HOLD Akira Akira and Bianca Hester

10 October to 8 November 2014

  • Enquiry on Porosity
  • 1
  • 10
  • 2
  • 3
  • 4
  • 5
  • 6
  • 7
  • 8
  • 9

 

Sarah Scout Presents is delighted to present HOLD, an exhibition of new sculptural work by Akira Akira and Bianca Hester.

Drawing ideas and inspiration from different fields and sources such as cooking, sport, philosophy, design and architecture, Akira Akira’s spatial practice is centred around intuitive experimentation with processes and materials. For HOLD, Akira presents a series of suspended sculptures that also function as spatial anchors. Alongside these forms sit fleeting sculptural gestures.

A multidisciplinary and highly collaborative artist, Bianca Hester’s practice comprises an exploration of the material, social and spatial relations that shape public spaces. For HOLD, Hester presents a number of cast bronze ‘solar objects’, many of which were originally constructed for the purpose of being held towards the sun’s light by a group of people – performative gestures that sought to witness the recurring relationship the sun makes to the materials of the earth that stand in its fleeting pathway.

Akira and Hester have engaged in one another’s practices at various times, but HOLD is the first time their work will be brought into focus together, and represents an opportunity for the artists to tease out some of the material and conceptual concerns that continue to both connect their work and hold their interest.

_

Akira Akira graduated from the South Australian School of Art with a Bachelor of Visual Arts (Honours) in 2006 and completed a Master of Fine Art (by Research) at the Victorian College of the Arts, the University of Melbourne in 2013. Recent group exhibitions include: Roppongi Crossing 2013: Out of Doubt at Mori Art Museum, Tokyo (2013–14); Assembly at Bus Projects, Melbourne; Arte Magra at the Australian Experimental Art Foundation, Adelaide (both 2013); Shifting Geometries at the Australian Embassy, Washington D.C. (2012); Post-logical Form, Contemporary Art Centre of South Australia, Adelaide (2011) and Primavera 2010, Museum of Contemporary Art, Sydney (2010). He has held solo exhibitions at West Space, Melbourne (2014), Hugo Michell Gallery, Adelaide (2013), Linden Centre for Contemporary Arts, Melbourne (2012), Utopian Slumps, Melbourne (2009), Canberra Contemporary Art Space (2008) and the Experimental Art Foundation, Adelaide (2006). In 2013 Akira undertook an Australia Council Studio Residency at Helsinki International Art Program, Helsinki and from late 2014 he will undertake an Australia Council Studio Residency in Tokyo. His works are held in the collections of the University of South Australia and Artbank.

Bianca Hester is a Post-Doctoral Research Fellow at the Sydney College of the Arts. She taught in the department of Sculpture and Spatial Practice at the Victorian College of the Arts (University of Melbourne) between 2004-2012, and completed a PhD at RMIT University in 2007. Hester was a founding member of CLUBSproject inc (2002-07) and is a member of the OSW collective with Terri Bird and Scott Mitchell. Recent projects and exhibitions include: So Long As You Move, Ark Gallerie, Yogyakarta (2014); fashioning discontinuities for You Imagine What You Desire, the 19th Biennale of Sydney (2014); Art is a Verb, Monash University Museum of Art, Melbourne (2014); Melbourne Now, the National Gallery of Victoria (2013); only from the perspective of a viewer situated upon the surface of the earth does day and night occur, as a part of the Glasgow International Festival for Visual Arts, (2012); a world fully accessible by no living being at Federation Square, Melbourne (2011); please leave these windows open overnight to enable the fans to draw in cool air during the early hours of the morning at The Australian Centre for Contemporary Art , Melbourne (2010); The West Brunswick Sculpture Triennial (with the OSW collective, 2009), fashioning discontinuities at the Centre for Contemporary Photography, Melbourne (2009); and projectprojects at The Showroom, London (2008). The book titled accommodating spaces, materials, projects, people, videos, actions, objects, thoughts: relatively was commissioned and published by The Narrows in 2009.

The Sleeping and the Dead

Sarah crowEST
Bianca Hester
Clare Milledge

Exhibition dates
14 March to 13 April 2013

  • 01
  • 011
  • 012
  • 02
  • 03
  • 04
  • 05
  • 06
  • 07
  • 09

Sarah Scout is delighted to present The Sleeping and The Dead, a group exhibition bringing together works by Bianca Hester, Sarah crowEST and Clare Milledge that highlights matter and materiality in relation to the artists’ concerns with ritual, repetition and transformation. The exhibition title is drawn from Shakespeare’s tragedy Macbeth. On his return from murdering Duncan as he sleeps in his chamber, Lady Macbeth chastises Macbeth for being disturbed by his deed, exclaiming: ‘The sleeping and the dead / Are but as pictures’.

