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Art

In Art on
September 14, 2015

A Clearer Vision

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Besides my little hiccup and dash of defiant behaviour, I have found my ground and admit (maybe hypocritically?) that I do not admire people who take undue credit. Above all else, I value honesty, and I can say un-hypocritically that I have never been dishonest about my work. For a long time I’ve been working towards designs that are more versatile but unique to the market. It was not until recently that I can truly say I’ve found my niche that stands a little apart from everyone else.

Polymer clay has always been a huge market. It is a forgiving medium and is easily accessible to crafters and artists alike. I have seen more and more great jewellers who form big beads of all different shapes, sizes and colours. However, often great designs get lost in the flooded business, making it more and more difficult to be “individual” where everybody seems to be drawing inspiration from one another left, right and centre. In my ongoing pursuit to be just a little bit different – I have since moved away from what is abundant in the market, and now moving towards a more stream-lined aesthetic that is delicate yet still reserves an element of the old.

My Delicates Collection draws from my older designs (such as The Original Links collection), shrunk into miniature size so that it’s perfect for layering. Its dainty quality seems to suit a wider audience whilst still preserving its unique nature. I hope that alongside my Diamond Project Collection, that this will stick as a permanent aesthetic to my brand.

homepage5NEW coming soonhomepage1
coming soonIMG_0910
Euphemism TrioIMG_0925
Point Delicate StudsIMG_0927
Acne 6OL
IMG_0941Acne 3OL

Thank-you to all of those who have given me continual support on this artistic journey! Please visit my site (emclecticcollection.com) for more of these delicates, with more colours coming later this season!

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In Art on
April 2, 2015

The Internet is a Cultural Object – Brunswick Street Exhibition 2015

The internet creates an unparalleled encompassing experience. A mirage of democratic instant access to information. We crave this instant gratification: a like, a comment, a post – proving to ourselves that what we create is validity. 

The Internet is a Cultural Object. 

If our entire population suddenly ceased to exist in some major apocalyptic manner, and the only remnant to remain was a device containing the internet, what would the people of the future think of us, as they attempted to discover who and what we all were, all by looking through the internet exactly as it is today (thought provoking from Kate Geck).

The internet has become an expectation and a necessity. We cannot seem to tolerate lengthy periods of time without the immediacy of information – it has become second nature. Virtual object, capital, and existence has dissolved from artificial into real, and tangible.

In this exhibition, we seek to investigate conceptions of art practice, formalised aesthetics, and identity relationships with(in) technology. We additionally hope to question the role of autonomy, ubiquity, and how to engage critique within this ostensible collective that is the internet. How does our internet life alter social relations and raise questions about identity, privacy, and desire? What are our (false) expectations and assumptions in regards to transparency, digital capital, accessibility, and the ownership of information. 

Living within in the Internet complicates and continuously expands comprehensions.
There are so many questions: What are our new visual metaphors for self and subjecthood? Where is the activism? How does information loop and translate between interfaces and communicators? How does one own online digital data content and what does this ownership signify? How does the colour palette of a contemporary painter encompass their personal screen time? What happens when data is discarded and then reused? When does the Internet act as an independent agent? Who do see on google street view? What is intimacy?

We are constantly being during the internet, not before, after or without. 

The Internet is a Cultural Object investigates aesthetic formalisms, and socialised action, while considering contemporary arts practice as framed within internet as zeitgeist.

curated by Miriam Arbus.

Exhibiting artists include:

Claire Virgona
Kate Geck
Sarah Rhiannon 
Tansy Jana McNally
Tessy King and Niamh Minogue 
Jen Fullerton
Wyatt Knowles 
Heidi Stevens 
Courtney Blackney
Alun Rhys Jones 
Nigel Tan with Kevin Leong and Dylan Ang
S. J. de Rosa 
Cate Gowers
BK
Mark Payne 
Damien Orriss 
Siobhan Dodds 
Melissa Martin 
Maddy Anderson 
Emily Vuong
Eugene Mott
Richie Cyngler
Tunni Kraus, Brendan Bensky and Ronch Willner
Ree Hegh
Pierre Proske
Scott Anderson
Maeve Holmes

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O T H E R W O R K S
i particularly enjoyed

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In Art on
September 12, 2014

Les Miserables Musical; Her Majesty’s Theatre Melbourne

Super quick run-down of my thoughts on last night’s experience (especially since I’m procrastinating from doing my assignments…)

Seated third row from the front,
seeing real tears in actors/actresses eyes,
listening to moving voices shaking you to the core…

Les Miserables must be one of the best musical production I’ve seen so far (and to some embarrassment I have seen many including: Wicked, Phantom of the Opera, Love Never Dies, Jersey Boys, West Side Story, Cats, King Kong, Miss Saigon, Chicago, Grease).

