Roger Alsop : December 2017

Roger Alsop at Phasmid
Roger Alsop at Phasmid

Roger Alsop

December 2017

VCA - Melbourne University

Roger Alsop is a lecturer at the Victorian College of the Arts (VCA). He works in sound and audiovisuals exploring the physical, intellectual, and emotional space, how these intersect and influence each other. — During his stay at Phasmid he is working on two projects: ‘the Acoustic AudioVisual laptop’, which uses the inherent sound making capacity of a laptop in creating improvised AV works and ‘Sounding Finnegans Wake’ which explores how the sonic characteristics of Joyce’s text may be used to create sound art.

In 2017 iterations of these projects have been presented in Barcelona, Belgrade, Melbourne, Adelaide, Edinburgh, Benevento, and Berlin

We are delighted to share the final edit of sound-works by Roger Alsop produced during his residency time at Phasmid Studios. Please visit the following link to listen see the full list of recordings > 

https://rogeralsop.bandcamp.com/album/phasmid

https://sites.google.com/view/rogeralsop/activities/2017/artistic/phasmid

This residency is generously supported by a Special Study Program (Long), VCA & MCM Faculty Research Grant, the University of Melbourne.

VCA

Elizabeth Gower : October—November 2017

Elizabeth Gower

Elizabeth Gower

1 October—30 November 2018

VCA - Melbourne University

The majority of Elizabeth Gower’s works are made from familiar, paper detritus (i.e. packaging, advertising brochures, magazines, posters) sourced from the domestic and urban environments. These retrieved materials record the transitory images, text and symbols of contemporary life. The structure and geometry of the works also reference the geography, socio-political and/or cultural histories of the studio location.

Dr. Elizabeth Gower is a Senior Lecturer and ART150 Research Fellow at VCA ART, The University of Melbourne. She has held over 35 one-person exhibitions in Australia, US, UK, Europe and UAE. Recent exhibitions have been in Melbourne 2017, 2016, 2015, 2013; New York 2014, 2009, 2008; Virginia 2009; Sharjah 2008; and Paris 2007.

Her work has been included in significant curated exhibitions in major institutions such as: AC Institute, New York; ACCA Melbourne; AGNSW, Sydney; AGSA, Adelaide; Artists Space, New York; Brevard Art Museum, Florida; Heide MoMA; Ian Potter Museum of Art; IMA, Brisbane; Linden Contemporary, Melbourne; MCA, Sydney; MUMA, Melbourne; NGA, Canberra; NGV, Melbourne; Queensland Art Gallery, Urban Institute of Contemporary Art, Michigan. As well she has exhibited in the Sydney Biennale; Ballarat International Foto Biennale; Melbourne Now, NGV; Armory Show, New York; Gramacy International, New York, ARCO Madrid and Art Dubai.

She is the recipient of numerous awards including: American Australian Association, Dame Joan Sutherland Fund, Australian Postgraduate Award, Alliance Française Art Fellowship as well as Grants from the Australia Council, Arts Victoria, City of Melbourne, and NETS Victoria. In addition, she has been awarded studio residencies at Cité Internationale des Arts, Paris; Paretaio studio, Pisa; Australia Council studios in Barcelona and New York; Laughing Waters, Nillumbik and Point [B], New York.

Studio view with Elizabeth Gower's work
Studio view with Elizabeth Gower

This residency is generously supported by a Special Study Program (Long), VCA & MCM Faculty Research Grant, the University of Melbourne.


Louise Haselton : July—October 2017

Louise Haselton - work results after her residency at Phasmid Studios

Louise Haselton

15 July—15 October 2017

University of South Australia

Australian artist, Louise Haselton is currently undertaking a 3 month residency at Phasmid Studio, from mid July – mid October. While in residence Louise is planning to continue working on a collaborative project with artists from Blackstone Arts Centre Papalankutja, Western Australia. Work from this project will be exhibited at Fremantle Art Centre in November. She will also begin works for upcoming exhibitions using materials gathered while in Berlin.

