contributing artists

  1. Juliet Klottrup 

  2. Zac E Tea

  3. Tabitha Swanson 

  4. Maire Kashyap 

  5. Gabriel Stibio 

  6. Dan Go

  7. Simeon Chua 

  8. Nindya Nareswari

  9. Ariel William Orah 

  10. Amber Ter Hedde

  11. Elena McGannon 

  12. Charlotte Nijhuis 

  13. Laurence Baril 

  14. Sophie Le Roux 

  15. Té Claire 

  16. Sarah Godfrey 

  17. Paula Melero 

  18. Carlos Cromeyer 

  19. Caterina Rancho

20. Jorinde Olling 

21. Kate McLaughlin 

22. Tara Sutherland 

23. Alana Naumann 

24. Alina Holtmann 

25. Kfir Harbi 

26. Yael Zilberfeld 

27. Maxime Stibio 

29. Beatrice Wharldall 

30. Dondee Barrioquinto 

31. Grace E Melville

32. Emily Starr

33. Jo Lettenmaier 

34. Anna Durham 

35. Sammy Oravec 

36. Lara Prokop 

37. Erik Scerba 

38. Sarah Powick 

a selection of statements

8-9

FOCUS AND INTERFERENCE

Sound & Light – Print

2018

Surabaya/Berlin

Light plays a vital role in supporting various facets of life. Light enables us to meet the needs of our visibility either for guiding our circadian rhythm or in this case increasing productivity to reach our goal and purpose in life. When it comes to life and its purpose, we often think about spirituality. In the temples of many religions, light has always been a profound element in the architecture of reli­gious experience as the symbol of God’s presence and life.

Light also guides and leads us to work and be productive in life to reach our spiritual und physical needs. By paying attention we can stay focused on the target that we are trying to achieve. Howev­er, our brains have a limited ability to focus. Research shows interruptions occur about every twelve minutes in the workplace and every three minutes in university settings. This means that during the process we are bound to face things that interfere with our focus.

When it comes to conventional concepts of productivity, sounds tend to be associated with distrac­tion. We use conventional to mean - based on our quick desktop research on searching sound and productivity, which showed results related to “unwanted noise” in the workplace such heaters, air conditioning, to cubicle neighbour chewing - sounds that tend to annoy and eat away at people’s concentration. But in relation to another context, which we mentioned above - spirituality - sounds tends to be a positive thing that stimulate people’s spiritual vibrations.

“Sight and hearing are the two senses that give us the largest volume of information at any one time.”

In this exhibition, we would like to open a discussion on how we perceive focus interference, a.k.a distraction. It is an interesting topic for us since we experienced it ourselves during the process of creation. Many people perceive distraction as something negative that we have to avoid. But what if the distraction itself helps us to reach our goal? On the other hand, spirituality is something that we can always relate in everyday life. In most of religious (or spiritual) concepts, there is the end point of everything, which in most cases is defined by the concept of “heaven” as our goal after this pres­ent life. It teaches us that if we perform so called “good things” then we shall afford our own ticket to heaven, and in the contrary when we do “bad things a.k.a “sins” then we will not granted the ticket to heaven, but get a punishment by going to “hell”.

Light and sound as powerful elements in this context, are also significant mediums to transform our vision, alter our spatial perceptions, and influence human emotion. This allows us to express our thoughts and provide a sensory experience to the audience, which brings them a meaningful mes­sage. It is an experimental artwork based on artistic approach started from analysing the analogy of light as focus and as distraction with its aesthetic quality in spiritual analogy. This installation/sound-light sculpture gives a new perspective on how we perceive distraction, and its potential contribution to human emotional improvement and productivity.

