The seven artists in this exhibition have been selected from a group of honours graduates to participate in the Future Now exhibition, initially staged at The Substation and subsequently touring the Victorian region. In many ways Future Now is a representation of the next generation of Australian contemporary artists. What emerges when looking at new artists is that there seems less of a desire to splash around in the medium – as with the hedonism of the late 20th Century – but a new quiet, pious approach, a seriousness, a social responsibility, an interest in philosophising and filtering the world. The artists in this exhibition explore ideas of the modern world that are far greater than the sum of their parts; Matthew Benjamin draws our attention to the by-product or the missing object that comes with consumerism and mass production. By hoarding and reworking designer shopping bags Benjamin highlights a futile disparity between functionality and superficiality in contemporary culture. Other artists are interested in exploring the disjuncture of the real and the imagined born from our multimedia driven – multi tasking way of living; Annabelle Kingston paints and draws both literally and otherwise from the digital milieu of memories, propositions that are borrowed, real and imagined. The result is an uncanny assortment of abstracted objects bearing an indeterminate pastel palette and the smooth design elements of modernism. Using an old format camera, Jedder Jones similarly experiments with representations as a trigger point to the subconscious however her materials and vintage techniques have a Victoriana Gothic aesthetic that echo a distant time. The photographic image is further explored by Georgie Mattingley with her filmic portraits of animals waking up from anaesthesia. Cover image and inset: Virginia Overell, (Detail) Explaining roads, a town, a distant lake (2012/13).
Lying in incongruously constructed ‘heavenly’ surrounds more akin to human ritual than an animals natural habitat, Mattingly’s subjects present an ambiguous metaphor for life – are they dying or waking up? A second video installation by Hannah Raisin shows the artist as subject emerging from a rippling body of water. Positioned adjacent to an image of a mouth purging seaweed and detritus from the ocean, Raisins ‘Blowhole’ draws a visceral link between nature and the human body. The body is a constant source of fascination for artists and their audience both as a subject and as a means to highlight the physicality of space, place and our relationship to objects. Klara Fletcher uses minimal materials of brass, wire, copper, string, to realise a series of bodily gestures performed by the artist and echoed by her materials. There is a subtle elegance about Fletcher’s objects, reiterated by their placement and relationship to the light and space around them in the gallery space. Virginia Overall’s poetically titled ‘Explaining roads, a town, a distant lake’ consists of a series of hanging and folded fabric which act as relics of a layered history. Overall uses coins, and organic materials such as seawater and wood to render the fabric with an imagined past, recreating the flow and intervention of nature and man and the inevitable interconnectivity of everything. The Artists in this exhibition will continue on beyond the canon of the art school to develop their practice and plunder the art world, but for now, here is a first glimpse into the thinkers and makers of the future and how, in turn, they might influence the way we look at the world. Jessica Bridgfoot Selection and Tour Curator
The School of Art at the Victorian College of the Arts is one of Australia’s oldest. Since its beginnings as the National Gallery school in the nineteenth century it has attracted talented artists from across Victoria. Likewise, many of our past students have done much of their interesting work in the regional and rural areas of our state. The VCA is a Victorian institution and thanks to generous financial support from the Victorian Government, we are now engaging with regional and rural parts of the state more than ever before. The Future Now exhibition showcases some of the most exciting work by our honours students from 2012. It has been developed and curated by The Substation, with whom we enjoy an ongoing and fruitful partnership. The exhibition is one of a range of initiatives that the Victorian College of the Arts and the Melbourne Conservatorium of Music are rolling out across Victoria in partnership with local communities and arts organisations. These projects foster an important dialogue and exchange between Victorians from across our state and the VCA. Enjoy the show and I look forward to welcoming you to your VCA at the next opportunity. Professor Su Baker Director, Victorian College of the Arts
The Substation is one of Melbourne’s newest and most exciting arts spaces and prides itself on bringing innovative contemporary arts to Melbourne’s western suburbs, and The Substation Gallery has become a focal point for gallery audiences from across Melbourne. Future Now is an annual award exhibition awarded to a selection of Victorian College of the Arts’ School of Arts Honours students, and we are thrilled to be able to partner with the Victorian College of the Arts to deliver Future Now to three centres across regional Victoria in 2013/14. The Substation believes that all Victorians deserve to be able to access the arts, and this touring exhibition will bring some of Melbourne’s most exciting artistic talents to new audiences across the State. Immerse & Enjoy! Jeremy Gaden Director, The Susbtation
Jedder Jones Lives and works Melbourne and GreatÂ Britain Untitled (2013). Black and white photographs
Untitled is part of an ongoing body of work using analogue black and white photography. Exploring the depth of the medium and the image as a reflection of imaginary space. Soulscapes, capturing and containing beauty and desire within the silver of the photographic. The juxtaposition of objects and abstracts, at once reveal and confuse.
