All matter has a past
Penny Coss, Sean O’Connell & Clare Peake
all matter has a past
Curated by Consuelo Cavaniglia
3 August - 26 August, 2017
Left, Penny Coss, Curved Reaction Boundary, 2017. Acrylic on Canvas, 182 × 130 cm. Middle, Clare Peake, 100 Hands of God, 2017, Ceramics, dimensions variable. Right, Penny Coss, Reaction Boundaries, 2017, Acrylic on Canvas, 198 × 140cm. Photography by Document Photography.
ID: In the forefront, there is a long grey wooden table with a series of white ceramic hand like sculptures laid across it, all the hands look like they are moving from the table. In the back to the left, is an abstract painting with splotches of green, purple, blue and yellow on a light pink base. Similarly on the right back-hand side, there is another abstract painting with navy blue and purple splotches on a light pink wash.
Curatorial Statement
All matter has a past was an exhibition that centred on the idea of encounters – between a person and a site, an idea and a form, a material and a force. The artists in this exhibition shared an interest in the idea of transference and exchange. In their work, encounters between forces or entities are either orchestrated or observed and within them the artists found connections to place, personal histories, and to formal enquiries of material and form.
In each artist’s work we were made aware of the process of time and in the materials used we witnessed the passing of time as a physical journey. In this, we were made aware of the physicality of our own bodies and of the matter that surrounds us. In each situation we find a chance for exchange and fluidity between time, space and matter.
Left, Penny Coss, Reaction Boundaries, 2017, Acrylic on Canvas, 198 × 140cm. Right, Clare Peake, 100 Hands of God, 2017, Ceramics, dimensions variable. Photography by Document Photography.
ID: There is a long grey wooden table with a series of white ceramic hand like sculptures laid across it, all the hands look like they are moving from the table. In the back to the left, there is another abstract painting with navy blue, yellow and purple splotches on a light pink wash.
Left, Sean O’Connell, crash, 2010. 16 mm film, 1 minute 45 seconds. collide, 2014, 16 mm film, 3 minutes. Right, Penny Coss, Curved Reaction Boundary, 2017, Acrylic on Canvas, 182 × 130 cm. Photography by Document Photography.
ID: To the right, is an abstract painting with splotches of green, purple, blue and yellow on a light pink base, that is unstretched canvas. On the left are two television screens, the one on the far left with a white screen, the one to the right with a black rectangle on the right hand sign pointing inwards on a white background.
Penny Coss, Reaction Boundaries, 2017, Acrylic on Canvas, 198 × 140cm. Photography by Document Photography.
ID: There is another abstract painting with navy blue, yellow and purple splotches on a light pink wash.