An overview

Spatial Drawing
27 July – 31 August 2012
VENN Gallery, Perth

Spatial Drawing investigated contemporary approaches to drawing, featuring works of three Western Australian artists, Benjamin Forster, Tom Freeman and Clare Peake. Drawing underpins diverse and complex approaches to art making for each of these artists, whose practices also comprise of sculpture, video and installation. In Spatial Drawing each artist explored drawing further through the creation of physical formations and sculptural works that discuss notions of how we engage with space.

The catalogue essay by Gemma Weston is available here.

Overview

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A series … or … 2012

These four drawings are the product of filtering architectural plans through four subverted projective drawing systems. Using primarily compass and rule, this series in particular has utilised Venn’s architectural drawings as inputs. As a series they can be seen discreet points each representing an infinite line of drawings.

A Statement— Benjamin Forster

“Space is the greatest thing, as it contains all things”
— Thales

At the time of writing this statement, I am in-between Madrid and Dubai. In transit, on Flight EK420 to be exact. At this time, this new series of works is also in- between, still floating on the cusp of definition. This new series, forever partial, can be located within the following constellation of words:

Alberti, clouds and dust, colonisation, commercial gallery, constructions, contemporary drawing, conquest, Deleuze, economics, Euclid’s ‘Elements’, Feyerabend, fractional dimensions, framing, institutionalisation, it, knot theory, knowledge, language, linear algebra, Ludwig Schläfli, mapping, measurement, navigation, nonsense, paradoxes, perspective, Piranesi, platonic solids, projection, politics of space, Ptolemy, rationality, ruin, sailing, Serres, string theory, systematic, Thales, The Moirai (or The Fates), this, time, topology, truth, unknowable, value, venn diagrams…

This constellation is necessarily incomplete and insufficient. It can be read in any order, but has been arranged alphabetically to alleviate any tendency towards a sense of hierarchical importance. Lines could be drawn through and around these points to demarcate genealogy and logical sets. Nonetheless, I hope that this body of work will slip through whatever net is drawn. This statement may appear obtuse and vague, however, it is not my intention to alienate, but rather to generate an open space for viewing. A space where the dimensions of the work can be read beyond a linear series of words and and dialectical comparisons they encourage.

It is my belief that no series of words can ever successfully triangulate a series of work. At best they provide a vantage point from which multiple interpretation stem, or at worse, they act as a death sentence, crystallising artworks for ‘objective’ observation. From one point of view, this process of positioning is central to this body of work.

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Cast in the Light of Reason… or… 2012

Cast in the light of reason … or … is an installation consisting of two framed drawings, The Groundless Ground (located in car park opposite gallery) and ⛎ or Ophiuchus or the serpent-bearer, (located in void) and a platonic solid constructed out of blue shipping rope.

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