CARRIAGEWORKS AND URBANGROWTH NSW PRESENT
THE CLOTHING STORE ARTIST STUDIOS
We welcome Tony Albert, Tully Arnot, Mikala Dwyer, Samuel Hodge, Nell, Claudia Nicholson, Other Architects, and Phaptawan Suwannakudt to Carriageworks.
Working at the forefront of contemporary practice across a range of disciplines, the artists will also lead community workshops throughout the year, providing opportunities for the public to take part in activities that reflect the area’s rich culture and history.
IMAGE: DAN BOUD
Tony Albert’s art practice interrogates contemporary legacies of colonialism in a way that prompts the audience to contemplate elemental aspects of the human condition. Mining imagery and source material from across the globe and drawing upon personal and collective histories, Albert questions how we understand, imagine and construct difference.
Tully Arnot’s work explores the effect that contemporary technology has on human relationships – from interpersonal communication through social media and touch screens to human-robot interactions through artificial intelligence and companionship robots. His work integrates complex technologies with quotidian components, investigating the clash between old and new modes of thought.
Samuel Hodge’s projects have taken the form of exhibitions, publications, online platforms, fashion shoots and text-based work. His practice is centred on the re-appropriation of what remains and the merging of images, sometimes assisted with text, dye, play doh, beads, silk and paper. Subjects vary, and often a queerish gaze is applied to manipulate the intention of the original in order to interrogate modes of narrative and constructions of the self at play. The remnants are submitted to ambiguous treatment; to a constant state of ecstatic and desirous resistance to conclusive representation.
Mikala Dwyer pushes the limits of installation and sculpture. Full of uncertainties and contradictions, her complex installations never lend themselves to definitive interpretations. Described as ‘profoundly sociable’ she asks viewers to come in, participate, and find their own meanings. She sets up open-ended conversations that draw our attention to the unseen – to invisible materials such as helium, or the voids between forms, but also to hidden histories and our own highly personal relationships with magic, memory, sexuality and ritual. Dwyer explores the ‘consciousness’ inherent in materials, objects and spaces, their emotional tactility and sculptural possibilities.
Nell’s practice has naturally evolved as multifaceted and interdisciplinary. Production of small, intimate objects is just as likely as the creation of immersive installations or performances. Regardless of material outcome, Nell’s work is underpinned by an ongoing and committed inquiry into selfhood and mortality and into contemporary manifestations of spiritual traditions.
Other Architects is a practice with a broad and global outlook. Working at a range of scales and across residential, commercial and institutional projects, Other Architects seeks out ‘other’ approaches that challenge conventional wisdom, popular opinion and architectural trends.
Claudia Nicholson makes work which is an aggregation of symbols, experiences, cultural practices and art making techniques, and that highlights the role volition plays in the construction of cultural and queer identity. Her practice usurps historical and colonial accounts of the past and remembers anew to reposition, reclaim and re-construct these histories and complex identities.
Phaptawan Suwannakudt’s personal narrative explores representation, culture and sense of place, or home-ness. Her skills as a storyteller and narrator of the social consciousness are evident in her work as she incorporates the delicate scribing of Thai texts, and the intricate depictions of figures, places and beasts. Since moving to Australia in 1996, her aesthetic deals with the politics of locality and dislocation. Her voice engages with stories of Buddha, mythology and Thai tradition, and traces her own spiritual and physical history of transformation, while still relating poignantly to contemporary experiences of her Australian context.