For The Sleeping and The Dead Clare Milledge presents a textile work together with a suite of oil paintings on glass that delve into the realm of shamanistic ritual, sacrifice and an invented pre-history. Milledge favours the technique of hinterglasmalerei (reverse painting on glass) for its potential to accommodate in her paintings a sharpened clarity with a darker, murkier content. She invokes elemental potency through pigments, geometry and text.

Sarah crowEST exhibits one of her ‘mound’ forms together with recent works from an ongoing series ‘The Cut’. At gallery openings and social events the artist gleans fragments of clothing that she hand-stitches onto linen. crowEST describes these works as ‘an exercise in nonchalance and eccentricity; a Melbourne-centric mapping of the global artworld and its participants and followers’. Her practice is marked by a ritualistic approach to the agency of material forms; crowEST notes how ‘all [her] works are in a constant state of transformation.’

Bianca Hester works across sculpture, installation, collaboration, performance, video, writing and music, in response to specific material, social and spatial conditions. For The Sleeping and The Dead Hester presents framed works on paper informed by sculptural and architectural processes and oriented by an ongoing engagement with the unpredictable forces of matter, space and time.

Sarah crowEST has recently completed a PhD at the Victorian College of the Arts. Exhibiting both nationally and overseas, her most recent solo projects comprise ‘The Inexplicable Magnetism of an Alien Object’ at Margaret Lawrence Gallery, Victorian College of the Arts and ‘Letting the Odd One In’ Linden Centre for Contemporary Arts, both 2012, Melbourne. As a recipient of a Samstag International Visual Arts Scholarship in 2007, crowEST exhibited ‘Framework: for the wicked woman’; a suite of work produced during an independent study program at the Maumaus in Lisbon, 2008. Recent group exhibitions include Magic Mountain, Craft Victoria, Melbourne (2013); ‘Figure and Group’ at Utopian Slumps (2012); ‘Cashmere if You Can’ at Seventh Gallery and Trocadero, Melbourne (2010) and ‘Unwrapped: Australian Fashion & Textiles’ which toured South East Asia (2003-2005) in partnership with Asialink and Bendigo Art Gallery, Victoria.

Bianca Hester is currently undertaking a Post-Doctoral Fellowship in sculptural and spatial practice at the Sydney College of the Arts, The University of Sydney. Her most recent project ‘Only from the perspective of a viewer situated upon the surface of the earth does day and night occur’, was presented with The Common Guild during the Glasgow International Festival for Visual Arts in 2012. Other projects include: ‘Lumpen Falls’ with Open Spatial Workshop (OSW), Conical, (2012); The Helen MacPherson Smith Commission: ‘please leave these windows open overnight to enable the fans to draw in cool air during the early hours of the morning’, ACCA (2011); ‘only from the perspective of a viewer situated upon the surface of the earth does day and night occur’ at The Narrows (2009); The West Brunswick Sculpture Triennial (with the OSW collective 2009); ‘fashioning discontinuities’ at the Centre for Contemporary Photography (2009), all in Melbourne and ‘projectprojects’ at The Showroom in London (2008).

Clare Milledge completed her PhD in 2012 at Sydney College of the Arts, the University of Sydney, with part of her candidacy spent at the Universität der Künste, Berlin (2008). Recent solo exhibitions include ‘Maximalist Ritualist’ (with Carla Cescon) at the Australian Experimental Art Foundation, Adelaide (2012); ‘Cave Art: Retarded Transcendence’ at Peloton, Sydney (2011); ‘Lord Owl’ at the Institute of Contemporary Art, Newtown, Sydney (2010); ‘The Last Visible Dog’, Grantpirrie, Sydney (2009) and ‘Then Nothing Turned Itself Inside Out, Ryan Renshaw, Brisbane (2009). Group exhibitions include ‘Un-Acclimatised’ at Switchback Gallery, Monash University, Gippsland; ‘The Biennale of Sydney: Super Deluxe’ at Artspace in 2010 and ‘Situation As Object’ Gallery D.O.R in Brussels. In March 2013 Milledge will present ‘Motivated Reasoning: Strategic, Tactical, Operational’, her first solo exhibition at The Commercial Gallery, Sydney.

Clare Milledge is represented by The Commercial Gallery, Sydney

BIANCA HESTER these circumstances: temporarily generating forms, improvising encounters

14 April to 7 May

  • 02
  • 03
  • 04
  • 05
  • 06
  • 07
  • 08
  • 09
  • 10
  • 11
  • 12

Text by Charlie Sofo