Painting Etc. is a solo exhibition of new work that follows on directly from my MFA studio led research and Versoexhibition. This series employs the aesthetics of packaging, storage and transport in order to consider the conceptual contribution of site, or placement within a site, to any artwork. Additionally, various monochromatic forms are presented to reflect on the passage of paintings, as objects that move between sites. Some of the work stays packaged, as if not having fully arrived at the exhibition and also ready to leave. A leaning bubble wrapped work, ‘Painting 2’, is somehow charged by its presentation in the Stacks gallery space, but would be unremarkable if seen in a taxi or by an elevator. Outside in the courtyard, a largescale work alludes to the stockroom; in this instance sheltered by a sturdy tarpaulin.
‘Painting Etc’ is an exhibition of works in transit; that presume their own disappearance; while remaining acutely present by assuming positions of both arrival and departure.
MOMENTUM. Collaboration Joe Wilson / Chanelle Collier
Factory 49. 49 Shepard St. Marrickville. 2204
Barriers and driving forces guide a haptic encounter in Joe Wilson and Chanelle Collier’s fourth collaboration. Spatial and kinetic forms emphasise the authority of signs to instruct the position of persons or objects. The exhibition self-references its own event by taking on a quasi-theatrical tone and a parody of objects within and without the gallery space. Making use of the readymade in consideration of Painting, combined with automatic forms of labour, Momentum is an exhibition of new works that produce signals of position.
Tribute is our third collaborative project and continues to develop a combined practice investigating the contingent dynamics of networks that are social and situational.
The works in this exhibition are all modelled after selected works from our own collection, mostly comprised of local artists with whose work and practice we are familiar. The works titled Tribute or After take the structure of their namesakes and are made to celebrate the work of our peers and influences. In each piece the artist’s signature hand is removed, leaving a blank chroma-key stand-in as a physical tribute to the work that came before it, offered as a gift to the original creator.
We seek to mindfully engage the inherent authorisation and agency that comes of building a collection of art; and to navigate the shifts in identity-roles between collector, curator and artist. Through the presentation of stand-in works, and images of works in situ at home, this exhibition attempts to re-locate artworks set adrift, and to draw attention back to their originality while simultaneously expressing concepts and practice of our own making.
Exhibition: 16 - 26 MARCH
Studio 8, 19-23 Wellington Street, Chippendale
Install Photography: Sarah Kukathas & Patrick Cremin
Glen Hayward, A Spiral of Black Paint Enacted via a Phonograph, 2015
Joe Wilson & Chanelle Collier, Art that Does Catalogue, 2016
Louise Tuckwell, Glimpse, 2014
Marc Etherington, Medicine Man #4, 2014
Matthew De Moiser, Composite #4, 2014
Sokquon Tran, Light Study 2, 2015
Cornelis Timmers, Syndrome, 2011
Lynne Eastway, Fold, 2015
Thurs 16th, Feb. 2017
Rayner Hoff Project Space. NAS
MFA(Research) Final Presentation
An exhibition in two parts that firstly addresses a contemporary digital transfer from object to image, and secondly, represents the mobility of objects in physical space. The transfer and mobility between physical sites, and to digital sites, are forms of transition. These transitions lead to a dislocation and a disruption in the perception of an original work. Artworks are in these ways subject to many modes of presentation. Each presentation exacts a new appearance, an extension that both mediates and comprises a work as it tracks through varying sites, between the studio, galleries, storage, and documentation.
A centenary tribute to Duchamp, who in 1917 entered 'Fountain' into the Society of Independents exhibition, only to have it refused.
'Centenaire' is a site specific installation where white on white paintings hang in the graffitied mens room of the Cricketers Arms Hotel, Surry Hills. In there, the paintings inevitably succumb to the vandalism of the site, disappearing into the colour and glamour of its walls.
The work is about privileged identity domains relating to site, gender, authorship, and fine art.
For the duration of the opening night the mens room was open to all genders as an exhibition space. At times uncomfortable, pub goers met with visitors of the artworks to share in moments of personal reflection. It took all of 2hrs for the clean painted surfaces to begin to be overwritten. After 6 months, one painting has been stolen, and the remaining covered by tags, stickers, and graffiti.
Installation Shot, Week 16
Lilac City Studio: Joe Wilson and Chanelle Collier.
November 17 - 21st. 2016
The show attempts to draw attention to the roles of the gallery, viewer and artwork in their “normal” or expected contexts by disrupting the way they interact. Uniform is about the way context and representation influences communication and understanding.
The presentation of the work requires the viewer to participate in the creation and transformation of it as a whole, by temporarily exchanging their clothes for wearable artworks and thus becoming involved in the physical apparatus and appearance of the work to necessarily influence where, how and to whom it communicates.
Through this act the artist becomes responsible for the safe keeping of the participant’s dress/garb, and they in turn become responsible for the artwork. This delivery of the work provides an opportunity for play within notions of labour and identity inherent in the production and display of artwork, by deliberately allowing for the trading or combining of one form of labour and identity with another, and the passing of responsibility between traditional roles.
The wearable artworks, uniforms, are paired with wall hanging works, soft paintings, which aim to maintain a link to the gallery wall as the traditional site of art and also to one another through visual similarity. Both parts of the set are made from the same cloth hung loosely on their structural support. One is firmly attached to the gallery wall, while the other is free to move away from it.
As the participant moves beyond the zone of the gallery, straining their tie, an avenue is provided for the work to be shared in wider contexts beyond the artists’ anticipation and agency. By the time the show draws to a close everything is returned to its original place, but, hopefully, it has been transformed in the transition.
Install Photography: Sam Stephenson
Black & White Event Photography: Robin Hearfield
Special thanksto Chris Baldwin, Joucelen Gabriel
ART THAT DOES
MLS052: Joe Wilson & Chanelle Collier
ART THAT DOES
June 8 - June 12 , 2016
Art that Does is an exhibition of “useful art for your Australian home” that develops colloquial and quixotic objects that engage with the perceived value of artistic labour and its contribution to society.
For Art that Does, the monochrome, as a signpost of the valorised fine art object, is playfully joined to the everyday domestic appliance. The outcome is an absurd attempt to demonstrate the oxymoronic results of a hypothetical “applied fine art” genre.
Joe Wilson and Chanelle Collier are a Sydney based art duo interested in contemporary responses to the representation of art through both institutional and digital structures. They have lived and practiced side by side for the last decade and Art that Does marks their first official solo.
MICHAEL BENNETT — JOE WILSON
April 12 - 15th, 2016. Building 25, NAS
A collaborative exhibition engaging behaviours of viewing with respect to the installation shot. Responding to a contemporary online culture, where images of exhibitions and artworks are more widely consumed online than objects in the gallery.
Pre-View follows Constructed Images (Mils Gallery, 2014) as a continuation of collaborative dialogue between Michael Bennett and Joe Wilson.