Louise Haselton makes sculptural works using materials gleaned from the world around her. In 2002 Haselton completed a Masters of Visual Arts (Sculpture) by research at RMIT University, Melbourne and in 2005 undertook a residency at Sanskriti Kendra, Delhi, India. Haselton held solo exhibitions, in 2011 at The Contemporary Art Centre of South Australia, in 2013 at Greenaway Art Gallery and in 2014 at The Australian Experimental Art Foundation. In 2015 Haselton participated in do it adelaide, at The Anne and Gordon Samstag Museum of Art, when she enacted instructions by Alison Knowles and was included in the 2016 Adelaide Biennial of Australian Art, Magic Object at the Art Gallery of South Australia. Since 2003 she has been a lecturer in The School of Art, Architecture and Design, University of South Australia.

Louise Haselton explaining her work process
Louise Haselton's work development
Louise Haselton and her work during her residency

This residency is generously supported by a Special Study Program by the UniSA, department of Art, Architecture and Design.


Shoufay Derz : July—September 2017

Shoufay Derz - sculptural process

Shoufay Derz

1 July—30 September 2017

Australia Council of the Arts

Shoufay Derz’s work investigates the limits and possibilities of language, and the ambiguities faced when attempting to visually articulate the unknown. Just as the writer uses words to express the ineffable, her research engages the intersections between language and unknown worlds. The resultant, elegiac artworks are simultaneously a lament on the transience of life, and a celebration of its mystery. Elemental and alchemical, her works harness diverse materials including the life-cycle of silk moths, glass, metals, textiles, eucalyptus, ink and pure indigo pigment. 

While the inexpressible, the unknown and loss are universal concepts, Shoufay’s investment in these themes is inextricably bound in personal, intimate relationships. Deeming the recognition of one’s diverse migrant history as necessary process for understanding our present psyche, Shoufay visits Berlin to research heritage, and the sense of unknowns within personal and familial history. Born in Sydney to German and Taiwanese parentage, Shoufay seeks a connection to Berlin through the mythologies of family stories and of her father’s youth lived in Berlin before he emigrated to Australia in 1960. 

Her ongoing work with monumental eroded landscapes critiques our contemporary engagement with landscape and geological time. This project commenced on the historic Green island, Taiwan, where the artist captured analogue images of the monumental volcanic and eroded shoreline. Building on her research on memorialization, language and landscape in Germany she will visit the site of ‘Kreidefelsen alf Rügen’ (Chalk cliffs on Rugen), a romantic painting by Caspar David Friedrich to develop new video and photographic works with chalk and ink; the physical materials of written language. 

Shoufay’s practice is significantly characterized by a deep engagement with poetry and these new works will explore the role language plays in envisaging the ‘edges of the sublime’. The new material investigations will form part of solo exhibitions at Manly Regional Art Gallery and Museum and Artereal Gallery, Australia in 2018.

From Phasmid studios, Shoufay will continue to Parsons, The New school, New York to as a visiting scholar and further develop the work on the three linked ecologically resonant sites of Germany, Taiwan and United states.

Shoufay Derz at work
Shoufay Derz - getting works ready for the foundry
Shoufay Derz - photographic work
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Jan Murray : July—September 2017

Jan Murray showing her work to visitors

Jan Murray

1 July—30 September 2017

VCA - Melbourne University

In 2017 Jan Murray returned to Phasmid Studios to further research her enduring exploration of the traditions of tromp I’oeil and her investigation of the ‘anatomy’ of painting – specifically the relationship between the intrinsic and extrinsic architecture of the two dimensional canvas and the wall on which it hangs.

Developing on from a body of work begun at Phasmid in her 2016 residency, Jan continued to focus on architectural elements (vents and grilles) but also introduced other functional elements such as chutes and utility cupboards. These highly representational paintings were mainly sourced and faithfully modeled on examples of architectural features taken from Studio 5 at Phasmid and its immediate surrounds but also from various buildings in Berlin and Melbourne.

