Fri 22 - Sun 24 November
Offsite project location: On the grass by the corner of Kintore Ave and Victoria Drive.
FELTnatural is a FELTspace project presenting site-specific and time-based work along the River Torrens foreshore for one weekend only. The project features a variety of mediums ranging from moving images to light-based work and audience-participatory work inviting interaction from members of the public.
The project is open to public from 6pm Friday 22 November, kicking off with a family friendly party, including food trucks, and open until Sunday 24th with guided tours occuring throughout the weekend. Visitors are encouraged to stay from sunset onwards to experience the work in the light and after-dark.
Featuring work by
Matthew Bradley / Aurelia Carbone / Sundari Carmody / Jemimah Davis /
Maarten Daudeij / Steph English / Nicholas Folland / Arlon Hall / Ray Harris / Matt Huppatz / Christian Lock / Alex Lofting / Jessica Miley / Deborah Paauwe / Madeline Reece / Patrick Rees / Derek Saregent / Carly Snoswell / James Tylor / Meg Wilson
Tetrahedral kite build
Mylar, wooden dowel, plastic tubing, string, tape and wind
Approx 170 x 170 x 170cm
Courtesy the artist and Greenaway Art Gallery
Matthew Bradley's sculptural and performative works are the result of an experimental and scientific approach to thinking and making. His work intertwines personal and historical mythologies as it moves through an intellectual terrain that reaches from ancient history to future Outer Space exploration. Along the way he grapples with big ideas, like the evolution of consciousness, the origins of the universe, the fatal attraction of the horizon and the faith humans have placed in technological advancement.
You'd Never Guess At Its Playful Nature
Chalk drawn illusion
Aurelia Carbone is an Australian photographic and installation artist. She constructs handmade optical illusions to create uncanny imagery using the magic of traditional photographic processes. Aurelia believes that photography has an inherent capability for truth and for deception; in her work these capabilities are employed simultaneously to describe the nebulous relationship between the real and the imagined.
In 2012 Aurelia undertook a residency as a Visiting Scholar at Parsons in New York City. In 2011 she exhibited in the Pingyao International Photography Festival, China. She has recently completed a temporary anamorphic installation at the Marino Boat Ramp commissioned by The City of Marion and is currently working on integrated artworks for a large community park redevelopment on the Hallett Cove foreshore.
Spray painted MDF and wooden dowel
Sundari Carmody revisits her Euro-Asian background and interest in contemporary urban experience through 'Ticky Tacky'. The artist presents a series of colourful houses on stilts, reminiscent of traditional Indonesian architecture and her own family home in Indonesia. This installation also visually references the pastel coloured homes in the town of the 1990 film 'Edward Scissorhands'. The title is borrowed from the Malvina Reynolds song 'Little Boxes' (1963) about suburbia and cheaply made houses where 'they're all made out of ticky tacky and they all look just the same'.
Sundari Carmody's works borrow much from the languages of fashion and design, which she uses to construct complex psychological narratives that are at once both personal and universal. Carmody (born 1988) spent her formative years in Indonesia before returning to Australia to attend art school, in 2011 she graduated with a Bachelor of Visual Art (Honours) at the South Australian School of Art.
The artist would like to thank Steve Wilson for his help with the construction of the work and Matthew Bradley for his endless support and technical expertise.
Ping pong glob
ping pong balls, LED fairy lights,
Davis explores the combination and distillation of formal properties, such as light, colour, rhythm and repetition. The process of creating Davis' artwork is about discovering the possibility or potential for the extraordinary in the ordinary. 'Ping pong glob' presents a glowing bulbous green cluster of ping pong balls that grows out of the grimy, molded dark underside of a bridge. Illuminated by fairy lights, this object, and also the setting in which we experience it, are transformed from something mundane to mesmerizing. 'Ping pong glob' examines the transformative power of light and color on a commonplace object in an everyday setting, presenting an opportunity for fanciful, playful and festive contemplation.