Simon Gleeson was absolutely brilliant – even better than his co-starring role in Love Never Dies. I couldn’t have picked a better person to play Jean Valjean, my heart was with his character the whole time, and felt very sad to see him (very realistically) age on stage. The rest of the cast members were just as amazing. I did however wish that the songs sung by Marius were stronger, especially for Empty Chairs and Empty Tables – the character was well suited to him nevertheless, even though he did remind us of Sam Tsui/Max Schneider  on Youtube…
Although cheesy at times, the stage props and effects were very effective. The ‘homeless’ often popped out from the dark sides of the stage, gun shots often went off, and background projections to indicate passing of time and movement were used. I did particularly love the moving slums as there was a great sense of depth created on a small theatre stage through the use of layering. When Fantine bit one of the rich men in her prostitute scenes, I was very surprised where the blood in her mouth came from – especially since we were sitting so close I would have expected to see how that may have been done! Also (even though cringe worthy), I had no idea how or when Javert hooked himself to the ceiling for his suicide scene.
Eponine, whilst I do not deny her talent at all, was a little awkward to watch. I noticed that her style of singing and acting had a touch of “urban” or “gangster-vibe” with her regular shrugging and accented movements… I wasn’t sure whether that was her style, or deliberate for representing “youth” or the “next generation” depicted in the story (there were also some “modern” twists in some of the songs she sung also)…hm.
The humour was great – played very well by Lara Mulcahy and Trevor Ashley. All the cast in these humorous scenes were very in character and I enjoyed watching each and every one of them get fooled by Thenardier and Madame Thenardier. I was however a little confused about why the comedic figures in theatre have to be portrayed as “big” – after all, these people were meant to be poor. But I guess it makes sense if they were meant to embody greed and gluttony… I hope this does not come across as offensive or shallow.Overall, very good delivery of the plot line, some of which was sped up where appropriate. Singing was on point, especially in parts where multiple people would sing at the same time.

ps. Hopefully I’ll be back to posting more regular posts…as soon as uni finishes (not too long now!) Thankyou for reading 🙂

In Art on
August 7, 2014

About the work

IMG_9603(Left to right: HASH, FLATLAY, POTD)

Synopsis of Previous Works. 

Much like the work I explored in my final year of my Visual Art degree, the canvas prints pictured above is a continued exploration of ideas about our online presence and our online identities. My previous work were predominately portrayed through the medium of video. They involved videoing impromptu interviews of strangers, documenting their response to questions that directly linked to the “Facebook profile”  without their knowledge. This meant that the prompts were taken out of context so to capture as authentic of a response from these people as possible. In doing so, I had intended to question the differences between our “real” and online identities. My previous work (in collaboration with Salina Sok) involved the reconstruction of people’s latest “Facebook status”. We recorded each of them verbalising these statuses, broke them apart, then putting them together in different video/sound sequences to create a narrative. This project highlighted the absurd, awkward and arbitrary nature of the “Facebook status/post” by attempting to display the dichotomy between the real and online presence.

Microcelebrity 1 POTD
Microcelebrity 2 FLATLAY
Microcelebrity 3 HASH

These works helped to inform my most recent work. Pictured above is a trilogy of canvas prints of digitally constructed work. At first I was worried that the pieces were too contrived and fictitious. It wasn’t till later that I realised the medium and construction itself mirrors its concept. These images took a slightly slant on the concepts explored ini my video work. Instead of commenting on identities portrayed in the online world, I wanted to create something that was even more relevant today – that is the notion of “instafame” or “online fame” born from social media. I find it incredibly interesting how big the “online celebrity” is today, yet personally I would not go as far as to say that they are almost in the same league as the Hollywood actor/actress – but it certainly seems so since the internet and our computer monitors are becoming our new television! “Talent” is becoming an even broader term now more than ever – you can be popular simply based on how many hashtags you place in your caption, or your aesthetic taste. I watched an interesting interview which featured an “insta-famous” teenage boy, what was striking to me was when he said that it was almost “abnormal”, strange or unusual to not be taking “selfies”. From what I vaguely remember, I understood him to say that it is the selfie that let people into his life, allow him to share it and build that relationship. Reality TV and the act of “watching” or the “Gaze” is becoming more prevalent and openly accepted in our society. “Fame” is becoming more and more possible with the growing online community and businesses. But is there a compromise? Is fame just based on nice aesthetics? And are we placing less and less importance on genuine unique talent? Because what is ironic about the aesthetics is that people, lifestyle / fashion bloggers…what have you…think that they’re sharing something unique to the community. What they’re ignoring (in few/some cases) that what they are sharing is simply a reproduction of what we have already seen (on Tumblr, on Pintrest, on 9Gag, Reddit, Youtube, Facebook, Instagram, etc etc etc.)

Down to the Nitty Gritty Details

So to represent these thoughts, and in the same vein as my jewellery, I created images in 4 repeating colourful squares to mimic Andy Warhol’s work and to make reference to reproduction of mass media. The hearts represent the hearts that appear on Instagram when you “like” something.

Microcelebrity 1 POTD: Photo of the day. Photographed is the infamous “selfie” pose on the I-phone. The content of the portrait is blank to challenge the idea that by sharing your portrait is to gain “deeper” access or connection about a certain individual’s life.

Microcelebrity 2 FLATLAY: The fashion/lifestyle online world is fraught with “flay lay” images. Upon basic google research, one of the rules to take a proper “flatlay” is to make sure that you remain consistent with the theme of the image. My version of the flat lay breaks this rule with the incorporation of the “troll” (or online troll if you will), with increasingly unnatural hyper real colours as the image repeats (or reproduces).

Microcelebrity 3 HASH: -Tag (click for outfit details). These tags have been collaged into the “ootd” to poke fun at what we “like” as users of such social media. The reoccurring theme of the blank person is used to emphasis the simplicity of social media fame.

If you’re interested to see this work in person, it will be up for viewing till the 30th of August at Brunswick Street Gallery!
Event details: https://www.facebook.com/events/285363214981614/

Thanks for reading! xo