A look back at the March Mostra 2016

Just in case you weren’t able to attend the March Mostra showing works produced by our six resident artists from January to March, we have compiled our favourites from the official photographs of the exhibition. (Photographer: Roberto Apa). You can read the individual blog published about each of the artists by clicking on that artist’s name.

The exhibition was made possible thanks to the kind support and generosity of The Arts Council of Northern Ireland, Australia Council for the Arts, Conseil des Arts et des Lettres Québec, The Incorporated Edwin Austin Abbey Memorial Scholarships and The Linbury Trust.

Our June Mostra will be taking place on Friday 17 June.

Main gallery viewGallery installation view

_APA5431Gallery installation view

_APA5474 copiaFoyer installation view

 

Anne Ryan (Abbey Fellow in Painting)

_APA5469

Anne Ryan, left to right: Io Saturnalia, acrylic on card, dimensions variable
Untitled (Dérive), watercolour on paper, dimensions variable

 

Ross Taylor (Abbey Scholar in Painting)

Ross Taylor, left to right: Box of teeth, oil, pastel and pencil on linen, 130 x 110 cm
The Bony Labyrinth, oil, pastel and pencil on linen, 120 x 150 cm,
Tanaquai, oil, pastel and pencil on linen, 39 x 30 cm
Bad blood and eggy piss, oil, pastel and pencil on linen, 27 x 40 cm
Big ginger son, oil, pastel and pencil on linen, 45 x 60 cm

 

Damien Duffy (Arts Council of Northern Ireland Fellow)

_APA5517_1.jpg

Damien Cropped

Damien Duffy, Sea Ghost Audit, acrylic on canvas, 300 x 230 cm

 

Michelle Ussher (Australia Council Resident)

_APA5452

Michelle Ussher, left to right: Biatches, oil on linen, 65 x 80 cm
Porn classic with middle-aged brunette, oil on linen, 50.5 x 40 cm

 

Jonas St. Michael (Québec Resident)

Panoramica_senza titolo1.jpg

JOnas Cropped

Jonas St. Michael, Untitled, photographic print, 180 x 150 cm (x2)

 

Rachel Adams (Sainsbury Scholar in Painting & Sculpture)

Chairs cropped

Rachel Adams, Heritage Work 1 and 2, tie-dyed cotton, timber, t-shirt yarn, zinc brackets and steel tube, 50 x 50 x 85 cm

Advertisements

March Mostra 2016/ Meet the artists… Rachel Adams

Our sixth and final interview for the March Mostra on Friday 18 March is Rachel Adams. Rachel talks in the below interview about the progression of her work over the last six months of living in Rome and how excited she is about the upcoming mostra.

Rachel Adams (Sainsbury Scholar in Painting and Sculpture)

22434821624_c40af8fab6_z

Rachel Adams’ practice draws on a wide array of influences ranging from 1930s interior design to neolithic tools, classical sculpture and science fiction props. Her objects combine a variety of DIY methods, such as tie-dye and macramé, with contemporary techniques like laser cutting and digital printing. These works aim to highlight contradictions in both our perceived notions of history and the hierarchical structures of art and design.

Within your first three months here you created your curtain piece for the mostra which worked really well within the space of the Open Studio. Has the fact that this mostra is a shared gallery space changed the way you have approached your work?

Definitely, because I know that it is a shared gallery space my work can’t be site specific in the way that the curtain I made was. That piece was created for my studio window, so it had to be a particular scale; the window dictated a lot of the decision making. For the first mostra it was really good for me to have that singular idea, whereas this time I have been making things in the studio the same way I would work in my studio in the UK.

It took me quite a long while to work out how to make work here: you need time to be able to get used to your materials and tools. So the work I have made for this exhibition is the first time I’ve made work in the way I do at home.

For this exhibition I have made a pair of chairs. They are based on chairs that I saw at the Villa Borghese museum, the chairs that you’re not allowed to sit on. They are also influenced by a post-modern Italian design particularly the work of Nathalie Du Pasquier. Du Pasquier was one of the founding members of Memphis and she made these really incredible chairs. I have been looking at her work a lot, specifically how pattern covers her designs for furniture, and I’ve been really influenced by it. Another thing I’ve been thinking a lot about is the book fold marble; where you get a symmetrical pattern but with an irregular element. I’ve been using that idea when I create my dyed textures for these works as well.