Maarten Daudeij (1981) is a Dutch born, Adelaide-based artist. He was awarded a Bachelor-degree in new media from the Gerrit Rietveld Academy, Amsterdam and is currently undertaking a PhD by studio-project at the University of South Australia. He has exhibited and performed in formal as well as guerrilla shows in Europe, Asia, America and Australia. This includes venues such as Stedelijk Museum, Contemporary Art Centre of South Australia, Mildura Palimpsest, Art Gallery of South Australia, Aleppo Railway Station and Van Abbemuseum. Daudeij's work is held in public collections in Europe and Australia as well as in many private collections worldwide.
canvas banner poles, bunting
Nicholas Folland graduated with a First Class Honours Degree in Visual Arts from the University of South Australia in 1998, and in 1999 received an Ann and Gordon Samstag International Visual Art Scholarship which enabled him to work within the Piet Zwart Institute, Rotterdam, and to participate in the Public Art Observatory at the University of Barcelona. He was able to continue this research in 2002 with a residency in Barcelona awarded by the Australia Council. In 2009 he completed an MVA at Sydney College of the Arts, University of Sydney, and he is currently Coordinator of Contemporary Studies at Adelaide Central School of Art. Nicholas is a prolific sculptor and installation artist, and examples of his practice are held in major public collections including The National Gallery of Victoria and the Museum of Contemporary Art. His work was recently featured in Parallel Collisions, Adelaide Biennial of Australian Art at the Art gallery of South Australia.
Nicholas Folland is represented by Ryan Renshaw Brisbane
painted rope and pegs
10 ropes, each 250 cm long
Arlon Hall extends on his painting and drawing practice using painted rope to create coloured lines and forms around the trees along the bank of the river. Using different materials to represent the lines he often uses in his paintings, Hall creates bouncy, colourful forms in the landscape.
Arlon Hall is an honours graduate from the South Australian School of Art (2011). Hall is primarily a painter and uses autonomous mark-making to create fluid forms and colours within the work. Hall has held numerous exhibitions in South Australia; was recently commissioned to create a mural for the Analogue Laboratory in The Mill Studios. Arlon Hall works from his studio at Fontanelle Studios in Bowden.
Jump(for my love)
digital video projection
7.31 min. duration, looped.
Placed near the water evoking Ophelia, in this performative video the artist uses her own body to explore psychological fantasy and notions of love and romantic suicide, and the romance of suicide. Love and death are two of the most powerful defining and elusive life experiences and this video explores the repetition of fantasy and a chance to truly savour and experience a bittersweet moment over and over, to make love and death last forever.
Ray Harris explores psychological complexities and struggles of the self. Her focus is on the compulsion of fantasy states, as a means to cope with the uncontainable hunger of the void, fill what is missing or repair the irreparable, and manage repressed desires, anxieties, and psychological wounds. She explores these issues through subjective interpretations of universal conditions, creating installations and self-performed videos embodying inner and outer experience. Ray is a co-director of FELTspace and has exhibited at the AEAF, SASA Gallery; CACSA and Hugo Michell Gallery. As well as Sawtooth (Launceston), Boxcopy (Brisbane), InFlight (Hobart) Next Wave (Melbourne) Supermarket Art Fair (Sweden) and Gil and Moti Homegallery, (Netherlands) Pirimid Sanat (Turkey).Her work is held in The Borusan Collection and Project 4L- Elgiz Museum Collection, Turkey and private collections in Australia.
Small Stereo, Sign and Paint
SOTTERRANEO is a bit of fun that aims to play with people's perception of time and space. A Few years ago I spent many a summers day sitting on the bank of the Torrens fishing for carp. Friends and I would admire the peacefulness of the place, and reminisce about other summers in Spain or Italy. Stories would flow with the Copers and smoke, and we lovingly renamed the murky puddle( in bad italian) La Torrensia.
Years before that, friends and I would visit Underworld, a techno club in the 'tunnels' beneath The Old Lion in North Adelaide. Members had access via a rear entrance with a key that was engraved with a question mark. Afterwards we would travel back to the city in psychedelic stitches, laughing all the way.
