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Opening Wednesday 1 May, 6pm
Artist talk from 5.30pm
Exhibition open 2 – 25 May 2013
 Image: Hayley Brandon, Untitled (Journal Entry #4) (detail), 2013, pen on paper. Focusing on the slippages between shared and personal experience, Brandon’s practice explores ideas of intersubjective identity and the languages and performances of everyday life. Recording and re-contextualising quotidian materials and events through a variety of media, Brandon questions whether these experiences can ever be re-entered by an audience; and if so, what shifts may occur as a result of this process.
For Record, Brandon has approached journaling as a space to explore the intersection of art practice and everyday life and the slippages that may occur between private and public experiences. Inviting audiences into the seemingly private moments of the artists’ everyday life, Record seeks to navigate the indeterminate space between staged and sincere experience and the potential for intimacy in a gallery environment.
Hayley Brandon is an emerging visual artist who currently lives and works in Melbourne, Australia. In 2011 she completed a Bachelor of Fine Arts (Visual Arts) with Honours at the Queensland University of Technology. Since then she has exhibited with ARI’s and contemporary art spaces in Brisbane and Melbourne and contributed to public projects with Brisbane Festival’s Under the Radar and at Melbourne’s Federation Square. Brandon also makes up one third of artist collective Threefold who recently took part in the Boxcopy Summer Residency.
 Hayley Brandon, Record, installation view at FELTspace, 2013 photography by: Lise van Konkelenberg  Hayley Brandon, Record, installation view at FELTspace, 2013 photography by: Lise van Konkelenberg  Hayley Brandon, Record, installation view at FELTspace, 2013 photography by: Lise van Konkelenberg  Hayley Brandon, Record, installation view at FELTspace, 2013 photography by: Lise van Konkelenberg
Opening Wednesday 1 May, 6pm
Artist talk from 5.30pm
Exhibition open 2 – 25 May 2013
 Image: Lee Salomone, Strange Bunch, 2007, artist body hair and grape vine. Our bodies are uniquely powerful mediums for self-representation, and the human body is central to this photographic series. The body is a portable canvas and body hair is a fitting medium for exploring self and identity. Hirsute collection is a series of documented performances that look at hair as a powerful symbol for the relationship between an individual and the society & time they live in.
Lee Salomone is a South Australian based artist who divides his time between Adelaide and Berlin. He graduated from the South Australian School of Art in 1991 and has been exhibiting nationally since 1987 and internationally since 2005. He works across a range of media – including installation, photography, sculpture and works on paper. He makes use of nature and natural materials to better understand culture and conversely, he utilises culture and constructed elements to comprehend nature.
www.leesalomone.va.com.au
 Lee Salomone, Hirsute collection, installation view at FELTspace, 2013
photography by: Lise van Konkelenberg  Lee Salomone, Hirsute collection, installation view at FELTspace, 2013
photography by: Lise van Konkelenberg  Lee Salomone, Hirsute collection, installation view at FELTspace, 2013
photography by: Lise van Konkelenberg  Lee Salomone, Hirsute collection, installation view at FELTspace, 2013
photography by: Lise van Konkelenberg
Opening Wednesday 3rd April, 6-8pm
Exhibition open 4th – 20th April 2013
curated by Lisa Bryan-Brown
 image credit: Leena Riethmuller 2012, Decomposition (nails and hair), HD video still Showing at FELTspace in April, Bodily Purity exhibits Riethmuller’s challenging Decomposition (nails and hair) body of work. Presenting a film and an object based installation in tandem, Bodily Purity investigates the subjective nature of bodily experiences as related to notions of purity and acceptability, and conversely impurity and abjection. Riethmuller’s engagement with bodily themes and substances stems from her interest in dominant societal codes, and the ways they provide classificatory frameworks for individuals’ bodily maintenance regimes. Bodily Purity is a thought provoking exhibition that explores social perceptions of what it means to be ‘pure’, through heightening viewer’s awareness of their own bodily subjectivity.
Riethmuller has exhibited her works frequently within Brisbane and interstate, having shown work in such notable exhibitions as Going South (Screen Space, Melbourne), Addition 1 (Addition Gallery, Brisbane), and Fresher 2011 (Inbetweenspaces, Brisbane). She has been a finalist in Griffith University Art Gallery’s The GAS: Graduate Art Show + Espresso Garage Art Award in 2010, and again in 2012. She has also participated in festivals including the 2012 Brisbane Emerging Arts Festival, the 2011 What is Music? festival, and the 2010 Exist Festival. She is highly active within Brisbane’s ARI community, and in 2013 Riethmuller will be an artist in residence with Level ARI, and is working as the Gallery Manager of Boxcopy.
