exhibition alert

Acute #4
Expectations of Perspective.

The Exhibition runs from the 2nd of December to the 18th,
opening night is on Thursday the 2nd of December

Tinning Street Gallery

"It is not accidental that perspective, even though it has been
historically considered a realistic device to reproduce reality,
produces an ambivalent condition. It is an instrument capable of
faithfully fixing the exact dimension and position of objects in space
but it is also an instrument capable of producing illusions, in some
cases paradoxically reversing its own mechanisms.

Acute # 4 is a collection of objects and images encompassing three
separate interventions which consider expectations of perspective to
question human processing of the ‘seen’ world. The intention is to
bring attention to ‘invisable’ objects and overlooked hand processes.
Suspended between the trajectories of art and design, Tobia Clark
considers both conceptual and material measures in the array of
garment constructions and her ‘colouring in’.
-The Corner Shirts use anamorphic rules to optically misinterpret
three dimensional objects. (Corner shirts)
-The Photograph Blazers employ virtual (photographically replicated)
woollen fabric to unnervingly mimic reality.
-The Graphs force viewers to look twice at images that initially seem
computer generated but in fact are painstakingly coloured in by hand.
All three attempt to somewhat subvert expectations of perspective and
visual assumption.

‘objects are often invisible to us, gathered up as they are within a
context of functionality and use”
-Martin Heidegger

Artist Information
Acute#4 is the fourth iteration of an ongoing quest.
Tobia Clark is interested in fashion systems and interventions.
She graduated from RMIT with a Bachelor of Design (Fashion) Honours.
She attempts to step diagonally forward.
She is currently based in Melbourne, teaching herself how to make decent nougat.

acute

-severe in effect; intense

-great or serious; crucial; critical:

-brief and severe (opposed to chronic).

- sharp or penetrating in intellect, insight, or perception: an acute observer

-extremely sensitive even to slight details or impressions: acute eyesight.

-sharp at the end; ending in a point.

-an angle less than 90°.

sydney please

White Rabbit (contemporary chinese private art collection)


Object Series 2007-

Liu Zhuoquan, b. 1964 glass bottles, mineral paints sizes variable

http://www.whiterabbitcollection.org

hindsight podcasts

tobiaibot is going to keep a tab on the podcasts she has listened to on Radio National,
this is so she does not accidentally listen to them again.


1. A stitch in time: dressmaking in Australia aired on the 1/10/2010
www.abc.net.au/rn/hindsight/stories/2010/3038686.htm

2. Australian Generations: Playtime aired on the 16/05/2010
www.abc.net.au/rn/hindsight/storie s/2010/2858207.htm

3.Come into my kitchen aired on the 13/8/2006
www.abc.net.au/rn/hindsight/stories/2006/1706350.htm

4. Asia Overland - adventures on the hippie trail aired on the 5/07/2009
www.abc.net.au/rn/hindsight/stories/2009/2613526.htm

it seems we are obsessed with history, attempting to recreate it.
was life more adventurous back in the days when there were less people?
will we forget how to create our own history.

moneyless

http://www.unurth.com/560915/Moneyless-Italy


tobiaibot was sent this link by her friend max dns
it operates on her apprecitation level as it artguably falls under the category of linear anamorphosis

food fun freakies

what a wonderful idea. these dazzlingly delectable faces(?) were colourfully combined by hvass and hannibal. tobiaibot finds value in how the arrangement of waste can become something rather fantastical when put in the hands of special people.

modified objects and landscapes

tobiaibot is thoroughly excited by artists playing with space and the physical environment.

particularly she is drawn to artists who use linear anamorphic methods (felice varini, jan imberi, jan dibbetts, john pfahl) where a space is imposed upon in a way that creates a visual plane or picture when viewed from one particular angle. she is similarly enticed by those who have taken time to arrange and compose elements of natual or non natural detritus (matt hinkley, andy goldsworthy).
why?
because such procedures bring her attention to the place or object that has been manually altered. she comes to consider what it is and ponders how it requires either subtle or drastic alteration to be considered at all. she appreciates those who notice something and want others to notice it which they do when those who notice also beautifully alter!



