http://milsgallery.com milsgallery.com Mon, 13 May 2013 08:33:11 +0000 http://milsgallery.com en http://milsgallery.com/MLS014 http://milsgallery.com/following/milsgallery.com/MLS014 Mon, 13 May 2013 08:33:11 +0000 milsgallery.com 5603898 <img src="http://payload165.cargocollective.com/1/7/224075/5603898/img588 900_905.jpg" width="900" height="900" width_o="900" height_o="900" src_o="http://payload165.cargocollective.com/1/7/224075/5603898/img588 900_o.jpg" data-mid="30229041" border="0" align="left"/> MLS014 - Vladimir Kravchenko Baikal - The Unintentional Offerings Human life around Lake Baikal dates back to the Palaeolithic period. Many cultures existed and perished around its coasts. The cold water of the lake and its steep shores have absorbed all the vast artefacts produced by humans to sustain their life or to worship the divine. <img src="http://payload165.cargocollective.com/1/7/224075/5603898/img491 900_905.jpg" width="900" height="900" width_o="900" height_o="900" src_o="http://payload165.cargocollective.com/1/7/224075/5603898/img491 900_o.jpg" data-mid="30227146" border="0" align="left"/> Human inadequacy to leave an indelible mark on the harsh local landscape is particularly felt when one encounters the most recent man-made structures around the lake. <img src="http://payload165.cargocollective.com/1/7/224075/5603898/img554 900_905.jpg" width="900" height="900" width_o="900" height_o="900" src_o="http://payload165.cargocollective.com/1/7/224075/5603898/img554 900_o.jpg" data-mid="30227109" border="0" align="left"/> Unlike the many offerings to various water and earth Gods that have been made around the Baikal by the indigenous people throughout the millennia, this last wave of artefacts was built without any regard for the 'super-natural', only with the human in mind. <img src="http://payload165.cargocollective.com/1/7/224075/5603898/1 900_905.jpg" width="900" height="900" width_o="900" height_o="900" src_o="http://payload165.cargocollective.com/1/7/224075/5603898/1 900_o.jpg" data-mid="30227081" border="0" align="left"/> However, few of these structures seem to bear any human-directed function any longer. Even the ones that do are hardly distinguishable from the surrounding environment rendering the difference between artificial and natural hardly distinct. These most recent structures appear to be unintentional offerings to the same forces that were worshiped thousands of years ago. <img src="http://payload165.cargocollective.com/1/7/224075/5603898/3 900_905.jpg" width="900" height="900" width_o="900" height_o="900" src_o="http://payload165.cargocollective.com/1/7/224075/5603898/3 900_o.jpg" data-mid="30227166" border="0" align="left"/> MLS014 - Vladimir Kravchenko Baikal - The Unintentional Offerings Human life around Lake Baikal dates back to the Palaeolithic period. Many cultures existed and... http://milsgallery.com/MLS013 http://milsgallery.com/following/milsgallery.com/MLS013 Tue, 23 Apr 2013 06:08:22 +0000 milsgallery.com 5466607 <img src="http://payload158.cargocollective.com/1/7/224075/5466607/Scan20004 copy_905.JPG" width="905" height="589" width_o="1212" height_o="789" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/Scan20004 copy_o.JPG" data-mid="29437922" border="0" align="left"/> MLS013 - Huw Lewis and Nicole Toms 'Two' 3 May - 19 May, 2013 Opening Drinks Friday 3rd, 6pm <img src="http://payload158.cargocollective.com/1/7/224075/5466607/huw web4_905.jpg" width="905" height="528" width_o="2048" height_o="1195" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/huw web4_o.jpg" data-mid="29435901" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/7/224075/5466607/huw-web5_905.jpg" width="900" height="472" width_o="900" height_o="472" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/huw-web5_o.jpg" data-mid="29437751" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/7/224075/5466607/huw-web-6_905.jpg" width="900" height="472" width_o="900" height_o="472" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/huw-web-6_o.jpg" data-mid="29437864" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/7/224075/5466607/nicki web1_905.jpg" width="905" height="746" width_o="1286" height_o="1061" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/nicki web1_o.jpg" data-mid="29437552" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/7/224075/5466607/nicki web2_905.jpg" width="905" height="715" width_o="1398" height_o="1106" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/nicki web2_o.jpg" data-mid="29437563" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/7/224075/5466607/Scan200020004 