22

UNTITLED

Print

2018

Melbourne

 

This collection explores how two-dimensional materials are manipulated to create three-dimensional forms in relation to the body. Often I feel form and material are explored separately, however I draw inspiration for form in the qualities and properties of the materials themselves. Form can be described as ‘a shape and structure of something as distinguished from its material’, however through my research into Tim Ingold’s theories on materiality and form, I began to question at what point does a material transition from being referred to as a form, rather than its original material state. From this I investigated and tested techniques in which materials could be manipulated to create original forms and materials whose form is unaltered to be worn on the body. My designs include garments or objects, which present bold shapes and silhouettes only when worn on the body, juxtaposed against garments that define their own shape without the aid of a body. My work includes uses of hard plastics and soft fabrics, and features smooth textures with chunky surfaces, each with their own individual and varied processes of creating form. This collection further continues my investigation into how unconventional materials and hand crafted techniques can be combined to create harmonious sculptural and textural garments.

 

For this work as part of E1, I have asked the curator to display my notes, drawings, graphic designs and photographs in the same, haphazard way in which she found them in my Google Drive folder. The sporadic and random way I (don’t) organise my images and files is indicative of me at my most productive.

24

ONE POSTER A DAY FOR 365 DAYS 

Print

2017

Berlin

 

The artist committed to designing a poster a day for 365 days, in order to practice productivity in a playful, non-restrictive way. The intention behind this personal project is to train consistency and creativity. It has been receiving a very positive feedback and is taking a new trajectory now, with people expressing interest to purchase the prints, use the designs for their album covers and promotional material. 

32

UNTITLED

Print

2018

Melbourne

 

My drawings represent when I am most productive which is organising my (untutored) drawing session -'Cozy Corner Life Drawing.' I started Cozy mid June 2017 in the living room of my friends house. It was slow starting with very few people coming and moved spaces three times in the first two months. There was some time spent in a warehouse that was full of small studio spaces and a great community, but sadly that space has been demolished for developments. Now I hold the sessions in Fiona’s living room where Cozy is really starting to prosper. Fiona is an amazing woman who guides me with the organisational side of the sessions, originally I would organise everything on the day with a lot of stress. With Fiona’s help it is so much smoother and I am able to get involved with the people who come along and that has helped form a small community of artists I get to see each week. It is also in this time that I feel most levelled and ready to take things on in my busy life. It is one of the few moments I give myself to just sit and concentrate for an hour. 

 

I chose drawings of women because womanhood is something I think about a lot and find my success has been through the support of the women around me, my friends, my sister (Heidi) and my mentor (Fiona). 

11

Elena McGannon

CORPS

Print

2018

Melbourne

For years I understood Productivity within the context of my artistic career and mental health. I placed value in quality, and taking time, considering long-term achievements and adaptation as the pillars of a productive mindset. My understanding of Productivity began to shift when I started working in a full-time office job. The commercial stoicism that I associated with efficiency and professionalism was completely polarising, and created a deep rift between my goals and the ability to feel that I was working productively towards them.Faced with less time to work on artistic projects and the crunch of a corporate lifestyle, I envisioned CORPS as a form of catharsis, a satirical daydream to feel productive when facing the mundanity of office life.

The body of work will take the form a series of scenes that construct a dreamscape of corporate life. Allud­ing to stock imagery and appropriating the neoclassical frame of human figure, surreal fantasy will meet satirical drivel in CORPS. I hope to incorporate components of alternative mediums including film and cho­reographed dance. The work is largely performative, both alluding to and rejecting the idea of productivity in a corporate framework. It is the product of personal fears and hypocrisy as I clutch at a narrative, at any artistic dregs from the last year of working outside of my chosen industry. The work will take tropes within corporate imagery: the desk, the intern, the paperwork, the Boss, and realise them in an unfamiliar context. The scenes that I proffer to my audience are the rituals, the dances, and the portraits of corporate life that I have encountered, warped by my desire for a semblance of artistic Productivity.