Matt Huppatz is an Adelaide-Ââ€based artist working across sculpture, assemblage and photo media. He is a PhD (Visual Arts) candidate in the School of Art, Architecture and Design at the University of South Australia. His research examines sites of queer masculine expression in contemporary and 20th century art practices. In 2009 Huppatz was awarded the prestigious MF and MH Joyner Scholarship in Fine Arts for post-Ââ€graduate study at UniSA and the Adelaide Critics Circle recognized him as Emerging Artist of the Year in 2012.
card boxes, paint and rope,
Devoting many years to studying the visual arts in Adelaide, Christian Lock has built a strong artistic profile in South Australia. Since winning a Prize for Excellence in Visual Art at the beginning of his arts career in 1997, he has since received various awards, prizes and grants including an Oscarts Award for painting in 2006 and a Samsatg scholarship in 2012. He is represented by Greenaway Art Gallery and in the collections of the Art Gallery of South Australia and Artbank.
Mirrored Acrylic and Adhesive.
Bio: Alexander Lofting has recently graduated with a Bachelor of Visual Arts (Honours) from the University of South Australia. He has exhibited both locally in the Helpmann Academy Graduate Exhibition in 2012 and in Japan, whilst undertaking an exchange at Kansai Gaidai University in 2011. Alex works as the design and publicity manager for the Australian Experimental Art Foundation and is a co-director of Grid Projects ARI.
Jess Miley and Tanya Court
75 metres of felt
Jess Miley and Tanya Court drape 75 metres of felt across the River Torrens site. Miley and Court, both artists with a background in landscape architecture, engage with the land to create a site specific installation that is both subtle in execution and grandiose in scale.
Jess Miley's practice explores notions of public space, gender and identity. Miley is an emerging artist and co-director of FELTspace.
Tanya Court is practicing artist and coordinator of the Landscape Architecture Program at the University of Adelaide. Court is an arts graduate from the Curtin University of Technology and and architecture graduate from RMIT.
artificial agaves & paint
Courtesy of Greenaway Art Gallery, Adelaide
Deborah Paauwe was born in December of 1972 in West Chester, Pennsylvania, United States of Chinese and Dutch heritage. During her childhood she travelled the world with her missionary parents and two brothers and in 1985 moved to Australia with her family. In 1994, Paauwe graduated from the South Australian School of Art, University of South Australia with a Bachelor of Arts (Visual Arts) and in 2000 completed her MA in Fine Art at the Chelsea School of Art, London. Deborah Paauwe exhibits regularly and widely and is presently based in South Australia with her artist husband Mark Kimber, their son Dashiell.
we used to swim here
acrylic paint, canvas, hanging system,
Madeline Reece is both an emerging curator and artist who completed her Bachelor of Visual Arts through the South Australian School of Art in 2009 and has recently graduated from the Masters in Curatorial and Museum Studies program at Adelaide University. Madeline's Masters research project focused on the use of optical and visual illusions in Australian art since the 1960s, examining the intricate mix between art and science. As both an aspiring curator and visual artist this dialogue between science and art remains at the centre of her practice, with her own art embracing the methodical aspects of illusionism.
Madeline is currently an intern and Project Space curator at SASA Gallery. She has also curated several exhibitions including the Centenary Exhibition at Murray Bridge Regional Gallery, Intimacies at Format Gallery, and Isolation the 2009 Visual Art Graduate Exhibition for the University of South Australia. She has volunteered at several local art institutions including the Flinders University Art Museum, the Contemporary Art Centre of South Australia and the Art Gallery of South Australia for Saatchi Gallery in Adelaide: British Art Now. Madeline is a member of Art Collective Two Percent and has exhibited as an artist across Adelaide at the Art Gallery of South Australia, Magazine, Format, SASA Gallery, Higher Ground and Prospect Gallery, and at Linden Centre for Contemporary Art in Melbourne.
