monte masi

Monte Masi is an ex-Glenelg (seafront) now Goodwood-based (inner-city by the tram-tracks)artist and writer living in Adelaide. He works predominately with video and performance. In recent years he has exhibited in a variety of gallery and artist-run spaces, including CACSA and Downtown Art Space (SA), PICA (WA) and Seventh Gallery, (VIC). He is a current Master of Visual Arts candidate at the University of South Australia, investigating self-disclosure in online video and its relationship to 20th century performance and ritual. Monte is a founding member (and current co-director) of FELTspace artist-run initiative, supporting independent art-practice in Adelaide since 2007.

 

 

 

logan macdonald

My work examines my relationship to street culture and its associated subcultures that are not largely recognised by mainstream popular culture. These subcultures intersect a large variety of areas including music, graffiti, skateboarding and fine art - utilising an alternative system of displaying and creating works with their own aesthetic criteria to satisfy. 'These cultures create work related to their communities' ideas, interests and history. With an intense sense of identification among participants the resulting groups occupy edges of society and represent a different aspect of cultural development.' (René de Guzman and Thom Collins in Beautiful Losers, Iconoclast and DAP Publishing, 2005, p23).

Logan Macdonald is an emerging artist; he completed a Bachelor of Visual Arts (Honours) in 2007 from South Australian School of Art at Uni SA. He is currently a Co-Director of the Artist Run Initiative - Feltspace. He also works as the weekend gallery and website manager for the Contemporary Art Centre of South Australia. Logan Mcdonald has recently been appointed the Curator of the Carclew Youth Arts Exhibition Program for 2010.

stéphanie n'duhirahe

 

 

 

Stéphanie N'Duhirahe's work is always based on the details and elements that comprise our daily lives: more precisely, the body, space and objects. She's particularly interested in the bonds that join these three elements, while working within the limits that naturally appear because of these connections. In her work, she often portrays the physical movement and effort of the body. Routine gestures are altered, revealing their absurdity. In the past couple of years Stépahnie N'Duhirahe has focused on linking her two practices: circus performance and video art.

2009 Stéphanie N'Duhirahe graduated from Ecole de cirque de Québec; 2006 graduated from Ecole Supérieure des Beaux-arts de Genève (esba). Exhibitions and perforamnces include:
2009 - Festival FLUX-S. Eindhoven, Nederlands; CASZ urban screen, Amsterdam, Nederlands ; ”Present Tense”, CAAM,Las Palmas,Gran Canaria, Spain; 2008 - Exhibition,” Düsseldorf/ Riga”, Düsseldorf, Germany, Latvia; 2007 - Exhibition,«Terra infirma», Pratt Manhattan Gallery, New York, USA; Performances « en avril fais ce qu’il te plaît » théâtre de la Parfumerie Genève, Switzerland; Exhibition, VIDEONALE 11, Kunstmuseum Bonn, Germany, VIDEONALE 11 - Selección de la muestra de Bonn, Museo Nacional Centro de Arte Reina Sofia (MNCARS), Madrid. Spain; Exhibition, Oblo, Lausanne, Switzerland

 

 

 

james marshall

“As viewer and voyeur, we are both attracted and repulsed by the grotesque…there is something about the flesh gone awry or some notion of posthumous awareness that pricks at some dark dread that is mixed with a visceral delight.” Abbot, Celluloid Vampires: Life After Death in the Modern World, University of Texas Press, Austin, 2007.

James Marshall’s work offers further insight into the cross media nature of cinematic horror and its importance within visual culture, specifically the visual arts.

Current experiments in the studio utilize a horror vernacular, without a linear narrative, to explore different readings of the genre's tropes. Marshall’s aim is to create work using the essential elements of horror without the embellishment of all the elements of cinema. James Marshall is an emerging South Australian artist undertaking Masters by research at the South Australian School of Art and is currently a board member of the Artist Run Initiative – Feltspace.