One of the things Ross [Taylor, Abbey Scholar in Painting] has said about being at the BSR for six months is that he feels that Rome is influencing his work for this mostra in a more obvious way than it did for the last one. Do you feel you agree with this?

I think it could be, I always need hindsight to tell that sort of thing. The curtain was definitely very influenced by Rome and the marble in the churches. I was also using a new technique – it was the first piece I had managed to make using that. I think I have got more comfortable with Rome, and adding it back in to what I was doing before. With my pieces for this mostra I wanted it to be quite alien looking, referencing science fiction – that’s why I’m going to have these metal brackets on the work so they have this hard/soft mechanical/organic thing going on. I also think Rome has allowed me to use Classicism again, I had partly rejected it recently even though it was very much present in my older work.

You’ve mentioned Classicism. Do you think that that is the time period you have referenced the most?

In Rome there is this feeling of the piling up of different time periods within one space. I hope that is something that will become more apparent in my work. The way that things are layered is definitely interesting. One thing that has been really useful for me to see are all these Palazzi where you get a chair next to a sculpture, with a wall painting, and fake marble, and a gold frame. It is so over the top, which has allowed me to think that I can get away with using a mixture of techniques: tie-dye and macramé, one pattern upon another pattern. Seeing this has given me the confidence to go very bold in my art rather than feeling like I have to make things more muted or subtle.

Finally, are you looking forward to the show?

Yes definitely. What is really exciting is having been in the other artists’ studios I can see there is a very clear and intense use of colour. That’s going to come out really clearly in the show and look very exciting and intense in the gallery space.


Rachel’s work will be exhibited alongside the other five resident artists in the March Mostra; open 16.30-19.00, Saturday 19 March until Friday 25 March 2016 (closed Sunday).

Photo by Antonio Palmieri

March Mostra 2016/ Meet the artists… Jonas St. Michael

We are now introducing you to the fifth of the six resident artists who will be exhibiting in the March Mostra on Friday 18 March. Jonas St. Michael talks about his photographic practice over the past three months in Italy.

Jonas St. Michael (Québec Resident)

24808075923_ff1b767e9a_z

Jonas St. Michael has used the medium of photography as a strategy in either appropriating architectural space or creating his own ad hoc environments as the settings for both real and imagined narratives. His work examines the meaning of fiction as something more than simply the construction of an imaginary world, but rather a re-framing of the ‘real’. His research in Italy has primarily focused on the architecture and interior design of a particular 1930s-era mansion located in central Milan.

In your welcome week introductory lecture, you showed us some beautiful images you had taken of stately homes. Is this typical of your work?

I wouldn’t limit my work to simply being architectural. I work across many different lines of picture making. By default, photographs imply certain spatial relations within their frame or the illusion of depth. There’s often a setting that’s laid out within my pictures. That’s not to say architecture or interior design is not foregrounded.

It’s really about creating a kind of inner world within the frame. I would like to think my work deals mainly with narrative forms or the limits of storytelling through image production. I was always interested in photography because of what it failed to reveal.  I use image as a way of interpreting architectural space as opposed to simply illustrating it. It’s also important for me to address the medium through the work.

 So what was your plan and have you changed it?

For better or worse, I try to avoid having a plan. I find that when I do have to have a plan I tend to veer as far away from it as possible. Knowing where I’m going or where I’ll arrive bores me a little. Of course, I did have somewhat of an idea for potential work before arriving in Rome but that quickly unraveled as some elements were not as I had imagined them to be. Those challenges, of course, push you in unexpected directions.

One of the great things about being at the British School at Rome is that a wide range of people, including classicists and archaeologists, are exposed to your work. Someone here had suggested that I might be interested in seeing a particular mansion in Milan. I ended up going up there by train and visiting the house and was immediately inspired to make work there. This villa particularly intrigued me because not only did it point to the tastes and history of a particular social class in Milan high society, but also that the entire house was preserved from the 1930s.

