Varia Karipoff is the print editor at Art Guide Australia and was formerly the art and culture editor at L’Officiel Australia. She holds a BA in International Studies, is fluent in Russian and naturally, is fond of poetry.
“The space has this strange affecting thing as well; it magnifies, it frames. It’s almost like the proscenium arch. We’re performing, but the world’s performing outside the archway. To work here is to be seen, but to see as well.” — Ceri Hann
“I was aware that the scale of my work is relative to me. I had created a habituated practice relative to my body size and it was something I sought to extend. I wanted to create larger, more immersive scenes in painting.”
In a liminal space between a stairwell and a wall – for all intents and purposes a corridor – we find Warren O’Brien at work. He is wearing lime-green tradesman earmuffs and a long dustcoat; his clothes, right down to his New Balance sneakers, are speckled with paint.
There is a fascinating duality at play in Lewis Carroll’s darkly absurd masterpiece, which is not lost on Launceston-based artist Junko Go.
Millar-Baker uses digital technology to carefully render place through photographic assemblage, layering details found in a landscape to create an alternative narrative.
“My first exhibition about Black Mountain College was The Hereafter at Galerie pompom in 2017; the day after the show opened I found out that I had the job in Mildura. I was going to this remote place to teach – there was a weird synergy.” – Kylie Banyard
For four days, much of Australia’s ceramics community will descend on Princes Wharf in Hobart for a series of panel discussions, presentations and artist talks with international luminaries and local potters alike.
While one might draw a rapid conclusion that surrealism is her starting point, the way Davis’s works reference medieval or gothic dress, and a kind of grotesqueness, recall grottesche – forms that adorned Gothic buildings and conceptualised alterity.
“There’s a reason there’s a resurgence in a kind of contemporary gothic because we haven’t addressed a lot of the ideas around landscape, and the identity of the culture in which we live in. We do live in cultural denial at times.” – Mark Shorter
“These aesthetic choices are my history. My culture is pop culture. My background is TV, not religion or spirituality. I can only speak of my own life: I’m trying to make sense of it all, like everyone.” —Darren Sylvester
The Model Citizen is interested in the ways in which art responds to contemporary forms of citizenship.
“I wanted to sort of feel limitless and not be governed by any idea of scale – to make things I wasn’t sure how to transport. I didn’t want to think about it, I just wanted to go for it. And you get to a point with a certain scale that you just become comfortable and it’s not as exciting. Maybe also, I was past that point. I needed to feel almost threatened.” – Brendan Huntley
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