10 April – 27 April 2013: Caroline Graham, Marisa Ramos, Wendy Ewert, Michelina Di Mauro, Michael O’Hanlon – Crossroads: Twice Upon A Time


Gallery 3

In Crossroads – Twice Upon a Time, five artistsquestion the trajectory of technological and cultural progression. Using a diverse array of mediums and procedures that range from sculpture and assemblage through to print, photography and new media, the works in this show represent varying responses to a number of sociological evolutions and regressions. Poised at the crossroads, this exhibition raises questions as to where these changes may lead.

With Pod, 2012, and Echo, 2012, Caroline Graham espouses concerns associated with changes that have occurred in relation to verbal communication. Primarily, these works address the diminishing use of primal instincts that humans inherit at birth due to the progression of technology.

Similarly, Michelina Di Mauro’s works emphasise the paradox of communication, utilising metaphor to convey something of everyday culture and the lived experience. Her works Reconsilly-aCtion, 2013, and What Goes Around Comes Around, 2012, explore ‘the relationship between perception, the notion of the ego and the outer world.’

By contrast, Michael O’Hanlon’s works employ religious motifs, iconography and ritual adornments to discourse around paradoxical representations of homoeroticism in Catholic culture. Works such as Pieta ad Vincular (Pieta in Chains),2012, and Roman Catholic Stole, 2013, from the series Word Made Flesh recontextualise Renaissance figurative traditions by fusing them together with contemporary queer narratives.

Engaging with Duchampian processes of deconstruction and recontextualisation, Marisa Ramos selects and appropriates discarded and found materials in order to resurrect matter deemed useless. In works such as Seepage, 2012,and Lost Treasure, 2012discarded bed springs, timber posts and mannequin parts are reassigned value and elevated to the status of an art object through the transformative power of the artist’s interventive gesture. These works reflect on the constant circulation of consumer items or the ‘repair-or-replace’ time-line in an examination of the greater ramifications of this cultural endemic.

In Clone Zone, 2012, with its reduced, self-similar formations, Wendy Ewert references the scientific manipulation of genetic coding such as cloning. WithGene Pool, 2012, domestic objects and takeaway food containers are cast in hydrostone to produce hybrid forms. These are then reconfigured to resemble random biological data in human genealogy.