Artwork information

  • Zilverster ( Goodwin & Hanenbergh) | PK3JRG (from the Alamy series)| 2019

    Zilverster ( Goodwin & Hanenbergh) | PK3JRG (from the Alamy series)| 2019

    Zilverster is a collaborative project between renowned Melbourne-based artists Sharon Goodwin and Irene Hanenbergh. Initially established in 2010 as a problem solving exercise, the collaboration has evolved into a rich practice that extends the discursive and process potentialities of each artist's work. Zilverster creates intricate drawings, sculptural objects and spatial installations that navigate shared interests in (art) history, fantasy, cult iconography, alchemy and supernatural phenomena. 

    Zilverster’s work engages ideas around utopian thought, exploring actual and fictional European histories – often expressed through the Esperanto language – while playfully disturbing traditional distinctions between high and low art forms, with the inclusion of snippets of conversation between the artists and everyday minutiae as well as numerous pop-cultural references.

    PK3JRG extends these interests by utilising the instantly recognisable watermark of Alamy, the British stock photography agency that maintains an archive of over 165 million images. Normally a client would pay to have the watermark removed from an image whereas Zilverster does away with the image altogether, thus inscribing all meaning to the brand itself. By wilfully subverting the relationship between authentic and fake by imprinting a ‘cheap’ generic logo onto a ‘designer’ object – and thus rendering genuine branding valueless – Zilverster also makes the wearer of the scarf complicit in a discourse around ‘stolen’ images.

    Zilverster (Goodwin & Hanenbergh) is represented by Sarah Scout Presents

    Zilverster (Goodwin & Hanenbergh)

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  • Rebecca Delange | Loops | 2018

    Rebecca Delange | Loops | 2018

     a net. to catch, to draw, to draw out. catching a moment, accumulate, record. ideas not answers. knot, not, to knot. the mirror catches the light and projects a circle onto the opposite wall. double, and again. over the day the reflection of light tracks a path through and across the space of the room. this side, or that side. knot-not. it’s not a not, it is not no, it is also not yes. the exception proves the rule. in a netted structure the absence has a volume. a type of invisible information. it cuts both ways. capture, not caught. the net is purpose built for its prey. charmed, enchanted or restrained. the mirror holds within itself all that crosses its line of sight. measure out the rope, cut it to size, arrange the pieces and tie the lengths together. blind spot. and into the sun. both the positive and the negative. to have and to hold. gridded, begin from zero, map the landscape. contain, trap, restrain and rescue. puzzle and impasse. both seeing and not seeing. safety and peril. inverse, eclipse, vision is cloaked. the blind cuts through the light, draws up and draws in.

     Rebecca Delange utilises sculpture and photography to investigate and problematise the mutability and entanglement of form, material and meaning.

    Loops is part of an ongoing project Knot Not —that employs the motif of the blind spot and the form of the net and associated and intersecting objects, meanings and metaphors— as an investigatory locus.  The project continues Delange’s exploration into double meanings, text as object, object as language, the entanglement of meaning and material and linguistic slippage.

    Her practice looks at the poetic—things known and felt yet evading direct visual perception and representation, unseen and unspoken experiences—and how can these things can be made manifest in the material.

    Rebecca Delange, 2018

    Artist Website:

    Instagram: @rebecca__delange

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  • Phebe Parisia | Shreadweave | 2018

    Phebe Parisia | Shreadweave | 2018

    Shreadweave is created from existing and new installation components used repetitively in Phebe Parisia's practice. The work uses a processes of repetitive line work, cutting, layering, weaving and drawing, photography, physical and digital drawing and collage. 

    Phebe Parisia generates large scale abstract installations and assemblages that examine the relationship between materiality, action and affect. Her works feature evolving assemblages and configurations of utilitarian synthetic materials including synthetic industrial fabrics, nylon objects and permanent marker actioned repetitive line worked panels.

    The work often involves the creation of temporary structural devices or motifs such as screens, walls or altered picture frames within the space, which ‘perform’ a permanence or solidity. However, this sense of stability in the work is undermined by soft fabric, seemingly impermanent or unstable additions and the visually jarring patterns enacted by the artist’s obsessive process of line drawing. Invoking historical precedents including Process art and Minimalism, Parisia’s work expresses an anxious integration of seemingly binary visual forms or experiences.

    Parisia’ has exhibited in Australia and internationally, with her artwork held in private collections in Australia, Iceland and Finland.  She was recently commissioned by the NGV Design Store at The National Gallery of Victoria for two exclusive jewellery collections, ‘Graffito’ and ‘15th Algorithm’.

    Artist website:

    Instagram: @phebe_._parisia

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