Biography Jedder Jones is an artist working solely with analogue photographic processes, with a focus on the creation of large scale silver gelatine prints.
Klara Fletcher Lives and works in Melbourne Tenere (2013). Timber, steel, copper, leather, latex, acrylic paint, enamel paint, crayon, water colour paper.
A collective of sculptures arranged in the environment where the floor ceiling and wall merge subtly. Composed of simple gesture and communication of the materials. Moments and emotions that play between a domestic comfort and support, strength and fragility. Combining assorted materials as a exchange for a verbal sentence. Are forms that may appear to be of use, but my collapse at any time. The potential of the form. A point of departure. Klara’s practice is an adventure through material and the language that come from an abstract personal and poetic expression. Gesture, that acknowledges the body as a form between the emotional and physical state. A synergy and juxtaposition through balance and instability weight and lightness, strong but fragile. The Value of touch and sensation is a constant in Klara’s inspiration.
Biography Klara Fletcher completed her bachelor (HONs) of fine arts at the Victorian College of the Arts in 2012. Notable group exhibitions: The Higher Arc launch exhibition – Murray White Room 31st October – 2nd of November 2012. Fresh 2012 – Craft Victoria group show. 6th December – 23rd December 2012. Pent house mouse opening exhibition 2013.
Hannah Raisin Lives and works in Melbourne Blowhole (2013). Video installation
Hannah Raisin’s video installation ‘Blowhole’ forms a rippling sheath over the gallery. Intermittent ruptures reveal a creature under the water. The mouth and face push through the water’s surface, playfully inhabiting the space between animal blowhole and the human raspberry. Splashing water interacts with an industrial rumble, further blurring these nature culture binaries. Using photography, video, installation and performance Raisin’s practice engages situated bodily actions as a way to examine and interrupt projected cultural ideals. These concern forms and functions of the body, utilising performance as a way to explore and transcend social codes.
Biography Raisin completed a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts in 2012. She has exhibited in numerous group and solo exhibitions both locally and nationally. Notable exhibitions include Backflip: Humour and Feminism in Contemporary Art, Margaret Lawrence Gallery (2013), RAISIN+WELLS, Gippsland Art Gallery, SALE (2009), The More you Ignore me and The Closer I Get, UQ Museum, QLD (2009). Recent publications include PREVIEW – Backflip: Feminism and humour in Contemporary Art – Laura Castagnini, NAVA quarterly: Women in Art 2013, Torture the Women –Phip Murray Photofile88, Ways of Doing. T&A the F-ing Gaze – Talia Linz, Runway Issue 16, Risk: the limits of laughter and intimacy – Varia Karipoff: Next Wave 2010, RealTime issue #98. In 2012 Raisin received the Rosemary Ricker Award, Shermerdine Art Award, the National Gallery of Victoria’s Women’s Association Award and the Substation Exhibition Award. She was also a finalist in the 2012 Bowness Photography Prize. She is a current member of Arts Victoria’s Youth Arts Reference Group (YARG), and was founding member Rear View gallery 2008-2010.
Georgie Mattingley Lives and works Melbourne White Anaesthesia (2012). High Definition Video, Footage courtesy of the artist, Isaac CarnĂŠ, JimÂ Lloyd and 313 Vets in Hawthorn.
White Anaesthesia depicts a white cat and a white mouse within white surroundings, as they emerge from a drug-induced state of unconsciousness, transforming the visceral process into a visual spectacle.
Biography Georgie Mattingley recently graduated from the Victorian College of the Arts with a Bachelor of Fine Arts (Honours). In 2011, she undertook a residency in Mumbai, India, where she developed an ongoing fascination with overly abject sites such as toilets, tips, slums and abattoirs. Her belief in art as a social language has led her into peculiar collaborations with local slaughter men, veterinary surgeons,
rag-pickers and street beggars, with whom she has engaged in her most stimulating conversations about art. Early career highlights include anaesthetising a field of cows, excreting fluoro-coloured shit and learning halal slaughter methods â€“ all in the name of art. Georgie continues to apply her quirky visual aesthetic to these confronting and hidden processes, as a tool to question peopleâ€™s limits and values.
Matthew Benjamin Lives and works Melbourne Conversation Pit (2013). Paper bags, sticky tape, bagels.