jan dibbetts


felice varini




jan imberi


john pfahl


john pfahl




andy goldsworthy



matt hinkley - ink on found object



matt hinkley-carved found object

melbourne eating to visit

north melbourne
-pumpkin borek at Queen Victoria Markets
-auction rooms
-fandango
-korean fried chicken at Hallah 268 victoria street nth melb

kensington
-elevenses
-social roasting company

cbd
-izakaya den
-laksa at coconut house 449 elizabeth street
-sandwiches at Choix on liberty lane
-sandwiches at earl canteen 500 bourke street
-rosa's journal canteen
-movida aqui
-gingerboy
-soup dumplings at Hu Tong on market lane
-steamed pork bun from Nam Loong 223 Russell street
-mamasita
-momo's

collingwood
-proud mary

west melbourne
-white lotus

footscray
-ethiopian place

north fitzroy
-supermaxi

northcote
-next door diner

east brunswick
-each peach
-hellenic republic

richmond
-pho at Co Do 196 victoria street

artists whose work tobiaibot has seen and been shaken

ian burns
and then..



















http://www.ianburns.net/
at anna schwartz
http://www.annaschwartzgallery.com/
on the 29th of July 2010


james murnane (see post on his work)
at blindside gallery
http://www.blindside.org.au/
on the 29th of July 2010


benjamin armstrong
at tolarno galleries
http://www.tolarnogalleries.com/
on the 29th of July 2010


simon macewan

http://simon-macewan.blogspot.com/
The Devil’s Mountain is an exhibition of sculptures and watercolour drawings exploring early mathematic ideas used to order and explain the physical world and to justify architectural systems; ideal transcendental abstractions such as the Platonic solids and Vitruvian and Modulor man. The exhibition looks at the relationship and tensions between these abstract systems and the chaotic reality of the world, considering their alteration and failure in their physical manifestations and the more subtle ways in which they distort the world.
at westspace gallery
http://www.westspace.org.au/
on the 29th of July 2010


susan jacobs

at sarah scout
http://www.sarahscoutpresents.com/
on the 29th of July 2010

blindside james murnane

exhibition for tobiaibot to visit so she better understands the context in which she practices as tobiaibot's process intimately parallels James Murnane's process

below is part of an essay by james murnane

Simply, It's takes time and it's worth it is about sharing the beauty that is present in the process of making a painted artwork, as well as in the artwork itself.

Painting, the central piece of this presentation of artworks, is a canvas painting that consists of two square grids of diamond shapes, similar to those in decorative stained glass windows, only turned on their side. One grid is made up of red diamonds, the other made up blue ones. Each diamond is 1cm high and 1.5cm in width, with a total of around 13,500 of them. Each diamond is individually painted with oil paint.

The process of painting took 14 months... It has been a long time coming. The canvas was primed three and half years ago, the grids plotted three years ago, the grids drawn up 18 months ago. (It has) taken a few hundred hours to complete. Sometimes it was worked on a few days a week, sometimes only for a couple of hours per week, and sometimes not at all. Yet slowly and gradually the coloured diamonds replaced the white diamonds, until not a single white one was left, only an array of blue and red tones against a crisp white border.

The time spent creating this work is a beautiful thing in itself, that a person would labour so long to share the beauty of the finished work. these thousands of diamonds have been hand painted, individually focused upon. This is in opposition to an image being gridded up on design program, a gradient put through it, and emailed off to a printer in an hour or even a few minutes.

the smallest thing done with love is precious and worthwhile, and thus intrinsically beautiful.1

This artwork is nothing extraordinary or groundbreaking. In contemporary thought beauty is often considered base, low, common, and unsophisticated. Yet maybe it is this base nature that is beauty's greatest virtue. Why? It speaks to all and it speaks truly. It speaks to our fundamental human experience, something we all get and are geared to get. In an environment where subjectivity and open-endedness are so highly valued, it is relieving to touch some solid ground.

These paintings and drawings, in the vein of stained glass, have as their aim to be simple, beautiful and illuminating thus transcendent. the abstract forms and colours when encountered by the senses and processed in the mind, can move the heart by their beauty.

James Murnane