'True North' Review in Das500

Posted by Andrew on the 28th of December, 2011

Emma McPike's exhibition 'True North', which was on display at OK GALLERY last October, has been reviewed in Das500. Check it out here.

Emma McPike, 'Rhys', 2009, inkjet transfer on Archers 88

Seria Ludo Images

Posted by Andrew on the 14th of December, 2011

Documentation images of Seria Ludo up on David Egan's website. Show runs until the end of the month.

Reece York (SEATED) and David Egan

Review in Runway Issue #20

Posted by Andrew on the 12th of December, 2011

OK's inaugural exhibition, 'Picnic at Fanging Rock' by Casey Ayres, has been reviewed by Sheridan Coleman in the latest issue of Runway Magazine.

You can get Runway from the Art Gallery of WA or from PICA, or you can get it online here.

Mark Parfitt 'Anyday Now'

Posted by Andrew on the 9th of December, 2011

Anyday Now by Mark Parfitt at Galerie Dusseldorf

Check out Mark's documentation images on his website here.
This show is also still on until December 18th.

"Coming from a simple desire to make an ordinary life more celebratory, Parfitt journals his investigations of growing barley, developing great abs, and finding the overland route across the promised land of Australia. Using drawing, diagrams and photography combined as some kind of misguided scrapbooking, Parfitt elevates the humble visual diary to unforeseeable art-form.

Anyday Now is an account of living a good life, learning through experience and preparing for any trial in the face of a mundane life."

Mark Parfitt, 'Field' 2011, courtesy Mark Parfitt and Galerie Dusseldorf (Photograph by Adrian Lambe)


Posted by Gemma on the 6th of December, 2011

Installation progress for Wilderness Years: Ben Kovacsy with his hand-made Tasmanian oak and cedar canoe plus the edge of Nathan Barnett's DIY plastic net. By 'DIY plastic' I mean that he made the plastic, as well as the net.


Posted by Gemma on the 1st of December, 2011

Considering today is the first day of summer, I'm behind the times posting about something in a magazine's Spring edition, but this article is keeping itself on my mind, so I thought it'd be worth sharing.

Last week I finally got around to reading the outgoing edition of Ampersand Magazine: Spring's From the Heart of the Forest to the edge of the Road. loosely themed around potent middle of nowheres. Amongst the issue's pocket sized pages is a piece by media arts lawyer Julian Hewitt on Perth.

Written with the clean palette of a returning expat and approached here from the perspective of an insider, Hewitt's picture of Perth is so accurate it hurts, a bit. It has the elegant bemusement and incisiveness of Joan Didion reporting on the idiosyncrasies of California, something Hewitt must know, because he quotes her. For this reason I'm also slightly jealous of it because it preempts something I was also trying to write connecting Didion's California dreaming (portentous weather, true crime, pioneering hangovers, landscape angst) to Perth, because it would work: something like her geomancy, her shrewd sense of articulating place could be easily transplanted and really valuable here. He even uses the quote I have written down and circled and underlined:

"California is a place in which a boom mentality and a sense of Chekhovian loss meet in uneasy suspension; in which the mind is troubled by some buried but ineradicable suspicion that things better work here, because here, beneath the immense bleached sky,is where we run out of continent." ("Notes from a Native Daughter," Slouching Towards Bethlehem)

Does that feel familiar to anyone else?

It's heartening I guess, for someone who lives here, to find that someone else can identify that something strange is happening here, right now, and that the particular history and character of this place, despite often being portrayed as sluggish and dull is in fact alive with colour and melancholy and weirdness and that it is in fact able to support analysis and poetry, that it's worth the time and attention. At last, someone else has noted the surplus of society columns in the 'press', the historical forgetfulness indicated by the city's tendency to eradicate its heritage architecture, the unforgiving sprawl of the suburbs, the hang up of Perth on being known 'worldwide' in 1962 as the City of Lights and has thought about what that might mean. It's also a valuable text as it provides a neatly balanced counter-action to the often polarized portrayals of Perth from its residents: the bitter vitriol or the blind, stubborn enthusiasm.

Hewitt also reminded me that Honolulu is in fact the most isolated capital city in the world, so we'll have to get over that one soon.

I'm not sure what I'm trying to say about it, actually, other than it's well worth reading - as is Ampersand itself, which dubs itself as a 'Curiosity' magazine and has a varied and enthusiastic approach to culture. You can buy it in Perth from PICA in Northbridge, from Oxford Street Books in Leederville, from the Planet empire in Mount Lawley and Crow Books in Victoria Park, or online from Ampersand's website.

Issue 5 will arrive for summer, sometime soon.