Residents

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.


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