New Art Highlights

13 - 19 November 2017

New Art Highlights of the week from Axisweb includes: Linda Persson, Elizabeth Kwant, Felicity Truscott and Robyn LeRoy-Evans

Language through light in Western Desert Australia, 2017 by Linda Persson

Linda Persson

This light and language project took place in a remote community in the Western Australia Goldfields desert area. For 2 years I have been working with the local community to try and lift cultural heritage and mother tongue languages through layers of historical events, both on a level of lifting the traditional owners of the land as well as looking at immigration throughout settlement, gold rush and recent times. It has been a complicated journey through very dense and complicated matter of a land so full of recent colonial and environmental scars. The ABC TV channel of Australia came to our event that took place in front of Mt Leonora (colonial name) at the Dingo Dreaming Tjukurrpa (traditional name), a place surrounded by gold and nickel mines, and made a short (follow link):

See Linda's profile on Axisweb >

No Boundaries, 2017 by Elizabeth Kwant

Elizabeth Kwant

screen print, household paint, fabriano paper,
40 x 50cm,
Edition of 10,

Mediterranea is a limited edition series of screen prints, based upon a wider body of work Crossings (2015- ongoing). Beginning life as found media images, which are then playfully edited and re-interpreted by a process of painting out and over areas of the original image, making each print entirely unique. The print titles reference idyllic household paint names: “Fare Thee Well, Utopia Beckons, No Boundaries, English Primrose, Sundown, California Dreaming, Adrift at Sea…” Juxtaposed alongside images of the recent Mediterranean migrant ‘crisis’ these romanticized paint names take on new meaning; creating tension and paradoxes between the images and their context. Kwant’s selective re-appropriation of media images seeks to open up a space to question wider narratives. The images once produced for media output have here been edited, and playfully deconstructed, opening up space to question our perception of reality. The work is intended to be grouped in 'sets' creating a multi-layered effect. In this way the work escapes a single perspective allowing a multiplicity of readings and meanings to emerge.

The production of ‘Crossings’ has been kindly supported by The Castlefield Gallery’s New Art Spaces and Seedbed.

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Revolution and resonance 2017 - the burn, 2017 by Felicity Truscott

Felicity Truscott 

Ending a project that has been 2 years in development and 7 months in duration. The burn was a final act of elements fusing, water and fire. At dusk the sculpture burned whilst floating on the lake. A new start dawned.

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The Three of Us, 2017 by Robyn LeRoy-Evans

Robyn LeRoy-Evans

satin, velvet, pillow, pins

An installation work from my first solo show, 'A Growing Dance'.

A Growing Dance is a personal investigation into the body of the mother-artist.

This year has been one of transformation. Often it feels like my body has been given over to another, it is no longer mine. It is something foreign to me, awkward, disjointed, uncomfortable; at the same time, I know it to be a site of tremendous strength and power, a life-giving vessel.

A long-standing fascination with drapery has developed into an exploration of sculptural cloth forms. Drapery has many varied and loaded cultural, historical, and metaphorical connotations. I am most interested in its fetishistic qualities, its fluidity and seductiveness, as well as the parallels that can be drawn between its folds and folds of flesh. At once the material can be both something which hides or reveals, and act as a symbol of, the body.

Using a range of media, with a focus on photography and installation, I have attempted to reconcile my external being with the many complex thoughts and emotions that have arisen internally since becoming a mother.

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