So, the bulk of my work in Italy became quite specific, which I wasn’t expecting.

 So what was it about the villa that struck a particular chord with you?

I found it unique because the house had only recently been acquired by a trust. And in that acquisition, the entire building became framed in such a way that it became an art object in itself rather than a home or a museum that was housing artworks and furniture. As you walk through it, you really get a sense of a beautiful, eccentric assembly of paintings, sculpture and decorative objects and textures. It felt very cinematic in the way that it obliterated any sense of an existing outside world and the way that it appeared almost like a set piece.

It was also significant that it was completely vacated which made it seem all the more mysterious. The estate remains in an ambiguous state of being both a private space and a kind of exhibition space or spectacle for the public. Yet there is something rather oddly voyeuristic about being there. I look at it – it doesn’t necessarily look back at me.

Has being here given you ideas for work that you want to continue?

It hasn’t changed the way I approach my work necessarily; my concerns as an artist remain the same. However, simply the experience of being here in Rome has opened up possibilities and lowered inhibitions about certain works that I’ve had in mind to explore in the near future.

For me, coming to Europe has always been about losing your way, so to speak – getting as far off track as you can – perhaps freeing yourself from your so-called everyday life. Personally, finding yourself in an unknown place is something that excites me and the same, I hope, goes for the work.

With the mostra coming up this Friday, have you picked which images you want to show?

No, not yet. I’ll likely show a few large-scale photographs that hopefully resonate with the cinematic and narrative qualities of the house. I also made a short film that should be finished in a few months.


Jonas’ work will be exhibited alongside that of the other five resident artists in the March Mostra: open 16.30-19.00, Saturday 19 March until Friday 25 March 2016 (closed Sunday).

Photo by Antonio Palmieri

March Mostra 2016/ Meet the artists… Michelle Ussher

Over the next few days we will be introducing you in turn to the six resident artists who will be exhibiting in the March Mostra on Friday 18 March. Today we spoke to Michelle Ussher about her work.

Michelle Ussher (Australia Council Resident)

michelle

Michelle Ussher’s work is motivated by an ongoing interest in how an image, form or sound can communicate the subjective and conditional nature of perception. With a preference for oil painting, ceramics and opera her practice is concerned with reorganising the symbolic order of ‘things’, which offers a new perspective to their re-imagining and transformation. Images and narratives transcending time inform the work, such as contemporary reiterations of historic representations of intimacy, and symbolic representations of the female and sexuality.

Sound scape in particular – what inspired to do sound rather than a visual piece?

The sound piece (Nocturne) Delphine!…are you there? Was made at the beginning of my residency, for the exhibition The Green Ray at Wilkinson Gallery in London curated by Andrew Hunt. The Green Ray is a film by Eric Rohmer based on the Jules Verne book by the same name. I knew the film really well as I’ve watched a lot of Rohmer films for their dialogue as they’re usually about women, and I write stories to create the narratives and images in my work.

Looking at the film and the book it became apparent the two female protagonists are quite different. You assume the nineteenth-century fictional character Helena would be less liberated than Delphine from the 1980s film, yet this wasn’t the case.

The Green Ray as an idea is an actual scientific phenomenon, turned into a romantic notion that both the author and film director projected onto the female protagonists. The idea is that if you watch the sunset with your lover, and see the last ray of light, which is green, you will have a vision of your destiny with this person.

Verne’s protagonist, Helena uses the notion of the green ray and the pursuit of it, to defer marrying a suitor – in a similar way that Penelope, Ulysses’ wife, puts off her potential suitors by unpicking her tapestry each night. When the opportunity arises to finally see the green ray, Helena is in a cave getting off with her new lover, as she can find love without it.