Matthew Benjamin’s work probes desire through packaging to investigate its role as a simulacrum of the missing object, tugging on the line between the lure and the empty vessel. Benjamin uses consumer objects and the language of packaging and display to look at the design of exclusivity, power and class and how they are extrapolated, bringing about the contexts and spaces where empty vessels reside; from the kind of store where an employee opens the door for you, to ‘would you like fries with that?’ I wanted to get rid of my collection of paper bags. A grotesque paper bag made by tearing apart and sticking back together my collection of paper shopping bags, formed into a single organic whole. I hoarded them away over years, protecting the small value that it seemed they still harboured; a logo, a colour, some rope handles. The good quality bags come apart beautifully into their various parts, the tacky ones start to shred as soon as you have a go at them. The reconstituted bag is stubbornly flat and uneven, both weak and heavy. It is propped up, as close to standing up on its own as it gets. The title comes from the subterranean ambience of the room that houses the installation. ‘Conversation Pit’ refers to the once popular, now almost forgotten domestic architectural feature of a sunken lounge area that was designed for people to hang out and talk in. This Conversation Pit is very sunken, sinking further still.
Biography Matthew Benjamin completed a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts in 2012. Recent group exhibitions include Micromanagement curated by Dave Homewood, Utopian Slumps (2012); Consultancy, NGV Studio (2011) and a solo exhibition A Single Man, TCB (2012). Bibliography: Framing of Fashion, Melissa Loughnan, Vault Magazine Issue 3, 2013
Annabelle Kingston Lives and works Melbourne, Australia
Nice Plant 2011. Archival pigment print Hiding 1 (Haunted Swimming Pool) 2011. Archival pigment print, painted frame Hiding 2 (Glenorchy Primary School, R.I.P.) 2011. Archival pigment print Hiding 3 (Breathtaking grass, Out of focus landscape Philippines) 2012. C-type print Mr Rock 2013. Archival pigment print, painted frame C-type pringle 2013. Pringle, painted frame L8R N00Bz 2013. Archival pigment print, custom frame
Annabelle’s work touches on random occurrences, memories, or events that will happen or have happened in the past, in the future, in life, in dreams, in television, and in the world-wide web. Her multidisciplinary artwork is influenced by her interest in creating or re-creating magical moments in history (or sometimes, more accurately, the magical moments in her web history). Annabelle’s visual source materials for these moments is found text, found photographs, and accounts of her own and other people’s memories.
Biography Annabelle Kingston completed a Bachelor of Fine Art (Honours) at the Victorian College of Arts in 2012. Recent notable exhibitions include Mountain Waterfall Fountain, solo exhibition at George Paton Gallery, FutureGen, Jon Curtin Gallery as part of the FotoFreo Festival, Fremantle, WA in 2012, Moderator, C3 Contemporary Art Space, Paradise Structures, The Projects Gallery and The Excerpt Exhibition, Excerpt Magazine in 2013. Annabelle is one half of collaborative duo Paradise Structures whose work employs textiles, telepathy, wood, plants, paint and ceramics to create semi/multi-functional objects, ideas, structures and space.
Virginia Overell Lives and works in Melbourne Explaining roads, a town, a distant lake (2012/13). Muslin, cotton, copper sulphate, seawater, wood, white wash; hydrated lime, salt and water, coins
Virginia Overell’s work broadly explores flows: theories of transfer, shifts, aggregation, dissipation, transformation, transposition and alchemy, and how these flows form our experiences of being-in-theworld. Her work is concerned with active materials and their expressivity via growth and decline within, and also outside of, her participation with them. In her installations she wants to gesture outwards to larger systems, flows and economies within which the work exists. Through drawing loose associations, she allows the environments to open out to encompass the layered and fluctuating histories that are present in all places and things.
Biography Virginia Overell completed a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts in 2012. Overell underwent a studio residency at the National Gallery of Victoria: Australia, as part of the NGVA: Studio project in 2011. Notable recent exhibitions include Everyday Rebellions, Gertrude Contemporary, Melbourne, curator: Emily Cormack (2013); third/ fourth (Melbourne artist facilitated biennial), Margaret Lawrence Gallery, Melbourne, curator: Christopher LG Hill (2013); Mainly Everything, TCB, Melbourne; 3 square, Conical Inc, Melbourne, mentors: Alicia Frankovich, Alex Martinis Roe and Nicholas Mangan.
Presented by The Substation and the VCA, visiting regional Victoria in 2013/14.
Jessica Bridgfoot (Selection and Tour Curator)
Brian Long Kate Daw
Will Foster (Exhibition Curator, The Substation)
The Substation 1 Market Street, Newport VIC 3015 Tel: (03) 9391 1110 www.thesubstation.org.au
Georgie Mattingley Jedder Jones Klara Fletcher Hannah Raisin Matthew Benjamin Annabelle Kingston Virginia Overell An annual award exhibition of work by Honours graduates from the VictorianÂ College of the Arts (VCA), The University of Melbourne. Presented by The Substation and the VCA, visiting regional Victoria in 2013/14.
FUTURE NOW: an annual award exhibition of VCA honours graduates presented by The Substation and the VCA visiting regional Victoria in 2013/1...
Published on Nov 6, 2013
FUTURE NOW: an annual award exhibition of VCA honours graduates presented by The Substation and the VCA visiting regional Victoria in 2013/1...