A group exhibition that included painting, installation, video, performance and sculpture.
The artists presented new, site-specific and re-visited artworks that engaged audiences and provoked a reconsideration of our relationship with pattern.
Human behaviour indicates that we have an innate desire to find regularity and order in what might otherwise be an experience of disorder and chaos. Repetitions, rhythms, sequences, codes and systems assist us to navigate pathways and make sense of the world. While pattern in art is often thought of as decorative and ornamental, this exhibition considered the conceptual nature of pattern and its affinity with art, science, music and movement.
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Curator Carrie Kibbler said “pattern is a recurring theme in the practice of many artists and one that warranted an exhibition to explore the different interpretations by artists whose practices have been established across various mediums.” Sydney-based artist Natalya Hughes works mainly in painting, digital media and installation. Her installation, Panic Room, proposed an unexpected room in which to wait - a room built to over stimulate, buzzing with anxious energy and detail. Rather than distance viewers from the anxiety and impatience of waiting spaces through placating aesthetics, Panic Room addressed those feelings directly.
Another Sydney-based artist, Rochelle Haley has a preoccupation with movement both in the creative process and in the way her work is viewed. Her current projects involve dance to explore an awareness of space structured around the sensation of the moving body. Her new video work for Patternation was filmed in Hazelhurst’s Regional Gallery, the first time the gallery had been used as a performance space.
Jason Sims is an Australian artist living in Adelaide whose practice embodies a fresh perspective on lightbased, multi-media artworks. Captivating audiences with his mesmerising light boxes and installations, Sims’ bold geometric sculptures combine light, mirror and space to create playful optical illusions. The immersive works have meditative and experiential qualities which explore the boundaries between reality and illusion, seeking to challenge viewer perception and invite contemplation.
Geometric pattern were also employed by Djirrirra Wunungmurra, a Dhalwangu artist who lives at the tiny outstation of Gangan, in north-east Arnhem Land in the Northern Territory. Her exceptional works in ochre on bark combined fine and precise incisions with intricate fields of rarrk (cross-hatching) to create shimmering geometric pattern. The sacred diamond design generally refered to the waters around Gangan. Buyku (fish trap) paintings bisected these diamonds which showed the structure of the fish trap made during Mirrawarr (early Dry Season) with Rangan (paperbark) and wooden stakes.
Artists featured in the exhibition included: John Aslanidis, Cathy Blanchflower, Mark Booth, Gary Carsley, Helen Eager, Sophia Egarchos, Benjamin Forster, Heath Franco, Rochelle Haley, Natalya Hughes, Eveline Kotai, Melinda Le Guay, Al Munro, Brian Robinson, Liz Shreeve, Jason Sims and Djirrirra Wunungmurra.
Image: Natalya Hughes, Fatty Frame Sag Panic (detail), 2015, inkjet photo print on Hahnemuhle paper. Courtesy of the artist and Milani Gallery.