Theatre of Detail
Gray St Workshop
30 Mar – 30 Apr 2016
In 2015, Gray Street Workshop (in Adelaide, South Australia) celebrated 30 years as an artist run space. Over three decades the workshop has been dedicated to providing support, opportunities, promotion, mentoring and studio space to emerging, mid career and established artists working in the field of contemporary jewellery and object making. The uncompromising commitment of the Gray Street Workshop partnership to their work and to a studio-based practice has enabled Gray Street to evolve into one of Australia’s most exciting and respected workshops.
To celebrate this achievement and to continue to provoke and stimulate discussion on the context and evolving practice of contemporary jewellery the workshop presents an exhibition of new work by the partners Jess Dare, Sue Lorraine and Catherine Truman.
Gray Street Workshop has had a long and rich association with the New Zealand contemporary jewellery community. Since the early 1990s Gray Street tenants and partners have participated in residencies, forums, conferences, workshops and exhibitions in New Zealand. For over a decade workshop partners were involved in a rich exchange of artists and exhibitions with Fluxus in Dunedin. The National is proud to be the New Zealand venue for this significant exhibition in 2015.
Theatre of Detail was launched in Adelaide at Gray Street Workshop Gallery in March 2015 as part of the Adelaide Fringe Festival and then at Airspace Projects in Sydney to coincide with the JMGA Conference, Crossing Borders in Sydney, Gallery Funaki Project Space, Melbourne, for Radiant Pavilion, and now The National. It will finish its tour at Atta Gallery, Bangkok, in September 2016.
Theatre of Detail includes a combination of objects, moving and still photography presented as a series of installations and vignettes and themes focus upon concepts of scale, time and ritual.
United by a shared fascination with the adaption of nature and the wonders of science, each artist brings to the project a unique but complimentary skill base and aesthetic.
Catherine Truman‘s work, entitled In preparation for seeing investigates the parallels between her craft processes and the preparatory techniques used in biomedical research microscopy. Her work includes intimate video and light-pad installations and is the outcome of a recent residency in the Microscopy Suite at Flinders University, Adelaide.
Jess Dare‘s metal and glass works are derived from a recent Asia link residency researching the ritual flower garlands and offerings in Thailand. Referencing the construction and stringing techniques of Phaung Malai and Yeb Bab, Dare has infused these body related works with a dichotomist sensibility from two cultures.
Sue Lorraine continues her investigation into museum methods and representation with a series of objects and intimately scaled models that attempt to describe the natural phenomena and wonder of light.