#threefootsquare

Cameron Cripps-Kennedy editedit 2017 Single channel video, 0:00:35.

Cameron Cripps-Kennedy is an artist and designer who is still trying to decide what it means to exist between those spaces.

editedit is a explores the artists inner experience of mental illness. Thoughts—racing, frantic and muddled; a visual manifestation of rumination.

Robert Hogan I’ve Never Liked the Straight and Narrow Path 2018 Watercolour and aerosol on paper Various dimensions

I’ve Never Liked the Straight & Narrow Path addresses Hogan's interest in the historical archetypes of the ‘outdoorsman’ or ‘sportsman’, through the appropriation of subjects from vintage outdoor enthusiast media. He traces the chain of appropriation occurring within this scene, from the original inclusion of these illustrations within hunting magazines, to Ralph Lauren's adaption of them within his clothing line and the eventual co-opting of Ralph Lauren Polo by the hip hop subculture since the 1980s.

The appropriation and repossession of material not specifically intended for specific audiences, is an attitude that has been embodied within hip hop culture from its early roots, in order to reinterpret existing ideas through an individuals unique experience of urban living.

Hogan wishes to continue this tradition by utilising watercolour to express the energy of youth, the art of exploration, and the thrill of risk through participation within modern subcultures.

Bruno Panucci With a Last Breath / Might it Crumble 2017 Mixed media, various dimensions

My installation work takes its departure from my sense of dislocation surrounding romanticised ideas of a home as a safe space of reversion.

The first window, closest to the courtyard of UNSW Art and Design, is a performance activated installation of a makeshift hamster wheel and two channel breathing apparatus made from tubing and latex. The performer activates the monotonous and exhausting objects in the space until they reach a point of exhaustion and breathlessness and the performance concludes. I aim to suggest in this that our dependence on home as a security can be toxic, like a small box filling up with Co2, which then sets up a context for the reading of the second window, closest to Oxford Street.

In this window, air dried clay in the shape of bricks and engraved with neo-colonial symbolism are slowly eroded by a fountain on a timer. The interplay of the two separate yet interconnected works aims to critique the dependency we place on ‘nation home’ as a locating space and source of pride; challenging the viewers’ connection to this country, suggesting it is as superficial as the bricks which support themselves in the slowly weathering structure.    

Monica Rudhar All That Glitters 2017 Wax

Monica Rudhar Almost 2017 Porcelain 

Thank you for your beautiful work to first year Fine Arts student Naomi Segal. New projects underway... @_naomisegal indelible, ephemeral

untitled, 2017 Natural pigments on silk, string Dimensions variable

documentation, 2016-2017 Sketchbooks, drawings on paper, colour photographs, string 16 x 14 x 10 cm

My practice has two mutually resistant interests: documentation and the ephemeral. Documenting my memories through drawing and photography has been always been a source of comfort. The indelible marks and memories have accumulated into a personal archive, giving my life a sense of meaning.The ephemeral, however, is a more recent concern that I’ve considered through naturally-dyed silk. I steam silk with eucalyptus leaves and metal, resulting in delicate marks that slowly, slowly fade in the sun. I used to protect my silk works from sunlight, but something changed in me, and I now enjoy the precariousness of leaving them in exposed spaces. The fading marks are a reminder that I don’t have to render my life on paper for it to be meaningful; I can learn to be content in each fragile moment.For now, the silk works are untitled. In this way, I think they can elude documentation, catalogues and online records. My work, like many things, will barely leave a trace. 

My practice has two mutually resistant interests: documentation and the ephemeral.

Documenting my memories through drawing and photography has been always been a source of comfort. The indelible marks and memories have accumulated into a personal archive, giving my life a sense of meaning.

The ephemeral, however, is a more recent concern that I’ve considered through naturally-dyed silk. I steam silk with eucalyptus leaves and metal, resulting in delicate marks that slowly, slowly fade in the sun. I used to protect my silk works from sunlight, but something changed in me, and I now enjoy the precariousness of leaving them in exposed spaces. The fading marks are a reminder that I don’t have to render my life on paper for it to be meaningful; I can learn to be content in each fragile moment.

For now, the silk works are untitled. In this way, I think they can elude documentation, catalogues and online records. My work, like many things, will barely leave a trace.

Naomi Segal documentation, 2016-2017 Sketchbooks, drawings on paper, colour photographs, string 16 x 14 x 10 cm

Unlike my drawings, the marks on naturally-dyed silk will gradually fade in the sun. Leaving these ephemeral works in a relatively exposed space reminds me that I don’t have to render my life on paper for it to be meaningful; instead, I can learn to be content in each fragile moment.

Naomi Segal untitled, 2017 Natural pigments on silk, string Dimensions variable