Rohmer’s Delphine is the opposite, she is possessed by the green ray, and all romantic notions such as séances, star signs, and synchronicity. Rohmer paints her as pathetic, lost, in search of love to solve all her problems. This really annoyed me, and gave me the idea of creating a new dialogue between Helena and Delphine exploring contemporary feminine desire, in the form of a spatial séance in sound. In the sound piece Delphine contacts Helena to talk about boys and sex, just like any two girls today. The actual transcript for the dialogue is taken from my WhatsApp conversations with a friend discussing sexual adventures from Tinder and Grindr. Working with the composer Huw Hallam, the text was divided into parts representing stages of falling in love, based on texts I had read by Adam Phillips and Darian Leader. The dialogue fell under different categories titled projection, objectification, sex and emotion. The sound piece begins with the projection stage, moving to objectification and ends in a verbal and sonic mess of sex and emotions. Each stage is punctuated by varying shades of green, and the calling out of their names as if they are different men.

The sexual element that you mentioned within the women’s dialogue – does that also appear in your paintings?

Yes, my ideas for paintings at the moment come from the same narratives: from films, novels and myths, and thinking about why and how certain ideas, often about women, have been projected in particular ways – how I can be playful with these perspectives. There are certain narratives you can follow from Greek to Roman to Christianity right up to contemporary cinema. I revise these narratives, create new ones to make fun of them, and find a new position to see them differently. Most of my work is concerned with romance, intimacy, and sex. Each body of work has its own colour palette, using a selection from Josef Albers series Homage to the Square. I like the idea of taking the work of a male modernist artist and making it my own, claiming a part of painting history for myself and female artists. The Green Ray works were both made as dedications to two Polish female artists, Agneizka Brezanska and Paulina Olowska, and the piano piece and title for (Nocturne) Delphine!…are you there? Is from Nocturne in B-Flat Major by Maria Szymanowska, a female Polish composer.

Since I arrived at the BSR I’ve been reading Julia Kristeva’s book The Severed Head which looks at representations of the severed head through painting. After reading her essay about Medusa, I began researching the Roman version of the myth, and looking at how she is represented in painting, sculpture and fountains. She is depicted as an ugly dangerous woman, with brave men cutting her head off. She’s symbolic of female genitalia, and the severing of her head could be understood as female castration. I started thinking about her curse, one based on female jealousy, where the sight of her would turn you to stone. If the focus of the curse is shifted to Medusa’s perspective it becomes very sad, as it means she can never look at anyone she loves. Greek depictions of her seem more complex, as a woman so beautiful she is terrifying.

A marble fountain depicting her was named The origin of coral which refers to the idea of hair turning hard, to stone. The title reminded me of Courbet’s painting The origin of the world, depicting a lovers point of view of female genitalia. The same view is a very common angle used in contemporary pornography, with much less sensuality. Depictions of Medusa often have her in a frozen state of screaming, mouth agape, not dissimilar to an erotic expression of a woman in orgasmic climax. From this I’ve begun thinking about the connection of women’s pleasure and male fear. I’ve been looking at a lot of pornography, how female pleasure is represented for heterosexual men, and what it might look like without the male gaze, if it was for the mirror, the object that allows Medusa to look at others, with intimacy, for her own pleasure.

Do you think there is an element of being in Rome, which has influenced your work or are these ideas that you came to the BSR with?

I came with the idea of knowing I wanted to research narratives that transitioned from Greek to Roman myths. I knew I needed to physically be in Rome, where contemporary reiterations of these narratives co-exists with their historical ones, and see if I could find something about how they have morphed into the present that could offer something to my work which I couldn’t gain from afar. I didn’t know that I was going to work on Medusa, that happened when I was reading the book and looking at art here.

What’s great is that this work, started at the BSR, will continue, it won’t just be something I look at in these three months. I’m sure there will be a sound piece that comes out of it, they usually come later, and I’ve had more ideas for paintings already.


Michelle’s work will be exhibited alongside the other five resident artists in the March Mostra; open 16.30-19.00, Saturday 19 March until Friday 25 March 2016.

Photo by Antonio Palmieri

March Mostra 2016/ Meet the artists… Damien Duffy

Over the next few days we will be introducing you in turn to the six resident artists who will be exhibiting in the March Mostra on Friday 18 March. With under one week to go, we spoke to Damien Duffy in his studio to find out more about him and his work.

