Animals have played a significant role in the development of society [since] before the written word. Imagery of animals dating back thousands of years attest to their relevance in the changing cultures of all societies. We have worshipped, befriended, eaten, abused and idolized the beast. Animals of all kinds are our work mates, companions, guides, sustenance, entertainment and sacrifices. The Animal Show pays homage to our adoration of the animal and presents over 20 artist’s view of feathered, furry, hairy and scaly creatures.
10am – 6pm Tuesday – Saturday Opening March 7, 6-8pm
In this new exhibition Strampp continues to work with a limited palette, focusing on the ambiguities of spatial perception, history and connection.
Included in this exhibition are two works referencing Strampp’s early dress series. The landscapes have developed a deeper space than previous work, whilst the animals within, (a result of a residency at Taronga Zoo in 2011) hold their own, survivors of a rapidly changing landscape.
This exhibition also includes a new series of smaller works, Memorium, that further explore spatial relationships and connection through surface materiality, with the use of paint, wax, paper, mirror and lead.
Adriane Strampp’s work Observer Observed has been selected for the 2012 Adelaide Perry Prize for Drawing, judged by Sydney art critic John McDonald.
Adelaide Perry Gallery The Croydon Centre for Art Presbyterian Ladies’ College, Sydney Boundary St Croydon NSW 2132
Observer observed is one of several drawings produced during a residency at Sydney’s Taronga Zoo in 2011. The subject is Birani, a Malayan Tapir who resides there.
My work has always been concerned with the connection between strength and fragility, the tangible and the intangible, and the presence of absence. From the early dress paintings of the 1980’s through to the current animal works I have explored that which remains ‘in absentia’: the body from the dresses, the gaze between the animal and the viewer. In looking at us the animals remain ‘in absentia’. Rarely does their gaze meet ours directly. In the desire for a reciprocal gaze we project our own emotions and interpretations, however the animals look beyond us and through us as we the observers seek momentary connection. Instead our projections are mirrored back to us, and their gaze reminds us of our imposition on their world.
The drawing has several ‘ghost’ images of the animal in the act of walking and is a reference to Muybridge’s photographs. The use of multiple movements echoes the shift of looking and being looked at. The observer observed.
Curated by Jenny Lam, Exquisite Corpse is an independently run art show that features works across all media—illustration, photography, animatronics and pillow-making… and everything in between—by 40 artists from Chicago, New York, Boston, Philadelphia, Minneapolis, Amsterdam, and Melbourne. Arranged into groups and pairs, these artists—most of whom were strangers to one another before this project—were given one month to create new art, with no limitations or rules other than to work together. Some groups adhered to the exquisite corpse tradition, while others redefined the very idea of collaboration.
Melbourne artists Adriane Strampp, Irene Wellm and Kirsten Perry have put together a drawing, each working on their section without having seen the other artists section, until the work was completed.
Exquisite Corpse is located on the second floor of:
Fulton Street Collective 2000 W. Fulton St. Chicago, IL 60612 847.942.8956
The University Gallery is delighted to be able to present another exciting exhibition for ZOO AiR 2011 in conjunction with the Taronga Foundation. Now in its eleventh year, the TarongaFoundation has been committed to preserving and conserving endangered species both through zoo-based programs and in the animals’ native habitats.
The work generated through the Artists in Residence program this year will be on exhibition at the University Gallery from 20 July until 13 August. Donated works will then be exhibited at the Byron Kennedy Hall in Sydney’s Entertainment Quarter, Moore Park, from Friday 19 August until Sunday 21 August. The auction, by Bonhams Australia, will be held on the afternoon of Sunday 21 August with all proceeds supporting the Taronga Foundation’s conservation projects.
Five Miles from the Sea is a look at the incursion (Five miles from the Sea) of non-indigenous Australians and their resulting mark on the land. Whether it is the erosion of the land or the erosion of the quarter acre block, how are we shaping and living in the hinterland? Who lives five miles from the sea? What does it look like though the eyes of ten diverse artists, some from different parts of the globe, who have indeed made Australia their home?
Adriane Strampp : Artist Statement
In considering the impact of European settlement in Australia, one of the most invasive and damaging migrants (other than European man), is the rabbit.
Although originally arriving with the First Fleet in1788, it was Thomas Austin, formerly of Somerset, who is held historically responsible for the spread of rabbits when he released 24 rabbits and 5 hares at his property Barwon Park, near Geelong in 1859.
A lack of predators and mild winters provided an ideal climate for year-round breeding and by the 1900’s the feral rabbit population had reached plague proportions across Australia. Despite the rabbits’ devastating impact on native flora and the environment, the introduction of foxes as a remedy only worsened the situation as the foxes found indigenous birds and marsupials easier prey. In 1907 the infamous rabbit-proof fence was built in WA, a futile attempt to control the spread of rabbits, and later in 1950 Myxomatosis was introduced, causing a slow and painful death that ultimately the rabbits became immune to.
In 1863 the Acclimatisation Society of Victoria set up on Phillip Island a breeding colony for hares sent from London by the Zoological Society. Although introduced at the same time as rabbits, hares had less of an impact on the environment being slower to breed and non-burrowing, and their spread was limited to the more temperate climate of South-Eastern Australia.
This work is from a series of recent drawings titled The Animal Gaze, examining the fragile relationship between animals and the human race. The hare stares back at the viewer, a symbol of strength and vulnerability, segregation and marginalisation. We are both migrants to this land and the animal gaze serves to remind us equally of our imposition on their world.
The Victorian Acclimatisation Society was founded in 1861 in order to introduce European plants and animals in order to make the alien environment economically productive, and to feel more like home. It folded 11 years later as the extent their damage was realised. (Source: Museum Victoria)
Hares, horses and stags have long featured in Strampp’s work, images of the hunted and the haunted, symbols of both strength and vulnerability. In conjunction with Strampp’s 2011 residency at Sydney’s Taronga Zoo, Erlösung: The Animal Gaze is a project drawing exhibition that considers the animal gaze, and the relationship between the observer and the observed.
The animals in this exhibition are not cute; rather they are solid, monumental creatures drawn life-size, yet paradoxically they remain fragile and exposed. Their wary gaze regards us, guarded and measured, and they remain ‘in absentia’. In our desire for connection we long for our gaze to be returned, but as they look through or past us our projections are mirrored back, only to remind us of our imposition on their world.