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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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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.
7th – 24th November 2012
Opening Wednesday 7th November 6pm
Good Mourning presents work by nine Australian artists exploring death as a physical and psychological consideration. Participating artists include: Elvis Richardson, Nana Ohnesorge, Sarah Contos, Matthew Bradley, Ray Harris, Matt Huppatz, James L Marshall, Riley O’Keeffe, Patrick Rees. Co-curated by Ray Harris and Riley O’Keeffe.
Download exhibition catalog 6.5mb
Matthew Bradley
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. Recent group exhibitions include: This is what I do, Metro Arts, Brisbane and, CAST,Tasmania, 2012; Nothing like performance, Artspace, Sydney, 2011; Before and After Science: 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia; Contemporary Australia: Optimism, Queensland Art Gallery/Gallery of Modern Art,Brisbane 2008; World One minute, Today Art Museum, Beijing, 2008 and Uneasy, Anne and Gordon Samstag Museum of Art, Adelaide 2008. Recent solo exhibitions include: New vehicles and exploration, Greenaway Art Gallery, Adelaide 2011 and Axle Mace, Contemporary Art Centre of South Australia, 2010
Sarah Contos
Sarah Contos is a multidisciplinary artist working across installation, sculpture and painting. Her practice is informed by cultural anthropology, fetishism ideology and art history using wry humor and erotic sensibilities to draw relationships between the primitive and everyday. Sarah Contos has exhibited throughout Australia and has participated in artist residency programs in The Netherlands and Australia. In 2011 she was awarded the Marten Bequest Traveling Scholarship for Sculpture and recently granted a New Work grant from the Australia Council for the Arts. Sarah Contos lives and works in Sydney and Perth.
Nana Ohnesorge
German-born Nana Ohnesorge completed a BFA in painting at the National Art School in Sydney 2005 and graduated in 2006 with First Class Honours. During and since her studies, she has won some major art prizes, was selected for the Sulman Prize (AGNSW) four times, and has been a finalist in many other art prizes. She has been a member of artist-run gallery MOP Projects in Sydney since 2006 and has held many solo shows and her work has been included in numerous group shows, many in Regional Galleries and Interstate. She is represented by Hugo Michell Gallery in Adelaide and by Galerie pompom in Sydney.
Elvis Richardson
Elvis Richardson’s art practice explores patterns of recognition and memorialization. Her installations present found objects collected en-masse, disconnected signs of personal identity, reactivated through the gallery context to question their own loss and stage their reinvention. Personalized mass produced items such as 35mm slides, YouTube videos, trophies and home-recorded VHS cassettes, carpet as well as interviews become the raw materials to construct new stories of collective recognition and public nostalgia or is it collective nostalgia and public recognition?. Themes of crime, death and transgression are explored through text works that comment on or express personal experiences as an artist. Elvis Richardson’s practice also encompasses her engagement with ideas and models of Artist Run Spaces. Elvis has been a director of First Draft Gallery (1996-97, Sydney) she initiated Elastic (2000-03 Sydney) a gallery and a printed project. In 2007 Elvis moved to Melbourne and became part of the collective at Ocular Lab an experimental artists space in West Brunswick. And in 2010 Elvis conceived of and opened a themed curatorial gallery space DEATH BE KIND now managed by herself and Claire Lambe where she has curated many of the exhibitions and designs the website (http://www.deathbekind.com). In 2008 Elvis started CoUNTess a blog that looks at gender representation in the Australian art world. (http://countesses.blogspot.com/)
James Marshall
James L Marshall graduated with a Master of Visual Arts (by research) at the South Australian School of Art Architecture and Design in 2011. Marshall’s practice reflects a range of influences including cinema, surrealism, light, the subconscious, death, abjection, and the uncanny. He filters these concerns through reductive processes to ultimately comment on the human condition. Marshall has exhibited in solo and group exhibitions within South Australia, National ARI’s, participated in art fairs in Stockholm and Los Angeles and presented his research in Oxford, England at the Fourth Global Conference of Fear, Horror and Terror. Marshall initiated the FILMCLVB program at RAID Projects (LA) / FELTspace and has curated/facilitated various exhibitions focussing on international dialogue. He is currently living in Los Angeles and acting as Assistant Director of Raid Projects.
