14 March to 13 April 2013
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