Largely realized in 1:1 scale these small, intimate paintings masquerade as unassuming functional elements, creating a subtle, yet insistent intervention in the space as they merge into their architectural surrounds. The chutes and utility cupboards represented with their doors and openings slightly ajar invite us to contemplate the worlds hidden within the painted surfaces as well as offering access to the internal architecture/ lived history of the building, – elevating the mundane into the mysterious. Another series of paintings, imaging shuttered windows from the neighbouring housing estate, similarly creates intrigue about the interior realities of these domestic residences while simultaneously bringing Jan’s view from the window into the studio.

Far more than mere quotation, this work encourages us to re-think our engagement with the architecture of spaces, to notice essential functional elements that are normally not ‘ considered or seen’ and to engage with processes of looking, perception and representation.

Jan Murray completed her postgraduate qualifications at the VCA and the Royal Melbourne Institute of Technology (RMIT). She has received an Australia Council Project Grant and her Australia Council Residencies include Kunstlerhaus Bethanien, Berlin, Via Farini, Milan and in 2010 the British School at Rome, Rome. Since 1982 she has shown regularly in both solo and group exhibitions in public museums, commercial galleries and artist run initiatives. Her work has been included in national and international surveys of contemporary art in Australia, Germany, France, Italy and the USA. Her work is widely represented in significant Australian public collections and she has also been collected by the Solomon R Guggenheim Museum and the Metropolitan Museum in New York. In 1999, she was recipient of a Nillumbik Shire Art Award. In 2003, the City of Glen Eira Gallery initiated a major touring exhibition, Southern Light: the art of Jan Murray, a twenty year survey of her installation and painting work. She is currently Head of the School of Art and Honours Coordinator and has taught at the VCA since 1983. She is represented by Charles Nodrum Gallery, Melbourne. Research Interests Since 1990 Jan Murray’s practice has focused on certain relationships between painting and its internal and external architecture. Using a variety of means, she has presented the painting itself as subject or motif in seeking to interrogate the relationship between the painting and its primary support – the wall – and the architectural space in which it is placed. She has also expanded the investigation of these relationships through the introduction of three-dimensional representation – the creation and installation of plaster simulacra of paintings. This development added a sculptural dimension to the work and openly enhanced possibilities for play with altered realities and the dialogue between object and space. Recently she has tested the literal and metaphorical limits of painting as object and illusionistic vehicle. Building on previous work in which the paradoxes of perception and representation inherent in both looking and painting were acutely focused in an examination of the complex relationship between creative and destructive action.
Jan Murray, studio view
Jan Murray, studio view
Jan Murray, studio view
Jan Murray, studio view
Jan Murray, studio view
Jan Murray, studio view

This residency is generously supported by a Special Study Program (Long), VCA & MCM Faculty Research Grant, the University of Melbourne.


James Geurts: August 2017

James Geurts - Fulcrum

James Geurts

August 2017

Independent residency program

Based in Melbourne, James Geurts completed his Masters of Art at RMIT Melbourne in 2009 and post graduate research at Vrije Academie, GEMAK The Hague 2011. Geurts’ produces site and time-specific projects that locate paradigms of measurement, focusing on physical forces and fields and the influence these have on perception. He draws out these relations in geographic and conceptual forms that are layered within the sites of research. Geurts explores these features using processes ranging from public art, sculpture, drawing, installation, video, photography and living monochromes. Geurts has exhibited his projects in galleries including: White Cube, London; GEMAK, Den Haag Netherlands; Centre for Contemporary Art, Tel Aviv Israel; Art Gallery of South Australia, Adelaide; La Chambre Blanche, Quebec; and the Australian Centre for Contemporary Art.

