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25/10/2006

Five Exhibitions

Centre for Contemporary Photography - CCP, Fitzroy

Gallery ONE
Christian Thompson
The Sixth Mile

The Sixth Mile is a new body of work by Melbourne based Bidjara artist Christian Thompson. This series features photographic images as well as an intimate video depicting a communication between the artist and his father. The exhibition explores the universal relationship between fathers and sons and investigates notions of masculinity. In the tradition of performance, Thompson instructs models to recreate compositions and arrangements of male family members, based on old photographic portraits. Focusing on the formal configuration and stance of the posed figures, Thompson uses the human body as a playful, abstract medium to reflect ritual and engages the art making process as a form of contemporary ceremony. The Sixth Mile continues Thompson’s investigations into traditional notions of recollecting and mapping country and pays direct homage to his homelands in central western Queensland.

Gallery TWO
Roger Hanley: CCP/ Colour Factory Award
Fables and Reconstructions

If photography is a method that enables the translation of temporality into visuality, then Roger Hanley’s work might be read as a mistranslation. These photographs are all created in the camera with ultra-long exposures recording the play of both ambient and artificial light. He reveals an enticingly dream-like visual language within the quotidian banality of the vernacular landscape; aiming to depict a certain moment of transcendence from reality into a place where possibility and impossibility meet. A new world, though its syntax and symbology mostly remain cryptic, is convincingly rendered on to film. The echoes of our world however are unsettlingly detectable. There is a collision; the order and rationality of the real world confronts and melds with a moment of impossibility. The effect is like that of an echo, reverberating between actuality and fantasy. Roger Hanley is the winner of the 2006 CCP/Colour Factory Award for an Emerging Photographic Artist.

Gallery THREE
Gavin Hipkins
The Village

New Zealand based artist Gavin Hipkins employs a diverse range of photographic styles in his practice ranging from pictorialism and romanticism, through to high-end advertising aesthetics. In The Village, his new series of large-scale photographs, Hipkins utilises the commercial billboard format, combining images of tourist destinations in New Zealand and vernacular artefacts, such as a nineteenth-century model ship, with vivid blocks of colour strategically placed where one would anticipate an advertising brand or logo. Described by the artist as “monumental gothic pop" his photographs evoke a sense of familiarity and nostalgia. Beneath the seductive surface however, there is a darker side. Both echoing and haunting, these works have gothic qualities similar to those found in horror films.

Gallery FOUR
Simryn Gill
32 Volumes

As an installation, 32 Volumes resembles a rare-books section of a library, with its table, stools and white gloves. However, the book’s hard covers are smooth, blank white surfaces. Opening up the featureless books, we find an array of photographic images which we can identify as having been taken in the mid-to-late twentieth century. … The books contain no text at all, not one word that might identify these pictures. But because we are familiar with the notion of the coffee-table travel book, we suspect that each of these books ‘covers’ a part of the world. From the catalogue essay by Dr. Daniel Palmer

Projection Window 7 Days After Dark
Dorota Mytych
Mutatis Mutandis

Dorota Mytych grew up in Poland in the 1980s during the communist era. At the time it was common to see large crowds gathered everywhere; people queuing for food, shoes and toilet paper, or lining up to catch the bus; organised military marches and groups of protesting students, followed by the chaotic dispersion of these crowds. Mytych is particularly interested in crowds seen from a distance; a general overview and the pattern created by people. Mutatis Mutandis is a replication of a photograph of a WWII SS trooper taking aim at a mother and child. The animated images in her video are created from ‘drawings’ made from tea leaves that explore the formation of crowds and the individuals who are themselves elements of a larger gathering. Mytych’s work has focused on creating a shift between anonymity and intimacy through manipulating drawn and moving images. Documenting this change from one image to the next, the context and interpretation is subverted, creating a more intimate relationship with the viewer.

Opening: 26 October 2006, 6 - 8 pm

CCP
404 George Street - Fitzroy
http://www.ccp.org.au
Gallery hours: Wednesday ­ Saturday, 11am ­ 6pm

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