copy_905.jpg" width="905" height="640" width_o="1870" height_o="1324" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/Scan200020004 copy_o.jpg" data-mid="30225999" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/7/224075/5466607/Scan200050001 copy_905.jpg" width="905" height="585" width_o="1204" height_o="779" src_o="http://payload158.cargocollective.com/1/7/224075/5466607/Scan200050001 copy_o.jpg" data-mid="30226004" border="0" align="left"/> MLS013 - Huw Lewis and Nicole Toms 'Two' 3 May - 19 May, 2013 Opening Drinks Friday 3rd, 6pm http://milsgallery.com/MLS012 http://milsgallery.com/following/milsgallery.com/MLS012 Thu, 04 Apr 2013 05:00:13 +0000 milsgallery.com 5331422 <img src="http://payload151.cargocollective.com/1/7/224075/5331422/mls012-shay-fronta_905.jpg" width="900" height="636" width_o="900" height_o="636" src_o="http://payload151.cargocollective.com/1/7/224075/5331422/mls012-shay-fronta_o.jpg" data-mid="28684760" border="0" align="left"/> MLS012 – Shay (Shaghayegh) Mazloom 'In-Between' 12 April - 28 April Opening Drinks Friday 12th, 6pm “In-Between” is an exhibition of Shay (Shaghayegh) Mazloom’s recent project which resonates with themes of displacement and Imaginative Geography. The central idea refers to the artist’s personal experience of departure and returning to her home country, Iran. The paradoxical state of living in a space in-between belonging and banishment, housed and unhoused and loss and presence. Shay Mazloom is an Iranian based artist working with photography, video, installation and Performance. She holds a Master of Studio Art from Sydney College of the Arts. The experience of living in two extremely different cultures has informed practices that investigate themes of cultural identity, language, displacement and otherness. Her works investigate the affiliation of identity, culture and place, and also the effects of social and cultural discourses on individuals. Photos of this project are taken in different places near borders of Iran in a mosaic method and then assembled together to refer to the mental situation of fragmentation and dislocation. Some parts are missed through this process of deconstructing and constructing of the self. The exhibition is on view at Mils Gallery from the 12th till the 28th of April. <img src="http://payload151.cargocollective.com/1/7/224075/5331422/4 - In-Between 7 web_905.jpg" width="905" height="381" width_o="1600" height_o="674" src_o="http://payload151.cargocollective.com/1/7/224075/5331422/4 - In-Between 7 web_o.jpg" data-mid="28729452" border="0" align="left"/><img src="http://payload151.cargocollective.com/1/7/224075/5331422/1 - In-Between 4_905.jpg" width="905" height="381" width_o="1600" height_o="674" src_o="http://payload151.cargocollective.com/1/7/224075/5331422/1 - In-Between 4_o.jpg" data-mid="29559340" border="0" align="left"/><img src="http://payload151.cargocollective.com/1/7/224075/5331422/InBetween-5_905.jpg" width="800" height="337" width_o="800" height_o="337" src_o="http://payload151.cargocollective.com/1/7/224075/5331422/InBetween-5_o.jpg" data-mid="29558334" border="0" align="left"/><img src="http://payload151.cargocollective.com/1/7/224075/5331422/IMG_2867-ed_905.jpg" width="800" height="584" width_o="800" height_o="584" src_o="http://payload151.cargocollective.com/1/7/224075/5331422/IMG_2867-ed_o.jpg" data-mid="29558305" border="0" align="left"/> MLS012 – Shay (Shaghayegh) Mazloom 'In-Between' 12 April - 28 April Opening Drinks Friday 12th, 6pm “In-Between” is an exhibition of Shay... http://milsgallery.com/MLS011 http://milsgallery.com/following/milsgallery.com/MLS011 Sun, 10 Mar 2013 01:14:21 +0000 milsgallery.com 5147064 MLS011 – Adriano Rosselli & Ida Lawrence DIG 2113, 2013 14 March - 7 April <img src="http://payload142.cargocollective.com/1/7/224075/5147064/MLS011-invite-fronta_905.jpg" width="842" height="595" width_o="842" height_o="595" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/MLS011-invite-fronta_o.jpg" data-mid="27652225" border="0" align="left"/> MLS011 – Adriano Rosselli & Ida Lawrence 'Dig 2113' An archaeological dig in the distant future reveals artefacts from the near future. You get me Please join us for drinks from 6-8pm on Thursday 14 March. The exhibition continues until 7 April, 2013 The opening will coincide with Art Month's Surry Hills Precinct Night. Gallery Hours 1pm - 7pm Wednesday to Friday 11am - 5pm on weekends or by appointment (call 0423237663 or email info@milsgallery.com). <img