Lost + Found

Curated by Josie Feingold

Making use of found imagery and materials. paintings,paste ups, sculptures and digital collages by four Melbourne based artists.

Art Exhibition previously on at The Library Artspace in Victoria, Australia.
From Wednesday 14 March 2012 to Thursday 05 April 2012

Lost + Found image Go There image Dispositionism image Raglan Street image Dear Everyone Who Smokes image HHHungry image I RMIXX U image Hold Fast To Quietness image With Outstretched Arms image

Published by The Library Artspace on Friday 24 February 2012.
Contact the publisher.

Art is a process of loss and discovery; sorting through images to find the few that resonate and letting go of styles and images that have been used before so that new developments can be made. This exhibition flirts with ideas about the lost and found in many ways.

The artists’ practices all involve a process of recycling in some way. Kraus’ installations evoke a distopic nostalgia of the displaced familiar. Both Duggan and Krycer’s paintings on found timber give new life to discarded objects while Benk uses both found photographs and rediscovered artworks as starting points for new works. Something exciting happens as these artists utilise materials and images that have stories embedded within them. The artists are able to directly establish a dialogue with the world surrounding them and find visual languages that link to what is within.

The use of motif also allows the artists to find a link between internal and external worlds. Amos Duggan’s unique fusion of human, animal and environment produces new realities; new symbols to substitute those found in the impersonal profit-focused mass-culture. His work takes you on a journey towards a new form of interconnectedness and questions the importance of excessive material possessions and socially accepted norms. Duggan asks what new realities can be found by drawing images of the future plane from our imagination.

Benk approached the theme of Lost and Found in various ways. He went through his old sketchbooks extracting some personal favourites which never got completed and re-worked them in a variety of mediums including illustration, photography and digital collage. He also has composed an online project titled ‘I Rmixx U’ where he made portraits of people on request. Benk sorted through the overwhelming catalogues of uploaded and tagged facebook photos of each subject. He then selected some photos to remix into a visually intense and powerfully saturated representation of the person. Using similar techniques, Benk’s work ‘Street Fields’ features characters walking through a crowded street, each of them find themselves in each other’s space, yet lost and alone as they’ve shut off and have transported into a mental field.

Shelley Krycer is also interested in the metropolitan landscape but takes interest in the way individuals in the city can find ways to separate from the noise and draw focus back within.
Krycer has worked from photographs she has taken of people on trains lost in thought, or drifting to sleep. These people have been transformed into hooded, long limbed figures with hand gestures loosely inspired by Proto-Renaissance paintings. The symbolic bodies point to moments of contact with the the intangible or the sacred. Krycer’s play with geometric forms considers the possibility of spaciousness and connectedness amid density as seen within the delicate mountain-like structures. There is a losing and finding of access to all that is infinite within spaces in flux. The grouped paintings encourage the viewer to see the whole along with the details. Just like within the busy train carriage, the losing allows for the finding.

Antony Kraus’ works challenge our accepted sense of freedom through the symbolism of the door. The works consist of suburban ephemera removed from their original, unknown context. The disjunctions between the images and the form are informed by shifting relationships between public and private spaces, and call into question the normalised barriers that demarcate our domestic and public spheres. Using both sides of the doors, the work suggests that our notions of intimacy, social interaction, and community are sustained by contradictions. Provocatively, Kraus locates the fantasy of radical distopianism within the ordinary. By doing so, the works function both as a launching pad and site of crash landing.