 Leena Riethmuller, Bodily Purity, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg  Leena Riethmuller, Bodily Purity, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg  Leena Riethmuller, Bodily Purity, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg  Leena Riethmuller, Bodily Purity, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg
Opening Wednesday 3rd April, 6-8pm
Exhibition open 4th – 20th April 2013
 image credit: Untitled (detail), 2013, cardboard, dimensions variable. In the context of the material qualities of our everyday life, my practice considers repetitive process within sculpture and installation practice that impose both methods and gestures that guide the form. Through exploring the functional and visual qualities of small, common mass-produced items, rules and limitations are then imbedded within a process imposed upon these objects, celebrating their inherent function, and shifting their energy, to create engaging installations. The objects essentially do what they are made to do; however allusions occur through repetition and accumulation, as the work grows and takes on a life of its own. Through this process I investigate accumulative, rule-based artwork and questions surrounding when and if an artwork begins and ends.
As an artist and even as a child I would be in a constant state of making, accumulating things created during a preoccupied moment. I aimed to employ this process of unconscious making to keep my work spontaneous and open for interpretation. The pleasure of making drives my work and I wanted to explore how this kind of emotion resonates through the work that is produced.
Recently with this body of work I have become engaged with the idea of collecting, using objects that have been accumulated over time by myself and through the help of others. There is something so satisfying about large collections, taking an otherwise throwaway item and holding onto it, transforming it into something else. In line with my work, there is an interesting association that can be made through taking mass produced, functional items and utilising them in an aesthetic way, changing it’s function, forcing the viewer to perceive the objects differently. The audience is compelled to see what is not initially seen. As a result of this repetition, along with the simple methods of construction I employ, these installations accumulate and form according to physical tendencies, resulting in associations with “natural” appearance of forms for the viewer. Similarly, the materials assert industrial replication, a constant production of consumer products and waste, highlighting the human tendency towards constant making. This is not an intentional aesthetic; rather it happens through the intuitive process of making, allowing the viewer to delve into the natural world for associations and meaning.
- Carly Snoswell, 2013
 Carly Snoswell, Object of Obsession, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg  Carly Snoswell, Object of Obsession, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg  Carly Snoswell, Object of Obsession, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg  Carly Snoswell, Object of Obsession, installation view at FELTspace, 2013, photography by: Lise van Konkelenberg
Exhibition launch:
6pm Wednesday 6 March 2013
Exhibition open:
Thursday 7 – Saturday 23 March 2013
 Image: Katia Carletti, Milk, 2013, oil on board, 22 x 17cm Comprising of both painted and sculpted works, ‘Pulling against tide and wind’ responds to a two-month residency undertaken in 2012 by Adelaide based artist Katia Carletti, in Reykjavik, Iceland. Using the unique environment of Iceland as a receptacle for homesickness and loneliness, this body of work hopes to reconcile the act of journeying with a longing for, and consequential return to, home.
Katia Carletti is an Adelaide based visual artist. Upon graduating from Adelaide Central School of Art with Honours in 2011, she has shown work in solo and group shows in Adelaide, as well as undertaking a two-month residency in Reykjavik, Iceland. Creating work predominantly in the mediums of painting and sculpture, Carletti’s practice explores ideas about landscape, emotion and ritualised experience.
 Katia Carletti, Pulling against tide and wind, installation view at FELTspace, 2013  Katia Carletti, Pulling against tide and wind, installation view at FELTspace, 2013  Katia Carletti, Pulling against tide and wind, installation view at FELTspace, 2013  Katia Carletti, Pulling against tide and wind, installation view at FELTspace, 2013
Exhibition launch:
6pm Wednesday 6 March 2013
Exhibition open:
Thursday 7 – Saturday 23 March 2013
 Image: Brad Lay, There is Nothing Left in the World to Discover (detail), 2012 (17 inkjet prints on paper), dimensions variable As part of the Kings ARI emerging artist program, Brad Lay travelled from Melbourne to Auckland on board the MV Bahia Grande, a Liberian flagged cargo ship. Whilst on board, he gathered material for a series of works in response to the ship and the ocean.
Simultaneously, Brad set up a Facebook page to enable people to write a daily ship’s log from Brad’s perspective. The resulting works are a melding of Brad’s documentation of the journey, and the diverse imaginings of the contributors to the ship’s log.
Brad Lay is an Adelaide-based artist, who completed an Honours degree in visual art in 2009, and is currently undertaking a Masters in Visual Art at the University of South Australia. His work considers the location and significance of the ocean within contemporary culture. He has exhibited at Kings ARI (Melbourne), Waitakaruru Sculpture Park (NZ), MILS Gallery (Sydney), Contemporary Art Centre of South Australia Project Space (Adelaide), Nexus Multicultural Art Centre (Adelaide) and the AEAF Odradek (Adelaide). In 2011 Brad undertook a residency at the Atlantic Center for the Arts, Florida.