Fulcrum Site responsive kinetic light sculpture Yellow fluorescent tubes, reconfigured light boxes Developed and installed in the industrial estate near Phasmid Studios, Marzan Berlin. The electrical systems of each light box were reconfigured to compose an irregular pulsing throughout the threshold of day and night.
Fulcrum Site responsive kinetic light sculpture Yellow fluorescent tubes, reconfigured light boxes Developed and installed in the industrial estate near Phasmid Studios, Marzan Berlin. The electrical systems of each light box were reconfigured to compose an irregular pulsing throughout the threshold of day and night.
James Geurts reviving visitors in his atelier
James Geurts reviving visitors in his atelier

Jacquelene Drinkall: July—August 2017

Jacquelene Drinkall - datacentreseance

Jacquelene Drinkall

1 July—30 August 2017

NSW Government / Create NSW

Jacquelene Drinkall’s July-August Phasmid residency provides crucial accommodation and studio support to augment her scholarship study at the 2017 Saas-Fee Summer Institute of Art (SFSIA) program on “Art and the Politics of Collectivity” based this year in Berlin, and mentorship with Warren Neidich, with funding provided by Create NSW Artist Support Grant. She will be exhibiting and co-curating individual and collective artwork with other SFSIA students at Spike Magazine Headquarters (where SFSIA is hosted this year) opening July 27 at Rosa-Luxembourg-Strasse 45, as a part of an exhibition exploring the notion of artist as editor. This year she will publish her text ‘Neuromodulations of Extro-Scientific Telepathy’ in Psychopathologies of Cognitive Capitalism Part 3, edited by Neidich, and she is first author and co-editor with Neidich of Artbrain.org texts on Telepathic Art in the Age of Cognitive Capitalism – and Warren and I plan to launch our Artbrain.org work at this years SFSIA. At SFSIA Jacquelene is participating in intensive creative learning and research with leading artists, curators and scholars such as Jodi Dean, Bifo, Nicolas Bourriard, Hans Ulrich Obrist, Marie Luis Angerer, Matteo Pasquinelli, Tizianna Terranova, Yann Moulier Boutang, Ben Vickers, Helen Hester, Julietta Gonzalez, Ming Wong, Yuk Hui, Isaac Julien, Lambros Malafouris, Barry Schwabsky, Neidich and many many more: http://saasfeesummerinstituteofart.com/

Jacquelene Drinkall was born in Kogarah, Sydney, November 30, 1973. She grew up in Bathurst where she started art training as a teenager before studying painting, contemporary art and art history and theory at university at ANU and UNSW (AU) and ENSBA (FR). She has worked as an artist, curator and writer with a practice of gallery exhibition, live performance, independent research overseas, and representation within significant collections since 1994. Jacquelene Drinkall’s peer-reviewed international exhibitions include the 5th Riga Triennial (Latvia) and Beyond/Supernatural at QUAD Gallery (UK) and she has also participated as an exhibiting artist in Cementa Contemporary Arts Festival, London Biennale (UK), WAS Biennale (AU), Shanghai Biennale via virtual world performance (CHN), The Banff Centre (CA), Starkwhite (NZ), Art Basel Miami (US), Sydney Festival at Australian Centre for Photography (AU), CAST Gallery (AU), several exhibitions at Canberra Contemporary Art Space (AU) & seven exhibitions at Artspace, Sydney (AU). Her awards include the ANU’s University Medal in Painting, COFA Student Association Prize, Marten Bequest Travelling Art Scholarship, awards from AGNSW, Australian Postgraduate Award, 2015 and 2017 Saas-Fee Summer Institute of Art Scholarship (CH and DE) and two scholarships from The Banff Centre (CA) – she has received a total of nine residencies, four international, including Banff Research in Culture “On Energy” last year. In 2016 she was interviewed by Parisian and New York journalists on her work with Telepathic Art. She has co-authored and co-edited an online exhibition on Telepathic Art for Artbrain.org in collaboration with her mentor Warren Neidich. She is cited as a world expert on Telepathic Art in Pascal Rousseau’s 2015 Pompidou Centre book on art and telepathy in the twentieth century. She works as an artist, curator and writer with a practice of gallery exhibition, live performance, independent research overseas, and representation within significant collections since 1994. She works in a wide range of art mediums and processes including handwoven telecommunication wire, sculpture, installation, real and virtual world performance, EEG neuroheadset interaction, participation, video, installation, photomedia, painting and drawing to explore telepathy and mind/body transformations. Her theoretical research into telepathic art has an increased recent focus on speculative philosophy, immaterial labour, cognitive capitalism, neuroplasticity and the brain. She holds a BA (Visual Art) H1 and University Medal, Masters by Research (Visual Art) and PhD in Art History and Theory.