src="http://payload142.cargocollective.com/1/7/224075/5147064/MLS011-invite-backa_905.jpg" width="842" height="595" width_o="842" height_o="595" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/MLS011-invite-backa_o.jpg" data-mid="27652223" border="0" align="left"/> <img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150559_905.jpg" width="905" height="600" width_o="1280" height_o="850" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150559_o.jpg" data-mid="28258082" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150921_905.jpg" width="905" height="600" width_o="1280" height_o="850" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150921_o.jpg" data-mid="28258160" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150549_4_905.jpg" width="905" height="472" width_o="1280" height_o="668" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150549_4_o.jpg" data-mid="28318226" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150659_905.jpg" width="905" height="602" width_o="1280" height_o="852" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150659_o.jpg" data-mid="28258154" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150645_905.jpg" width="852" height="1280" width_o="852" height_o="1280" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150645_o.jpg" data-mid="28258135" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150646_905.jpg" width="905" height="602" width_o="1280" height_o="852" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150646_o.jpg" data-mid="28258143" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150605_905.jpg" width="905" height="602" width_o="1280" height_o="852" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150605_o.jpg" data-mid="28258112" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150601_905.jpg" width="905" height="602" width_o="1280" height_o="852" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150601_o.jpg" data-mid="28258102" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150596_905.jpg" width="905" height="489" width_o="1280" height_o="693" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150596_o.jpg" data-mid="28258086" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150638_905.jpg" width="905" height="602" width_o="1280" height_o="852" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150638_o.jpg" data-mid="28258215" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150639_905.jpg" width="905" height="602" width_o="1280" height_o="852" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150639_o.jpg" data-mid="28258127" border="0" align="left"/> <img src="http://payload142.cargocollective.com/1/7/224075/5147064/relief_905.jpg" width="905" height="639" width_o="1061" height_o="750" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/relief_o.jpg" data-mid="28259622" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/P1150625_905.jpg" width="905" height="581" width_o="1280" height_o="822" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/P1150625_o.jpg" data-mid="28258117" border="0" align="left"/><img src="http://payload142.cargocollective.com/1/7/224075/5147064/come5_905.jpg" width="900" height="636" width_o="900" height_o="636" src_o="http://payload142.cargocollective.com/1/7/224075/5147064/come5_o.jpg" data-mid="27697077" border="0" align="left"/> MLS011 – Adriano Rosselli & Ida Lawrence DIG 2113, 2013 14 March - 7 April MLS011 – Adriano Rosselli & Ida Lawrence 'Dig 2113' An archaeological dig in the... http://milsgallery.com/MLS010-1 http://milsgallery.com/following/milsgallery.com/MLS010-1 Wed, 13 Feb 2013 17:14:35 +0000 milsgallery.com 4980353 CURRENT MLS010 Ida Lawrence bloody woop woop / (n)desa: Stories from Barmedman, Kliwonan and between February 27 - March 10, 2013 Opening hours: Wednesday - Friday 1pm-7pm, Saturday - Sunday 11am- 5pm <img src="http://payload134.cargocollective.com/1/7/224075/4980353/mls010-Ida-invite-front_905.jpg" width="800" height="675" width_o="800" height_o="675" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/mls010-Ida-invite-front_o.jpg" data-mid="26667724" border="0" align="left"/><img src="http://payload134.cargocollective.com/1/7/224075/4980353/mls010-Ida-invite-back4a_905.jpg" width="800" height="675" width_o="800" height_o="675" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/mls010-Ida-invite-back4a_o.jpg" data-mid="26719802" border="0" align="left"/> <img src="http://payload134.cargocollective.com/1/7/224075/4980353/MILS gallery Suara flyer_8_905.jpg" width="905" height="1279" width_o="1240" height_o="1753" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/MILS gallery Suara