2007
DAMP
Black & Silver
Tim Fleming
Jess Johnson & Jordan Marani
Conor O'Brien
Dell Stewart & Adam Cruickshank
Amber Wallis & Lizzie Hall
Dylan Martorell
Jake Walker & Mark Rodda
Nathan Gray
TSHDT? 004
Alter Egotism
Do You Remember What It Was?

2008
Elvis Richardson
Belle Bassin & Alasdair McLuckie
Al-Ah-Manful
Brendan Huntley
Kate Smith
Marcus Keating
Flux Capacitor
Tristan Jalleh & Saskia Pandji Sakti
Susan Jacobs
Habitat
The Changes
Grow Wild

2009
Dan Moynihan
Thomas Jeppe
Amber Wallis
Christopher Day
Akira Akira
Leah Fraser
Ry Haskings
Victory Over the Sun
Amiel Courtin-Wilson
Ash Keating
Brendan Huntley
William MacKinnon
The Edge of the Line
Helen Johnson
Charlie Sofo

THE EDGE OF THE LINE

BENJAMIN SHEPPARD
MATTHEW SHANNON
JAMES KENYON
AARON CARTER
curated by Benjamin Sheppard

24 October - 7 November 2009

All graduates of the Victorian College of the arts in Melbourne, this is the first time these four artists have exhibited together outside of the institution. Pulled together by Sheppard, this collective presents as a mixture of technique and artistic discipline that pushes notions of perspective and perception using kinetic sculpture, drawing, laser-cut forms and etched back lit mirrors.

Benjamin Sheppard's work explores spatial and perspectival curiosity as his 3D wire drawings project into space casting shadows across surfaces throughout the gallery. Accompanying these sculptural pieces are intimate works on paper that condense the actual into the virtual on a two dimensional image plane.

The linear quality of Sheppard's work leads the viewer through the gallery to a kinetic work by Matthew Shannon. His mobile works like a rudimentary cinema machine for a visual experience. Powered by incidental air currents in the gallery, the words make up a sentence that often appears half in reverse, spinning in and out of visual comprehension.

The gentle motion of Shannon's work will be juxtaposed with the soaring lines of James Kenyon's drawings and laser-cut assemblages. Amongst his speedy imagery resides an alter ego whose presence introduces a narrative to the web of lines and architectural symbols. Kenyon pieces together the astonishing and hitherto unknown 'Tale of the Speedmaster', a historical figure revered for his exceptional abilities in the 'field of freeway racing'.

Kenyon's work leads into the dream like spatial play of Aaron Carter's back-lit mirror works. Fine lines and textures are etched into the back of a mirrored surface, producing an ethereal dream-scape inhabited by the reflection of the participating viewer.

From drawing the line to toeing it, The edge of the line will tease and tempt the edge of meaning with investigations into spatial and conceptual boundaries, the limits of drawing, and alternative scripts, all the while exploring the seemingly simple line with its indeterminable edge.




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