Previous Exhibition

Sideways (After 43 Minutes) —
Side Gallery Participating artists

Jun 7 – Jul 17, 2020

About the Artist      

What has lead us to this point?

During the beginning of the COVID-19 pandemic, the world began to cease normal functions and practices of capitalism and daily life. Art galleries closed to adhere to regulations. We, as a small independent gallery in an inner-city suburb, were left with an art exhibition (43 Minutes by The KACA Projects) strung in a kind of limbo, unable to be viewed and promoted, nor able to be dismantled and bumped out. We suggested to the artists of The KACA Projects that there may be a way to evolve the concept of the fifth wall and what the KACA Projects had intended to explore. Through online discussions, The KACA Projects, together with Side Gallery, put together a COVID-19 version of an artist residency and invited the members from the original wall-painting experiment to become the new caretakers of the fifth wall — Sideways (After 43 Minutes). The KACA Projects relinquished power and control of the project in a ceremonial handover statement (below), and each caretaker was given a week to use the space; however they saw fit. As the gallery owner and curator, we also relinquished some control: Leesa put the entire program for the year on hold to adhere to regulations and allowed this development to occur without concern for the outcome. Laura relinquished curatorial control of the caretaker residencies. Both of these responses were attempts to consider this “new normal” — reject the very obvious “white wall gallery business model”— and disregard the desire for a commercial (capitalist) outcome. The KACA Projects reflected, “The KACA Projects are interested in the way ‘the wall’ and its ‘objects’ have become signifiers for a new space that has opened up. A space we are thinking of like a ‘wedge’ or a ‘chasm’. A space that could conceive a social and political order where profits are not above people—one that generates a ‘new kind of intention to the world’.” 

Our view into the void, wedge or chasm was reflective. We questioned how this model works, and whether we sit within that framework. 

We have invited expressions of interest from new participants to take part in an exhibition. Both physical and digital iterations of the exhibition occur during a free week in the residency program. 

Both physical and digital components embody the shapes that were left by The KACA Projects in the fifth wall (see 43 Minutes by The KACA Projects). 

Five particle board materials, with the shapes from the fifth wall recessed into the board, and digital vector files were available to the new group of artist experience participants. 

We invited each artist as maker/doer to actively affect/impress upon/manipulate/evolve or devolve/make/create from the impression to suit their experience, and return the work to us as caretakers for exhibiting. 

The exhibition at Side Gallery will be curated both online and in the space. A physical and digital exhibition created by open-source collaborative experiences, the creative outcomes of which are not predetermined or guided by the director-curator caretakers. 

Artists
Olivia Adlard, Paula Austin, Jordan Azcune, Kate Barry, Jarrad Eve, Tallara Gray, Louise Isackson, Alia Josephine, Kagede, Carissa Karamarko, Sam Kariotis, Pia Larsen, Julie Paterson, Rossanne Pellegrino, Aaron Perkins, Carolina Navarrete, Jack Randell, Kirralee Robinson, Tamara Scheiwe, Xinxin Wen, Adrienne Williams

About the Artist

Sideways (After 43 Minutes)

ARTIST STATEMENTS

Jarrad Eve — On Earth, humanity is a committee of caretakers.  How far would a commitment to care take us?

Jordan Azcune Tablet of Stone, written with the Finger, is a tondo artwork casted and carved, concealing and revealing shape, colour and luminosity. An ambiguous shape is imbedded centrally revealed by the carved impression of an originally gilded surface. The central spiral switches to rings of concentric circles — conscious of its round format. By title, the artist invites an understanding of the abstract nature of the work referencing the Bible book of Exodus in which God had written on tablets with his ‘finger’ to give to Moses. Like a finger print, the imperfect nature of the work becomes its identification — a human offering to the divine.

Paula Austin — My main thought was understanding the message being portrayed by the artists — on one hand my generation has been recycling and reusing for years (or hoarding as my daughters like to say.) I can’t bear to throw out glass bottles when I think of the resources and materials to produce the glass so I always have plenty of spares when anyone is jam making etc! On the other hand I have been guilty of convenience buying when entertaining so have bought plastic/paper plates, cutlery sometimes although Caroline insisted I source biodegradable items for Christmas the year before last. The ones I were able to rescue from the bins were used to mulch the garden.

So my submissions, the drink can — almost impossible to drink from so add the dreaded plastic straw! Slowly, they are being banned and so easy to take a container from home. I recommend the old camping pannikin — keeps water lovely and cold. The plastic cup overflowing with packing material. Actually, this one is biodegradable in water thankfully. Frustrating for me as I love online shopping but don’t need a giant box of packing material when often the item is not breakable. The third submission was hard to photograph — the shape was cut from an ice cream tub lid and the idea was the Little shopper items that Coles produced by the millions!! The idea was the few on top and the bag underneath was to show how many would have ended up in landfill! (Thought later I should have filled an old stocking to better portray the waste! This was my favourite but not sure the message was clear in the photo.  Anyway, my message is trying not to waste and buy good quality items that last for years.

Tallara Gray — Simple line drawings that capture the landscape of the hospital room, a place which is familiar still with plenty to uncover. 

Louise Isackson — When I first became aware of the performance activities in The KACA Project @ Side Gallery, I was immediately drawn to the aesthetic shapes that appeared to be like window forms. This painting is entitled ‘Intercepting windows’ and denotes a series of overlapping shapes (in mostly subtle earth colour values) to express the notion of interception. The visual composition comprises a layering of translucent shapes that contradict the main purpose of a window: to offer clear vision from one side to another. These shapes are metaphorical windows that have voided all clear vision. The Covid19 Pandemic is also a type of interception as we experienced the gradual prevention of all human interaction.

