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1995 Exhibition Program
Helen Fuller: BCF 26 July - 27 August 1995BCF are the initials of Bonython Clemon Fuller and the title of Helen Fuller's descriptive installation, which has its origin in the materials collected, constructed and stored away in her father's backyard shed, over many decades. The mysteries and meanings of the shed are cyclopean. Helen has always been drawn to her father's backyard shed - a male domain, a place for men's business. Yet, for Fuller, the shed evokes memories, and the process of investigating it is at once objective and subjective. Fuller has long been associated with collage, assemblage and found objects, to which she has attached herself as a way of defining her sense of geography and history. Like the contents of the shed - her work is a layering of materials and ideas - of ambiguities and diverse meanings. Helen Fuller and the catalogue writer Ruth Fazakerley, are graduates of the University of South Australia.
7 September - 27 August 1995 Although known for her established practice as a ceramicist, Angela Valamanesh has in recent years extended her skilful management of objects through a wider vocabulary of materials, expressed in the form of installation works. These are constructed through an intuitive gathering of elements, in which a narrative is suggested more as something 'felt', than illustrated. The empty or negative physical spaces of the installation are as important as the objects themselves to this felt narrative, contributing dynamic tension to the overall statement. Valamanesh also is a great fan of fiction writing - especially the works of Emily Dickenson and Colette whose writings evoke feelings of parting and emptiness. Angela Valamanesh completed a Diploma in Design (Ceramics) in 1977 and more recently a Master of Visual Arts at the University of South Australia. Birds Have Fled will be accompanied by a catalogue, with an essay by James Moss.
19 October - 11 November 1995
The Velvet Target is the title of a paperback book, found by Antony Hamilton in an abandoned caravan at an old kangaroo shooting - ground at Koonalda. Irony and poetry emerge when this title is linked to the artist's latest installation - a sparse and haunting work which evidences a kangaroo shoot, incorporating an adolescent, female white
fox and a shaft of light.
The sense of reality in Hamilton's 'found' objects is always intensified by their rich
symbolic meaning, when gathered together. Here, Hamilton creates a nocturnal environment
that is simultaneously vast and enclosed.
Hamilton moved from Victoria to South Australia in the 1970's. Most recently he has
shown installation work at the Art Gallery of South Australia and the National Gallery of
Australia, Canberra.
The Velvet Target is a new installation and will be accompanied by a catalogue, with an
essay by Christopher Chapman. |