Damien Duffy (Arts Council of Northern Ireland Fellow)

24808041743_1ac85d9d02_b

Damien Duffy’s work continues here with a thread of appropriation of landmark works, in order to engage new readings. Previous re-makings include Duchamp’s Large Glass and The Citizen by Richard Hamilton; a ventriloquism which in this instance uses the work of Cy Twombly. This piece casts a disenchanted eye on the privileging of the poetic over the political. Paired with lines from the poem ‘Waiting for the Barbarians’ by C P Cavafy it alludes to contemporary events in the Mediterranean.

Your opening project here is focusing on the work of the American/Italian artist Cy Twombly.

As a critique of Twombly, his paintings have a very luxurious and poetic quality. What I’ve been interested in while I’m here is trying to pick apart is this luxurious, poetic nature of his work.

Twombly made a series of paintings of a sea battle entitled Lepanto inspired by the battle between the Ottoman Empire and the Holy Roman Empire – a lot of his work deals with Mediterranean mythology and the migration from Syria and Greece over to Italy and the transferred myth. My work is accounting for that, so all the poetry has been evacuated from that. It reduces the images down to the black and white of a receipt and the title of the piece is Sea Ghost Audit so there is also an illusion to an audit of what is currently going on in the Mediterranean, using Twombly’s de-poeticised imagery.

Twombly’s Lepanto was all made on a large scale: three metres by two metres. My original idea was to make one big canvas with all the images from Lepanto superimposed onto it. Conversations I had here while in the early stages of making it led to stopping that as the artwork started taking a sense of elegance in its own right. That is something that is probably fed out of the experience of Rome. You come here [Rome] with a set of ideas but the city permeates into you in a different way, at first you are overwhelmed with the former grandeur and the elegant melancholic nature of the architecture and art. If you look at some of the artwork, like the frescoes from Livia’s Garden in Palazzo Massimo, the painting is almost heartbreakingly beautiful. That then tends to condition how you start to perceive where your work might sit within the broader contemporary spectrum against the context of a bigger historical spectrum as well.

The gain from being here is a sense of over-sight; you are in a city that ties everything together. Particularly within the BSR, you are given the privilege of living in an environment that is saturated with culture and full of other artists and scholars leading to a very privileged overview. It gives you opportunities you wouldn’t otherwise have as you are not in Rome as a tourist. You are here as a researcher and you have this experience that is a subversion of tourism, consumed in a different way.

Do you think your use of Cy Twombly’s work has been different because you have been living in the same place that he did?

Definitely, I think that the work takes on a different and particular pertinence given that it has been made here; it casts a disenchanted eye upon Twombly’s practice in order to try and deal with the current migration of refugees from wars in the Middle East and Africa.

It has also led to other ideas as well, as a consequence of that. This is a body of work that extends beyond a set of appropriations. I have worked on a Duchamp piece, a Richard Hamilton piece, this is a Twombly piece. There is potentially yet another appropriation piece that has come out of this which I have just thought about in the making of this work. But there is also a new body of ideas that have extended from my response to being here in Rome, and it is not necessarily a response to the place as a geographical location. Living within the BSR gives you an affirmation of the value of what you are doing that shifts it to another level, which is nice!

You talk about the Palazzo Massimo. Do you think it is the immersive nature of the decoration in Livia’s Garden Room that draws you in? Is this something you are intending to replicate in your work or is the larger scale of your piece, emulating a wall fresco painting, a coincidence?

This specific piece of work is framed by the project proposal that I applied with. After the first few weeks of being here I was reticent about continuing with it, however, taking the time to think about what I will do made me realise that this is still a valid piece of work to make and that in the making of it, it has changed and has brought on a new sense of elegance. The fact that this is in line with the scale and immersiveness of Livia’s wall paintings is coincidental but the wall paintings have a grandeur and level of decoration, complete with darker elements, that is almost characteristic of Rome, which has undoubtedly fed into my work.

Do you have anything else to add about Rome?