flyer_8_o.jpg" data-mid="27436254" border="0" align="left"/> “More or Les”: mapping landscapes in between by Monika Proba (n)desa / bloody woop woop is a story about two villages and a girl. Ida Lawrence didn’t grow up in Barmedman (Australia) nor did she grow up in Kliwonan (Indonesia) but her parents and family did, and that’s how she got inseparably tied to two spots on the map that barely anyone has ever heard of. This exhibition is a window into the ongoing process of the artist’s efforts to locate and identify herself in the uncertain space between a Javanese “desa” and an Australian village in “bloody woop woop”. With a nudge and a wink, Ida invites us to play a game in which her identities, memories and stories serve as pawns. Wish you were here takes inspiration from a family trip to Kliwonan during which Ida’s father stated “Yes, just like Barmedman”. This comparison, far from being obvious, was a starting point for visual and cultural comparative research of both villages. To get started, the artist chose to use postcards from her mother’s hometown which are sold in Barmedman’s post office to this day. Postcards are a series of images that are supposed to promote the wonders and cultural heritage of a place, but in the case of Barmedman - a village of 206 inhabitants - the main “attractions” are a swimming pool and two bars. Barmedman’s postcards can’t help but show the town as a place filled with gloomy emptiness. Thousands of kilometres away, in Kliwonan, Ida has tried to look for the visual and cultural equivalents of Barmedman’s “representative” pictures. Surprisingly it wasn’t very difficult. Ida’s postcards from Kliwonan present a similarly vague and melancholic space where there are no monuments, no spectacular views; nothing that makes it explicitly different from any other Javanese village. By inserting pictures of Kliwonan into a similar set of postcards, she frames the undefined character of these two spaces and places them together in the one discourse. With this work Ida introduces us to the poetics of the exhibition where big words such as nationality and identity are approached from their flipside; with curiosity, a sense of humour, distance and irony, putting an equals sign between facts and phantasmagoric auto-creation. <img src="http://payload134.cargocollective.com/1/7/224075/4980353/1 IDA LAWRENCE - More or Les- acrylic and chalk on canvas 120x150cm 2012_905.jpg" width="905" height="721" width_o="2048" height_o="1632" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/1 IDA LAWRENCE - More or Les- acrylic and chalk on canvas 120x150cm 2012_o.jpg" data-mid="26719836" border="0" align="left"/> In moving to Indonesia two years ago, Ida created yet another home for herself. Good times is an imaginary living room in which she locates her “new memory”. While history is founded on the idea of objective narration, memories are traces of the past representing something absent. As such they always test the borders between reality and imagination and their representation. Ida’s surrealist collages such as the one showing her Javanese cousin and husband with her Australian grandparents in the main street of Barmedman is a literal depiction of the mechanism of human memory which is always fluid, emotional and non chronological. In Good times, as well as in other works in this exhibition, the artist creates “heterotopias”, spaces that are neither here nor there, that are physical and mental at the same time. <img src="http://payload134.cargocollective.com/1/7/224075/4980353/3 IDA LAWRENCE - Like Madonna- oil on canvas 3 panels 38x32cm 2012_905.jpg" width="905" height="566" width_o="2048" height_o="1282" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/3 IDA LAWRENCE - Like Madonna- oil on canvas 3 panels 38x32cm 2012_o.jpg" data-mid="26720495" border="0" align="left"/> In Like Madonna the artist shares a childhood anecdote of when her Australian cousins, curious about Ida’s “exotic” Javanese family, tried to piece together an understanding of a foreign concept using their own references and knowledge (in this case, of American pop culture). The incongruous way in which Ida’s cousins came to “understand”, as narrated in this work, highlights the idea, meaning, need and implications of multiple perspectives. It also brings into discussion the process of learning, as on a personal and cultural scale. Map for Pakdhe Daliman and Uncle John and More or Les: language exchange between Pakdhe Daliman and Uncle John are two works creating an imaginary communication between Ida and these two uncles or between the