12:21 looks at trace, repetition and memory to form an intimate bond of the layered world (both natural and digital) which not only finds us removed from one another, yet also connected.
As a mean to determine the similarities behind our artistic motivations, exploring a certain vulnerability that is unequivocal to ensue, 12:21 proposes to coalesce our practices. Creating a fundamentally exposed body of work - 12:21 looks at trace, repetition and memory to form an intimate bond of the layered world (both natural and digital) which not only finds us removed from one another, yet also connected.
Duration and distance impacts the trajectory of our joint practices, however it is the conversations shared, the impeding time stamps of combined language that encapsulates what we intend to represent. The mind and body is relayed throughout modes of sculptural assemblages, text and performances enacted by ourselves as well as the viewer - whether connected or disconnected - actively or passively.
12:21 marks not only conversations of a fragile nature, during a particularly difficult time of communicative values. 12:21 also encapsulates every intricacy of each difficulty that we faced during the production of these works. Data collection methods of Malfunction; in the repetition of the laser cutter, within every gooey tail that the 3D printer misaligns, colour code EEEFF08 not EEC008C; a cut not made, forgotten, acquiring new knowledge, miscommunication – from artist to artist, from artist to machine.
Utilising materials of a typically unusual merging nature, Anderson and Smith merge the fragile practices of glass, as the steps of a ladder with PLA 3D printed joiners, united with brass tubing to create a functionless ladder, an inescapable escape. Akin to the ladder, on the floor is an ephemerally positioned hopscotch square, if activated by the public will consequentially be rubbed away, lost within the grains of the floorboards. Within each hopscotch square are vinyl hand-drawings and meanderings – the processualisation of the exhibition development, typically unseen in the gallery space. The pebble, instead a bronze hand-squeeze, and a mouth marble. An etched and engraved acrylic sheet, that contains only numbers, time stamps, acting through the symbols as poem, and PLA ball bearings, allowing space to think.
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Individually, Maddy Anderson engages in an investigational and cross-disciplinary practice, developing a transformative dialogue utilising forms, objects and mechanisms that negotiate the pathways between the unconscious levels of the psyche and the exterior influential dynamics of playfulness. Anderson considers the role of externalisation in the explanatory process of unmediated thought and phraseology. Her current practice resembles the preliminary stages of research into children’s need for play as a technique for externalising their inner realities, and as a means of problem solving.
Darcy Smith predominantly works in sculpture and installation, recently incorporating live events and levels of performance to explore the everyday political and social conditions that situate females in what could be deemed as negative connotations; and instead using them to form positions of power. Glass is an integral material to Smith’s practice - as both the physical and metaphorical qualities and attributes resonate, manipulate and sway the trajectory of investigation.
Both Anderson and Smith are currently candidates of their Master of Fine Art at Monash University, Melbourne.
Maddy Anderson
Darcy Smith
As a mean to determine the similarities behind our artistic motivations, exploring a certain vulnerability that is unequivocal to ensue, 12:21 proposes to coalesce our practices. Creating a fundamentally exposed body of work - 12:21 looks at trace, repetition and memory to form an intimate bond of the layered world (both natural and digital) which not only finds us removed from one another, yet also connected.
Duration and distance impacts the trajectory of our joint practices, however it is the conversations shared, the impeding time stamps of combined language that encapsulates what we intend to represent. The mind and body is relayed throughout modes of sculptural assemblages, text and performances enacted by ourselves as well as the viewer - whether connected or disconnected - actively or passively.
12:21 marks not only conversations of a fragile nature, during a particularly difficult time of communicative values. 12:21 also encapsulates every intricacy of each difficulty that we faced during the production of these works. Data collection methods of Malfunction; in the repetition of the laser cutter, within every gooey tail that the 3D printer misaligns, colour code EEEFF08 not EEC008C; a cut not made, forgotten, acquiring new knowledge, miscommunication – from artist to artist, from artist to machine.
Utilising materials of a typically unusual merging nature, Anderson and Smith merge the fragile practices of glass, as the steps of a ladder with PLA 3D printed joiners, united with brass tubing to create a functionless ladder, an inescapable escape. Akin to the ladder, on the floor is an ephemerally positioned hopscotch square, if activated by the public will consequentially be rubbed away, lost within the grains of the floorboards. Within each hopscotch square are vinyl hand-drawings and meanderings – the processualisation of the exhibition development, typically unseen in the gallery space. The pebble, instead a bronze hand-squeeze, and a mouth marble. An etched and engraved acrylic sheet, that contains only numbers, time stamps, acting through the symbols as poem, and PLA ball bearings, allowing space to think.
______
Individually, Maddy Anderson engages in an investigational and cross-disciplinary practice, developing a transformative dialogue utilising forms, objects and mechanisms that negotiate the pathways between the unconscious levels of the psyche and the exterior influential dynamics of playfulness. Anderson considers the role of externalisation in the explanatory process of unmediated thought and phraseology. Her current practice resembles the preliminary stages of research into children’s need for play as a technique for externalising their inner realities, and as a means of problem solving.
Darcy Smith predominantly works in sculpture and installation, recently incorporating live events and levels of performance to explore the everyday political and social conditions that situate females in what could be deemed as negative connotations; and instead using them to form positions of power. Glass is an integral material to Smith’s practice - as both the physical and metaphorical qualities and attributes resonate, manipulate and sway the trajectory of investigation.
Both Anderson and Smith are currently candidates of their Master of Fine Art at Monash University, Melbourne.
Maddy Anderson
Darcy Smith