The city: there is a particular elegance to the place, and even though it is a capital, it has a very relaxed tempo that is very conducive to introspection. It seems almost like it has been like this throughout the history of the city.

In the first few weeks here I saw one visual that was completely characteristic of the collation of all the layers. We were walking back from getting a pizza after seeing a gallery show and we were walking down a set of steps between two apartment blocks near the colosseum. On the stairs there was a group of Ethiopian guys hanging out and chatting, you could tell this was a place they were very comfortable in. They were all sitting around with a mobile phone that was playing Mahler, you know the classical music. You just got this feeling that you were in this eternal city and there was the evidence of migratory populations sitting together listening to this nineteenth century Romantic music on a mobile phone – this scene just kind of nailed it for me, I just thought that really characterised the place.

You have spoken a lot about a sense of elegance that you feel has come from Rome. Is this something that is different to the work you were producing in Ireland?

Yes I think so because in the context of Ireland, and being Irish in the UK there is a political element that always shadows your work. Now that’s not to say that all the work I had produced before coming here was political but even trying to move away from that, the decisions that you make are almost political themselves.  Coming out of that context you get this cultural saturation, more often than not my work is characterised by what I don’t allow myself to do. So being with the context of Rome there are new elements that I will allow myself to do, this stems from the ambient elegance of Rome.


 

Damien’s work will be exhibited alongside the other five resident artists in the March Mostra; open 16.30-19.00, Saturday 19 March until Friday 25 March 2016.

Photo by Antonio Palmieri

March Mostra 2016/ Meet the artists… Ross Taylor

Over the next few days we will be introducing you in turn to the six resident artists who will be exhibiting in the March Mostra on Friday 18 March. With under one week to go, we spoke to Ross Taylor in his studio to find out more about him and his work.

Ross Taylor (Abbey Scholar in Painting)

22665356209_70a6e34cf8_b

Ross Taylor’s paintings are concerned with a language that is non-specific.  A kind of poetics where only condensations appear on the surface, attempting to model thoughts and ideas that seem to be impossible in a physical realm.  His research in Rome will focus on late medieval conceptions of virtual space and the techniques employed in portraying the sacred and the figureless.

You’ve been here for three months already and so we have seen some of your work in the December Mostra: Open Studios 2015. Has there been anything from the October-December period that has carried over into your work during these three months, or have you found yourself working with completely new ideas?

Well, I think I had arrived from London with a lot of ideas. I was a bit bowled over by Rome and I thought I was responding to it in my work, but maybe I wasn’t as much as I thought! But this term I have been able to let the work catch up with me and I think I am feeding more of Rome into the paintings. I have noticed that everything has become a lot more broken down, which for me, as opposed to the more figurative stuff I was doing before Christmas, is an indication that I am perhaps more aware of how I am experiencing places here, rather than just making paintings as a way to acknowledge what I’ve seen.

So Rome is reflected more in your recent work?

For me, I believe I am never really going to be able to comprehend being in Rome, so I am glad that my work has got a bit lost and become more like a morphing series of marks. If I suddenly started painting specific things that I’d come into contact with, I think that it would be a sign that I didn’t know what to do with everything that was going on. I suppose a lot of it comes down to what we said before at the last mostra, about ‘skin’ and the ‘skins of Rome’. I am just constantly bowled over by how there are so many different surfaces in this city. It sounds a bit cliché but I like how things aren’t obsessively renovated and maintained the way they are in London. There are plants growing out of walls and you know someone must have made a decision for it to be like that, the culture here is just different and things are allowed to be. Also, being able to go see things like the Domus Aurea has really inspired me. It’s such a great story hearing about Renaissance artists rediscovering the Palace and being lowered down through holes in the ceiling to copy the frescoes inside. Thinking about the connections between work made in the 1st century AD and the work made 1500 years later, there is such a huge amount of time in between but there is such a visible connection there. It makes me feel that I am allowed to think about what art will be made in 1400 years.

You’ve talked about the inspiration of Rome as a whole, and specifically about a trip to the Domus Aurea. Has there been anything else that you think has inspired your work?