uncles themselves, one living in Australia and the other in Indonesia. In Map Ida invites her Australian uncle to come and meet her Indonesian family and for her Javanese uncle to make the journey to meet her Australian relatives. Through a montage of different media such as maps and letters the artist opens up an experimental space in which heterogeneous times and spaces coexist, contradictions are abolished and documentation and fiction are juxtaposed. <img src="http://payload134.cargocollective.com/1/7/224075/4980353/5 IDA LAWRENCE - Good Times installation 2012_905.jpg" width="800" height="322" width_o="800" height_o="322" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/5 IDA LAWRENCE - Good Times installation 2012_o.jpg" data-mid="26719841" border="0" align="left"/> In More or Les the word “less” is misspelled, turning it into the Indonesian word “les” which means “lesson”. The title, a pun on the English phrase “more or less” (meaning “approximately”), is a reference to the difficulty of ever fully understanding the linguistic and cultural subtleties of another culture. The work presents a blackboard on which we see traces of Ida’s uncles’ imaginary meeting during which they teach each other their languages: Australian idiom and Javanese expressions and proverbs. By symbolically introducing her relatives to one another and creating a scenario where they learn about each other, the artist distances herself and observes a process she is herself going through, a process of confrontation and learning. In Eye Sea, by drawing her Indonesian grandfather’s eyes on one side of the canvas and her Australian grandmother’s eyes on the other, and then fusing them in the middle, Ida attempts to create her own genealogical portrait. In this piece metaphor meets representation on one level. The portrait drawn with chalk is a “work in progress”, a constantly changing and evolving reality. By a subtle game with the viewer the artist inserts a personal and temporal complexity within the image. Eye Sea is the multiple character of cultural heritage in which the artist constantly tries to learn to locate herself in a portrait yet to be accomplished. “Eye Sea” when read “I See” is a self-portrait of Ida Lawrence here and now, a portrait of an artist who is to some extent already formed by two countries, two languages and two families. Melihat (Looking) are pictures representing family members the artist has spent a lot of time with over recent years. Curiosity and interest in her family members and their daily lives naturally led to the artist’s observation of and, often, participation in their activities. The drawings - made as if the artist is looking from the models’ perspectives, or through their glasses - are literal interpretations of learning that may sometimes take the form of empathy; putting oneself in someone else’s position. <img src="http://payload134.cargocollective.com/1/7/224075/4980353/6 IDA LAWRENCE - Wish you were here- postcards 2012_905.jpg" width="905" height="2182" width_o="1698" height_o="4096" src_o="http://payload134.cargocollective.com/1/7/224075/4980353/6 IDA LAWRENCE - Wish you were here- postcards 2012_o.jpg" data-mid="26719843" border="0" align="left"/> The exhibition ends with an installation titled Suara Leklekan Malam (which can be read as meaning “the sound of melting wax”, “the sound of melting night”, “the sound of the night gathering” or “the sound of flaming wax”). The installation is situated in an isolated dark room in which the artist has placed two televisions on opposite sides. The televisions show footage from Indonesian and Australian news about the other and are veiled with cotton fabric. The fabric has been waxed with the canting tool, and dyed - as in the batik process that is practised in Kliwonan, including by Ida’s family. In the dyeing process the wax is usually boiled out and the complexity of the design is finally made visible. In this installation however, the artist has allowed the wax to remain on the fabric, suggesting that it is a work still in progress. The design, however, is not inspired by the traditional motifs used in Kliwonan, but by the night sky seen most clearly in isolated “bloody woop woop” areas such as Kliwonan and Barmedman. The fabric distorts the news footage into gentle light signals flashing across the installation space. After a while the televisions go off, leaving the audience in the dark, and soon a third waxed screen is illuminated as if by morning light. At the same time familiar, site specific morning sounds can be heard - such as