A hollow structure crowned with abstract, gargoyle-like forms, this work explores ideas surrounding the intersection of the practical and the spiritual. The sandy finish of the work mimics an ossified creature or a tool from previous generations, yet the gargoyle-like forms suggest a surreal spiritual device. Gargoyles traditionally play a dual role, that of caretaker, providing the practical function of clearing water from a building and that of spiritual warden, protecting a building and its inhabitants from evil spirits. The intriguing physical form of the gargoyle is an additional and unintentional by-product that does not address either function. The piece confronts the idea that a by-product that does not address an intended function can be a compelling characteristic of a functional object. This piece interrogates whether an object needs to be justified by a practical or spiritual function or whether it needs to be justified at all.
Conulariid 55 x 35 cm, reclaimed piano parts from defunct pianos, currently on show at the Reimagine Art Prize at Wallarobba Arts and Cultural Centre in Hornsby, NSW This work is now on show as part of the Reimagine Art Prize in Hornsby, NSW Made using defunct piano parts, this work reuses and repurpose waste, to explore the mystery of trying to reconstruct the past through surviving relics. Conulariids are a little-understood fossil group, thought to be related to Jellyfish. Conulariids are now extinct, and all that scientists have to try to understand how these animals lived is their fossils. This work is an imagined form, inspired by the idea of Conulariids. The use of defunct pianos as the primary material for this work was an attempt to incorporate more recycled and repurposed resources in my work. For an earlier “Conulariid” shown in Sculpture by the Sea (Sculptures Inside) I used a piano action found in the verge. Thanks to Pianos Recycled for donating the piano actions for this Conulariid.
You are warmly invited to attend Nets and Traps, rescheduled for the third time due to the pandemic, this show is now most certainly on, opening on 4 May 2022 with the opening event on 6 May 2022 at 6pm!
Thanks for all who came to “Poster Walk” A self guided tour of the Poster Walk can still be taken over the weekend. https://www.eventbrite.com/e/poster-walk-expedition-to-the-bermuda-triangle-tickets-225203488697?utm_source=eventbrite&utm_medium=email&utm_campaign=post_publish&utm_content=shortLinkNewEmail
Thank you to the City of Melbourne for funding me with a Covid 19 Quick Response Grant. In amongst the delirium of isolation I have been busy creating a video which will premiere online with an accompanying artists talk in mind-June. Please stay posted as anyone in the world will be able to attend this online event.
Below are some photos from the Raku-firing process, which is a technique of placing glazed ceramics in a kiln for a relatively short period (approximately 1.5 hours) and then throwing them mercilessly into sawdust, which creates interesting patterns and textures.
I have finished another semester at TAFE. I particularly enjoyed my printmaking course, this time learning both intaglio and relief printmaking techniques. The print above has been created using a metal etching technique. A metal plate is coated with bitumen, then a design is scratched into it to and the plate is placed in acid. The acid eats into the exposed metal where the bitumen has been scratched away, thus etching lines. Larger tonal surfaces can be achieved by a similar technique of painting bitumen onto the plate. To create the print, ink is rubbed into the plate and it is then placed facing upwards on the press, with wet paper placed over it, before running it through the printing press. This technique is known as “intaglio” printmaking.
Lost and Found | An Exhibition by Carolina Arsenii Carolina Arsenii’s solo exhibition Lost and Found presents a series of aporias encountered by figures in contradictory spaces. Through composition, colour and pattern, the works create an internal dialogue between characters, objects and landscapes. The figures that populate the landscapes at times appear in multiplicities, at times oblivious to phenomena outside of their sphere and their subconscious discourse with it, at times to their own agency. Landscapes are strewn with precious objects, fabulous plants, an idealised yet sinister space, often watched over by familiar edifices. Works within Lost and Found seek to explore different aspects of interconnectedness between self and world, and hence the complexity of the situations in which these figures seem to find themselves. All are most welcome to my upcoming exhibition, which is open to the public. Opening Night: Friday 23 June 2017, 6:30pm Opening Times: Saturday 24 June 2017 – Thursday 29 June 2017 (11am – 6pm) Location: City Arts Space, cnr James and Lake Street under… Read More »
It’s gold and glittery… I have been entered the fantastic world of woodblock printing. The print above depicts my hometown Perth, Western Australia. I have added topographical lines and golden shading to the printed image using posca paint markers. I initially intended to use the woodblock below for the topographical patterns, but found that due to the thickness of the lines it works better as a separate image.
I am taking great delight in my ceramics course and creating some 3-dimensional archetypes with clay. The “Good Omen” heralds the birth of a new artistic direction and the coming of Easter. The above images show porcelain ceramics which are drying prior to the initial bisque firing (1000 degrees) after which they will be glazed and then again fired to stoneware quality (1360 degrees). The archetypal individuals have been placed in archetypal arrangements: “the archetypal philosophy circle” and “the archetypal power struggle”.
DISSECTIONS An exhibition of Drawings and Paintings by Carolina Arsenii. OPENING NIGHT 1 February 2016 at 6PM THE BIRD 181 William St, Northbridge, Western Australia 6003 https://www.facebook.com/events/1089521187735432/ https://www.facebook.com/events/1089521187735432/