I do feel that there is a lot here for me, things that I didn’t realise, or didn’t even know were here. Learning more about fresco painting for instance, how historically it wasn’t always the most valuable art form, it served as a cheaper alternative to mosaic. In the Palazzo Massimo there are some really odd pictures that are almost like graffiti; there’ll be a floating head next to a bunch of grapes, next to a table, next to a mask, a kind of composition that teeters on decoration. I like that, painting that becomes a lot more informal, you don’t need to prescribe it to landscape or portrait, it becomes more like a diagram.

It’s not just the city, it’s the people too. It’s been really great being next to artists like Anne [Anne Ryan, Abbey Fellow in Painting] and Damien [Damien Duffy, Arts Council of Northern Ireland Fellow]. The other resident artists come in with fresh opinions and that’s what I think I really needed. It’s amazing having such a variation of people who can give daily input into the work as it’s happening.

Your last mostra here was an open studio, rather than a gallery show. Are you excited about how your work is going to look on display next to the work of the other artists?

I really enjoyed doing the Open Studio, particularly after being here only three months. In a way it stopped me freaking out because I could just think ‘my work is going to be alright, it’s going to be on the same wall from where I made it’. But I’m really glad to be showing in the gallery this time because it’s a good chance to you get some distance on your work. Usually my studio is pretty messy, the walls are covered in paint and it’s almost as if I have to cut the images out. I stop seeing them because they become part of the floor or the walls. Being in a group show is almost like a palate-cleanser, others work helps reset your viewing of the work.

Have you had any thoughts about what you want to show in the mostra yet?

I always have these ‘definite’ ideas of what I’m going to do, and I draw little images of how I’m going to hang the work, but then I’ll get down there and I’ll completely change my mind. I sometimes make the mistake of thinking that with my work everything happens when I’m painting, but in a way I need to take a couple of days at the end to stop and think about how they should be seen. I’ll probably take a selection down to the gallery and move them around until they find a home.

What are you most looking forward to about the mostra?

I think that it’s a chance to see what we all actually do, even though I’ve been living with the other artists and going into their studios daily, you don’t know what people are actually going to produce until the show. It’s a bit like being an actor and rehearsing, you don’t know exactly what it’s going to be like on stage. I think that is what is going to be really exciting!


Ross’ work will be exhibited alongside the other five resident artists in the March Mostra; open 16.30-19.00, Saturday 19 March until Friday 25 March 2016.

Photo by Antonio Palmieri

March Mostra/Meet the artists…Amanda Davies

A Davies, Detail - photographic image 18cm x 13cm from "feeling coming black", 2014. Photograph by A. Palmieri

A Davies, Detail – photographic image 18cm x 13cm from “feeling coming black”, 2014. Photograph by A. Palmieri

www.amandajanedavies.com

Amanda Davies (Australia Council Resident, January – March 2014) investigates a common feeling of disquiet, a tightening of sensation, and in the process explores connections with self-representation, personal experiences, and the body.  Davies’ interest during this residency has been mainly focussed on 14th and 15th century painting, antique Roman sculptures and ancient Roman notions of dirt and disease.  For this show she has explored the symbolism of the band-aid, which both conceals and reveals a wound – a sign that the body is leaking and moving towards a state of disorder.

Amanda Davies (Australia Council Resident, gennaio – marzo 2014) indaga un comune senso di inquietudine, una contrazione delle sensazioni e in questo processo esplora la connessione tra l’auto-rappresentazione, esperienze personali e il corpo.  Durante la sua residenza Davies ha focalizzato la sua attenzione soprattutto sulla pittura del XIV e XV secolo, sulle sculture romane e sugli antichi concetti di sporcizia e malattia.  Per questa mostra l’artista esplora la simbologia del cerotto, oggetto che nasconde e allo stesso tempo rivela la presenza di una lacerazione – segno che il corpo  è in stato di perdita e disordine.

—–

BSR Fine Arts March Mostra opens Friday 14 March 2014 18.30. Dates: 15 – 22 March (excluding Sunday). Hours: 16.30-19.00. Read the press release here or join the Facebook group here.

March Mostra Poster