This project has been assisted by Kings ARI in partnership with FELTspace through the Kings ARI Emerging Artist Program
 Brad Lay, SQUID > I, installation view at FELTspace, 2013  Brad Lay, SQUID > I, installation view at FELTspace, 2013  Brad Lay, SQUID > I, installation view at FELTspace, 2013  Brad Lay, SQUID > I, installation view at FELTspace, 2013
| 6th-23rd February 2013 |
6th-23rd February 2013 |
7th – 23rd March 2013 |
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| The Time that Remains |
White Air Anatomy |
SQUID > I |
| Soda_Jerk |
Julia McInerney |
Brad Lay |
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| 7th – 23rd March 2013 |
4th – 20th April 2013 |
4th – 20th April 2013 |
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| Pulling against tide and wind |
Bodily Purity |
Object of Obsession |
| Katia Carletti |
Leena Riethmuller |
Carly Snoswell |
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| 2nd – 25th May 2013 |
2nd – 25th May 2013 |
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| Record |
Hirsute collection |
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| Hayley Brandon |
Lee Salomone |
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Exhibition launch:
6pm Wednesday 6 February 2013
Exhibition open:
Wednesday 6 February – Saturday 23 February 2013.
Soda_Jerk will be giving an artist talk at 5.30pm on the opening night.
FELTspace are pleased to announce the solo exhibition of Soda_Jerk’s video installation The Time that Remains on 6 February 2013.
Moving through a number of dream states, Joan Crawford and Bette Davisperpetually wake to find themselves haunted by apparitions of their older and younger selves. Isolated in their own screen space, each woman must struggle to reclaim time from the gendered discourses of ageing that mark her as fading and ‘past her prime’.
The Time that Remains is the third work in Soda_Jerk’s ongoing Dark MatterCycle. Begun in 2005, each work in the cycle takes the form of a ‘séance fiction’ where encounters are staged between older and younger versions of a particular actor.
Soda_Jerk is a two-person art collective that works with found material to trouble existing formulations of cultural history. By strategically reimagining historical trajectories, the artists are concerned with producing counter-mythologies of the past that open new possibilities for the present. Taking the form of video installations and lecture performances, their archival image practice merges the zones of research, documentary and speculative fiction.
In 2010 Soda_Jerk undertook a 12 month residency as part of the International Studio Program at Künstlerhaus Bethanien, Berlin. In 2011 they were recipients of the Helen Lempriere Traveling Art Scholarship, as well as the British Council Australia’s Realise Your Dream Award. They have just completed a 7 month studio residency at Flux Factory in New York City, and will return to New York in 2013 to undertake a 6 month Australia Council for the Arts’ and Anne & Gordon Samstag ISCP residency.
Exhibition launch:
6pm Wednesday 6 February 2013
Exhibition open:
Wednesday 6 February – Saturday 23 February 2013.
Having spent two months undertaking a residency in Reykjavik, Iceland, in 2012, Adelaide based artist Julia McInerney has produced a body of sculptural work accompanied by a written text, exploring the space that arises there between. White Air Anatomy is a collection of parallel-arrived-at-reconfigurations of being in direct contact with Iceland as an environment and atmosphere, varied, and unique to its own.
Julia McInerney is an Adelaide based artist, graduating from the Adelaide Central School of Art with a Bachelor of Visual Art with Honours in 2011. Since, Julia has exhibited at Odradek – The Australian Experimental Art Foundation, in collaboration with Tom Squires for their show Pome, and undertaken a studio residency through Samband íslenskra Myndlistarmanna, (The Association of Icelandic Visual Artists), in Reykjavik, Iceland, from July- September – a project which was funded by a Carclew Youth Arts Project and Development Grant. Whilst in Iceland Julia was involved in the exhibitions Northern Projects and Weathers (More Than One at the Same Point and The Same Time), both at SIM Gallery in Reykjavik. Julia is currently preparing for a solo show, White Air Anatomy, at Felt Space and a solo show at CACSA Project Space in 2013.
Friday, 7 December 2012 6pm
Local Art Space Aims For AAA Credit Rating Too!
In order to dispel the myth that all artists are ‘starving artists’ we are raising public expectation and showing them that we are all-class! Not only do we hope to raise public expectations, and our public profile but also we aim to raise much-needed funds for one of Adelaide’s finest artist-run initiatives, FELTspace and its extraordinary exhibition program for 2013. All funds raised will go directly towards the running costs of the gallery and the exhibitions being hosted by FELTspace in 2013. Ensuring that every enterprise will be a fully realised venture, adorned with all the bells and whistles.
FELTspace would like to invite you to show your support by joining us for this one-night-only auction-gala, comically titled Fill FELT Up. Well-known local artists-come auctioneers, Matt Huppatz and Riley O’Keeffe will be hosting this black tie event at FELTspace on Friday, 7 December 2012. Works can be viewed from 5pm, with formal auction commencing at 6pm. Place your bid and donate to Fill FELT Up!
FELTspace is committed to providing a sustainable art space for the exposition and development of new contemporary and emergent art practices in South Australia and beyond. Your support will mean that we will be able to do bigger and better things to enriching Adelaide’s cultural life in the very near future.
Thank you in advance for your generous contribution to FELTspace.
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