As humans, our understanding of the world is based entirely on our perceptions. Through our unique versions of reality, we form opinions, beliefs, relationships, a sense of our own identity and of how we fit into the world around us. Perceptions are the lenses through which we find meaning. The works of the four artists featured in FELTspace’s October exhibitions deal with notions of perception and the quest to find meaning through our internal, external and spiritual experience…

Bared and rare
in the centre of the floor
ready-made and making,
breaking

cobalt shapes:
I wake behind with sanded eyes.

Exposed ribs glare,
dart sideways glances;
splinters jut, disjointing
as light dances blue
over the frames…

Support structures underpin the spaces we comfortably inhabit and enjoy but rarely do we give thought to the laborious processes behind them. Support structures too reinforce the human relationships we ourselves build and are forced to repair, but rarely do we savour the fruits of our labour.

Eleanor Amor’s Substructures seeks to forefront the support systems behind every day life we take for granted. Amor’s diffuse concrete and steel works are appropriated from their construction site context…

FELTspace is celebrating their tenth birthday with Director’s Cut. Current co-directors have highlighted the spirit of collaboration at the core of the FELTspace ethos by inviting all past committee members to join them in a vote. Artists have been drawn from the long list of those who had exhibited with FELTspace over the past ten years. The final five? Heidi Kenyon, Louise Haselton, Kate Power, Matthew Bradley and Roy Ananda. Though curating by committee can be risky, and by vote even more so, these artists have produced works that collectively explore materiality and function. Each artwork captures a unique aspect of working in artist run initiatives, and the freedom it offers…

Derek Sargent’s Genuine and Authentic exhibition at FELTspace is a wryly constructed and multiplicious installation. The show comprises of four highly reflective, red cuboids suspended from the ceiling, each with fixed, open zippers on four sides that invite and comment on prospective acts of voyeurship. Hanging on the walls are four sheets of perspex invisibly hung, each presenting text subtly drilled through its surface (pervert, overlook, deviant and screen). The text is so finely presented, it subverts any attempt at a casual encounter. One has to pay attention…