From Sharne Wolff…
In the catalogue for this exhibition we are informed that each artist will show ‘the individual pixels of the human experience by placing a microscope over a different community’. The curious title reflects one small subculture of the Liverpool region, that of pigeon-racing.
Two series of work by artist Garry Trinh are on display. For Our Spot he’s used an old camera and expired film to capture the raw character of the suburban landscapes of his youth. Despite his vivid memories only remnants remain of places where Trinh once skateboarded and hung out with his mates. When he wasn’t skateboarding, Trinh was a ‘Mr Brainwash’ type, documenting graffiti artists throughout Sydney’s suburbs. In PhotoGraff Trinh has replicated numerous images in one photographic shot mimicking the tags and overpainting that happens on the streets.
Stuart Bailey’s contribution of contemporary posters and performances evolves from his collaboration with ‘extreme music’ groups from the Liverpool region, ranging from the Grindcore and Thrash subclasses of Metal to hardcore Punk and Noise.
The subcultures evident in Shoufay Derz’s installation of photographs, video and objects are a little more covert. For her Master of Fine Arts project Depart Without Return Derz worked with communities of silk moths to produce silk thread. She later hand-wove and dyed the silk a genuine ‘true blue’ indigo with dye painstakingly produced from the Indian Indigofera tinctoria plant. This work explores themes of emptiness, impermanence and the unknown.
Work by artists Matthew Bradley, Bindi Cole, Tony Garifalakis and Raquel Ormella also appears in the show.
Until June 30
Casula Powerhouse Arts Centre, Liverpool.
Pic: Garry Trinh, Our Spot – Six feet steel mini ramp 2008, Digital C type print,?65x47cm. Courtesy the artist and Casula Powerhouse Arts Centre.
