OPening: 5th of september 5:30pm, artist talks at 6pm

6th - 22nd september 2018

  Image: Ray Harris, On My Breath, 2018, HD digital video still, 2:45min.

Image: Ray Harris, On My Breath, 2018, HD digital video still, 2:45min.

Front gallery + FELTdark:  ghosts in the machine - ray harris (SA) 

Ghosts in the Machine is an exploration of the profoundly enigmatic nature of memory and identity, both what is remembered and forgotten, what remains and fades. Its effects and emotional responses linger in our psyche and bodies as felt connections, lived experiences and unknown forces. I have been contemplating our personal ghosts both recalled and disremembered and the affects of the past lingering within, haunting us in immeasurable intangible ways. The ways remembering is negotiated through repression, death, depression or trauma. I am concerned with what is unseen and overlooked and in what ways we become forgotten to others and ourselves. Within this exhibition the mechanical repetitive act of making hundreds of fabric ghosts replicates innumerable recorded memories, both acknowledged and lingering unconsciously, involuntarily and uncontrollably.

back gallery: Absent bodies - Chelsea Farquhar (sa)

Within these works I have been exploring a number of questions about learning through response and what it means for bodies to respond to objects. Sculptures have the ability and power to manipulate and lead bodies through a space. What potential does my body have to learn from a sculptural form and what is sculpture’s performative capacity to influence or leave traces of movement in my body? Through examining my navigation of material and form I am considering the residue of these movements left in my body as a kind of information. A kind of choreography or bodily vocabulary to use as I move through the world. As I was developing this work, I began to feel a disconnect to the artworks I had been referencing. I began to shift the work in attempt to understand some Minimalist and Relational artworks that I have never physically experienced but reference often in my practice. Naturally new questions arose. How can I come to understand a sculpture, performance or relational piece when I am solely experiencing it as documentation through a screen? Utilising video and editing software I am able to manipulate bodies and time whilst bringing into question the validity of phenomenological gallery experiences. Additionally is there a performative residue left through virtual engagement with art documentation and how is that sited in my body? Within these works the editing process became a material within itself to replace physical forms and objects. Simultaneously planned and intuited, my body is responding to present and absent bodies while pre-emptively responding to the editing process.