Fresh Cut & Hatched

Artist images

Shan Turner-Carroll, Shan, from the series Primal Crown, 2012, HATCHED National Graduate Show, 2013, PICA

Shan Turner-Carroll, Shan, from the series Primal Crown, 2012, HATCHED National Graduate Show, 2013, PICA

Shan Turner-Carroll, Shan, from the series Primal Crown, 2012, HATCHED National Graduate Show, 2013, PICA

Each year in the Arts Education issue of RealTime, we feature works that catch our eye by recent graduates, often sourced from the annual HATCHED National Graduate Show, presented by PICA in Perth.

Our intriguing cover image is by Shan Turner-Carroll, a Fine Arts graduate from the University of Newcastle, winner of the prestigious Dr Harold Schenberg prize at this year’s HATCHED. In a new take on the portrait, Turner-Carroll displayed a series of “makeshift crowns for his family made from found objects that hold personal significance—relics embedded with present memories and future thoughts” (catalogue). Recently returned to Australia after traveling to his ancestral homeland of Myanmar where he met with local artists and curators and exhibited at 7000 Padauk, a contemporary art space, Taylor-Carroll is currently looking at producing a body of work responding to his time there.

Alex Wolman, Brief Candle, 2012; Hatched: National Graduate Show 2013, Perth Institute of Contemporary Art

Alex Wolman, Brief Candle, 2012; Hatched: National Graduate Show 2013, Perth Institute of Contemporary Art

Alex Wolman, Brief Candle, 2012; Hatched: National Graduate Show 2013, Perth Institute of Contemporary Art

For our education feature profile a further two HATCHED artists. In his hour-long performance Brief Candle, Alex Wolman, currently completing an Arts History degree at the University of WA, gives us the body in extremis, freeing itself from bonds and shouting until it’s hoarse. Wolman “sees the body as a sensitive and articulate yet deeply flawed medium through which to interact with the world, and is captivated by the thought that every human has one. In this he sees a unique opportunity to utilize a medium that is at once both familiar and strange to all” (catalogue).

Jen Broadhurst, Abstract Feminism, Historical Construction, 2012; Hatched: National Graduate Show 2013, Perth Institute of Contemporary Art

Jen Broadhurst, Abstract Feminism, Historical Construction, 2012; Hatched: National Graduate Show 2013, Perth Institute of Contemporary Art

The work of Jen Broadhurst (Fine Arts/Painting, Monash University) is less visceral but just as sharply focused on the body. She says, “As I have developed my practice I have become increasingly influenced by Feminism and Formalism.” Predominately video-based, with performance as a key element, Broadhurst’s works propose “a dialogue between certain feminist concerns, such as idealisation, perfection, objectification and neo-maternalism and how these ideas have manifested throughout art history” (catalogue).

Caitlin Franzmann, Courtney Coombs, Focus, 2012, Fresh Cut exhibition

Caitlin Franzmann, Courtney Coombs, Focus, 2012, Fresh Cut exhibition

Caitlin Franzmann, Courtney Coombs, Focus, 2012, Fresh Cut exhibition

On page 2, the image is from Focus by Caitlin Franzmann, an interactive installation developed in collaboration with Courtney Coombs during a Backdoor Gallery residency at Room60 and featuring in Fresh Cut, this year’s IMA exhibition of emerging artists. Franzmann completed a Bachelor of Fine Art (Honours) in 2012 at the Queensland College of Art, and recently has been awarded an Australia Council Artstart Grant. “Focus…literally positions the audience to face one another in close proximity and focus on the act of making or not making direct eye contact. The sound component of the work focuses the individual experiences of the participants; one helmet directs attention to the act of looking, the other heightens the awareness of one’s self being looked at” (Rachel Parsons, catalogue). RT

HATCHED: National Graduate Show, 2013, PICA, Perth, 20 April-9 June; Fresh Cut, 2013, IMA, Brisbane, 3 August-21 September

RealTime issue #116 Aug-Sept 2013 pg. 10

© RealTime ; for permission to reproduce apply to realtime@realtimearts.net

19 August 2013