A Walk in the Park
Postcards and single channel digital video(via link)
Patrick Rees is an Australian interdisciplinary artist based in Los Angeles, California. Rees studied at the College of Fine Arts UNSW and holds a Bachelor of Arts (Honours) in performance and screen studies from Flinders University and a Bachelor of Visual Arts (Honours) in painting from the University of South Australia. Rees has exhibited in group exhibitions at FELTspace (SA); Magazine Gallery (SA); Format Gallery (SA); Next Wave Festival (VIC); the Contemporary Art Centre of South Australia; Boxcopy (QLD); Blindside Gallery (VIC); Cienfuegos Wynwood Gallery, Miami, (FL), Concord Space, Los Angeles (CA) and RAID Projects, Los Angeles (CA). He has had solo exhibitions at FELTspace, the Contemporary Art Centre of South Australia - Project Space and the Australian Experimental Art Foundation - Odradek and in 2013 co-curated and participated in The Utopia Project, LA at Concord Space, Los Angeles.
30 clocks at 20cm each
Derek Sargent is an emerging artist from Adelaide who is currently undergoing his Honours in visual arts at the South Australian School of Art. Through the medium of sculpture and installation, he explores the themes of sexuality, gender and identity, with
the use of humour and satire he reacts to the heteronormative structures that are prevalent in popular culture. Derek has twice been awarded the Chancellor's Letters of Commendation and in February of 2013 became a co-director at FELTspace.
20 plastic slinkys, approx 20cm each
Carly Snoswell creates a colourful tangle of plastic through her 'knitted' slinky sculpture, 'Behold Gravity'. Her practice explores the functional and visual qualities of common, mass-produced items. Rules and limitations are then imbedded within a process that shifts their energy, creating engaging installations.
Carly Snoswell is an emerging South Australian artist who works within the medium of sculpture and installation. She is an honours graduate from the South Australian School of Art (2012). Snoswell has held solo and group exhibitions locally and interstate; was selected for the Helpmann Academy Graduate Exhibition in 2010 and again in 2012; winner of the 2011 SALA Festival SA Life Emerging Artist Award; is the 2013 Artist in Residence at Carclew Youth Arts; and is currently artist in residence at Sanskriti Kendra, India. www.carlysnoswell.com
6 traditional indigenous huts
'Fringe Dweller' explores the tradition of camping around the River Torrens and Parklands by visiting Aboriginal people to Adelaide. These huts seek to highlight how Indigenous city camps, a tradition spanning thousands of years, are alienated and discriminated against by the non-Indigenous population of Adelaide.
James Tylor's practice examines the concept of racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English and Maori Australian ancestry. Tylor focuses largely on 19th century history of Australia and its continual effect on contemporary issues surrounding racial and cultural identity in Australia.
Knitted blanket (wool), dimensions variable
With the appearance of having been abandoned, this blanket will beckon at passers-by to sit and enjoy the soft wooly surface, while also repelling them with its unknown history. Constructed of many squares knitted by the artist and some of her friends, it is a communal work in the process in which it was made. The fact that it is an object that would usually be put to use at social or family gatherings in the park, the absence of people in the presentation of the work, somehow gives it a sinister edge. Adding to the unknown element of the work, the artist has included a number of 'found' squares that were lovingly crocheted by an anonymous maker.
Meg Wilson is an honours graduate from the South Australian School of Art (2006). Further studies in interior design and involvement in theatre prop and set design influences her artistic practice. Wilson responds to texts such as classic horror/thriller/mystery themed films, play scripts and/or novels in her work. Meg Wilson has held exhibitions in South Australia and recently exhibited at Constance ARI (TAS) and is currently a co-director at FELTspace ARI.
The artist would like to thank the following people who generously contributed to the making of this artwork: Margaret Lloyd, Steph Lyall, Jess Sanguesa and Maddy Turner.
This Must be the place
Stephanie English (born 1990) is an Adelaide-based emerging artist with Italian roots. She was awarded a Bachelor of Visual Arts (Honours) in 2011 where she worked between the textiles and painting departments. Primarily a textile-based artist, English creates small to medium scale sculptures and installations which often incorporate traditional craft and textile methods. In her work she investigates failure, disconnection, melancholia and the burning voids left behind. Her recent travels through Japan, USA and Vietnam have influenced her approach to these recent interests and working methods.
Stephanie English has assisted visiting artist Yin Xiaofeng on projects at the University of South Australia (2008), was part of the organising committee of the UniSA visual arts graduate exhibitions (2010, 2011) and coordinated the Spring Art Auction fundraiser for the school of art (2011). English is a co-director of FELTspace.