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| Image: Tricky Walsh, Waveform Generator (The Oramics Machine), 2015, timber, optic fibres, modelling compound, paint |
Museums Australia - Tasmania Members
are invited to attend the
2016 Annual General Meeting
Wednesday, 12 October 2016
3.00pm to 4.30pm
Contemporary Art Tasmania
Contemporary Art Tasmania
27 Tasma Street, North Hobart
Light refreshments will be served
Following the meeting from 4.30-6pm, members are invited to hear Tricky Walsh in conversation with CAT exhibition coordinator, Colin Langridge speak about her work and her solo exhibition called Tiefenzeit
RSVP essential by Monday 3 October 2016
T 03 6323 3719
E bookings @qvmag.tas.gov.au
About Tiefenzeit by TRICKY WALSH
Taking the continual present as a starting point I am examining ways of avoiding entropy through an expansive generation of parallel possibilities. Literally, of a world/worlds expanding in number if not in linear evolution.
This exhibition is the culmination of a three month residency in London undertaken last year, and the works within it express not only the subjects of my research, but the experience of being completely overwhelmed by the breadth and depth of its technological history. At some point it started to weave itself into a narrative which is possibly the easiest way my mind had of processing that amount of information into a coherent system. Whatever the cause, Tiefenzeit was born, and given more concrete form upon my return to Tasmania.
The paintings are a synthesis of abstract geometry and pattern with an inclusive graphic based narrative. Littered with various types of early code and graphic symbology, the narrative attempts to progress with a preference on action, gesture and spatial relationships than through the written word. The sculptures include a series of deconstructed technological relics, amongst them a full scale reconfiguration of the Oramics Machine which (unlike its actual function) features in the narrative as a catalyst for the integration of the various terrestrial spheres.
This exhibition is the culmination of a three month residency in London undertaken last year, and the works within it express not only the subjects of my research, but the experience of being completely overwhelmed by the breadth and depth of its technological history. At some point it started to weave itself into a narrative which is possibly the easiest way my mind had of processing that amount of information into a coherent system. Whatever the cause, Tiefenzeit was born, and given more concrete form upon my return to Tasmania.
The paintings are a synthesis of abstract geometry and pattern with an inclusive graphic based narrative. Littered with various types of early code and graphic symbology, the narrative attempts to progress with a preference on action, gesture and spatial relationships than through the written word. The sculptures include a series of deconstructed technological relics, amongst them a full scale reconfiguration of the Oramics Machine which (unlike its actual function) features in the narrative as a catalyst for the integration of the various terrestrial spheres.
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