"Canadian Philosopher, John Russon says that our own personal existence has its identity formed through the specific ways we perform (manoeuvre) ourselves. Our ‘nature’ is to realise our identity through acts of creative self-expression - appropriations of our own possibilities."
As recent graduates from Sydney College of the Arts, we are a group of emerging artists who experiment with a selection of materials in our art practice.
Our works present as manipulations of these materials, created and contextualised by meaningful manoeuvres through, between and around the concepts underlying each work.
The works are informed by a range of concerns pertaining to identity, spatial relations, and socio-psycho geography.
In our group, each of us weaves and manoeuvres our way through art making as relational beings, the friendship and support we give each other is integral to our well-being and that of our practices.
Canadian Philosopher, John Russon says that our own personal existence has its identity formed through the specific ways we perform (manoeuvre) ourselves. Our ‘nature’ is to realise our identity through acts of creative self-expression - appropriations of our own possibilities.
Russon considers that this meaningful manoeuvring related to human nature, cannot be separated logically from historical practices through which it is realised.
Karen Benton
Karen Benton’s material manipulations are a translation and embodiment of the emotions and concepts associated with connections between the self and others.
Benton is an emerging experimental artist based in Sydney. Within her expanded painting practice she adopts an interdisciplinary approach to the process of making.
Benton’s works often involve folding materials while maintaining an attachment to the frame - aiming to engage in an emotive dialogue between control and spontaneity, restriction and freedom, and strength and vulnerability.
She graduated from Sydney College of the Arts with a Bachelor of Visual Arts (Hons1) in 2019; has exhibited in galleries across Australia; and has been a finalist in the Warringah and Waverley art prizes.
Melinda Clyne
I have an interest in the visual representation of the Jungian Paradox, in which two conflicting states of being/feeling may be experienced simultaneously. This tension of dualities is illuminated in my paintings, with cast acrylic replacing a canvas. The boldly accentuated gestural brush-mark entwines with flat-angled planes of colour.
Currently, I am pushing the limits of cast acrylic, a flat industrial material, by exploring its transformative qualities of disruption and manipulation using applied high heat and sustained hand pressure. The resulting curved fold is now my ‘gestural’ mark, inviting a Deleuzean context and, with-out a doubt, is a nod to Bonalumi’s extrusions of the monochrome canvas.
Recent awards: Finalist in Fishers Ghost Award, Sydney, 2020, prize winner in Belle ArtStart Emerging Artist Awards, (Art Month Sydney at AGNSW) 2020, and Finalist in ‘Origins in Geometry’ at MADI Museum Geometric Art, Dallas, TX, USA, 2019.
Kate Coyne
Kate Coyne, on graduation with 1st Class Honours, was the recipient of the 2019 Artereal Gallery Mentorship Award. She has also been a finalist in the Woollahra Small Sculpture Prize, the Ravenswood Art Prize (Emerging Artist), the Women’s Art Prize and the Mosman Art Prize.
Her work questions how the purity of substance connects to an authentic sense of the body and being. Kate is interested in exploring the relationship between gender and time. The work alludes to a physical manifestation of the abject look of the body and the mental embodiment of womanhood and ageing.
Jude Williams
Jude Williams is a video maker, photographer and painter who graduated with Honours from Sydney University School of Visual Art in 2018. Since leaving University she has exhibited extensively throughout the Sydney region including group and solo exhibitions. In 2020 she was a finalist in the Mosman Art Prize.
Her recent practice explores the reappropriation of old concepts (maquettes) through enlarged images and paint. Philosopher Roland Barthes says that every photograph is a ‘certificate of presence’. Peter Osborne, philosopher, in talking about the photo-paintings of Gerhardt Richter, takes Bathe’s idea further saying they become, ‘the presence of the past within the present’. Painting back into these images from the past becomes ‘generative moments’ in the present, emotionally charged and transformed.
As recent graduates from Sydney College of the Arts, we are a group of emerging artists who experiment with a selection of materials in our art practice.
Our works present as manipulations of these materials, created and contextualised by meaningful manoeuvres through, between and around the concepts underlying each work.
The works are informed by a range of concerns pertaining to identity, spatial relations, and socio-psycho geography.
In our group, each of us weaves and manoeuvres our way through art making as relational beings, the friendship and support we give each other is integral to our well-being and that of our practices.
Canadian Philosopher, John Russon says that our own personal existence has its identity formed through the specific ways we perform (manoeuvre) ourselves. Our ‘nature’ is to realise our identity through acts of creative self-expression - appropriations of our own possibilities.
Russon considers that this meaningful manoeuvring related to human nature, cannot be separated logically from historical practices through which it is realised.
Karen Benton
Karen Benton’s material manipulations are a translation and embodiment of the emotions and concepts associated with connections between the self and others.
Benton is an emerging experimental artist based in Sydney. Within her expanded painting practice she adopts an interdisciplinary approach to the process of making.
Benton’s works often involve folding materials while maintaining an attachment to the frame - aiming to engage in an emotive dialogue between control and spontaneity, restriction and freedom, and strength and vulnerability.
She graduated from Sydney College of the Arts with a Bachelor of Visual Arts (Hons1) in 2019; has exhibited in galleries across Australia; and has been a finalist in the Warringah and Waverley art prizes.
Melinda Clyne
I have an interest in the visual representation of the Jungian Paradox, in which two conflicting states of being/feeling may be experienced simultaneously. This tension of dualities is illuminated in my paintings, with cast acrylic replacing a canvas. The boldly accentuated gestural brush-mark entwines with flat-angled planes of colour.
Currently, I am pushing the limits of cast acrylic, a flat industrial material, by exploring its transformative qualities of disruption and manipulation using applied high heat and sustained hand pressure. The resulting curved fold is now my ‘gestural’ mark, inviting a Deleuzean context and, with-out a doubt, is a nod to Bonalumi’s extrusions of the monochrome canvas.
Recent awards: Finalist in Fishers Ghost Award, Sydney, 2020, prize winner in Belle ArtStart Emerging Artist Awards, (Art Month Sydney at AGNSW) 2020, and Finalist in ‘Origins in Geometry’ at MADI Museum Geometric Art, Dallas, TX, USA, 2019.
Kate Coyne
Kate Coyne, on graduation with 1st Class Honours, was the recipient of the 2019 Artereal Gallery Mentorship Award. She has also been a finalist in the Woollahra Small Sculpture Prize, the Ravenswood Art Prize (Emerging Artist), the Women’s Art Prize and the Mosman Art Prize.
Her work questions how the purity of substance connects to an authentic sense of the body and being. Kate is interested in exploring the relationship between gender and time. The work alludes to a physical manifestation of the abject look of the body and the mental embodiment of womanhood and ageing.
Jude Williams
Jude Williams is a video maker, photographer and painter who graduated with Honours from Sydney University School of Visual Art in 2018. Since leaving University she has exhibited extensively throughout the Sydney region including group and solo exhibitions. In 2020 she was a finalist in the Mosman Art Prize.
Her recent practice explores the reappropriation of old concepts (maquettes) through enlarged images and paint. Philosopher Roland Barthes says that every photograph is a ‘certificate of presence’. Peter Osborne, philosopher, in talking about the photo-paintings of Gerhardt Richter, takes Bathe’s idea further saying they become, ‘the presence of the past within the present’. Painting back into these images from the past becomes ‘generative moments’ in the present, emotionally charged and transformed.
