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 texts on Telepathic Art in the Age of Cognitive Capitalism – and Warren and I plan to launch our 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:

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 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.

David Palliser : November—December 2016

David Palliser at work

David Palliser

1 November—20 December 2016

VCA - Melbourne University

David Palliser, Artists statement, 2016

At Phasmid Studios I will be continuing the work I did in Leipzig last year at during my LIA residency. I will be working primarily on paper, often using a collage method where drawings are torn and holes are cut and the paper and image are reassembled. This give a kind on default spatial jump and rescues lost causes.  I will also be developing my improvised music with saxophone and elementary percussion – During my time in Berlin I will perform at MissHecker and Noiseberg, where I will collaborate with some local musicians. At MissHecker, I will release my new cd “Lame and Free”. Of course I’ll be exploring intently the Berlin art and music scene as well- there’s nothing like it!

David Palliser in the atelier
David Palliser, works on paper
David Palliser, works on paper

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

Nathan Grey: July—August 2016

Nathan Grey, making charcoal for his video work

Nathan Grey

1 July—30 August 2016

VCA - Melbourne University

Nathan Gray‘s recent, meticulously written lecture performances explore historical, technological and social circumstances imagining them as scores for possible futures, alternate histories and radically divergent presents. Often employing sound and video, in which his background lies, these evocative works invite audiences to imagine futures beyond contemporary crises.

(preview version) 2016, Single Channel HD Video, Stereo Sound, Live Narration, Live Drawing and Live Foley Sound, Approx. 35 min Work in Progress versions presented at Phasmid GbR, Berlin, August 2016
Nathan Gray, Charcol
(still from video) 2016, Single Channel HD Video, Stereo Sound, Live Narration, Live Drawing and Live Foley Sound, Approx. 35 min Work in Progress versions presented at Phasmid GbR, Berlin, August 2016

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

Jan Murray : April—June 2016

Jan Murray, at work in her atelier

Jan Murray

1 April—30 June 2016

VCA - Melbourne University

Jan Murray, artist statement, 2016

Upon my arrival at PHASMID Studios in Marzahn, it was clear that the building was still very much a work in progress. I was the first and only resident at the studio complex and VCA’s Studio 5 had literally just been completed. The spacious light-filled studio with it’s 60’s Eastern bloc modernism – some would say brutalism – was architecturally unembellished, very minimally furnished with freshly painted white walls throughout and had newly installed, exposed plumbing as its only ornament.

As the first resident my purpose was twofold – to make my own work in the studio but also to furnish it and ‘make it more comfortable’. While I went about the latter task, I began painting trompe l’oeil representations of air vents grilles (sourced in Melbourne and in Berlin). In the context of the building and renovation work in progress around me, they struck me as totally appropriate subject matter – providing another kind of furnishing of the site. 

Produced in pairs, these works function simultaneously as highly representational paintings of a range of different types of air vent or grille as well as simulacra of these rather generic and overlooked, almost invisible objects. 

Installed in the studio, they create a subtle, yet insistent intervention in the space  seemingly providing access to the internal architecture of the building – offering the illusion of ventilation holes in the walls. As one observer remarked, ‘the works function like ears – almost listening to the building. 

Perhaps too, they operate metaphorically as eyes – allowing a glimpse into the past and the rich history embodied this building that has seen both Russian and Stasi occupation.

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, paintings and installation development in the atelier
Jan Murray, painting installed in the atelier
Jan Murray, painting installed in the atelier
Jan Murray, works installed in the atelier
Jan Murray, works installed in the atelier
Jan Murray, painting
Jan Murray, view of the atelier
Jan Murray, painting installed in the atelier
Jan Murray, works in progress

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