Peachey and Mosig, Rules of the game, 2017. Ellipsis at Carlton Library Naarm/Melbourne.
Image courtesy of J Forsyth.
In collaboration with the City of Yarra and technical support from Multimedia Events, Centre for Projection Art will activate the Richmond Town Hall over the festive season. Eel Trap by Bundjalung / Yorta Yorta man, John Patten will animate the architecture with images of a traditionally woven eel trap with an eel approaching. The image in its animated form is interlaced with numerous cultural and natural motifs referencing traditional Koori cultural practices.
Centre for Projection Art is also excited to activate the Carlton Library with works from three of our alumni resident artists to complement the projections at the Richmond Town Hall. The Carlton Library project is an installation within the walls of the library, viewable at all times with two screen-based installations and a rear projection on the central library window. Here, artists Peachey and Mosig, Lina Buck and Glynn Urquhart share ongoing explorations with the regular library community and people passing by.
Activating the civic spaces of the Collingwood Yards courtyard is Hydrogen Narcosis by artists Shae Rooke and Jess Wilson. In this video collage Rooke and Dubblu create a surreal underwater landscape, complete with organisms and habitats living underwater. Merging binaries between natural and synthetic environments, Hydrogen Narcosiscreates an ode to cinematic representations of the ocean, in particular to the depths that most of us will never be able to visit.
Curated by Centre for Projection Art's Artistic Director, Priya Namana.
Where & when:
Richmond Town Hall,
18 - 28 December 2022,
8.30 PM - MIDNIGHT, nightly.
15 - 28 December 2022,
8.30 PM - MIDNIGHT, nightly.
Collingwood Yards, Courtyard,
15 December 2022 - 2nd January 2023,
9 PM - MIDNIGHT, nightly.
John Paten, Eel Trap, 2022
Eel Trap represents John Patten's interests in traditional Koori cultural practices, including how Koori people have cared for, managed, and fished our waterways for tens of thousands of years. The image shows a traditionally woven eel or fish trap placed in a narrow channel, with an eel approaching. The image in its animated form is interlaced with numerous cultural and natural motifs.
John Patten is a Yorta Yorta and Bundjalung man whose traditional Country is the Murray River and the far North Coast of New South Wales. Dedicated to his culture, John works across a number of fields as an educator, historian, artist, tabletop game designer, and filmmaker.
Glynn Urquhart, Passiflora, 2022
Passiflora is an exploration of sense, memory and nostalgia, through 3D digital animation and forms inspired by passionfruit flowers. As a child, in the house that Urquhart grew up in, there were flowering passionfruit vines along the fence of their backyard, and stink bugs that infested the citrus trees alongside them. Now when Urquhart sees passionfruit flowers they are reminded of this cross-sensory memory - the sharp citrus scent of lemon and orange trees, mixed with the foul acrid scent of the stink bugs, and the bright bizarre alien-like form of the passionfruit flowers.
Glynn Urquhart is a queer multidisciplinary artist working primarily with animation, photography, and projection. A graduate of the Victorian College of the Arts, Urquhart's work explores themes surrounding the physical, the digital, and the spaces that exist between the two, and how these spaces relate to queer identity. He has had his work shown at solo and group art shows locally around Melbourne, as well as animated short films screened at film festivals internationally.
Peachey and Mosig, Rules of the game, 2017
Rules of the Game is a collection of video works that were initially developed during a two month residency at the Zentrum für Kunst und Urbanistik in Berlin, Germany.
In play, time seems to stop. It may have only been minutes or it could have been hours. In the moment it’s as if time doesn’t exist and anything could happen. The play is mediated by the rules. They create the shape in which play takes place and they are constantly being negotiated by the players and the world outside the game. Play does not need an immediate practical goal, we play to seek pleasure and it can provide it’s own reward by being intrinsically enjoyable. We do it in our own time for our own reasons, it’s not required by duty even if we enter into it for reciprocal benefit. We play to bond with other humans or other animals or to the places we inhabit. We play to generate new forms of behaviour and ideas, to test our limits and to fall into different patterns of thinking, feeling and acting in the world.
Peachey & Mosig are multi-media artists who collaborate around a shared interest in human/environment relationships. They currently live and work on the land of the Dharug and Gundungurra people in the Blue Mountains, although they often travel to make work in specific landscapes. They are drawn to the process of collaboration, often working with their two children and practitioners from a range of other disciplines. They are engaged in ongoing deliberate explorations of various landscapes as observers and as active participants, mapping physical and emotional terrain.
Lina and Isabel Buck, STILLMOVING, 2022.
The body of work ‘STILL MOVING’ focuses on shifting notions of the mundane and everyday material encounters through processes of repurposing and assemblage. The work touches on the physical and subjective experience of the objects and the material. Extended by the material's purpose through time, the works reflect on the sense of movement one’s body can receive from a material's physicality such as shape, texture and colour, still and moving.
Nestled here amongst the pre-existing architecture(s) of the Carlton Library, each element embodies a shared theme – they play in dialogue with one another and find unity in their commonality. Visitors are invited to activate the space between; to read, play, work or rest amongst the exhibit, becoming part of the whole. Not dissimilar to the theory of Gestalt (the whole is more than the sum of its parts). As our body moves between the negative space, we piece together its inhabitants, finding understanding in placing them as a whole. Installed within a social setting, the work is an invitation to anticipate your surroundings through acts of recognition and discovery within the artworks and the space between.
As such the exhibit investigates the innate relationship between material perception and experience through the body suggesting an ongoing process of personification in ways of understanding and forming the ‘familiar’.
Shae Rooke & Jess Dubblu, Hydrogen Narcosis, 2022.
Hydrogen Narcosis is a video collage of discarded balloons, illustration and animation. Creating a familiar yet surreal underwater landscape, complete with organisms and habitats. Spiralling downward to a volcanic center on the ocean floor, where pillow lava (distinctive lava forms shaped by water) creates new structures and environments. Hydrogen Narcosis (aka the bends) is a disorienting, hallucinatory state experienced by humans breathing hydrogen at high pressures, such as underwater diving. Rooke and Dubblu create a familiar yet surreal underwater landscape, complete with organisms and habitats based on organisms living underwater. Merging binaries between natural and synthetic environments creates an ode to cinematic representations of the ocean, in particular to the depths that most of us will never be able to visit.
Collaborative duo Shae Rooke and Jess Dubblu are contemporary artists based in Footscray, Melbourne, they’ve been working together since 2016. Jess Dubblu is an installation artist, illustrator and comic creator. Her work focuses on immersive experiences. Employing a variety of techniques from audio, visual and physical. If she can convince her audience to climb into a pipe or crawl on the ground she considers it to be a success. Shae Rooke is a photographer, video and installation artist. Her artworks play off mis/communication and offer multiple interpretations of the world around us – journeying through landscape, memory, distortions of perception and mis/communication. Rooke has exhibited throughout Australia and across the seas. Her favorite words are creepy and cute.
Artistic director & curator: Priya Namana
Operations Manager: Catriona Black-Dinham
Program and Technical Manager: Anatol Pitt
Marketing & Communications: Teagan Ramsay
Technical Assitant: Kenneth Suico
Documentation: Lina Buck and J Forsyth