birdsong at daybreak in Barmedman, and the mosque call to prayer, early morning sweeping and the noise of the markets in Kliwonan and surrounds. Between the three wax screens are wooden stools, like the ones the women of Kliwonan sit on to make batik, which invite the audience to not only sit and experience the “conversations” of the stars/ televisions or of the daytime sounds of the two places, but also to participate in their own conversations. Suara Leklekan Malam creates an intimate sensory microcosm that brings together the most subjective and objective aspects of both countries under one sky. Monika Proba studied cultural studies in Warsaw and Paris and has a keen interest in film, baguettes, jathilan, onde-onde, writing and the visual arts. She has been living in Yogyakarta since September 2011. CURRENT MLS010 Ida Lawrence bloody woop woop / (n)desa: Stories from Barmedman, Kliwonan and between February 27 - March 10, 2013 Opening hours: Wednesday -... http://milsgallery.com/MLS009 http://milsgallery.com/following/milsgallery.com/MLS009 Thu, 08 Nov 2012 16:40:21 +0000 milsgallery.com 4384291 MLS009 Jim Kazanjian Anomalies 2012 November 16 - December 9 <img src="http://payload104.cargocollective.com/1/7/224075/4384291/mls009 invite front_905.jpg" width="874" height="874" width_o="874" height_o="874" src_o="http://payload104.cargocollective.com/1/7/224075/4384291/mls009 invite front_o.jpg" data-mid="23327351" border="0" align="left"/> <img src="http://payload104.cargocollective.com/1/7/224075/4384291/untitledimplosion_sm_8_905.jpeg" width="864" height="864" width_o="864" height_o="864" src_o="http://payload104.cargocollective.com/1/7/224075/4384291/untitledimplosion_sm_8_o.jpeg" data-mid="23575568" border="0" align="left"/> The Surreal, Architectural Horror of Jim Kazanjian by Alison Nastasi, January 2012 Studying Jim Kazanjian's work, it's not surprising to find out that the artist's favorite horror film is The Shining. Kubrick's use of the Overlook Hotel as a device to twist our inherent anxieties about isolation and vulnerability — in a space that simultaneously feels massive and suffocating — touches upon some of the same themes Kazanjian references in his surreal architectural photo collages. Nor is it far-fetched to imagine the reasons behind the artist's "strong obsession" with The Cat and the Canary screen canon (the 1978 version by Radley Metzger is his favorite), as each movie's shadowy passageways and strange interiors could easily be fragments of Kazanjian's dream-like, crumbling structures. <img src="http://payload104.cargocollective.com/1/7/224075/4384291/untitledFacade_sm_905.jpeg" width="864" height="864" width_o="864" height_o="864" src_o="http://payload104.cargocollective.com/1/7/224075/4384291/untitledFacade_sm_o.jpeg" data-mid="23327867" border="0" align="left"/> The Portland-based photographer has also been looking at M.R. James' ghost stories and feels particularly drawn to H.P. Lovecraft's dark cosmology, which has informed his body of work. "The idea of an ancient, unspeakable evil hibernating in deep space is just too captivating," the artist mused during our recent interview. But Kazanjian's disorienting creations are far more than the sum of his influences. An established CGI artist in television and game production, Kazanjian's "hyper-collage" has more in common with his commercial career than might appear at first glance. "My interest in gaming stems from my fascination with architecture and its potential to generate narrative structures," Kazanjian shared. "My time in game development has definitely informed my photographic work. I find that the immersive qualities in both mediums have a strong correlation." <img src="http://payload104.cargocollective.com/1/7/224075/4384291/untitledbubble_sm_905.jpeg" width="864" height="864" width_o="864" height_o="864" src_o="http://payload104.cargocollective.com/1/7/224075/4384291/untitledbubble_sm_o.jpeg" data-mid="23327892" border="0" align="left"/> Also immersive is Kazanjian's extensive process of hunting and gathering, sacrificing pieces and rescuing images from Internet obscurity. Random snapshots of sinkholes, ominous fog, dense wreckage, and billowing smoke transform into the brooding icons of an otherworldly dimension. His archive of photo references contains almost 30,000 images and has been growing since 2005. "I cobble together pieces of photographs that I discover online and feed them into Photoshop ... I eventually merge these various parts together." It's a deceptively simple, organic process that relies heavily on the element