Ogasawara/Stearly/Chevarie/Fersonov

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Toru Ogasawara (jp)
Erika Stearly (us)
Martin Chevarie (can)
EP Ferosnov (ukr)

There is an infinite universe in my brain.
A constant restructuring of the layers of my memories.
I have my own style…Then again I don’t.
That’s my philosophy.
Actually I’ve never played the video game called ‘Metroid’

But it still exists in one of the layers of my memory 

– On the Metroid works, Toru Ogasawara

13 May – 24 June 2017
Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

Open Saturdays 10 – 4 and by appointment
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Image  – Toru Ogasawara, Metroid, 2016/7 collage and paint on paper, multiple units, 12.5 x 12.5cm.

MP Fikaris: LET’S PRETEND

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Let’s pretend

…that didn’t happen

…it’s all going to be ok

…we need to do this

We are all actors and we all eventually become what we pretend to be.

MP Fikaris has created a new body of work with images sourced from difficult human situations – people in combat, people being deported, homeless people and children under surveillance.Drawn and redrawn, refined and simplified to masked and plainly dressed figures in action these pieces are made to leave ambiguous but bold impression.

You wear a mask for so long, you forget who you were beneath it.
– Alan Moore

MP Fikaris is a Melbourne born and based experiential artist. Since 2001 his practice has swung between the worlds of illustration, print and painting. He enjoys collaborating and has completed artist residencies in Canada, New Zealand, Timor Leste, Indonesia, Germany, France and in various parts of Australia. His work is in collections with National Print Archives, State Library Victoria and many private collections.

www.fikarisart.com | www.silentarmy.org

Bethany van Rijswijk: Shapeshifter

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Under a kaleidoscope of leaf-mould and earth / and a pelt of yellow lichen / the costume of an unknown maiden / found where the sea once covered the Baltic / has precisely the same red-banded patterns / as certain hallucinogenic mushrooms / once revered as gods.

The art work of Bethany Van Rijswijk is best listened to.

It does not make any sound but each image is filled with whispers and stories and instruction.

There is a world stained blue.
It is terribly small, but contains multitude and bleeds light when it is cut. In another country, the wise women ate the sacred flesh and opened their eyes: this is what they saw. The plant world, silent and filled knowledge. The insect world, locked in a thousand year romance with the herbs and flowers, dancing together, their bodies imitating one another for the purposes of sex and dreaming. All was quiet; there was abundant oxygen.

Now see: here is a lineage of women. The old ones gradually show where stories come from, and they come from blood and from plants. There are traditions so small they are swept aside in history, where enormous events crush things and there is loss, stories are not told, the baton was not passed. But there are still the women and some of them recall a line here, an anecdote here and fragments survive, passed across time measure in aging and generations, not in number and wars.

The insects keep busy and the plants say nothing.

Here is an old book; look into it, observe a quality of image, a particular kind of printing, a grading of colour.
Imprinted in certain pictures, there are stories and magic, and blood, blood and work, work and family, family and death and magic, which is no more or less than the magic of needle and thread, no more wondrous than knowing the right mushroom to pick, the one that does not poison your smallest daughter, but there is no story because no one wrote it down; it was not important (but it was, really).

See the heresy here now.
Bethany imagines: it is fiction.
If you cannot see your imagined world because despite it being fact, factually it is gone, so it escapes erasure by becoming fiction (based on fact) and it no longer matters if it is real.

We may choose, which is a great luxury.

If one cut out images, cutting is irreversible. One needs to be quite careful. It’s not so much associated with art, more with sewing, and that’s quite reasonable, because sewing and tapestry are art forms we call traditional, or dismiss as craft, and are not really art (which is made by heroic brooding painters who may have a lover to clean up their messes) Which is not reasonable at all. IS it?

Take scissors and old books and make a new mythology of plants and women and insects.

Here you are: there are stories here, new ones made from the fragments of old, borrowed, stained blue with vision outside of time.

Exhibition:

28 January – 25 February 2017

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Open Saturdays 10 – 4 to the public and by appointment

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PRIVATE
Suite 7, Level 1, Moonah Centre
Cnr Hopkins and Main Road
Moonah TAS 7009

Bethany van Rijswijk is a visual artist and poet based in Hobart, Tasmania. Enriched by her studies in world folklore, ritual, and costume, her hand-cut collages and poems create an imagined mythology from found images and phrases. A psychedelic strain of “Eastern European granny decoupage”, her work explores the relationship of women’s folk art and poetry to the other world. Her first solo show, ‘Shapeshifter’ owes much to the scholarship of archaeologist Marija Gimbutas and chants of Maria Sabina, as craft comes to be viewed as a vehicle for glimpsing the sacred within the mundane.

See Bethany’s work featured on The Jealous Curator

Image: Bethany van Rijswijk, Fly Agaric, 2016. Courtesy of the artist.

Peerawayt Krasaesom: NIGHT FLIGHT

Night Flight 2013

LAUNCH

By invitation only.
5pm, Saturday 10 December 2016

Opening event supported by

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Open Saturdays 10 – 4 to the public and by appointment.

until January 22nd

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PRIVATE
Suite 7, Level 1, Moonah Centre
Cnr Hopkins and Main Road
Moonah TAS 7009

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Peerawayt Krasaesom is an artist based in Bangkok, Thailand.

Peerawayt’s art practice is derived from his interest in, and processing of media and pop culture. His work occupies an undefined territory where mass culture is dissected and revealed in its grotesque glory. Peerawayt scrutinises the torrent of mass consumer culture, using his work to re-claim the pulsing murk of the natural world that has been glossed over.

 

After growing up in Surin Province, Peerawayt relocated to Bangkok to further his education. Graduating with a B.Edu (Art Education) from Chulalongkorn University in 2005, he has consistently worked and exhibited in Thailand ever since. He pursued postgraduate studies at King Mungkut’s Institute Technology Ladkrabang, achieving an MFA in 2014. His most recent solo exhibition, Classroom, was at the prestigious Bangkok Arts and Culture centre earlier this year.

Currently Peerawayt is an art teacher and advisor working with young offenders in the Thai justice system.

Nightflight is his first exhibition in Australia.