Jacquelene Drinkall, Data Centre Seance: Titanpointe, video documentation of psychogeographic investigation of 33 Thomas Street aka Longlines building aka the NSA’s ‘Titanpointe’ in Manhattan, videography by Emanuel Migrano, performers: a psychic called Neptune Sweet aka Electric Djinn aka OmniJenn aka Jennifer Berklich, a hacker called Ryan Holsopple, a New York art collective called ArtCodex (Vandana Jain, Mike Estabrook, Glen Einbinder), and art critic Peter Hill, created for Cementa Art Festival in collaboration with ABC No Rio, funded by NSW Artists Grant, 2017.

Jacquelene Drinkall / The Psychopathologies of Cognitive Capitalism ( multiple contributors ) - cover
Jacquelene Drinkall’s project “Saas-Fee Summer Institute of Art scholarship/exhibition and Warren Neidich mentorship” is supported by the NSW Government through Create NSW.

Mark Booth : May—July 2017

Mark Booth, Verzinkt winkel (30-12.7-90°)
265mmHx300mmWx276mmD, Galvanised steel.

Mark Booth

1 May—30 July 2017

Independent residency program

Mark Booth, Artist statement

My practice is concerned with camouflage and its relation to form transformation and illusions of materiality. Through pattern, light, and scale, camouflage can change the perception of form. A natural phenomenon, it can be adopted to disguise man-made objects and blend them into their immediate localities. It transforms the artificial into the organic and disintegrates structure by making it appear to shape-shift. Colour schemes and markings obliquely reference nature, but the choice of synthetic paints and their method of application render them completely artificial.

Scale is important – proportion and its relation to perception is scrutinised by the use of industrial-sized PVC pipe. Some are painted in highly visible monochromes, (traditionally associated with steel sculptures), to create an illusion of materiality – the work appears to be constructed from a base-material other than plastic. The sculptures’ scale diminishes when placed into an expansive context, and, conversely, increases when introduced into a confined capacity. Recognition of its mass is influenced by the volume that surrounds it. Early works were sprayed matt white, lit with fluorescents, and mounted on white walls to disorient and merge them into the substrate they were clinging to. Distinguishing between shape/background and light/shadow caused an optical sensation similar to snow blindness. The Netting sculptures are wrapped in nylon fabric – the pattern jumps off the surface of the work, breaking up the sculptural form to such an extent that the original base-structure is unrecognisable. The Munitions works appropriate children’s guns. Combat camouflage designs transform them from harmless plastic playthings into menacing and dangerous weapons, reflecting on contemporary issues of child desensitisation to violence, the over-saturation of war documentation and reportage by mainstream media, the ease of weapon accessibility in modern society, and the normality associated with today’s readily available toys of war.

At Phasmid Studios I plan to engage with the internal industrialised fittings of the studio and respond sculpturally to the exposed cable tracking and gas piping that snakes around the rooms. I also want to photographically document urban camouflage in Berlin by focusing on graffiti in the immediate area of the studios. Post-pixelation of the images will address themes of optical expansion and illusion.