Patrick Rees
Patrick Rees is an interdisciplinary artist currently based in Los Angeles, California and Adelaide, Australia. After graduating with a Bachelor of Arts (Honours) in performance and screen studies from Flinders University, South Australia, Rees was involved in the film industry in Sydney as a performer and filmmaker before returningto study visual arts at the College of Fine Arts at the University of NSW. Rees completed a Bachelor of Visual Arts (Honours) at the University of South Australia. Rees has exhibited in group exhibitions at Magazine Gallery (SA), Format Gallery(SA), Boxcopy (QLD), Next Wave Festival (VIC), and the Contemporary Art Centre of South Australia. In 2012 he became a co-director of FELTspace; has had solo exhibitions at FELTspace, CACSA – Project Space and the Australian ExperimentalArts Foundation – Odradek (SA). In 2012 Rees has also undertaken a 4 month artist residency at RAID Projects, Los Angeles, and has exhibited at the and Co/Lab ArtFair, Los Angeles as part of Art Platform, Los Angeles.
Matthew Huppatz
Matt Huppatz is an Adelaide-based artist working in sculpture, assemblage and photo media. He is currently completing a PhD in Visual Arts in the School of Art, Architecture and Design at UniSA. His research examines queer passages in contemporary and 20th century art practices. Particular interests include sites of masculine expression, the magico-ritual aspects of contemporary art practice and assemblage as a disruptive visual language. Matt has exhibited in group and solo shows including Instinct (Greenaway Art Gallery, Adelaide 2012); Supermarket Art Fair, Stockholm; Dark Light (Inflight, Hobart 2011); Vague Possibilities (SASA Gallery, UniSA 2011); SOFT CORN (FELTspace, Adelaide 2010); Shed Light Works (Project Space, CACSA 2009); FELT UP (Seventh Gallery, Melbourne 2009); and Hatched09 National Graduate Show (Perth Institute of Contemporary Art 2009). In addition to his art practice, Matt is an active advocate of artist-run culture. He was a co-director at FELTspace 2009-2012, and edited the publication FELTspace GOLD: a survey of emerging contemporary art practice in South Australia 2011. He has also taken part in national ARI projects including Structural Integrity, the keynote project of Next Wave Festival 2010, and NAVA’s national ARI symposium We are Here, in 2011.
Ray Harris
Ray Harris is not a middle-aged man as her name might suggest but an emerging Adelaide artist working in mixed media sculpture, performance, video and installation. The focus of her work is largely the psychological struggles and complexities of self-concept, focussing on everyday self-delusions, deceptions and fantasies we create, believe and rely on to cope with the complexities of repressed desires, feelings, anxieties and psychological pain accompanied by the facilitation of unawareness. Fascinated by mental spaces, she explores these issues through autobiographical interpretations of universal experiences and conditions in the dual creation of sculptural spaces and perfomative video. Ray is a Masters (Research) candidate at the University of South Australia and recipient of the MF & MH Joyner Scholarship. She was awarded the Constance Gordon-Johnson Sculpture and Installation Prize 2010 (UniSA). Ray has exhibited and been an artist in residence at the Australian Experimental Art Foundation (Solo- Hold me Close and Let me Go 2011), SASA Gallery; Contemporary Art Centre of South Australia, Hugo Michell Gallery. She also exhibited at Sawtooth (Launceston), Boxcopy ( Brisbane), In Flight (Hobart) Next Wave (Melbourne) Supermarket Art Fair (Sweden) and Gil and Moti Homegallery, (Netherlands) Ray has been a co-director of FELTspace since 2010.
Riley O’Keeffe
Riley O’Keeffe is a an artist/musician/writer/curator based in Adelaide, South Australia. He is currently undertaking a Master’s by Research at the SA School of Art, Architecture and Design as well as well as Co-Director of Artist Run Initiative FELTSpace. He has exhibited and performed in various locations around Adelaide Including the Contemporary Art Centre of South Australia, The Experimental Art Foundation, FELTSpace and Format. In addition to this O’Keeffe has exhibited at Bocxopy in Brisbane and Inflight ARI in Tasmania. His multidisciplinary work focuses on notions of mortality, time and the infinite.
4th – 20th October 2012
Opening Wednesday October 3rd 6pm
This body of work is the first sculptural installation in what has so far been a series of painted objects. painting has become the foundation of my practice. I have developed a language within my painting style and process- lying somewhere between the meditative and intuitive application of paint and the ever carefully considered composition, there is something completely magical that occurs. something is captured. Something I can’t find the words to describe to you.
Katie Barber is an Adelaide-based painter,sculptor and installation artist. Katie was a founding member of the TwoPercent Collective and co-directed the Artist-Run Initiative from 2007 to 2011. Graduating with a Bachelor of Visual Arts and Honours from the South Australia School of Art in 2010, Katie has exhibited at the Australian Experimental Art Foundation, Contemporary Art Centre of South Australia, SASA Gallery and various local Artist-Run Galleries.
Image: ‘Red no. 5′ (detail) 2010
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