Hatched
Title
Hatched: Healthway National Graduate Show
Author / Interviewer
Alexander Hayes
Abstract / Article
“… The Perth Institute of Contemporary Arts Ltd. and other nomenclature, splash their slogans and other didactics noisily through an otherwise challenging show. Upon entry, a young gallery attendant complete with logo plastered vestment in the form of skirt and a crazy Sunday morning hairstyle may push his way into view, matched only by the staccato of audio level emitting from Room for Rent by Rachel Craze upstairs.
The contradictions in sonic resonance the curatorial staff afford this show can be the only descriptor fit to coin for the clumsy cluster of sounds spilling out of the beer tent of an installation, Virtually Baroque by Glen Stewart. The catalog states the focus being 'transmutations of radiating tripoles' which may have worked with less of the parochial trite and more punch in the visual performance.
This splash pool competes with the disturbing Uncle Bill by Debra Petrovitch upstairs and Incomputation by Grant Andrew Freeland, again audible from downstairs. I stood captivated for at least a minute by Cardboard and Plastic (2001) by David Lawrey, a series of intriguing photographs. Delayed Gratification by Issac Brown using the same medium, was far more informing. The glossy large images he presents of humanity walk all over the con dished up at the Art Gallery of WA with its latest fizzer.
Attention in this show crowds from the crass to caustic, none more so for the latter as A psedofemale fish by Rebecca Ann Hobbs. Equally cutting, and far more compelling is the familiar clunky form of slide projection A Collection of Action by Silvana Giordano. Posited as part 'daydream', Giordano dishes up some witty collections of memory and renditions for thought, regarding and questioning aspects of overlooked avenues in public space. This demonstrates yet again that the engagement of an audience needs only be as simple and compelling as a scrunched-up word on an equally scrunched substrate.
Collectively stupid collaborate within a mouse click away. Multimedia sadly becomes ho-hum with hatched 02.
A small child climbed in and out of the vessel if only you could see how much I need you by Thea Constantino and Simon Pericich repeatedly during my peruse. The cardboard caravan constructed of the refuse so readily discarded as junk must have struck a chord with the little one as she proceeded to enquire why someone would even make the 'scissors' from two bits of corrugated guff. Rounding the corner and central to the main room stand items of singular interest, better stepped over than seen. Maybe it's the stitched in 'lacky' bands that bored. An instance of 'clever' op-art adjacent parading as foyer frump caught my eye - momentarily.
Brendan Van Hek thankfully provides hinge: a joint that functions in only one place complete with packing case and destination. Know, no and all other re-assessments are cleverly clicked together in a sharp piece challenging every dado fixture adorning a third of postwar Perth. To further placate the sense of perception twist Sample faults (2) by Anthony Kelly, places the viewer as the being 'it', sampled, questioned, and left wondering if indeed the little camera point peephole was in fact functional.
Numerous other works had their 'pong' such as Nicotine traces: the search for other in the city by Julie Kovatseff. It was also unnerving to see architectural models for a Stockholm hideaway presented as none other than it is, complete with briefs, concepts, and professions for endearing truth. Whilst on the theme and true to the enduring architectural sabotage in this decade of pour n' push up, it would be remiss of me to avoid mention that PICA now embodies a vestibule complete with a shrine for melancholia, mixed nicely of course with elements of a pre-cast corporate conundrum. One could wonder as to whom is responsible for the aesthetic sensibilities discarded whilst addressing an essential issue of equitable access.
On a fresher note, it is good to see a mixture of mediums in hatched 02 interposed with all the pomp and parade good solid humor has to offer. Ongoing by Brad Bardon strikes a chord, cringing amongst other executions of brown and orange whilst Safe From Harm by Laura McEwan brings the viewer back to their senses.
The catalog produced by PICA for this show is a monument to design and will no doubt join the other gloss sitting astride Mike Parr's works in the 'store room'. Associate Professor Domenico de Clario presents "Why be an Artist?" as part of 'The Program' and this is probably best answered by his ability to breathe life into the climes of Kellerberrin, Western Australia.
Well worth the wander. Coffee served everywhere in close proximity to 02 hatched may breathe some life into your perception of its' contents.”
Keywords
exhibition, art, Australia, PICA. critique, public, creative
Publisher
ArtSeeninWA
Publication Date
21st July, 2002
Week
N/A
Page
N/A
Section
N/A
Suggested Citation
Hayes, A. (2002) Hatched: Healthway National Graduate Show. Healthway. WA Government. Perth Institute of Contemporary Arts. Perth Western Australia.