2022

‘Of Stuff’ Egg & Dart, Wollongong

Hanna Barclay, Ruby Brown, Arthur Dimitriou, Aaron Fell-Fracasso & Jackson Mclaren

Aaron Fell-Fracasso, ‘Oh My God Don’t Even Ask Me, 2022 Oil, sand and acrylic on board, 2000mm (h) x 1820mm (w)

Ruby Brown, Bone, 2022, Acrylic Polymer gap filler, found velvet, acrylic, glass on found corflute 310mm (h) x 230mm (w)

Untitled, 2022, Concrete, Highland Slate Rock, Reinforced Bar, 360mm (h) x 250mm (w) x 220mm (d)

Untitled, 2022, Yellow Granite, Pink Granite, Mudrock, Reinforced Bar, 380mm (h) x 270mm (w) x 250mm (d)

‘Hostile’ Red Gallery, Fitzroy North

‘Hostile’ explores the superficiality within the societal hierarchies that have formed within Western consumerist culture. Particularly noticeable within developed cities, capitalist expansion is valued over the condition of natural landscapes and positions those of privilege over individuals attempting to survive within this physically and socially inimical environment. Specifically, Arthur Dimitriou offers a conversation that arises from the defensive architecture that dictates whom and what may inhabit ‘public’ streets. Often depicted as places of opportunity and freedom, these works offer a snapshot into the true elitism built into the very framework of many urban environments. Through manipulating aluminum, re-enforced bars and an array of other crude materials regularly found within municipalities, the collection stipulates the obnoxiously obvious yet unspoken paradox that encapsulates that which houses so many of us. While each piece honors the mediums used to create them, the works appear uninviting and confrontational. The sculptures mimicking common architectural forms that people will regularly interact with such as mirrors or park benches are cocooned in metal spikes or sporting sharp corners too harsh to touch and composed to prevent any of the usual engagement and functionality. The irony of the installation exists through the adoption of easily accessible materials to shape forms that can only be utilized by the those who can access protective equipment. That which should be used to create communal infrastructure such as shelter, transportation, and eco-passages relied upon by humans and animals alike, exists only for the benefit of those who created them. Arthur Dimitriou encourages audiences to consider how we may make the spaces we live in to be more inclusive and provide sanctuary to vulnerable people and species within.

‘Zombie’ Presented by Madeleine Minack &Arthur Dimitriou at CAVES Naarm for Craft Victoria, Craft Contemporary Festival featuring Julian Comer-Kleine, Iona Mackenzie, Freda Drakopoulos, Emma Nicole Berry, Liv Moriarty, Rachel Button, Jemi Gale, Mia Sokolic.

The concept for Zombie, seeks to concentrate on Craft Victoria’s celebration of innovation through avenues of creative practice. Artistic expression regularly performs as a social pioneer to elicit a change of perceptions and attitudes towards controversial issues within a community. Reflected across current political spheres, economic investments and greater industry, the desire to reduce human impact on our surrounding environment is becoming increasingly prevalent. With the echoes of the climate justice movement, our proposed exhibition will involve independent and collaborative pieces that will not only refocus attention towards this already well-known cause, but also offer hope to our audience through proposing solutions to the ecological catastrophe we all face.

Mirroring the existing challenges faced on a global and localized scale in managing and reducing landfills: specifically we are exploring how we may manipulate the destructive consequences of an untenable wasteful system. This creates new ecologies where “old” matter is now vibrant. Our primary attention is on perceived undead substances as they contribute the most to landfill. Matter and rubbish that we deem to be superfluous from future use is then categorized as either dead, undead, or alive. Through the use of these abandoned and found materials, once seen as waste, the exhibition serves to illuminate the question of how we may create new objects from these undead substances, and how this material exploration may inspire more sustainable practices.

Arthur Dimitriou, Manifold, 2022, Recycled vehicle aluminum, Dimensions variable, Poured at Fundere art foundry.

Julien Comer-Kleine Transmuting matter 2022 aluminum cans, glass, LCD screen, transducer, raspberry Pi, steel cable, audio cable

Iona Mackenzie, drooling sleeper x vicious dog, 2022, paper clay, stainless steel, debris, gel wax, slime, pearl, goat horn, wool, canvas board, acrylic, nail stickers, doorknob.

Freda Drakopoulos, I fainted., 2022, chamomile, water, honey, soap. Dimensions variable

Freda Drakopoulos, I fell asleep waiting to faint again., 2022, chamomile, water, honey, soap, me. Performance

Installation View

Installation View

Documentation Images acknowledgement: Aaron Christopher Rees

‘Unearthing’ Rubicon ARI, North Melbourne

‘Unearthing’ explores the relationship between organic and human-made materials, primarily working with concrete & reinforced bars. I intend to create a juxtaposition between the unaltered form of the organic material and that of the refined concrete reinforced steel bar panoply that both masks and accentuates the natural formation it houses. Emulating the tension that exists between the labyrinth of human-made infrastructure such as sewerage systems and irrigation within our earth that encompasses it, the geometric concrete structure against the raw organic rock formations showcased, works to create an extreme contrast.

The discourse between the linear shapes that make up the exterior and the rudimentary condition of the stones is what I wish to explore with the audience most closely. The supporting wall pieces further this dynamic. Performing as an ode to the ground on which we walk, the reinforced bar engulfed in concrete highlights the slow but increasing degradation of our unnatural environment.

Documentation Images acknowledgement: Mitch Fong

‘Urban Monolith’, Five Walls, Footscray

The focus of this body of work, “Urban Monolith” is to honour the foundational materials which form the structures that have housed us for millennium

These ancient and rudimentary mediums exist to be often overlooked and consequently neglected by human consciousness both within artistic spheres and everyday life. To maximize engagement with the work, there will be a clear path dictated by the strategic placement of the free-standing sculptures. Within this same space, the raw minimalism of each piece will be further exemplified by complementary structures, showcasing each material through manipulating simplicity, to highlight the qualities of the individual mediums. Whilst these forms isolated from one another may appear rudimentary, by utilizing placement within the gallery space as a form of narration I aim to challenge the parochial view through the climactic grandeur of a piece that champion the materials that formulate it.

Installation View

2021

‘Collective Investigation’ featuring Madeleine Minack, Craft Contemporary, Via Craft Victoria & Collective Investigation

‘Collective Investigation’ was a 3 piece collaborative series between Madeleine Minack and Arthur Dimitriou for Craft Victoria 2021 festival.

In a post-internet era, this project expanded on the examination of unseen matter formed from cycles of production, consumption and discard. Madeleine’s practice values the process of looking at objects which go unnoticed as forgotten materials - objects such as pins, gum, hair and shattered glass. Arthur’s practice is informed by his surrounding natural and urban environments and is heavily inspired by Brutalist architecture of the 1950’s. Both practices are informed by everyday surroundings/discoveries engaged through walking, looking and actively seeking material forms in the urban, domestic and mundane space. Together, the project explored the nature of these discovered forms/objects as living, breathing and moving beings amongst and through the chaos of the world.

Documentation Images acknowledgement: Aaron Christopher Rees