Lachlan Scully

 
 

Intruding on the oversaturated market of traditionally composed landscape and architectural paintings of common suburbia, I wish to document a much more conflicting perspective of the ‘wandering eye’. Categorically shifting my intensive interest from my personalised environment to the privatised spaces of others, I have been finding myself intruding the front yards of strangers' houses at night. Removing myself from ill-intent with the excuse of a curious mind and artistic ambition, I am interested in documenting the scenarios I encounter.

Armed with a low quality thrift store camera, the scenarios I refer to are often captured through blurry, over-exposed photos. As a result, the subject of my images becomes less image and more ‘atmosphere’. Combined with an obvious void of physical human imagery, these paintings are a direct invitation for participants to place themselves as ‘the viewer outside', without instruction or direction.


9', 2020
Oil on canvas
250mm x 200mm x 35mm

6', 2020
Oil on canvas
250mm x 200mm x 35mm

41', 2020
Oil on canvas
250mm x 200mm x 35mm

35', 2020
Oil on canvas
250mm x 200mm x 35mm

Close Up Of 6', 2020
Oil on canvas
250mm x 200mm x 35mm

 
 
 
 
 
Gracia Haby

I have been collaborating with Louise Jennison since 1999, making artists’ books, collages, large-scale installations, prints, drawings, zines, and various tales. Besotted still, it appears, with paper for its adaptable, concealable, revealing nature, we use an armoury of play, the poetic and familiar too, with the intention of luring you into our A(rtists’ books) to Z(ines).

As artists and wildlife carers, our practice frequently concerns the natural world, addressing themes of conservation and biodiversity. Our home-based studio is also home to our wildlife shelter, Tiny but Wild.

I collage with words about dance for Fjord Review.

http://gracialouise.com
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Wei Xuan Seow