Kagede — This piece is a representation of Itachi Uchiha. The shapes were referenced as one of the character’s elemental powers. 

Carissa Karamarko — “The process of creating this piece challenged me in a way that I haven’t experienced through art-marking in quite some time. Being confronted with a prescribed shape and material, and a theme felt exactly that; confronting. Here I was, an oil painter, staring at an arbitrary shape recessed into particle board, being consumed by a mind absent of any semblance of an idea or direction. 

I decided to simply start where I was deeply comfortable: painting. After painting I made pencil marks, and pastels, recreated the shape in clay and again in fabric, burnt the fabric, cut the shape out of the board. And then in a moment, I photographed what I had, shut my studio door and let all these pieces in various states with little resolution to any of it. 

Some hours later, a clear picture of a sculptural form that would include a few of these different elements took shape in my mind and I’d settle on that. I felt relief in finally having a resolution to this experimenting and so, I got to work on assembling this very delicate sculpture. Upon hitting another mental roadblock, I picked up my phone to scroll through the process photos I had taken and rediscovered the photo I’d snapped in an unremarkable moment. And, there it was – my final piece “Oil Painter Concedes Defeat To Sculpture” 

I connected with the experience of that image. I understood it on a level that didn’t require entering into a dialogue with it. I looked at it, and I felt its broad spectrum of emotions, I felt its movement and its stagnancy all at once. It is, like us, caught in between moments. In an uncomfortable pause. Unable to move back nor forward. I discovered my experience in it, and that was far more enlightening and interesting than the outcome. The process of arranging scattered thoughts, being faced with a changing reality and having to move forward in new ways was entirely a reflection of what we are experiencing. An almost frantic approach to the canvas, feeling my way through unfamiliar material.

It feels entirely irrelevant but in case you’re wondering, I did finish the sculptural piece in the end, but what it is and how it presents feels like much or a muchness at this point. Afterall, we are still mid-process." 

Sam Kariotis — This piece, Bad Trip, details the romantic movement through the lens of surrealist imagery, as well as intuitive methods of making. The digital collage also draws from Monty Python.

Pia Larsen — The work expands a selected shape through negative and positive iterations using an outline in string and flat paper, and a flat paper solid. The images were created using a camera and movement at night and during the day. There is no digital image production or augmentation in the work.

Susan Lincoln — 

Julie Paterson — Is land home. It struck me as soon as I unwrapped the parcel. That organic shape floating in the centre of the particle board looked like AN island. A small squat fertile green island steadfast and strong. That's me, I thought. I'm part of an artist archipelago — an imaginary smattering of small islands forming an arc of creativity, all out at sea, separate yet connected. We’re not drowning, we’re waving.

Rossanne Pellegrino  — During lockdown Rossanne has begun creating works where the subjects in her found images are partially covered, almost hiding. Her imagery used from vintage magazines harks back to a bygone era with faces perfectly presented and now, adorned with glitter filled shapes from the fifth wall. This shiny veneer is a sharp contrast to the simmering of anxious thoughts under the surface — the unknowns and the uncertainties felt during this time.

Aaron Perkins — I progress as I digress (for JM) attempts to depict Laurence Sterne’s description of his writing progress. It forms part of an ongoing exploration that incorporates literary references within painting to explore the artifices of fiction.

Jack Randell — This work is multivalent. The Sideways-supplied form is contour infilled with a single unbroken line, each successive mark responding to the previous, like ripples in a pond. The idea of de-materialising the white cube by stepping away from individual creative authority changes the creative focus to one of responsiveness, rather than inspiration. The resulting image is inter-subjective, in that the single artist viewpoint, may longer be valid at this end of the Anthropocene.

Tamara Scheiwe — My work is often inspired by the natural world and the shapes supplied to us from Side Gallery brought up thoughts of glistening puddles, agate rocks and topographic maps. For this project, I wanted to explore creating something natural from unnatural materials. I created the shapes to mimic a topographic map and chose mirror and glitter acrylic to represent the quartz makeup of an agate rock and glistening pools of water. These were then assembled on plywood, to tie back to the original KACA project shapes

Xinxin Wen — 2020 is certainly a chaotic year for all of us, and a lot has happened during the pandemic. There’s aching death and there’s bravery; there’s unbearable racism and there’s kindness. Like the Japanese author Keigo Higashino wrote in his novel “Journey Under the Midnight Sun” says, “ There are only two things that you cannot look straight at in the world — the sun, and the people's mind.” 

Humanity is fragile, don’t break it.

West End Art Gang — The Art Gang painted their sideways shapes with the raw confidence it takes to live with isolation and adversity everyday, despite Covid 19 lockdown. With a will to live a creative life and experience a true sense of belonging the Art Gang collaborate with Sue Loveday in a outdoor shed space at West End Community House. Carefully caressing their precious painting, the gang are captured proud, and part of the Side Gallery community.

Adrienne Williams  — These two little islands of paper began as a colour and application reference to the in-house artists of #sideways43 — the painted ultramarine, the pour of rusty-red earth, the layered whites on skin. My work is only about place, wild places and altered landscapes; I consume and alter in order to create work about environment. In the cosy wilderness of isolation a maker finds peace in the making. I walked the islands to a nearby farm, and they became something else. Dirt. Rain. Seed. Ploughing. Falling. Growing. Eat. Repeat.