Yandell Walton: May—August 2018

Yandell Walton

Yandell Walton

7 May—30 July 2018

VCA - Melbourne University

The impermanence of life is a major theme within Yandell Walton’s practice, creating installations that have a tension between the material and immaterial. Often working with architectural spaces or objects and combining them with projected images her immersive installations blur the actual and the virtual through the representation of light, time, shadow and figures. Interested in creating work that stimulates individuals both intellectually and emotionally, her work utilises the medium of projection to highlight ephemerality.

Artist Statement

The 3 month residency will allow time to develop my practice using new technology in particular 3D scanning and printing, focusing on the degradation effects of mobile scanning technology. My interest in exploring the potential of these technologies will allow me to understand the possibilities and limitations to create a new body of work to further investigate notions of impermanence, especially in relation to the natural world and climate change.

Yandell lives and works in Melbourne, her work has been exhibited regularly in non-traditional and public spaces both in Australia and Internationally. In 2015 she completed a Masters of Fine Arts at Victorian College of the Arts.  Her work has been part of Light City Baltimore (2016), Digital Graffiti Florida (2015), Experimenta Speak to Me (Melbourne & Brisbane 2012-14), VIVID Festival Sydney (2013), ISEA (International Symposium of Electronic Art 2013) and White Night Festival Melbourne (2013/15).

Yandell Walton, Human Effect, 2012-17, site specific installation with interactive projections
Yandell Walton, Impermanence, 2014, four channel video

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


Peter Hill : April-May 2018

Peter Hill

April-May 2018

Independent residency program

Artist Statement

Since 1989 I have been creating “Superfictions”, artworks that exist in the gap between installation art and literary fiction. These artworks ask “how do we know what is true and what is false within any given, mostly visual, statement?” In 2001 I completed my PhD by project (RMIT) on “Superfictions: New Uses for Fiction in Contemporary Art Practice”, positioning my own practice in relation to Marcel Broodthaers, Guillaume Bijl, Res Ingold, Cindy Sherman, Seymour Likely, Patrick Pound, Michael Vale, Alexa Wright, Eve Anne O’Regan, and others. Since the election of Donald Trump I have been on a round-the-world lecture tour called “Fake News and Superfictions,” which began at the Justin Art House Museum in Melbourne, and moved through Scotland and England in 2017/18. I will be delivering it at the Stadelschule, Frankfurt during my PHASMID residency.

Dr Peter Hill was born in Glasgow and studied art in Scotland, England, and Australia. He is an artist, writer, independent curator, and is an Adjunct Professor at RMIT University. He has exhibited in the Sydney Biennale (2002) and the Museum of Modern Art, Oxford (2000). In 2004 his book “Stargazing: Memoirs of a Young Lighthouse Keeper” won a Saltire Award at the National Libraries of Scotland. As a writer he has contributed to Frieze, Artmonthly Australia, Artpress (Paris), Vault, ARTnews (New York), The London Review of Books, and Art Collector. In addition to researching a new artwork, he will use his time at PHASMID to complete a book called Curious About Art: Encounters with 50 Contemporary Artists, from Marina Abramovic to Robert Zhao.  For the past four years he has been contracted to Goldsmiths, University London, as external examiner for Fine Art students at La Salle College of the Arts, Singapore.

Peter Hill, article for VAUL magazine Issue 20 (the link will open in a new window)
Peter Hill, article for VAUL magazine Issue 21 (the link will open in a new window)

Matthew Bax : April—June 2018

Matthew Bax, advertisement posters interventions

Matthew Bax

1 April—15 June 2018

Independent residency program

Artist Statement

I have always been drawn to the beauty of the commonplace, visuals without artistic exertion or ambition, the backdrops of life: drips and stains on battered city walls, decaying tiles of public toilets. I welcome chance, automation and error into my process, and seek a humility in mark making that honours the limitations and opportunities of painting. This aesthetic may be described as a wabi-sabi provisionality. Wabi-sabi is also concerned with ‘mu’; the nothing. John Cage taught us that “every something is the echo of nothing”. There is much to discover in the ‘mu’ of ordinary things. I paint ordinary things because I find wonder in them and they help reassure me that it’s ok to know nothing.

Matthew Bax (b, 1974 Adelaide, Australia) Works and lives in Melbourne. Education: 2018-Masters of Contemporary Art, Victorian College of Arts, University of Melbourne, Australia. 2011- Masters of Fine Art, LASALLE College of Arts, Singapore. 1994- Bachelor of Commerce Degree, Flinders University, Adelaide, Australia.

Matthew Bax, Buy-Product Installations
Matthew Bax, Buy-Product Installations
Matthew Bax, Buy-Product Installations

Isabelle Sully : February—May 2018

Mouthpiece (performance still), 2017, live broadcast, audio narration, script, cue cards, perspex, permanent marker, 13min.

Isabelle Sully

1 February—30 April 2018

VCA - Melbourne University

During her time at PHASMID Studios, Isabelle Sully will be working on a new project titled Transit Through Handshake, which will involve the development three new context-based performance works that take the dual meaning of the term lobby—that is, the lobby as an architectural space and lobbying as a political activity—as a starting point. The performances will each be accompanied by a sculptural apparatus designed for public address which will assist with the eventual performance of the works.

Isabelle Sully (b. 1991, AU) works as an artist, curator and writer. She received a Bachelor of Fine Art (Honours) from the Victoria College of the Arts in 2013 and a Master of Arts (Art Praxis) from the Dutch Art Institute in 2017. Originally from Melbourne, she is now living in Rotterdam where she is the editor at Publication Studio. Through exaggerating the labouring of the framing gesture – by enacting the performance of documentation, of administration, of bureaucracy, for example – her practice aims to move the frame into the content of her works. This is not to arrive at a reveal of what happens ‘behind closed doors’, but to acknowledge administration as the materiality of institutionalised practice and, through this, find contractual possibilities where institutional policy can be held and enacted in common. Recent works and projects have adopted forms and sites of public address – live broadcasts, PA systems, newspapers, lobbies, lectures, speeches, inscriptions, plaques – to understand the mechanisms of the public record as a place of extraction, proclamation, and, therefore, subjection. 

Mouthpiece (cue card), 2017, live broadcast, audio narration, script, cue cards, perspex, permanent marker, 13min.
When the watch is worn around the neck, it lies in proximity to the less regular beating of the heart, 2017, engraved aluminium, four pieces each 14.8 x 10.5cm

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