILE
DOWNLOAD BIO / CV (PDF)

MELINDA SCHAWEL PROFILE
DOWNLOAD BIO / CV (PDF)

ZAC KOUKORAVAS PROFILE
DOWNLOAD BIO / CV (PDF)

Zac Koukoravas
Descent to Hades 2018
acrylic & enamel on acrylic panels
103cm x 103cm x 4 cm

Hannah Quinlivan
Dissensi 2018
aluminium wire & shadow
175cm x 410cm ACQUIRED FOR THE ARTHUR & SUZIE ROE COLLECTION

Hannah Quinlivan
Holding Pattern IV 2017
aluminium wire and LED
120cm x 110cm

Hannah Quinlivan
Holding Pattern VII 2017
aluminium wire and LED lights
120cm x 130cm

Hannah Quinlivan
Geologic Time 2014
steel, aluminium and shadow
150cm x 150cm x 35cm

Annika Romeyn
Ghost 5 2018
pencil & monotype on paper
228cm x 112cm framed
In Artist's Studio

Annika Romeyn
Ghost III 2017
pencil and monotype on paper
228cm x 168cm framed

Annika Romeyn
Chasm III 2018
monotype on paper
228cm x 168cm
In Artist's Studio

Agneta Ekholm
Déjà vu 2018
acrylic on canvas
180cm x 150cm

Agneta Ekholm
Forestial Flow 2018
acrylic on canvas
180cm x 150cm

Jacob Leary
Autumn 2 Winter 2018
mixed media
84cm x 84cm x 8.5cm

Jacob Leary
Objects 2018
mixed media
84cm x 84cm x 8.5cm

Jacob Leary
Krunckle 2018
mixed media
83cm x 63cm x 15cm

Jacob Leary
The Object Compendium 2018
mixed media
84cm x 64cm x 15cm

Jacob Leary
Golden 1 2018
mixed media
32cm x cm x 12.5cm

Jacob Leary
Golden 2 2018
mixed media
32cm x 33cm x 15cm

Jacob Leary
Marina George 2018
mixed media
33cm x 33cm x 12cm

Jacob Leary
La La 2018
mixed media
33cm x 33cm x 15cm

Jacob Leary
Rainbow Islands 2018
mixed media
32cm x 33cm x 12cm

Jacob Leary
Slick 2018
mixed media
33cm x 33cm x 12cm

Dan Lorrimer
Departed Trajectory III 2017
powdercoated black aluminium
115cm x 40cm x 15cm (Plinth $250)

Dan Lorrimer
Static Surge 3a 2017
powdercoated steel
60cm x 34cm x 6 cm

Dan Lorrimer
Vertical Rift 4 2017
powdercoated steel
60cm x 30cm x 6cm

Dan Lorrimer
Iron Wave 2015
weathering steel, steel base included
57cm x 31cm x 6cm

Melinda Schawel
Descent I 2018
ink & pencil on torn and perforated paper
104cm x 152cm (framed size 123x168cm)

Melinda Schawel
Descent II 2018
ink & pencil on torn and perforated paper
104cm x 152cm (framed size 123x168cm)

Melinda Schawel
Unexpected Turn 2018
ink and pencil on torn and perforated paper
104cm x 104cm (120 x120cm framed size)

Melinda Schawel
Blown Away II 2018
ink & pencil on torn and perforated paper
105cm x 47cm (123 x 62cm framed size)