23

BOW BOX

Ink drawings

2018

Brisbane/Berlin

 

The human condition is to compartmentalise our experiences in order to make sense of them – our interactions with others is no exception. We, as a collective, place people into categories in our minds and in our conversations. More often than not these categories are generalisations and rationalisations of past exposure to seemingly similar peoples or explicit stereotyping. How ever obvious or subtle, these categorisations affect our ability to find our place in the world as individuals. Particularly when it comes to young people, societal pressure often forces submission of the organic nature of an individual into a state of rigid social conformity that they can never quite satisfy – i.e. squashing an organic shaped human figure into a perfect, rigid, square frame – it just isn’t physically possible.

 

I propose to do an art series, based around a black square (“box”) that represents the rigid, conformist of societal pressures and labelling that inhibit people from reaching their full potential in innovative and unconventional ways. The box itself represents the structured and rigid force of the conventional school system, social classifications and workplaces, gender, bias, racial discrimination and so on, within which, we as a society attempt to cram our very organic, human shaped selves into – with very detrimental effects. The work is a response to my own feelings of frustration of never ‘fitting the mold’ in every situation in my life and being told time and time again that I’m ‘just not a good fit,’ in prospective workplaces. Also my frustration with the archaic systems of ‘work’ and economic growth that often exploit one group of society in order to profit another.

 

With the same idea as the age old saying “you can’t fit a round peg into a square hole,” the work aims to bring light to the fact that we are very organic, living beings try to bend and flex our lives into mechanical structured frameworks that leave no space for the human condition. We spend our whole lives basing our value and self worth on our ability to squash ourselves into the inflexible, dogmatic, societal mould. The work aims to shed light on the ridiculous nature of the systemic ‘box’ that we find ourselves in and that it is time to not only think outside of the box, but to also step outside and explore external possibilities.

 

I propose that the style of the works would be attractive, clear and easy understandable to a young audience. I wish to base this style on current youth culture and the style of ink illustration that is oft seen in youth magazines and marketing material – suggestive of street art, skate culture, youth sub culture, counter-culture. Such mediums are often an expression of rebellion away from societal pressure to conform – This, I intend to use black ink on a standard size and shape of card to further comment on the “cookie cutter” notions of contemporary society.

25

MUSACH KFIR

Canon EOS 5D Mark II

2016

Ness Ziona / Berlin

 

The creation was very spontaneous. I was for a visit in Israel, and I had free day because of a cancellation of a job. I asked Yael, which is a creative friend of mine, if she is interested in making with me a video to my father as a gift and something to remember and she immediately was in. We went there on this day and while being there we realized that it is super loud and there are so many interesting noises actually. We made the connection and decided to show the beauty of the ugliness and the dirt as a rhythmic music video inspired by Kutiman. The video got to more than 40k views on Facebook at that time. It was made in the summer of 2016.

 

The main thing for me on this day was to actually be productive and do something because I knew my time there is limited and I need to feel that I am not wasting my time.

 

Besides that I am coming from a family of hard working people, my father with his dirty hands was always a huge inspiration for me. I see this video as a gift; I am able to capture him in his world.

1

CHAMOMILE GIRLS

8mm analog/digital

2018

London

 

Above work, above art, comes love, something that can never be exhausted, it's eternally productive. I feel most rewarded when I spend time with my female friends - my girl gang.

 

They are like chamomile; they soothe, comfort and support me as I do with them.
 

Being a creative can mean allowing turbulence to rip through you and take over during times of creativity and with my friends acting as anchors in life anything can feel possible not matter what storm you are in.

10

LIFES-HEAPS-BETTER-IF-YOU-JUST-PRETEND-ITS-A-MOVIE

Single channel video – Notes screenshot in print

2018

Melbourne

 

Productivity as a concept within art practice immediately makes me think about self-vigilance, and how a heightened state of hyper awareness of self occurs autonomously when you are creating something external from your body. To be constantly working, consistently within this heightened state, any clear distinction between “real life” and “art practice” evaporates. Productivity becomes about the stamina involved with the mental siphoning of all experiences, rather than the physical manifestation of art making.