110%, AMBER BOARDMAN, WILL FRENCH, KATE MITCHELL, SARA MORAWETZ, JD REFORMA, AND MIN WONG.
CURATED BY TESHA MALOTT, REBEKAH RAYMOND AND HELEN WALLER
”PERSONAL BEST”
8 NOVEMBER –15 DECEMBER

Personal Best, Installation View, 2018. Photography by Zan Wimberley.

ARTIST STATEMENT

Originally, a personal best was a sporting term, describing the greatest achievement one had ever had. Now it could be argued that achieving one’s personal best is an underlying motivation for every action we take. This exhibition asks the question—what is it about the human condition that makes us push ourselves to be faster, higher and stronger and how does ‘wellness’ fit into this dialogue? While the pressure to be successful in the era of Capitalism isn’t new, the exhibition looks at how we view achievement today, when now more than ever the the cult of the winner is revered.

“Personal Best” has been curated by the Verge team and features artists 110%, Amber Boardman, JD Reforma, Kate Mitchell, Min Wong, Sara Morawetz and Will French who will present works illustrating different perspectives on success, failure and the absurdity of seeking impossible perfection.

Amber Boardman, Glamour Machine, 2018, oil on canvas, 153 x 122cm. Photography Zan Wimberley.

(left to right) Min Wong, Relax and release, steel, leather, press stud, paint, brass, 1300 x 600 x 400mm, 2018. Photography by Zan Wimberley.

Nirvana, 2018, printed banner, eyelets, steel rod, chain, 5000x 2300mm. Photography Zan Wimberley.

Crawling is acceptable
Falling is acceptable
Puking is acceptable
Blood is acceptable
Paint is acceptable
QUITTING IS NOT, 2018, printed material, steel, rubber, brass, chain, 1000 x 450 x 450mm. Photography Zan Wimberley.

Own it , 2018, bronze, found object, dimensions variable, Photography Zan Wimberley.

Personal Best, Installation View, 2018. Photography by Zan Wimberley.

JD Reforma, Sense and sentimos, rubbings and inkjet print on the Manila Hotel Stationery, 2018, Photography by Zan Wimberley.

Personal Best, Installation View, 2018. Photography by Zan Wimberley.

Kate Mitchell, installation detail, 2018. Photography by Zan Wimberley.

Kate Mitchell, Future Archeological Digs (a multitasker getting dinner ready & taking the power back), 297mm x 420mm, Digital Print on watercolour paper, Edition of 5 + 2AP, 2018, Photography by Zan Wimberley.

(L-R) Kate Mitchell, Future Archeological Digs (seduction perfected from hours of bedroom mirror practice), 297mm x 420mm, Digital Print on watercolour paper, Edition of 5 + 2AP, 2018.
Future Archeological Digs (expectation vs differing platforms of reality), 297mm x 420mm, Digital Print on watercolour paper, Edition of 5 + 2AP, 2018,
Future Archeological Digs (drinking fatblaster cocktails on holidays then documenting and sharing it) , 297mm x 420mm, Digital Print on watercolour paper, Edition of 5 + 2AP, 2018.
Future Archeological Digs (a multitasker getting dinner ready & taking the power back), 297mm x 420mm, Digital Print on watercolour paper, Edition of 5 + 2AP, 2018, Photography by Zan Wimberley.

Sara Morawetz, ALL MY FAILURES , [part of series All My... (2017-ongoing)], Runway Australian Experimental Art Magazine commission, Artist Book and iPad, A5, 2017, Photography by Zan Wimberley.

Sara Morawetz, ALL MY FAILURES, [part of series All My... (2017-ongoing)], Runway Australian Experimental Art Magazine commission, Artist Book, 2017. Photography by Zan Wimberley.

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