Staged to coincide with International Women’s Day, She features works by emerging female artists. The exhibition is an opportunity to celebrate the talents of these emerging artists and give them a launching pad as they embark on their careers after study.
She exhibition has been held at Walker Street Gallery for the past 17 years, with the last 3 years focusing on graduate artists.
The 2019 exhibition features sculpture by Chisholm TAFE graduate Karen Crawford, paintings of a noir suburbia by VCA graduate Letisha Hirniak, installed ethereal works by Brooke Hyrons graduate from Monash University, drawing by RMIT graduate Madeleine Joy Dawes, and works on paper by Zee Mazloum also a graduate from Monash University.
She will be on exhibition at Walker Street Gallery and Arts Centre from Thursday 7 March - Wednesday 24 April.
Walker Street Gallery and Arts Centre is open to the public Tuesday to Friday, 11am–5pm and Saturday, 11am–3pm during exhibitions and events (closed public holidays).
Karen Crawford assembles her sculptures from found materials. Her work takes up the theme of ‘home’. For Crawford, ‘home’ is a site of contentment and peace. The artist recycles discarded objects to create considered sanctuaries for the soul.
Madeleine Joy Dawes
In the work of Madeleine Joy Dawes, a ruled grid becomes the vessel for a lexicon of meticulously hand drawn symbols. Some of her work appears as a digital future imagined in an analogue present.
Using traditional processes to create works that could be mistaken for digital prints, she is interested in reclaiming the intimacy of the human hand over new media. Dawes’s art practice is underpinned by the language and laborious nature of embroidery based craft.
Often working in series of three, symbols within each piece are swapped in order to create different tonal weights, creating a shift in the field of perception for each drawing.
Letisha Hirniak’s paintings feature a suburban noir, a genre exploited by horror films and celebrated by the EMO subculture. Hirniak’s paintings are depictions of streets at night, they are dark, moonlit, depictions of otherwise prosaic Australian streetscapes.
The night allows for dreaming and imaging possibilities in a way that the hard sunlit hours of reality never can. The time Hirniak depicts is when the suburbs are asleep and life is on hold and in suspension, awaiting the sun and the first bus.
Looking through the lens of abstract painting, the artist uses coloured threads to create intuitive and discreet forms with fabric.
The work is both poetic and gestural. The creases in the fabric remain un-ironed, acting as a criticism of gendered domesticity. The use of embroidery and fields of cotton fabrics is – at least in part a nod to feminism and its occupation of the tradition of a masculine, modernist abstraction.
In Brooke Hyron’s work, the marks of embroidery are achieved through meditative states, in which the forms determine themselves. The intimate nature of the work encourages viewers to attentively search the work for information, gesture and meaning.
Zee Mazloum’s work illustrates the inner reflections of her identity, and interrogates concerns of displacement, dysphoria, abandonment and otherness.
The artist says, “I’ve always been drawn to self-portraiture, the adoption of personas, and the concealment of one’s identity through masks, veils or other forms of disguises, as I often felt I had to mask certain aspects of my being, or live a double life.”
The masks ability to shield the wearers identity, offers the wearer the power to dictate and modify their own sense of self, however they see fit.
________________________________________________________________________________________________________________________________________________Image credits: (Top to Bottom) Karen Crawford Living On the Edge 2018. Found materials, plaster, copper. 23 x 39 x 13 cm. Courtesy of the artist. Madeleine Joy Dawes Rebuild 2018. Pen ink on cotton rag. 150 x 150 cm. Courtesy of the artist. Letisha Hirniak Floating columns 2018. Oil paint on canvas. 46 x 36 cm. Courtesy of the artist. Brooke Hyrons Necessary to mend 2018. Pen on cotton rag. 46 x 75 cm. Courtesy of the artist. Zee Mazloum Self Portrait 2018. Marker on scanned print. 42 x 30 cm. Courtesy of the artist.