 

 

 

maarten daudeij

Metaphysical Readymade is a work beyond the 5 senses. Maybe only existent in a realm of treacherous nonsense, an art-piece in the sphere of art-pieces, a mistake maybe, preferably unnecessary, possibly going where art shouldn’t or doesn’t need to go. To witness the work is to suffer the loss of sanity, maybe to rise, maybe to fall, probably both. But no ordinary mortal will ever witness the work. To witness the work is to say goodbye to the ordinary. It is to kill the dragon and enter the world of mystery. It is a work some may call esoteric, which it is. It exists in the beyond. We point at it through its name ‘Metaphysical Readymade’ [artist's notes].

(b. 1981 Well, The Netherlands) studied at the Gerrit Rietveld Academy in Amsterdam and is currently undertaking a Masters degree in Sculpture and Installation at the University of South Australia. In his work he explores the notion of exploring.

 

 

 

kate mitchell

… works across performance, video, sculptural elements and drawings to explore concepts of the physical limitations of the body. Revelling in the spirit of endurance, existence, time, and effort, the artist executes and presents her performances with an ever-present healthy dose of humour and an anthropological eye. Resting on the fulcrum of triumph and defeat, her work encourages the audience to embark upon a quest/direction of no meaning, a journey towards greater comfort and awareness of the paradox. Kate's work aims to invite comedy, absurdity and slapstick into the viewers experience and to bring about an awareness of being in the body.

Kate Mitchell graduated from The College of Fine Arts with a Master of Fine Arts in 2009. Exhibitions include: The Night of the Sunglasses, Manzara Perspectives, Istanbul Turkey (2009); Don’t Touch My Rocks, Chalk Horse (2009); The Horn of Plenty: excess and reversibility, Para-Site, Hong Kong (2009); Urban Screenings, Federation Square, Melbourne (2008); Art & About - By George Australia Square, Sydney (2008); Looking Out, (collaboration with Marley Dawson), Macquarie University, Sydney; ICollect The Australian Museum, Canberra (2006); Foil Awards, Little More Gallery, Omotesando, Tokyo (2004). Kate Mitchell, b. 1982, lives in Sydney.

works in odradek are:

top Aura Mountain (Map 1), 2010, smudging on stonehenge paper 120cm x 66cm, dowel,
plunger, coconut

bottom 50 Big Rolls (what the ancients didn't know), 2010, DVD, 15mins 22sec

This project was sponsored by the NAVA Visual and Craft Artists’ Grant Scheme, supported through a donation by Mrs Janet Holmes à Court and financial assistance from the Visual Arts Board of the Australia Council.

 

 

 

ray harris

… is not a middle-aged man as her name might suggest but an emerging Adelaide artist communicating her experiences, revelations and neuroses through mixed media sculpture, video performance and installation. The subject of her work is largely the psychological struggles and complexities of selfhood — identity dramas and disappointments, self-awareness and self-deceptions, and the relationship between reality and fantasy. Fascinated by mental spaces she explores these issues through often-autobiographical interpretations of universal experiences and conditions. Ray is also a recent Visual Arts (Honours) graduate of South Australian School of Art 2009, a new board member of Feltspace, Artist Run Initiative and a founding member of a new peer-based group studio space.

 

brad lay

Often employing the ocean as metaphor, material and mechanical aid, Brad Lay works across mediums to respond to an interest in how 'culture' simultaneously reflects, and affects 'nature'. His recent work reconsiders and gently subverts the idea of the sublime in it's historical and contemporary contexts. A 2009 honours graduate of the South Australian School of Art, he has contributed to numerous artist-run exhibitions within Adelaide, and recently presented a body of work entitled I'm Gonna Krill You within the Project Space of the Contemporary Art Centre of South Australia.

About the work in odradek:

Mirrored swell charts reveal the outline of owls, the colour = swell height scientific aesthetic perhaps not as dry as it first seems. Meanwhile an awkward home-made wave recording device jerks across a pylon-bound canvass. To believe that we can consistently and accurately predict the movement of a storm in the middle of the ocean is, well, kind of ludicrous. With this in mind, I've embraced the simultaneously chaotic and patterned nature of waves by developing a series of work that is directly (and indirectly) generated by waves.