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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Jemi Gale curated show + Carly Fisher and Edwina Stevens
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12am Exhibition - Notions of Care
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12am Exhibition - Notions of Care
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12am Exhibition - Notions of Care
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12am Exhibition - Notions of Care
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Projects

35 Johnston st,
Collingwood
VIC 3066 AUST.

Opening Hours
12–6PM TUE–FRI
10AM–4PM SAT

FB, TW, IG.

Exhibits,

Claire Mooney At Which Point…

Opening: Tuesday 26 September, 6-8pm Dates: 26 September-14 October 2006

Through her work Claire Mooney explores overlapping ideas relating to text and textiles, encoding and craft, pattern and abstraction.

A structure of colour-coded language is layered within the works, woven through with sampled text, looping threads and retinal references to entwining warp and weft. The work presents a laborious, rhythmical method of both construction and destruction and the resulting surfaces build an almost textile-like quality, as well as hinting at an obsessive, compulsive motivation.

Common to all works is a processing of information, both visual and textual. These processes translate samples of text and image; distancing segments from their sources; emptying them out and reconfiguring them. Text is used to generate coloured patterns through a process of pseudo-encryption; 13 colours for 26 letters. Splinters of words are enlarged and transferred to the surface, only to be redacted; rhythmically erased by ‘coded’ paint.

The artworks weave together what is, and what isn’t left behind, shifting between the negative and positive. They reveal themselves and their own mechanics and correspondences of making, yet remain elusive. The transparency of making, the revealed processing system, strains against a visual abundance and the ambiguity of multiple shapes and surfaces.