of surprise and toys with the inherent authenticity of the photographic medium. "I think nostalgia for the past is one of the things that makes photography so potent ... It is still viewed, in many ways, as an objective medium. It has a very seductive quality." <img src="http://payload104.cargocollective.com/1/7/224075/4384291/untitledobject_sm_905.jpeg" width="864" height="864" width_o="864" height_o="864" src_o="http://payload104.cargocollective.com/1/7/224075/4384291/untitledobject_sm_o.jpeg" data-mid="23327853" border="0" align="left"/> Intertwined with psychological horror, Kazanjian's anomalies aim for a sense of foreboding and mystery, playing upon the visual archetypes he alludes to — haunted house tropes, an elusive menace, and supernatural terror. It's a shifting, palpable anxiety that is at once majestic and beautiful. "For me, horror is the unraveling of the known into the unknown, and when the mundane becomes strange. In a sense ... I am making an attempt to render the sublime." <img src="http://payload104.cargocollective.com/1/7/224075/4384291/untitledchateau_sm_905.jpeg" width="864" height="864" width_o="864" height_o="864" src_o="http://payload104.cargocollective.com/1/7/224075/4384291/untitledchateau_sm_o.jpeg" data-mid="23327880" border="0" align="left"/> Exhibition Catalogue >>>>>>> here Andrew Frost Review >>>>>>> here MLS009 Jim Kazanjian Anomalies 2012 November 16 - December 9 The Surreal, Architectural Horror of Jim Kazanjian by Alison Nastasi, January 2012 Studying Jim... http://milsgallery.com/MLS008 http://milsgallery.com/following/milsgallery.com/MLS008 Thu, 04 Oct 2012 00:12:02 +0000 milsgallery.com 4188259 MLS008 Paul Hay LITTLE BOX OF TRICKS, 2012 <img src="http://payload94.cargocollective.com/1/7/224075/4188259/mls008a.jpg" width="425" height="600" width_o="425" height_o="600" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/mls008a_o.jpg" data-mid="22075899" border="0" align="left"/> Paul Hay is one of Canberra’s most established and accomplished artists and his practice includes performance, temporal works, public sculpture and installation. Since 1978 he has been working in Australia and overseas and has exhibited widely. Currently he teaches at the ANU School of Art and works from his studio at ANCA. Working within the tradition of assemblage art, Paul Hay combines found objects and reclaimed materials with his own creations to construct his dynamic and unpredictable sculptures. Central to Hay’s practice is the theory of gestalt perception, very simply the idea that the whole is greater than the sum of its parts. Almost all of the works in Box of Tricks are made up of a few disparate components. Together, in defiance of their differences, these incongruous objects all speak to each other, engaged in some unknown yet understandable dialogue. Pops of red, flecks of gold and a common use of wooden material create balance whilst drawing the eye in and threading together this plethora of work. <img src="http://payload94.cargocollective.com/1/7/224075/4188259/mls008b.jpg" width="425" height="600" width_o="425" height_o="600" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/mls008b_o.jpg" data-mid="22075905" border="0" align="left"/> <img src="http://payload94.cargocollective.com/1/7/224075/4188259/CCAS_2011_06_09_025_905.jpg" width="905" height="600" width_o="1500" height_o="996" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/CCAS_2011_06_09_025_o.jpg" data-mid="22075934" border="0" align="left"/> <img src="http://payload94.cargocollective.com/1/7/224075/4188259/c.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/c_o.jpg" data-mid="22076177" border="0" align="left"/> <img src="http://payload94.cargocollective.com/1/7/224075/4188259/d.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/d_o.jpg" data-mid="22076180" border="0" align="left"/> <img src="http://payload94.cargocollective.com/1/7/224075/4188259/CCAS_2011_06_09_034_905.jpg" width="905" height="600" width_o="1500" height_o="996" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/CCAS_2011_06_09_034_o.jpg" data-mid="22075931" border="0" align="left"/> <img src="http://payload94.cargocollective.com/1/7/224075/4188259/a.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/a_o.jpg" data-mid="22076174" border="0" align="left"/><img src="http://payload94.cargocollective.com/1/7/224075/4188259/b.