Domain is intended to be an intervention on the viewing space of painting. The artworksare an expansion from traditional rectilinear painting by becoming a total frame for one central paintingwhich hangsabove the mantelpiece. Domain engages with the interrelationships generated between notions of outside and inside, frame and painting, gallery and artwork. The work highlights an ‘architecture of display’ to collapse the material and conceptual thresholds of painting such as surface, and frame.
The objects in this series are both frame and painting; real and simulated; interior and exterior; product and package. This configuration inverts the picture plane into real space. Architectural elements engage with the gallery and the viewer, forming a relationship that is both familiar and out of place. The installation’s scale activates both a museological and domestic setting; where the reciprocity between the work, the gallery and the viewer becomes the threshold between art and life.
By engaging in a discourse on art, my practice has become increasingly aware of defining systems in art like medium, the frame, and the gallery; outside forces that take an imperative role in shaping how art is perceived, defined, and valued.
Photography: Tawfik Elgazzar
Large Painting in Six Parts 2014. Acrylic on Polyester. 160 x 1000cm
Installation, 2014, Bld 25. NAS
Photography: Chris Bennett
Studio 1 & 2
Aug, 2013. Mils Gallery
Nov, 2013. Brand X, Central Park
A pseudo residency - ‘Studio’ exhibition at Mils Gallery and 'Studio 2' at BrandX. By moving the studio into the gallery, the working space became hybridised with the showing space.
- Allan McCollum - "After mounting a few exhibitions I learned quickly that the Surrogates worked to their best effect when they came across as props-like stage props-which pointed to a much larger melodrama than could ever exist merely within the paintings themselves. The Surrogates, via their reduced attributes and their relentless sameness, started working to render the gallery into a quasi-theatrical space which seemed to 'stand for' a gallery; and by extension, this rendered me into a sort of caricature of an artist, and the viewers became performers and so forth. In trying to objectify the conventions of art production, I theatricalized the whole situation..."
Photography: Tawfik Elgazzar
As seen at: BANG, Thursday 12th, Mar. 2015, Pier 2/3, Walsh Bay (Photography: Anna Cuthill); Mythologies of My Land, 2nd May, 2015, M Contemporary; Sydney Contemporary, 2015, Carriage Works (with M Contemporary), (Photography: Anna Cuthill).
Joe Wilson & Chanelle Collier. Decor Landscape. 2015. Installation View, Peir2/3, Walsh Bay, (Imperative Series).
Joe Wilson & Chanelle Collier. Product Pack 2015. Installation View, Peir2/3, Walsh Bay.
Transaesthetic Landscapes. 2015. Installation View. Image courtesy of M Contemporary
Transaesthetic Landscapes. 2015. Installation View. Intervention courtesy of M Contemporary
Show Bags (Sydney Contemporary, Spring 1883), 2016. Mixed media showbag of artist studio goodies. Sydney Contemporary Landscape, 2016, Acrylic on canvas. 100 x 200 x 7cm
Landscape Reproduction 2, 2015. Acrylic on polyester. 62 x 130 x 7cm.
Joe Wilson Landscapes. As seen at: Constructed Image, 2014, Mils Gallery, with Michael Bennett. Studio Installation, 2014, The Annex, National Art School. 17.07.14, Home@735. Echo Chamber & New Lines, 2013, David Rex-Livingston Art Dealer, with Daniel O'Toole and Michael Bennett.