One Thing Begets Another
An exhibition in tandem by Jamin & Jacob Leary
Opens 6pm, Friday 16th August 2013
Exhibition runs 16.08.13 till 09.09.13
15 Castray Esplanade, Hobart, Tasmania | +61 3 6223 8266
This exhibition is a series of work concerned with camouflage - in the sense of how one thing relates to another, rather than how one thing hides from another. Specifically, they mark a continuation of my ongoing interest in media processes, knowledge systems and power structures. The works evolve through an engagement with materiality: the plexiglass substrate mediates the subject and the ground whilst continuously occupying the territory of object just as the application of spray paint oscillates between transparency and impenetrability across areas of the screen. Masks have been employed in the creation of the work to continuously reveal and conceal areas of the substrate, an additive and subtractive force at play. These masks, or stencils, are matrices, semi-random in their creation and deployment. The framework for these matrices is one thing begets another, each cut line informing where the next occurs, and each layer arranging and colouring the next. These matrices operate individually and collectively, often intersecting to create new arrays of arbitrary quantities. Enmeshed within the matrices are elements of form and colour which occasionally coalesce into figures or symbols. These areas have been treated with paint in much the same manner as has the rest of the matrix.
The video work, Entropic-Extropic, mimics the methodology employed in the painted works via a different set of processes. Fine particles of paint, dust and detritus have been manipulated to coalesce and fragment according to my level of interest and surveillance.
The Death of David Walsh is a painting that has been created using a wire brush attached to a power drill. The areas of image have been subtracted from layers of flat paint by vigorously applying the abrasive tool to the reverse surface of the plexiglass. Each successive layer of paint concealed the previous layer in such a way that the forming image was continuously hidden from view - resulting in a painting that was painted, or un-painted, before it was seen in the manner that you are seeing it.
Images of Works:
Entropic Extropic, Jamin, 2013 (35 sec preview of 10min single / multi channel video installation)
MONA ROMA 1 - Artwork by Jamin, Tom O'Hern & Rob O'Connor
Jamin, Tom O'Hern & Rob O'Connor were commissioned to paint the new MONA ferry, MONA ROMA 1. It was 6 nights of painting, drawing and working collaboratively on the walls, glass and toilet doors of the catamaran.
The ferry was commissioned by the Roche Brothers, built at Incat, with the exterior camo design by Damian Scott and the interior design by Georgina Freeman.
I WANT CHANGE: Two Decades of Artistic Defiance, Disapproval and Dissent
Exhibition runs 20 February - 12 April, 2013
Curated by Michael Brennan
Artists: Michael Agzarian, Brook Andrew, boat-people.org, Bindi Cole, James Dodd, Fiona Foley, Jamin, Ash Keating, Deborah Kelly, Azlan McLennan, MEEK, Oliver Ressler & Zanny Begg, Van Rudd, Carl Scrase
"A shadowy figure sits cross-legged against a wall. Hands outstretched, he holds a placard above a beggar’s cup, scrawled with the text, “KEEP YOUR COINS, I WANT CHANGE.” MEEK’s iconic stencil, Begging for Change, sums up a sentiment that experienced a groundswell in contemporary art practice in Australia during the Howard era and has maintained an active presence to the current
day. The War on Terror, our treatment of refugees, the environment, gender and sexuality, Indigenous identity and the GFC have each figured prominently as political issues that have occupied artists and their practices over the past 15 years. I Want Change: Two Decades of Artistic Defiance, Disapproval and Dissent takes a snapshot of these issues and the often public, performative and socially engaging approaches embraced by artists to voice their protest, criticism and concern."
This large wall was commissioned by Ionata in Hobart for their rooftop lunch area. A very fun commission for a bunch of great people.
This large scale street art work was created in October 2012, next to the Theatre Royal on Campbell Street in Hobart. The work was commissioned by MyState, as both a permanent art work as well as an accompaniment to Polygot's 'We Built This City' which happened on this site on the 10-11th of November, 2012.
This was a fun series of works to paint, as I was working with spray paint 'free hand' but going for a 'stencil' aesthetic, or look. I had complete creative control over the project, and chose to represent the denizens of the city: humans and their not-so-domesticated companions.
A recent commission for an amazing couple in Hobart. It was a great pleasure, and at times a great challenge, to make this work. The scale is quite large and the dimensions certainly not standard! This work is a culmination of a few different styles I have been dabbling in over the years; it is mostly freehand spray paint, with some areas done with acrylic paint. Thanks for the opportunity to create this.
These images are from a project I recently completed on the Raine & Horne building, Harrington Lane, Hobart. The work was completed over a few weeks in March 2012. Big thanks to Barry, Freya and the gang for being excellent clients: free creative license and a great big blank canvas! I'm very happy to have this one up in my home town.
Monalalia, Jamin, used sand paper on wood, 90 x 120cm
Monalalia was selected as a finalist in the 2012 Glover Prize for landscape painting.
Here is the statement as submitted:
‘Monalalia’ engages with the uneasy alliance between the Tasmanian landscape and those institutions and interests that so often define it. In this current period, my thoughts return time and again to MONA. The building is quite possibly itself in an uneasy alliance with the land it sits on. Though when I think of landscape, I tend to consider it in terms of the political landscape, or the social landscape or the landscape of ideas. In fact, I personally consider ‘landscape’ as sitting outside of the natural environment. It is in this context, of the constructed landscape, that I place this work.
This ‘painting’ has been constructed with sand paper, each piece hand cut and laboured over. Similarly for me, I see the natural environment as having been locked in a perpetual struggle of labour with humans, sometimes mutually beneficial, at other times one sided. Sand paper, being a man-made product from mostly natural materials, is most often employed to shape and refine other natural materials into serviceable or decorative objects. I perceive a relationship between this aspect of sand paper, and a western-historical approach to the landscape. We have shaped, defined, refined, cultivated and destroyed the natural environment in which we live, to make it serviceable, picturesque, acquirable and productive.
I find great personal joy in both the creation of art and in the natural world. ‘Monalalia’ evokes the former, yet presents the viewer with a bleak vision of the later. Here the natural environment is almost gone, reduced to a sliver of shoreline that supports the behemoth perched above. The building reflects itself, like a colossal Narcissus gazing into the water. And yes, Narcissus was beautiful.