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload94.cargocollective.com/1/7/224075/4188259/b_o.jpg" data-mid="22076176" border="0" align="left"/> Exhibition Catalogue >>>>>>> here MLS008 Paul Hay LITTLE BOX OF TRICKS, 2012 Paul Hay is one of Canberra’s most established and accomplished artists and his practice includes performance,... http://milsgallery.com/2013-Call-Out http://milsgallery.com/following/milsgallery.com/2013-Call-Out Mon, 17 Sep 2012 23:03:56 +0000 milsgallery.com 4100867 <img src="http://payload90.cargocollective.com/1/7/224075/4100867/Call-out-poster-no-text-2_905.jpg" width="800" height="618" width_o="800" height_o="618" src_o="http://payload90.cargocollective.com/1/7/224075/4100867/Call-out-poster-no-text-2_o.jpg" data-mid="21512583" border="0" align="left"/> WE ARE CURRENTLY ACCEPTING PROPOSALS FOR THE 2013 PROGRAM. >>>>>>>>>>>>Proposals WE ARE CURRENTLY ACCEPTING PROPOSALS FOR THE 2013 PROGRAM. >>>>>>>>>>>>Proposals http://milsgallery.com/MLS007 http://milsgallery.com/following/milsgallery.com/MLS007 Fri, 24 Aug 2012 04:49:30 +0000 milsgallery.com 3965507 MLS007 Headgear 2 Headgear 2 August 31 - September 23 An exhibition of masks Adam Rish, Adriano Rosselli, Andrew Townsend, Cigdem Aydemir, Harry Townsend, Huw Lewis, James McCallum, Juliet Rosser, Nicola Toms, Roman Stachurski, Rory Cole, Tom Saville, Wally Mcgreggor <img src="http://payload83.cargocollective.com/1/7/224075/3965507/P1120176_905.jpg" width="905" height="600" width_o="2048" height_o="1360" src_o="http://payload83.cargocollective.com/1/7/224075/3965507/P1120176_o.jpg" data-mid="20727804" border="0" align="left"/> Huw Lewis, 2012 <img src="http://payload83.cargocollective.com/1/7/224075/3965507/P1120285_905.jpg" width="905" height="1206" width_o="1536" height_o="2048" src_o="http://payload83.cargocollective.com/1/7/224075/3965507/P1120285_o.jpg" data-mid="20727797" border="0" align="left"/> Adam Rish, 2012 <img src="http://payload83.cargocollective.com/1/7/224075/3965507/P1120207_905.jpg" width="905" height="509" width_o="2048" height_o="1153" src_o="http://payload83.cargocollective.com/1/7/224075/3965507/P1120207_o.jpg" data-mid="20728014" border="0" align="left"/> Huw Lewis, 2012 <img src="http://payload83.cargocollective.com/1/7/224075/3965507/P1120292_905.jpg" width="905" height="678" width_o="2048" height_o="1536" src_o="http://payload83.cargocollective.com/1/7/224075/3965507/P1120292_o.jpg" data-mid="20727796" border="0" align="left"/> Adriano Rosselli, 2012 <img src="http://payload83.cargocollective.com/1/7/224075/3965507/P1120210_905.jpg" width="905" height="678" width_o="2048" height_o="1536" src_o="http://payload83.cargocollective.com/1/7/224075/3965507/P1120210_o.jpg" data-mid="20727806" border="0" align="left"/> Nicola Toms, 2012 MLS007 Headgear 2 Headgear 2 August 31 - September 23 An exhibition of masks Adam Rish, Adriano Rosselli, Andrew Townsend, Cigdem Aydemir, Harry Townsend, Huw... http://milsgallery.com/MLS006 http://milsgallery.com/following/milsgallery.com/MLS006 Wed, 18 Jul 2012 01:12:03 +0000 milsgallery.com 3772491 MLS006 Joe Wilson & Eva Troyeur-Gibson TWO, 2012 <img src="http://payload73.cargocollective.com/1/7/224075/3772491/MLS006-frontweb_905.jpg" width="905" height="639" width_o="1000" height_o="707" src_o="http://payload73.cargocollective.com/1/7/224075/3772491/MLS006-frontweb_o.jpg" data-mid="19622587" border="0" align="left"/><img src="http://payload73.cargocollective.com/1/7/224075/3772491/MLS006-backweb_905.jpg" width="905" height="639" width_o="1000" height_o="707" src_o="http://payload73.cargocollective.com/1/7/224075/3772491/MLS006-backweb_o.jpg" data-mid="19622590" border="0" align="left"/> <img src="http://payload73.cargocollective.com/1/7/224075/3772491/Daily0060_905.jpg" width="905" height="658" width_o="2048" height_o="1491" src_o="http://payload73.cargocollective.com/1/7/224075/3772491/Daily0060_o.jpg" data-mid="19766366" border="0" align="left"/> <img src="http://payload73.cargocollective.com/1/7/224075/3772491/IMG_2335_905.jpg" width="905" height="912" width_o="1270" height_o="1280" src_o="http://payload73.cargocollective.com/1/7/224075/3772491/IMG_2335_o.jpg" data-mid="19766359" border="0" align="left"/> <img src="http://payload73.cargocollective.com/1/7/224075/3772491/billboard6_905.jpg" width="905" height="590" width_o="2048" height_o="1335" src_o="http://payload73.cargocollective.com/1/7/224075/3772491/billboard6_o.jpg" data-mid="19766348" border="0" align="left"/> <img src="http://payload73.cargocollective.com/1/7/224075/3772491/Daily0051_905.jpg" width="905" height="659" width_o="2048" height_o="1491" src_o="http://payload73.cargocollective.com/1/7/224075/3772491/Daily0051_o.jpg" data-mid="19766338" border="0" align="left"/> MLS006 Joe Wilson & Eva Troyeur-Gibson TWO, 2012