Mark Booth has completed a BFA at the National Art School, Sydney. He’s exhibited solo in Australia at Canberra Contemporary Art Space, Conny Dietzschold Gallery, Dickerson Gallery, Alaska Projects, MOP, Factory 49, and Firstdraft. He has had group shows at Hazelhurst, Manly and Cessnock Regional Galleries, Blue Mountains Cultural Centre, Town Hall Gallery (Melbourne), National Art School Gallery, Newington Armory, Dominick Mersch, Brenda May, and Australian Galleries. He has had a major solo show at Bathurst Regional Art Gallery, and participated in the art events Cementa15 (Kandos), and Future/Public Artlands (Dubbo). Mark recently won the Major Award at Sculpture at Scenic World, has won Sculpture in the Vineyards, was Highly Commended in The North Sydney Art Prize, and been a finalist in the Woollahra Small Sculpture Prize, Fisher’s Ghost Art Award, Tom Bass Prize, Paddington Art Prize, Deakin University Small Sculpture Prize, Sculpture at Sawmillers, and Sculpture by the Sea. He has twice won a NSW Artists’ Grant (NAVA), and recently undertaken residences at The Armory (Sydney Olympic Park Authority), and Phasmid Studios (Berlin). In 2018 he will undertake a MFA in sculpture at UNSW Art & Design, where he has been awarded a UPA Scholarship. Mark currently lives and works in Sydney, Australia.
Mark Booth, Graffiti Study No.1 (52°38'29"N14°5'49"E)
Mark Booth, Verzinkt winkel (30-12.7-90°) 265mmHx300mmWx276mmD, Galvanised steel.
Mark Booth, Winkel (5 colour)/100:25x15-90°. 2017. 120mmHx140mmWx130mmD. Steel angle, nuts, bolts, enamel paint.
Mark Booth, Winkel (5 colour)/100:25x15-90°. 2017. 120mmHx140mmWx130mmD. Steel angle, nuts, bolts, enamel paint.

Kellie Wells : April—May 2017

Kellie Wells

Kellie Wells

1 April—30 June 2017

VCA - Melbourne University

Kellie Wells, Artists statement, 20 March 2017

During my stay at Phasmid Studio here in Berlin my purpose is to continue my research in the subject of personal ritual, sacred practice and self-representation.  Never having been to Berlin before there is much for me to see and do to inspire and evolve my own practice.  I come here seeking to encounter the visual and emotional feel of spaces, places and artworks in the physical that I would normally experience via the digital realm or in the pages of a book – to touch and feel them not only with my eyes.

In the studio I have brought very little with me on my long journey so shall return to the intimacy of my drawing practice with the intention of making a series of A3 sized ink and gouache drawings reminiscent of the visual poems, prayers and stories told in ancient painted handscrolls and books. Across different cultures these sacred scrolls and concertina-style books were able to be handheld and could travel intimately with the body. They often told a sacred tale with each panel taking the viewer on an intimate journey or through stages of a ceremony or sacred rites as a focus for personal meditation.   With myself at the centre of this story I shall reflect and respond to what I see and feel during my time in Berlin and use my commitment to self-reflective drawing as a tool of focus and meditation on the creative evolutionary potential of my short stay here.

Kellie Wells completed her MFA by Research qualification at the VCA, University of Melbourne in 2016.  She subsequently received the Fiona Myers International Studio Residency Award undertaken in 2017 at the Phasmid Studio in Berlin. Based in Melbourne she has shown regularly in solo and group exhibitions within public and commercial galleries in Australia and overseas as well as project spaces and artist run initiatives.  

Her research interests centre on the nature of contemporary devotional practices and rituals.  Practices which seek out the evolutionary potential of recreating a self which is consistently and creatively reimagined through contemplation upon notions of the sacred, interior and spiritual dimensions.    Her research acts in response to the narrow frameworks operating within visual media with its ongoing emphasis on exteriority and surface-based obsessions.  This, along with the continued objectification, diminishing or rendering invisible of those who do not fit within ongoing cultural ideals of beauty and value. 

Through colourful spatial installations of drawing, photography, video and crafted objects her practice reflects a deep contemplation of how we envision the self as an image and alternatively how via our own representations of self we can connect to something else entirely; like the spiritual realm.  We can see that the art of self-representation when viewed through the eye of devotional ritual or ceremonial action becomes for the individual concerned both a consecrated pursuit and a sacred occupation.

kellie wells at work
kellie wells window intervention in her atelier

This residency is generously supported by a Special Study Program (Long), VCA & MCM Faculty Research Grant, the University of Melbourne.